95/201/1 Sculptures; Carvings E22: Man-Made Object Amol Object ID 95/201/1 E42: Object Identifier 041513.jpg E31: Document Carving, 'Piecemeal', mother-of-pearl/English lime wood/hanko ink/paint, Catherine Truman, Australia, 1992 Statement E55: Type Truman, Catherine; Adelaide, South Australia Designed E55: Type Truman, Catherine; Adelaide, South Australia; Gray Street Workshop Made E55: Type Carving, 'Piecemeal', mother-of-pearl/English lime wood/Hanko ink/paint, Catherine Truman, Australia, 1992. Boat (-1), open hulled canoe shape, carved in English lime. Outide of hull stained with black ink which has been rubbed unevenly into the finely incise cross hatching which decorates surface. Slightly raised spine carved along keel, ending in short knobs at bow and stern. Interior of boat carved with three ribs and painted red. The fish (-2:5) has been carved from mother-of-pearl in 4 seperate pieces, head (-2), two middle sections (-3:4) and tail (-5). Scales, gills and eyes have been carved into the surface and these incisions have been rubbed with black ink to add definition. The boat and fish are displayed side-by-side as one work; the fish pieces separated so that the spaces between approximate the size of the pieces of fish, and line up with the four sections of the interior of the boat. The fish separated from the boat by a distance about the same as the width of the fish (see enclosed photograph). Description E55: Type Designed and made by Catherine Truman (born 1957), who trained in jewellery/metalsmithing and teaching in South Australia. In 1985 she co-founded the Gray Street Workshop in Adelaide: a co-operative access jewellery workshop whose 'members were drawn together out of a shared belief that jewellery has the potential to express personal, social and environmental politics; issues beyond the purely decorative'. She has exhibited consistently since the early 1980s, and in 1990 studied with contemporary netsuke carvers in Japan. 'Catherine Truman's work is informed by a strong political consciousness, tempered by a lyrical approach to imagery and materials'. In 'Fish Carvings', an exhibition...in 1987, she used the fish as a metaphor for continued growth, carving a series of works which dealt with the moral and physical dilemmas faced by the aged in contemporary Western society. More recent works have dealt with social issues such as housing, shelter and ecological concerns. The carving process is a vital part of Catherine's work. As well as finding the process deeply satisfying she cites the choice of material and technique, which forms the foundation of the richly detailed surfaces of her work, as an important 'tool' for establishing a relationship between her subject matter and the viewer.' (Anne Brennan, in catalogue 'Lifeboat', 1992). These works appear to be metaphors to do with questions of eg. inner and outer lives, journeys, passengers, ambiguous narratives, individuals and society. In a phone interview in July 1995, Truman added: Making these works was a natural progression for her as a jeweller; they are about the body rather than for the body. They are a very personal expression of her interpretation of the spirit and flesh - a movement on from the more literal translation of shelter and housing of previous work. Truman's choice of materials is deliberate. She uses wood because the audience understands the material and forms a basic relationship with it, and mother of pearl because it is suitable for the fish, but also because it is seductive, it seduces the viewer with its colour and surface. 'Piecemeal'is to do with the fragility of the spirit; the broken fish is to do with mortality and questions of immortality. Designed Note E55: Type Made by Catherine Truman at the Gray Street Workshop in Adelaide, 1992, as part of the travelling exhibition 'Lifeboat'. The carvings derive in part from Truman's interest in the Japanese netsuke tradition of small carved ornaments for eg. belt-toggles. Made Note E55: Type Truman, Catherine OwnedExchange E55: Type Owned by the artist, while the work travelled to a number of exhibition venues in Australia during 1993-1994, including the Craftspace Gallery of the Crafts Council of NSW in March 1995. OwnedExchangeNote E55: Type Netsuke Subject E55: Type 51 Sculpture 16 Decorative Woodwork E55: Object Type 29 One-off production - Australian decorative arts and design Coll Dev Field E55: Type 95/201/1 Sculptures; Carvings L E54: Dimension L E55: Dimension Type 20.0 CM 95/201/1 Sculptures; Carvings W E54: Dimension W E55: Dimension Type 10.0 CM 95/201/1 Sculptures; Carvings D E54: Dimension D E55: Dimension Type 3.0 CM 95/28/11 Circus costumes; Tail coats E22: Man-Made Object Amol Object ID 95/28/11 E42: Object Identifier 041488.jpg E31: Document Costume, magician's tail coat with secret pockets, silk/velvet/cotton, Jandaschewsky family, [Australia], 1900-1960 Statement E55: Type Australia Made E55: Type Costume, magician's tail coat with secret pockets, silk/velvet/cotton, Jandaschewsky family, [Australia], 1900-1960 Costume, magician's tail coat made of black silk and lined with aubergine cotton originally with 4 buttons (only 3 remain). The wearer's right sleeve is shorter than the right, probably due to a trick compartment/pocket. The left sleeve has a tattered red silk handkerchief attached to the inside with plastic fishing wire. Inside the front flaps of the jacket are several 'secret' pockets of velvet, cotton and silk, from one (near armhole) an orange tube emerges. The collar is a 'bal' or convertible style and is very worn. There are two black buttons at centre back. Jacket has been repaired by hand under the arms and in various other areas. General appearance is worn and tattered. Description E55: Type Possibly made in Australia. Shows evidence of repair Made Note E55: Type Used by Arthur Jandaschewsky for his magic tricks act. This may have been worn by him throughout his career. Used Note E55: Type Jandaschewsky, Arthur `Jandy'; Jandaschewsky family; Europe; Australia; Asia; Africa Used E55: Type Jandaschewsky family; Jandaschewsky, Arthur `Jandy'; Anastasiadis, John OwnedExchange E55: Type The Jandaschewsky family collection was kept together by the last remaining family member, Arthur `Jandy' Jandaschewsky. During the last years of his life `Jandy' sold the collection to his friend John Anastasiadis. Mr Anastasiadis kept the collection for a 25 year period, having built a repository for housing and exhibiting it at his own home. In 1994 he sold the collection to the MAAS in order to keep it together, and in New South Wales, according to `Jandy's' wishes. OwnedExchangeNote E55: Type Jandaschewsky family; Circuses Subject E55: Type 14 Clothing and Dress E55: Object Type 23 Performing arts 22 Leisure and tourism 21 Migration, settlement and contact Coll Dev Field E55: Type 95/28/11 Circus costumes; Tail coats L E54: Dimension L E55: Dimension Type 94.0 CM 95/28/11 Circus costumes; Tail coats W E54: Dimension W E55: Dimension Type 46.3 CM 95/28/11 Circus costumes; Tail coats W E54: Dimension W E55: Dimension Type 46.0 CM 95/28/16 Circus costumes; Leotards E22: Man-Made Object Amol Object ID 95/28/16 E42: Object Identifier 041509.jpg E31: Document Costume, circus, women's leotard, velvet/metal/plastic, 'Do Re Mi', Australia, 1914-1930. Statement E55: Type Australia; Do Re Mi; Jandaschewsky family Made E55: Type Costume, circus, women's leotard, velvet/metal/plastic, 'Do Re Mi', Australia, 1914-1930. A leotard circus costume worn by `Do Re Mi' dancers. A leotard of black velvet with 'musical motif' of bar of music sewn in silver metallic braid, notes represent the 'Do Re Mi' musical act. A decorative braid of silver metallic thread trims shoulder straps and top front and back of playsuit, hem trimmed with silver metallic braid, sequins and hanging plastic beaded baubles, shoulder straps meet close to centre back. Press-stud fastening on wearer's right sideseam. Metallic braid worn and discoloured, with some sequins and baubles missing. Playsuit unlined. Description E55: Type none Marks E55: Type Probably made in Australia. by a member of the Jandaschewsky family Made Note E55: Type These suits were used in the performances of Do Re Mi one of the troupes formed by the Jandaschewskys. By the 1914-1930 period, Guillaume, Arthur, Charles and Ysidra would be accompanied by young women. This possibly was the costume of these dancers/acrobats. Used Note E55: Type Jandaschewsky family; Europe; Australia; Do Re Mi Used E55: Type Jandaschewsky family; Jandaschewsky, Arthur `Jandy'; Anastasiadis, John OwnedExchange E55: Type The Jandaschewsky family collection was kept together by the last remaining family member, Arthur `Jandy' Jandaschewsky. During the last years of his life `Jandy' sold the collection to his friend John Anastasiadis. Mr Anastasiadis kept the collection for a 25 year period, having built a repository for housing and exhibiting it at his own home. In 1994 he sold the collection to the MAAS in order to keep it together, and in New South Wales, according to `Jandy's' wishes. OwnedExchangeNote E55: Type Circuses; Jandaschewsky family; Do Re Mi Subject E55: Type 14 Clothing and Dress E55: Object Type 23 Performing arts 22 Leisure and tourism 21 Migration, settlement and contact Coll Dev Field E55: Type 95/28/16 Circus costumes; Leotards L E54: Dimension L E55: Dimension Type 71.0 CM 95/28/16 Circus costumes; Leotards W E54: Dimension W E55: Dimension Type 50.0 CM 95/28/25 Tail coats E22: Man-Made Object Amol Object ID 95/28/25 E42: Object Identifier 041495.jpg E31: Document Costume, circus, tail coat, faille, Jandaschewsky family, Australia, 1945-1968. Statement E55: Type Australia Made E55: Type Costume, circus, tail coat, faille, Jandaschewsky family, Australia, 1945-1968. Tailcoat made of fraise [cotton], unlined, with white cotton cuffs, lapels and white [synthetic covered] buttons. At centre back are another two white synthetic covered buttons. Description E55: Type none Marks E55: Type Used by Arthur Jandaschewsky as part of his solo performance. Used Note E55: Type Jandaschewsky, Arthur `Jandy'; Australia Used E55: Type Jandaschewsky family; Jandaschewsky, Arthur `Jandy'; Anastasiadis, John OwnedExchange E55: Type The Jandaschewsky family collection was kept together by the last remaining family member, Arthur `Jandy' Jandaschewsky. During the last years of his life `Jandy' sold the collection to his friend John Anastasiadis. Mr Anastasiadis kept the collection for a 25 year period, having built a repository for housing and exhibiting it at his own home. In 1994 he sold the collection to the MAAS in order to keep it together, and in New South Wales, according to `Jandy's' wishes. OwnedExchangeNote E55: Type Jandaschewsky family; vaudeville Subject E55: Type 14 Clothing and Dress E55: Object Type 23 Performing arts 22 Leisure and tourism 21 Migration, settlement and contact Coll Dev Field E55: Type 95/28/25 Tail coats L E54: Dimension L E55: Dimension Type 88.0 CM 95/28/25 Tail coats W E54: Dimension W E55: Dimension Type 46.5 CM 95/28/26 Jackets E22: Man-Made Object Amol Object ID 95/28/26 E42: Object Identifier 041496.jpg E31: Document Jacket, circus, velvet/braid, Jandaschewsky family, maker and place unknown, 1880-1920 Statement E55: Type Jandaschewsky family Made E55: Type Jacket, circus, velvet/braid, Jandaschewsky family, maker and place unknown, 1880-1920. Hip-length jacket, long-sleeved and slim-fitting made of black velvet and lined with black cotton. Collar is chinese style, lined with [denim] with two hooks & eyes. Five brass buttons fasten the front and there are two at each cuff. Waist is treated with a crenellated effect and trimmed with a braid of once white (now greyish) thick cotton. Description E55: Type none Marks E55: Type Possibly made by the Jandaschewsky family in Europe & or Australia Made Note E55: Type Used by the Jandaschewsky family in Europe and or Australia Used Note E55: Type Jandaschewsky family; Europe; Australia Used E55: Type Jandaschewsky family; Jandaschewsky, Arthur `Jandy'; Anastasiadis, John OwnedExchange E55: Type The Jandaschewsky family collection was kept together by the last remaining family member, Arthur `Jandy' Jandaschewsky. During the last years of his life `Jandy' sold the collection to his friend John Anastasiadis. Mr Anastasiadis kept the collection for a 25 year period, having built a repository for housing and exhibiting it at his own home. In 1994 he sold the collection to the MAAS in order to keep it together, and in New South Wales, according to `Jandy's' wishes. OwnedExchangeNote E55: Type Jandaschewsky family; Circuses Subject E55: Type 14 Clothing and Dress E55: Object Type 23 Performing arts 22 Leisure and tourism 21 Migration, settlement and contact Coll Dev Field E55: Type 95/28/26 Jackets L E54: Dimension L E55: Dimension Type 65.0 CM 95/28/26 Jackets W E54: Dimension W E55: Dimension Type 45.5 CM 95/28/27 Overcoats E22: Man-Made Object Amol Object ID 95/28/27 E42: Object Identifier 041497.jpg E31: Document Overcoat, fur/leather, maker and place unknown, 1900-1940 Statement E55: Type Jandaschewsky family Made E55: Type Overcoat, fur/leather, Europe/Australia, 1880-1930. Overcoat, calf-length with collar, made of sections of dark brown fur stitched together in zig-zag pattern, with unfinished leather lining. At front are two pockets with cinnamon-coloured synthetic lining. At front below the collar is a metal hook & fastener. Description E55: Type none, no remains of maker's label Marks E55: Type Possibly made in Europe or Australia Made Note E55: Type This coat was possibly owned by Ysidra Fernandez, Arthur Jandaschewsky's wife. Used Note E55: Type Fernandez y Santos, Ysidra; Jandaschewsky family; Europe; Australia Used E55: Type Jandaschewsky family; Jandaschewsky, Arthur `Jandy'; Anastasiadis, John OwnedExchange E55: Type The Jandaschewsky family collection was kept together by the last remaining family member, Arthur `Jandy' Jandaschewsky. During the last years of his life `Jandy' sold the collection to his friend John Anastasiadis. Mr Anastasiadis kept the collection for a 25 year period, having built a repository for housing and exhibiting it at his own home. In 1994 he sold the collection to the MAAS in order to keep it together, and in New South Wales, according to `Jandy's' wishes. OwnedExchangeNote E55: Type Jandaschewsky family; Circuses Subject E55: Type 14 Clothing and Dress E55: Object Type 23 Performing arts 22 Leisure and tourism 21 Migration, settlement and contact Coll Dev Field E55: Type 95/28/27 Overcoats L E54: Dimension L E55: Dimension Type 101.5 CM 95/28/27 Overcoats W E54: Dimension W E55: Dimension Type 44.5 CM 95/28/28 Circus costumes; Capes E22: Man-Made Object Amol Object ID 95/28/28 E42: Object Identifier 041492.jpg E31: Document Costume, circus, cape, damask [linen/silk], Jandaschewsky family, place unknown, 1880-1930 Statement E55: Type Jandaschewsky family Made E55: Type Costume, circus, cape, damask [linen/silk], Jandaschewsky