95/321/1 Textile lengths E22: Man-Made Object Amol Object ID 95/321/1 E42: Object Identifier 041689.jpg E31: Document Textile length, `Mulypini Amintiya Pwanga', (Lines and Dots), cap batik on tie-resist dyed (weft ikat) cotton handwoven in central Java, designed and by James Bennett, Yogyakarta, Indonesia, 1995 Statement E55: Type Bennett, James; Brahma Tirta Sari Studio; Yogyakarta, Indonesia Designed E55: Type Bennett, James; Brahma Tirta Sari Studio; Yogyakarta, Indonesia Made E55: Type Textile length, `Mulypini Amintiya Pwanga', (Lines and Dots), cap and tulis printed batik on tie-resist dyed (weft ikat) handwoven cotton from central Java, designed by James Bennett, Yogyakarta, Indonesia, 1995. Textile length, Javanese natural coloured handwoven cotton partially ikat dyed in black. This textile was made at Jadin weaving studio in Yogyakarta, using an ATBM handloom (Alat tenun bukan mesin, meaning non-mechanised floor-loom, probably introduced by the Dutch). Over-dyed in batik process, using batik tulis (canting or spout) and batik cap (metal stamp) print technique, in motifs of Australian birds (brolga, cockatoo, pelican, magpie, goose), with Aboriginal Tiwi-type lines and dots. Parts of the ikat design blocked out with wax in the dyeing process to reveal the pattern. Random pattern of birds, some waxed from the back as well as from the front. Colours browns, ochres, black and reds. Both ends are hand hemmed. Description E55: Type Designed and made by James Bennett (b.1953) in Yogyakarta, Indonesia, in 1995. (Mulypinyini means lines and dots in Tiwi). The design is innovative in that Bennett often batiks over fabric that has an existing characteristic; in this case he has batiked over a modern Javanese ikat made by Jadin Craft Textiles in Yogyakarta. The complexity of the design includes the Javanese cap stamping process with Australian bird motifs, combined with the 'lines and dots' and ochre colours characteristic of Tiwi art. Bennett says these patterns are not sacred, and that it is inevitable that some aspects of Tiwi aesthetic become part of his own life. The work thus has strong cross-cultural connotations. James Bennett is well known in Australian for both his own work in dyed and printed textiles, and for his work for four years as arts co-ordinator with the Tiwi Aboriginal people at Jilamara Arts and Crafts on Melville Island and Aboriginal artists on other communities. He started visiting Indonesia (as a puppet-maker) in 1979 and later studied textiles in Australia. During 1993-1994 he worked with Nia Fliam and Agus Ismoyo at the Brahma Tirta Sari Studio in Yogyakarta. The studio works with traditional Javanese techniques to make contemporary works. Bennett's specific purpose was to learn to design and print with batik cap (stamp), although he also incorporated the workshop's batik tulis (drawing process using a canting) and dyeing techniques, as well as his own shibori (Japanese tie-dyeing) techniques. In 1995 Nia Fliam, Agus Ismoyo, James Bennett and another Australian textile artists who had visited the studio, Elsje King, collaborated to produce an exhibition 'Dhandhang Gula' (see attached catalogue for translation) for exhibition at the Craftwest Gallery in Perth in April-May 1995. Designed Note E55: Type Made by James Bennett in the Brahma Tirta Sari Studio in Yogyakarta in 1995. Bennett had been employing a young Javanese batiker, Sutiyono, to do some of his printing for him. However, in this case, Bennett did the waxing and dyeing, except for the blocking out (tembok), with wax, of the ikat design before dyeing which was done by Sutiyono. The caps were made in Yogyakarta to his own design; the dyes are napthol. Made Note E55: Type Craftwest Gallery; Perth, Western Australia OwnedExchange E55: Type Exhibited in Dhandhang Gula exhibition at Craftwest Gallery, Perth, April-May1995. Selected from artist's collection in October 1995. OwnedExchangeNote E55: Type Aboriginal art; Bennett, James; Batik; Brahma Tirta Sari Studio; Australian birds Subject E55: Type 55 Textile E55: Object Type 29 One-off production - Australian decorative arts and design Coll Dev Field E55: Type 95/321/1 Textile lengths L E54: Dimension L E55: Dimension Type 287.0 CM 95/321/1 Textile lengths W E54: Dimension W E55: Dimension Type 113.0 CM 95/4/1 Vases E22: Man-Made Object Amol Object ID 95/4/1 E42: Object Identifier 040792.jpg E31: Document 040793.jpg E31: Document 040794.jpg E31: Document Vase, `Chintz Vase with Cockatoos', terracotta earthenware blend/ underglaze decoration in slip and oxides/ on-glaze gold lustre, Mark Heidenreich/Stephen Bowers, Australia, 1989-1994 Statement E55: Type Bowers, Stephen; Adelaide, South Australia Designed E55: Type Heidenreich, Mark; Sydney, New South Wales Made E55: Type Vase, `Chintz vase with Cockatoos', made by Mark Heidenreich, Sydney, 1989 and decorated by Stephen Bowers, Adelaide, 1993-1994. Terracotta earthenware blend vase, wheelmade (thrown), with a wide flat base, raised rims at the foot, narrowing above the base then swelling out to a large ovoid body with rounded shoulders, and topped by a short narrow neck below a wide thick rim. The foot and rim are decorated with underglaze black bands on either side of a black and brown marbled band. The body is covered with handpainted decoration in the form of coloured slips, underglazes, and oxides. Colours include deep red, browns, yellow, orange, white, blues, all outlined in fine black which after firing was followed by the gold lustre (overglaze) background. The pattern basically consists of on the one side three white cockatoos perched on a vine with a tiger pattern, and on the opposite side foliage with the same patterned vine and a number of labels, eg. "BENT", "FOLD". The whole vessel is heavily covered with motifs which combine Bowers's interest in textile, Australian iconography and porcelain (cf. Designed Notes). The maker, designer, and year are painted in black underglaze in two captions against white just above the foot: "MARK HEIDENREICH