family, place unknown, 1880-1930. Cape from a straight piece of gold cotton/rayon damask fabric, possibly curtain/upholstery fabric, featuring an abstract pineapple design, box pleated at the neck, knee length. Home made, machine stitched. Description E55: Type none Marks E55: Type Possibly made by a member of the Jandaschewsky family in Europe or Australia Made Note E55: Type Used by the Jandaschewsky family in Europe and or Australia Used Note E55: Type Jandaschewsky family; Europe; Australia Used E55: Type Jandaschewsky family; Jandaschewsky, Arthur `Jandy'; Anastasiadis, John OwnedExchange E55: Type The Jandaschewsky family collection was kept together by the last remaining family member, Arthur `Jandy' Jandaschewsky. During the last years of his life `Jandy' sold the collection to his friend John Anastasiadis. Mr Anastasiadis kept the collection for a 25 year period, having built a repository for housing and exhibiting it at his own home. In 1994 he sold the collection to the MAAS in order to keep it together, and in New South Wales, according to `Jandy's' wishes. OwnedExchangeNote E55: Type Jandaschewsky family; Circuses Subject E55: Type 14 Clothing and Dress E55: Object Type 23 Performing arts 22 Leisure and tourism 21 Migration, settlement and contact Coll Dev Field E55: Type 95/28/28 Circus costumes; Capes L E54: Dimension L E55: Dimension Type 95.5 CM 95/28/28 Circus costumes; Capes W E54: Dimension W E55: Dimension Type 57.5 CM 95/28/29 Circus costumes; Shirts E22: Man-Made Object Amol Object ID 95/28/29 E42: Object Identifier 041494.jpg E31: Document Shirt, circus, men's, cotton, Jandaschewsky family, place unknown, 1880-1920 Statement E55: Type Jandaschewsky family Made E55: Type Shirt, circus, men's, cotton, Jandaschewsky family, place unknown, 1880-1920. Men's cotton shirt, long-sleeved, with dark blue and white vertical stripes & a chinese collar. Black plastic buttons on the front & at each cuff. The fullish shirt is slightly gathered at the hem fastened with a hook & eye. The collar & surrounds have been (mistakenly) dyed a pale pink. Description E55: Type none Marks E55: Type Possibly made by a member of the Jandaschewsky family in Europe & or Australia. Appears home made not shop bought. Made Note E55: Type Used by the Jandaschewsky family in Europe and or Australia Used Note E55: Type Jandaschewsky family; Europe; Australia Used E55: Type Jandaschewsky family; Jandaschewsky, Arthur `Jandy'; Anastasiadis, John OwnedExchange E55: Type The Jandaschewsky family collection was kept together by the last remaining family member, Arthur `Jandy' Jandaschewsky. During the last years of his life `Jandy' sold the collection to his friend John Anastasiadis. Mr Anastasiadis kept the collection for a 25 year period, having built a repository for housing and exhibiting it at his own home. In 1994 he sold the collection to the MAAS in order to keep it together, and in New South Wales, according to `Jandy's' wishes. OwnedExchangeNote E55: Type Jandaschewsky family; Circuses Subject E55: Type 14 Clothing and Dress E55: Object Type 23 Performing arts 22 Leisure and tourism 21 Migration, settlement and contact Coll Dev Field E55: Type 95/28/29 Circus costumes; Shirts L E54: Dimension L E55: Dimension Type 69.0 CM 95/28/29 Circus costumes; Shirts W E54: Dimension W E55: Dimension Type 61.0 CM 95/28/3 Circus costumes E22: Man-Made Object Amol Object ID 95/28/3 E42: Object Identifier 041469.jpg E31: Document 041470.jpg E31: Document Costume, circus, 'Parisian' dancer's dress with matching jacket, silk brocade/lace, maker and place unknown, 1880-1900 Statement E55: Type Costume, circus, 'Parisian' dancer's dress with matching jacket, silk brocade/lace, maker and place unknown, 1880-1900 Dancer's costume, consisting of a dress and matching jacket of mint green silk brocade, trimmed with Spanish lace, this was the `Parisian' costume of Maria Jandaschewsky. (-1) Dress with cream silk bodice, elbow length puff sleeves, and a round neck, with a short, full skirt consisting of an overskirt of mint green sik brocade, with pink satin underskirt, gathered at the waist, around the waist is a black velvet cumberbund laced up the front with a gold metallic ribbon, attached to this is a small lace apron (hand embroidery on machine made net). (-2) Jacket of mint green silk brocade, with fitted bodice, round, collarless neck, and 3/4 length puff sleeves, trimmed with lace at the neck, sleeves, and waist. The laces do not match, and that on the sleeves appears to be a modern, machine made replacement. Description E55: Type The costume is made from a fashionable woman's costume of the 1880s and substantially altered. It may have been altered while the troupe was touring in Europe, Africa, Asia or Australia. Made Note E55: Type This costume was the Parisian dancer's costume of Maria Jandaschewsky, the sister of Guillaume, and `prima ballerina' of troupe Zig Zag. The costume was later given to Ysidra Fernandez y Santos, the wife of Arthur `Jandy' Jandaschewsky (Maria Jandaschewsky's nephew). Ysidra was also a dancer with the troupe Zig Zag. The costume was made from a fashionable woman's outfit of the 1880s. It does not appear that the jacket was ever worn. The skirt has been substantially shortened and a deep pink satin hem added. This would have drawn attention to the dancer's legs as the skirt 'kicked up' during a performance. It is possible that Maria danced the 'can can' in this costume. The bodice is worn and stained showing clear evidence of use in performance. Probably worn during tours of Europe, Asia, Africa and Australia. Used Note E55: Type Jandaschewsky, Maria `Mary'; Fernandez y Santos, Ysidra; Troupe Zig Zag; France; Europe; Asia; Australia Used E55: Type Jandaschewsky family; Jandaschewsky, Arthur `Jandy'; Anastasiadis, John; France; Australia OwnedExchange E55: Type The Jandaschewsky family collection was kept together by the last remaining family member, Arthur `Jandy' Jandaschewsky. During the last years of his life `Jandy' sold the collection to his friend John Anastasiadis. Mr Anastasiadis kept the collection for a 25 year period, having built a repository for housing and exhibiting it at his own home. In 1994 the MAAS acquired the collection from Mr Anastasiadis in order to keep it together, and in New South Wales, according to `Jandy's' wishes. OwnedExchangeNote E55: Type Circuses; Dancing; Jandaschewsky family Subject E55: Type 14 Clothing and Dress E55: Object Type 23 Performing arts 22 Leisure and tourism 21 Migration, settlement and contact Coll Dev Field E55: Type 95/28/3 Circus costumes L E54: Dimension L E55: Dimension Type 83.0 CM 95/28/3 Circus costumes W E54: Dimension W E55: Dimension Type 41.0 CM 95/28/30 Circus costumes; Boas E22: Man-Made Object Amol Object ID 95/28/30 E42: Object Identifier 041641.jpg E31: Document Boa, feather, maker and place unkown, 1880-1930 Statement E55: Type Boa, feather, maker and place unknown, 1880-1930. Boa, long cylindrical neckpiece of dyed royal blue, black and off white feathers. It is comprised of sixteen separate sections of feathers attached by string to a plaited purple & multicoloured braid. Description E55: Type none Marks E55: Type Possibly made in Europe or Australia Made Note E55: Type May have been worn by Ysidra or Christine as part of their dance costume. Used Note E55: Type Jandaschewsky family; Europe; Australia; Asia; Africa; Fernandez y Santos, Ysidra; Jandaschewsky, Cristine Used E55: Type Jandaschewsky family; Jandaschewsky, Arthur `Jandy'; Anastasiadis, John OwnedExchange E55: Type The Jandaschewsky family collection was kept together by the last remaining family member, Arthur `Jandy' Jandaschewsky. During the last years of his life `Jandy' sold the collection to his friend John Anastasiadis. Mr Anastasiadis kept the collection for a 25 year period, having built a repository for housing and exhibiting it at his own home. In 1994 he sold the collection to the MAAS in order to keep it together, and in New South Wales, according to `Jandy's' wishes. OwnedExchangeNote E55: Type Jandaschewsky family; Circuses; Dancing Subject E55: Type 14 Clothing and Dress E55: Object Type 21 Migration, settlement and contact 22 Leisure and tourism 23 Performing arts Coll Dev Field E55: Type 95/28/30 Circus costumes; Boas L E54: Dimension L E55: Dimension Type 29.0 CM 95/28/30 Circus costumes; Boas W E54: Dimension W E55: Dimension Type 90.0 CM 95/28/30 Circus costumes; Boas D E54: Dimension D E55: Dimension Type 14.0 CM 95/28/31 Stoles E22: Man-Made Object Amol Object ID 95/28/31 E42: Object Identifier 041642.jpg E31: Document Stole, synthetic fur, maker and place unknown, 1900-1940 Statement E55: Type Stole, synthetic fur, maker and place unknown, 1900-1930. Stole, made from black synthetic fur & lined with black cotton. Description E55: Type Possibly made in Europe or Australia Made Note E55: Type Possibly belonged to either Ysidra or Chritsina Jandaschewsky. Used Note E55: Type Jandaschewsky family; Europe; Australia; Fernandez y Santos, Ysidra; Jandaschewsky, Cristine Used E55: Type Jandaschewsky family; Jandaschewsky, Arthur `Jandy'; Anastasiadis, John OwnedExchange E55: Type The Jandaschewsky family collection was kept together by the last remaining family member, Arthur `Jandy' Jandaschewsky. During the last years of his life `Jandy' sold the collection to his friend John Anastasiadis. Mr Anastasiadis kept the collection for a 25 year period, having built a repository for housing and exhibiting it at his own home. In 1994 he sold the collection to the MAAS in order to keep it together, and in New South Wales, according to `Jandy's' wishes. OwnedExchangeNote E55: Type Jandaschewsky family; Circuses Subject E55: Type 14 Clothing and Dress E55: Object Type 23 Performing arts 22 Leisure and tourism 21 Migration, settlement and contact Coll Dev Field E55: Type 95/28/31 Stoles L E54: Dimension L E55: Dimension Type 205.0 CM 95/28/31 Stoles W E54: Dimension W E55: Dimension Type 20.0 CM 95/28/33 Circus costumes E22: Man-Made Object Amol Object ID 95/28/33 E42: Object Identifier 041617.jpg E31: Document Sleeve, part of circus costume, silk/calico/metallic thread, [India/Turkey], 1893 Statement E55: Type India; Turkey; Jandaschewsky family Made E55: Type Sleeve, part of circus costume, silk/calico/metallic thread, [India/Turkey], 1893. Sleeve portion made from pale olive green silk and backed with calico. Heavily decorated in flower, vine and leaf motifs using metallic thread embroidery and sequins. Description E55: Type none Marks E55: Type Probably made in Turkey and purchased by the Jandaschewsky family while touring there in 1893. The Jandaschewskys incorporated embroidered panels like this in their costumes. Made Note E55: Type Purchased in Turkey in 1893, the excellent condition of this embroidered panel suggests it was never used. Used Note E55: Type Jandaschewsky family; Europe; Australia; Turkey; India Used E55: Type Jandaschewsky, Arthur `Jandy'; Jandaschewsky family; Anastasiadis, John; Europe; Australia OwnedExchange E55: Type The Jandaschewsky family collection was kept together by the last remaining family member, Arthur `Jandy' Averino. During the last years of his life `Jandy' sold the collection to his friend John Anastasiadis. Mr Anastasiadis kept the collection for a 25 year period, having built a repository for housing and exhibiting it at his own home. In 1994 he sold the collection to the MAAS in order to keep it together, and in New South Wales, according to `Jandy's' wishes. OwnedExchangeNote E55: Type Jandaschewsky family; Circuses; Costumes Subject E55: Type 14 Clothing and Dress E55: Object Type 20 Social history of Sydney and NSW 21 Migration, settlement and contact 22 Leisure and tourism 23 Performing arts Coll Dev Field E55: Type 95/28/33 Circus costumes L E54: Dimension L E55: Dimension Type 64.0 CM 95/28/33 Circus costumes W E54: Dimension W E55: Dimension Type 29.0 CM 95/28/40 Sashes E22: Man-Made Object Amol Object ID 95/28/40 E42: Object Identifier 041643.jpg E31: Document Sash, [masonic], cloth, unknown maker, Australia, 1910-1930 Statement E55: Type Sash, [masonic], cloth, unknown maker, Australia, 1910-1930. Sash, possibly masonic, woven design in a geometric pattern of triangles and diamonds in maroon and blue, with tassles at both ends. The sash is sewn together above the tassles forming a loop to be worn across body with a tie at the hip. Description E55: Type none Marks E55: Type Said to have been used by Guillaume Jandaschewsky who was a mason. The Australian provenance of the aprons suggests that Guillaume was a mason during his time in Australia, ie from 1910. Used Note E55: Type Jandaschewsky, Guillaume; Jandaschewsky family; Australia Used E55: Type Jandaschewsky family; Jandaschewsky, Arthur `Jandy'; Anastasiadis, John OwnedExchange E55: Type The Jandaschewsky family collection was kept together by the last remaining family member, Arthur `Jandy' Jandaschewsky. During the last years of his life `Jandy' sold the collection to his friend John Anastasiadis. Mr Anastasiadis kept the collection for a 25 year period, having built a repository for housing and exhibiting it at his own home. In 1994 he sold the collection to the MAAS in order to keep it together, and in New South Wales, according to `Jandy's' wishes. OwnedExchangeNote E55: Type Jandaschewsky family; Circuses; Freemasonry Subject E55: Type 14 Clothing and Dress E55: Object Type 21 Migration, settlement and contact 22 Leisure and tourism 23 Performing arts Coll Dev Field E55: Type 95/28/40 Sashes L E54: Dimension L E55: Dimension Type 158.0 CM 95/28/40 Sashes W E54: Dimension W E55: Dimension Type 10.0 CM 95/28/41 Tablemats E22: Man-Made Object Amol Object ID 95/28/41 E42: Object Identifier 041611.jpg E31: Document Tablemat, lace, maker unknown, Australia, 1920-1950 Statement E55: Type Tablemat, lace, maker unknown, Australia, 1920-1950. Rectangular cream lace tablemat featuring a central oval design with decorative lace border. Description E55: Type none Marks E55: Type Probably used by the Jandschewsky family in Europe and/or Australia Used Note E55: Type Jandaschewsky family; Australia Used E55: Type Jandaschewsky family; Jandaschewsky, Arthur `Jandy'; Anastasiadis, John OwnedExchange E55: Type The Jandaschewsky family collection was kept together by the last remaining family member, Arthur `Jandy' Jandaschewsky. During the last years of his life `Jandy' sold the collection to his friend John Anastasiadis. Mr Anastasiadis kept the collection for a 25 year period, having built a repository for housing and exhibiting it at his own home. In 1994 he sold the collection to the MAAS in order to keep it together, and in New South Wales, according to `Jandy's' wishes. OwnedExchangeNote E55: Type Lacemaking; Family life Subject E55: Type 54 Textile Technology E55: Object Type 18 Domestic life 20 Social history of Sydney and NSW 21 Migration, settlement and contact Coll Dev Field E55: Type 95/28/41 Tablemats L E54: Dimension L E55: Dimension Type 58.5 CM 95/28/41 Tablemats W E54: Dimension W E55: Dimension Type 33.0 CM 95/291/1 Bowls E22: Man-Made Object Amol Object ID 95/291/1 E42: Object Identifier 041755.jpg E31: Document Bowl, 'Southern Ice', porcelain with nitrate and acid resist, Les Blakebrough, Hobart, 1995 Statement E55: Type Blakebrough, Les Designed E55: Type Blakebrough, Les Made E55: Type Bowl, 'Southern Ice', porcelain with nitrate and acid resist, Les Blakebrough, Hobart, 1995. Bowl, Valentine's (Stoke-on-Trent) matt white porcelain clay body, tall thrown cylindrical foot (high-foot), with half-spherical bowl above, opening without lip. Wide band around bowl in blue and brown nitrate wash, acid-etched to reveal white body below. The band cosists of a blue background with an exposed blue top and bottom strip. Within is a cloudy white surface revealing brown throughout. The exterior of the bowl is an unglazed matt surface. The internal bowl surface is polished, with a narrower blue band which is faded in colour at the top and increases in intensity as it reaches the bottom. (See catalogue essay for process). Description E55: Type Designed and made by Les Blakebrough (born 1936) in Hobart in 1995. Blakebrough is well-known for his expertise in throwing exceptional forms, from production domestic wares to very large spheres and cylinders. He managed the Sturt workshops in Mittagong in the 1960s and set up the ceramics course at the Tasmanian School of Art in Hobart in 1973. A retrospective exhibition mounted by the Tasmanian School of Art in 1989 was also shown at the MAAS Hyde Park Barracks, and a book published by Bay Books. The current works, of which this bowl is one, are the result of an interest in perfecting fine porcelain forms, as well as a new interest in acid resist decoration (see catalogue essay by Jonathan Holmes for details of process). The title of the exhibition, 'Southern Ice', is drawn in part from his interest in CSIRO photographs of ice crystals from Antartica, as well as the photos from the Antarctic taken by colleague David Stephenson. Blakebrough travelled on a Churchill Fellowship to England and Scandinavia in 1994 to work in large ceramic factories, and balances these handthrown one-off works with an interest in design for production, through a facility being developed at the Tasmanian School of Art. Blakebrough retired from teaching just after this 1995 exhibition was shown in Sydney. Designed Note E55: Type Made by Les Blakebrough in Hobart, 1995. (Note: details of process explained in essay by Jonathan Holmes, in Southern Ice catalogue, Ceramic Art Gallery, May 1995). The spherical and cylindrical forms are consistent with Blakebrough's work over many years; these works have a coolness and austerity consistent with the qualities of the porcelain from Valentine's in Stoke-on-Trent. The blue and brown colours are also consistent with Blakbrough's oevre, but this time the process is different. Blakebrough has been following up an interest in a process that leaves a 'halo' effect. In these works he brushes on bands of cobalt nitrate (blue) and uranyl nitrate (brown/yellow), and then applies phosphoric acid through a latex mask. When fired, this causes the metals to retreat to the edges of the bruch-strokes, leaving a halo effect. Made Note E55: Type Exhibited as number 22 in 'Southern Ice' exhibition at Ceramic Art Gallery, Sydney, in May 1995 (see catalogue and pricelist attached). OwnedExchangeNote E55: Type Australian studio ceramics Subject E55: Type 11 Ceramics E55: Object Type 29 One-off production - Australian decorative arts and design Coll Dev Field E55: Type 95/291/1 Bowls H E54: Dimension H E55: Dimension Type 19.5 CM 95/291/1 Bowls W E54: Dimension W E55: Dimension Type 15.0 CM 95/291/2 Bowls E22: Man-Made Object Amol Object ID 95/291/2 E42: Object Identifier 041756.jpg E31: Document Bowl, porcelain with nitrate and acid resist, Les Blakebrough, Hobart, 1995 Statement E55: Type Blakebrough, Les Designed E55: Type Blakebrough, Les Made E55: Type Bowl, porcelain with nitrate and acid resist, Les Blakebrough, Hobart, 1995. Bowl, Valentine's (Stoke-on-Trent) matt white porcelain clay body, with half-spherical bowl, opening without lip. Wide band around bowl in blue and brown nitrate wash, acid-etched in cross-hatch pattern to reveal white body below with brown diamond shaped forms dispersed throughout. The bowl exterior is an unglazed matt surface whilst the interior is polished. (See catalogue essay for process). Description E55: Type `Designed and made by Les Blakebrough (born 1936) in Hobart in 1995. Blakebrough is well-known for his expertise in throwing exceptional forms, from production domestic wares to very large spheres and cylinders. He managed the Sturt workshops in Mittagong in the 1960s and set up the ceramics course at the Tasmanian School of Art in Hobart in 1973. A retrospective exhibition mounted by the Tasmanian School of Art in 1989 was also shown at the MAAS Hyde Park Barracks, and a book published by Bay Books. The current works, of which this bowl is one, are the result of an interest in perfecting fine porcelain forms, as well as a new interest in acid resist decoration (see catalogue essay by Jonathan Holmes for details of process). The title of the exhibition, 'Southern Ice', is drawn in part from his interest in CSIRO photographs of ice crystals from Antartica, as well as the photos from the Antarctic taken by colleague David Stephenson. Blakebrough travelled on a Churchill Fellowship to England and Scandinavia in 1994 to work in large ceramic factories, and balances these handthrown one-off works with an interest in design for production, through a facility being developed at the Tasmanian School of Art. Blakebrough retired from teaching just after this 1995 exhibition was shown in Sydney. Designed Note E55: Type Made by Les Blakebrough in Hobart, 1995. (Note: details of process explained in essay by Jonathan Holmes, in Southern Ice catalogue, Ceramic Art Gallery, May 1995). The spherical and cylindrical forms are consistent with Blakebrough's work over many years; these works have a coolness and austerity consistent with the qualities of the porcelain from Valentine's in Stoke-on-Trent. The blue and brown colours are also consistent with Blakbrough's oevre, but this time the process is different. Blakebrough has been following up an interest in a process that leaves a 'halo' effect. In these works he brushes on bands of cobalt nitrate (blue) and uranyl nitrate (brown/yellow), and then applies phosphoric acid through a latex mask. When fired, this causes the metals to retreat to the edges of the bruch-strokes, leaving a halo effect. Made Note E55: Type Exhibited as number 28 in 'Southern Ice' exhibition at Ceramic Art Gallery, Sydney, in May 1995 (see catalogue and pricelist attached). OwnedExchangeNote E55: Type Australian studio ceramics Subject E55: Type 11 Ceramics E55: Object Type 29 One-off production - Australian decorative arts and design Coll Dev Field E55: Type 95/291/2 Bowls H E54: Dimension H E55: Dimension Type 11.0 CM 95/291/2 Bowls W E54: Dimension W E55: Dimension Type 15.0 CM 95/318/1 Textile lengths E22: Man-Made Object Amol Object ID 95/318/1 E42: Object Identifier 041679.jpg E31: Document Textile length, batik, silk taffeta, napthol dyes, designed and made by Nyukana Baker, Ernabella, South Australia, 1995 Statement E55: Type Baker, Nyukana; Ernabella, South Australia Designed E55: Type Baker, Nyukana; Ernabella, South Australia Made E55: Type Textile length, batik, silk taffeta, napthol dyes, designed and made by Nyukana Baker, Ernabella, South Australia, 1995. Batik on white silk taffeta, all-over canting pattern of abstract fronded-leaf-like forms, each with a tear-shaped form within. Each form surrounded by a defined area filled with dots, and the whole background remaining filled with lines. Brown, tan, red-brown, gold on white. Signed `Nyukana'. Workshop no: EB3290NB. Ends unfinished. Description E55: Type Signed `Nyukana'. Marks E55: Type Designed and made by Nyukana Baker (born 1943) at Ernabella Arts workshop. Nukana was born at Ernabella; she is in the Pitjantjatjara language group; her mother's family from Wingellina and her father's family from Kanypi. Ernabella was a mission settlement (refer Winifred Hilliard's book, The People In Between), and from the 1940s crafts were taught to provide employment for people who had previously been nomadic. Weaving was one of the first crafts taught and Nyukana started designing, painting and weaving in 1963. She started to work in batik in 1971 when Leo Brereton taught batik there. She has studied in Yogyakarta and has travelled to eg. Japan. She is currently chairperson of Ernabella Arts Inc. She is now the senior artist at Ernabella. The abstract designs of the Pitjantjatjara people rarely have explicit meanings although it is thought they do relate to body and ground painting. This batik is unusual in its all-over design. Nyukana's work is somethimes characterised by her use of a double-canting (the lines in the background). Designed Note E55: Type Made by Nykana Baker at Ernabella, using napthol azoic dyes. The lines are made using a canting, and sometimes a double canting. Jenni Dudley describes her working method: 'She starts on one side, then goes to the end, then the other end, and then the other side. She uses no pencil marks to guide her. She has a remarkable ability to handle space'. (discussion, October 1995) Made Note E55: Type Selected from a number of batiks and screenprinted textiles offered during a visit to the Powerhouse Museum in October 1995. OwnedExchangeNote E55: Type Aboriginal art; Batik Subject E55: Type 55 Textile E55: Object Type 29 One-off production - Australian decorative arts and design Coll Dev Field E55: Type 95/318/1 Textile lengths L E54: Dimension L E55: Dimension Type 288.0 CM 95/318/1 Textile lengths W E54: Dimension W E55: Dimension Type 114.5 CM 95/318/3 Textile lengths E22: Man-Made Object Amol Object ID 95/318/3 E42: Object Identifier 041680.jpg E31: Document Textile length, batik, cotton, napthol dyes, designed and made by Dora Haggie, Young's Well homeland, Ernabella, South Australia, 1995 Statement E55: Type Haggie, Dora; Young's Well homeland, Ernabella, South Australia Designed E55: Type Haggie, Dora; Young's Well homeland, Ernabella, South Australia Made E55: Type Textile length, batik, cotton, napthol dyes, designed and made by Dora Haggie, Young's Well homeland, Ernabella, South Australia, 1995. Batik on white cotton, canting batik, dark blues and red on white. Central narrow blue stripe, with internal pattern, flanked by semi-circular frond-like designs along its length, making a broad central stripe. Very large scallop designs from outer selvedges, edged with frond-design, and containing flower-like designs, and finely drawn 'scribble' infill. Signed `Dora Haggie'. Workshop no: EB3272DH. Unfinished ends. Description E55: Type Signed `Dora Haggie'. Marks E55: Type Designed and made by Dora Haggie (b....) at the Young's Well homeland, 15K from Ernabella. Ernabella was a mission settlement (refer Winifred Hilliard's book, The People In Between), and from the 1940s crafts were taught to provide employment for people who had previously been nomadic. Weaving was one of the first crafts taught and batik was introduced in 1971 when Leo Brereton taught batik there. The abstract designs of the Pitjantjatjara people rarely have explicit meanings although it is thought they do relate to body and ground painting, and plant life. This batik is significant in that it is an excellent example of the familiar Ernabella designs, and because it was made at one of the homeland centres. The homelands have their own administrations and craftsheds. Dora gets her batik supplies from Ernabella Arts, but works at home, outside the township, and then sells her work through Ernabella Arts. She draws the outline first, then infills the decoration. She also carves wooden animals and decorates 'piti' (carrying bowls). Designed Note E55: Type Made by Dora Haggie at Young's Well homeland, 15 K from Ernabella, using napthol azoic dyes. The lines are made using a canting. Made Note E55: Type Selected from a number of batiks and screenprinted textiles offered during a visit to the Powerhouse Museum in October 1995. OwnedExchangeNote E55: Type Aboriginal art; Batik Subject E55: Type 55 Textile E55: Object Type 29 One-off production - Australian decorative arts and design Coll Dev Field E55: Type 95/318/3 Textile lengths L E54: Dimension L E55: Dimension Type 274.0 CM 95/318/3 Textile lengths W E54: Dimension W E55: Dimension Type 147.5 CM 95/319/1 Textile lengths E22: Man-Made Object Amol Object ID 95/319/1 E42: Object Identifier 041692.jpg E31: Document Textile length, `Nguratjara' (Visions of Home), cotton, designed Ernabella artists, printed Marie Warren, Ernabella, South Australia, 1989-1995 Statement E55: Type Ernabella Arts Inc; Ernabella, South Australia Designed E55: Type Warren, Marie; Ernabella, South Australia Made E55: Type Textile length, `Nguratjara' (Visions of Home), cotton, designed by Ernabella artists, printed by Marie Warren, Ernabella, South Australia, 1989-1995. Mustard-coloured pure cotton, screenprinted in ombre (rainbow mix) print of blue and purple. Each artist has contributed a design, ranging from familiar abstract motifs (walka: drawing or painting activity), to representational designs of eg. bush tucker by younger artists. Overall design in the form of a patchwork, without borders, of small designs. Ends unfinished. Description E55: Type Ernabella was one of the first mission settlements to set up crafts workshops (Refer Winifred Hilliard's book, The People In Between), and from the 1940s crafts were taught to provide employment for people who had previously been nomadic. Weaving was one of the first crafts taught and batik was introduced in 1971. The abstract designs of the Pitjantjatjara people rarely have explicit meanings although it is thought they do relate to body and ground painting, and plant life. Screenprinting was introduced in about 1988. Ollie Henstridge (ex-Sydney screenprinter) came to teach skills in design and printing. Since she left, two women did most of the printing; now Marie Warren comes to do it by herself. Many of the artists adapted their drawing and batik ideas readily to screenprinting designs, and some have been especially influenced by recent printmaking (eg. etching and lithography) workshops. Core working group of about 13 women who come into the workshop. This design is significant in that it represents the recognisable art-styles of all the artists at the workshop, and is unusual in that it includes representational motifs of bush tucker and the environment. This comes from the influence of the younger women who have had a western education in eg. Adelaide. It is a very popular print. Motifs include walka (drawing/painting activity); tinka (lizards), kampurarpa (bush tomato), maku (witchetty grubs), ilykuwara (flowers of the bush, where you find witchetty grubs at this time of the year (Sept), rabbiting, water bores, kangaroo paw prints, quandong (the plant with droopy leaves), piti (carrying bowls), tjala (honey ants), bush onions, grinding stone with grain on the side. Note: Title means: Ngura (camp) tjara (story.) Designed Note E55: Type Printed by Marie Warren in 1995. Marie Warren was one of three artists trained by Ollie Henstridge (ex-Sydney screenprinter) in about 1988/90, and is the one remaining near Ernabella. Screenprinting process taught to Marie Warren, Nyuwara Tapaya and Vera Williams. Marie and Vera not now living at Ernabella; Marie Warren (Arababa language group) comes back to print; Nyuwara one of the most competent young designers. Ollie worked there in about 1988 (now at Bundeena 5237084). Invited by Ernabella; organised the setup of the table. Kerry Martin was there as co-ordinator when it was installed (painter from Adelaide). Marie currently prints all the textiles. Only batiks are signed; if the artist dies the workscan be put away for a while. It is more difficult to withdraw a screenprint so these are not identified by name. Sometimes on the selvedge is Pukatja prints (name of Ernabella community). Ernabella is the place; Pukatja is the community. Currently negotiating, as part of a business plan, to increase production through going to a commercial company that would still print by hand, but in a larger printrun. This will mean less colour combinations. The fabrics may then be manufactured in a range of products. Thus, these handprinted fabrics, printed at Ernabella, may be among the last to be made in this way. The existing designs will have to be shrunk by 10% to fit production process. This print will be one of the first to be produced in this way. Some of the samples of textiles being acquired could be among the last to be printed at Ernabella. A number of colourways have been available of this design. Made Note E55: Type Selected from a number of batiks and screenprinted textiles offered during a visit to the Powerhouse Museum in October 1995. OwnedExchangeNote E55: Type Aboriginal art; Australian flora; Australian animals; Ernabella Arts Inc Subject E55: Type 55 Textile E55: Object Type 28 Multiple production - Australian decorative arts and design Coll Dev Field E55: Type 95/319/1 Textile lengths L E54: Dimension L E55: Dimension Type 312.6 CM 95/319/1 Textile lengths W E54: Dimension W E55: Dimension Type 149.0 CM 95/319/2 Textile lengths E22: Man-Made Object Amol Object ID 95/319/2 E42: Object Identifier 041690.jpg E31: Document Textile length, `Maku' (Witchetty Grub), cotton, designed by Vera Mbitjana Williams, printed by Marie Warren, Ernabella, South Australia, 1989-1995 Statement E55: Type Williams, Vera Mbitjana; Ernabella, South Australia Designed E55: Type Warren, Marie; Ernabella, South Australia Made E55: Type Textile length, `Maku' (Witchetty Grub), cotton, designed by Vera Mbitjana Williams, printed by Marie Warren, Ernabella, South Australia, 1989-1995. Orange-coloured pure cotton, screenprinted in ombre (rainbow mix) print of purple-black and pale blue-ochre. Large flowing abstract flower-like central forms, surrounded by shoals of tadpole-like shapes with black heads and some larger grub-like forms decorated with dots. Ends are unhemmed. Description E55: Type This design was created in 1989-90 by Vera Mbitjana Williams. Ernabella was one of the first mission settlements to set up crafts workshops (Refer Winifred Hilliard's book, The People In Between), and from the 1940s crafts were taught to provide employment for people who had previously been nomadic. Weaving was one of the first crafts taught and batik was introduced in 1971. The abstract designs of the Pitjantjatjara people rarely have explicit meanings although it is thought they do relate to body and ground painting, and plant life. Screenprinting was introduced in about 1988. Ollie Henstridge (ex-Sydney screenprinter) came to teach skills in design and printing. Since she left, two women did most of the printing; now Marie Warren comes to do it by herself. Many of the artists adapted their drawing and batik ideas readily to screenprinting designs, and some have been especially influenced by recent printmaking (eg. etching and lithography) workshops. Core working group of about 13 women who come into the workshop. Designed in three colourways (on orange, white and black cotton) as a commission for a hanging installation for the front atrium in the new CAAMA Productions building in Alice Springs. Colours were especially chosen for the colour scheme of the new building. Designed Note E55: Type Printed by Marie Warren in 1995. Marie Warren was one of three artists trained by Ollie Henstridge (ex-Sydney screenprinter) in about 1988/90, and is the one remaining near Ernabella. Screenprinting process taught to Marie Warren, Nyuwara Tapaya and Vera Williams (designer for this fabric). Marie and Vera not now living at Ernabella; Marie Warren (Arababa language group) comes back to print. Ollie worked there in about 1988 (now at Bundeena 5237084). Invited by Ernabella; organised the setup of the table. Kerry Martin was there as co-ordinator when it was installed (painter from Adelaide). Marie currently prints all the textiles. Only batiks are signed; if the artist dies the works can be put away for a while. It is more difficult to withdraw a screenprint so these are not identified by name. Sometimes on the selvedge is Pukatja prints (name of Ernabella community). Ernabella is the place; Pukatja is the community. Currently negotiating, as part of a business plan, to increase production through going to a commercial company that would still print by hand, but in a larger printrun. This will mean less colour combinations. The fabrics may then be manufactured in a range of products.Thus, these handprinted fabrics, printed at Ernabella, may be among the last to be made in this way. The existing designs will have to be shrunk by 10% to fit production process. Printed in three specific colourways for the installation in the CAAMA building. This short length is the last remaining piece. Made Note E55: Type Designed and printed specifically to be used as a looped and cascading hanging in three colourways in the new CAAMA building in Alice Springs. Selected from a number of batiks and screenprinted textiles offered during a visit to the Powerhouse Museum in October 1995. OwnedExchangeNote E55: Type Aboriginal art; Screenprinting; Witchetty grubs Subject E55: Type 55 Textile E55: Object Type 28 Multiple production - Australian decorative arts and design Coll Dev Field E55: Type 95/319/2 Textile lengths L E54: Dimension L E55: Dimension Type 227.0 CM 95/319/2 Textile lengths W E54: Dimension W E55: Dimension Type 140.0 CM 95/319/3 Textile lengths E22: Man-Made Object Amol Object ID 95/319/3 E42: Object Identifier 041693.jpg E31: Document Textile length, `Puti' (Bush), cotton, designed by Nyukana Baker/Nyuwara Tapaya, printed by Marie Warren, Ernabella, South Australia, 1989-1995 Statement E55: Type Baker, Nyukana; Tapaya, Nyuwara; Ernabella, South Australia Designed E55: Type Warren, Marie; Ernabella, South Australia Made E55: Type Textile length, `Puti' (Bush), cotton, d. Nyukana Baker/Nyuwara Tapaya, m. Marie Warren, Ernabella, South Australia, 1989-1995. Textile length, black cotton, screenprinted with three screens, in ombre (rainbow mix) prints of dark blue, light green, pink, and magenta. Large allover leaf-like fronded designs, each with internal defining lines, interspersed with small stars and squiggles. Ends unhemmed. Description E55: Type Large `walka' (drawing and painting activity) motifs designed by Nyukana Baker (b. 1943), and the small starshaped motifs by Nyuwara Tapaya (b. 1971). Nyuwara also put the designs into a repeat pattern. Ernabella was one of the first mission settlements to set up crafts workshops (Refer Winifred Hilliard's book, The People In Between), and from the 1940s crafts were taught to provide employment for people who had previously been nomadic. Weaving was one of the first crafts taught and batik was introduced in 1971. The abstract designs of the Pitjantjatjara people rarely have explicit meanings although it is thought they do relate to body and ground painting, and plant life. Screenprinting was introduced in about 1988. Ollie Henstridge (ex-Sydney screenprinter) came to teach skills in design and printing. Since she left, two women did most of the printing; now Marie Warren comes to do it by herself. Many of the artists adapted their drawing and batik ideas readily to screenprinting designs, and some have been especially influenced by recent printmaking (eg. etching and lithography) workshops. Core working group of about 13 women who come into the workshop. Designed Note E55: Type Printed with three screens, each with ombre printing. Printed by Marie Warren (b.1968) in 1995. Marie Warren was one of three artists trained by Ollie Henstridge (ex-Sydney screenprinter) in about 1988/90, and is the one remaining near Ernabella. Screenprinting process taught to Marie Warren, Nyuwara Tapaya and Vera Williams (designer for this fabric). Marie and Vera not now living at Ernabella; Marie Warren (Arababa language group) comes back to print. Ollie worked there in about 1988 (now at Bundeena 5237084). Invited by Ernabella; organised the setup of the table. Kerry Martin was there as co-ordinator when it was installed (painter from Adelaide). Marie currently prints all the textiles. Only batiks are signed; if the artist dies the works can be put away for a while. It is more difficult to withdraw a screenprint so these are not identified by name. Sometimes on the selvedge is Pukatja prints (name of Ernabella community). Ernabella is the place; Pukatja is the community. Currently negotiating, as part of a business plan, to increase production through going to a commercial company that would still print by hand, but in a larger printrun. This will mean less colour combinations. The fabrics may then be manufactured in a range of products.Thus, these handprinted fabrics, printed at Ernabella, may be among the last to be made in this way. The existing designs will have to be shrunk by 10%. This design, with its complex colours and three screens would be unprofitable to print as it is commercially.. Made Note E55: Type Sent for exhibition to SOFA expo in Chicago (1993-4?) in a different colourway. Selected from a number of batiks and screenprinted textiles offered during a visit to the Powerhouse Museum in October 1995. OwnedExchangeNote E55: Type Aboriginal art; Screenprinting; Australian flora Subject E55: Type 55 Textile E55: Object Type 28 Multiple production - Australian decorative arts and design Coll Dev Field E55: Type 95/319/3 Textile lengths L E54: Dimension L E55: Dimension Type 325.0 CM 95/319/3 Textile lengths W E54: Dimension W E55: Dimension Type 150.0 CM 95/319/4 Textile lengths E22: Man-Made Object Amol Object ID 95/319/4 E42: Object Identifier 041691.jpg E31: Document Textile length, `Mai Putitja' (Bush food), cotton, designed by Nyuwara Tapaya, printed by Marie Warren, Ernabella, South Australia, 1989-1995 Statement E55: Type Tapaya, Nyuwara; Ernabella, South Australia Designed E55: Type Warren, Marie; Ernabella, South Australia Made E55: Type Textile length, `Mai Putitja' (Bush food), cotton, designed by Nyuwara Tapaya, printed by Marie Warren, Ernabella, South Australia, 1989-1995. Textile length, black cotton, screenprinted in red, green, yellow, and grey. Representational design of coloured leaves and fruit on curving stems, four and a half repeats. Flora depicted includes bush tomatoe, quandong, wild fig and witchetty bush. Signed: `Nyuwara'. Ends unhemmed. Description E55: Type Designed by Nyuwara Tapaya, one of the younger artists interested in representational motifs, and experienced in designing repeat patterns. Printed by Marie Warren. Designs include local bush food: kampurarpa (bush tomato - big yellow fruit), wayanu (quandong - big red fruit), ili (wild-fig - red and yellow small fruit), ilykuwara (witchetty bush - small flower with leaves). Ernabella was one of the first mission settlements to set up crafts workshops (Refer Winifred Hilliard's book, The People In Between), and from the 1940s crafts were taught to provide employment for people who had previously been nomadic. Weaving was one of the first crafts taught and batik was introduced in 1971. The abstract designs of the Pitjantjatjara people rarely have explicit meanings although it is thought they do relate to body and ground painting, and plant life. Screenprinting was introduced in about 1988. Ollie Henstridge (ex-Sydney screenprinter) came to teach skills in design and printing. Since she left, two women did most of the printing; now Marie Warren comes to do it by herself. Many of the artists adapted their drawing and batik ideas readily to screenprinting designs, and some have been especially influenced by recent printmaking (eg. etching and lithography) workshops. Core working group of about 13 women who come into the workshop. Designed Note E55: Type Printed by Marie Warren (b.1968) in 1995. Marie Warren was one of three artists trained by Ollie Henstridge (ex-Sydney screenprinter) in about 1988/90, and is the one remaining near Ernabella. Screenprinting process taught to Marie Warren, Nyuwara Tapaya (designer for this fabric). Marie and Vera not now living at Ernabella; Marie Warren (Arababa language group) comes back to print. Ollie worked there in about 1988 (now at Bundeena 5237084). Invited by Ernabella; organised the setup of the table. Kerry Martin was there as co-ordinator when it was installed (painter from Adelaide). Marie currently prints all the textiles. Only batiks are signed; if the artist dies the works can be put away for a while. It is more difficult to withdraw a screenprint so these are not identified by name. Sometimes on the selvedge is Pukatja prints (name of Ernabella community). Ernabella is the place; Pukatja is the community. Currently negotiating, as part of a business plan, to increase production through going to a commercial company that would still print by hand, but in a larger printrun. This will mean less colour combinations. The fabrics may then be manufactured in a range of products.Thus, these handprinted fabrics, printed at Ernabella, may be among the last to be made in this way. The existing designs will have to be shrunk by 10%. Made Note E55: Type Selected from a number of batiks and screenprinted textiles offered during a visit to the Powerhouse Museum in October 1995. OwnedExchangeNote E55: Type Aboriginal art; Screenprinting; Australian flora Subject E55: Type 55 Textile E55: Object Type 28 Multiple production - Australian decorative arts and design Coll Dev Field E55: Type 95/319/4 Textile lengths L E54: Dimension L E55: Dimension Type 341.5 CM 95/319/4 Textile lengths W E54: Dimension W E55: Dimension Type 151.0 CM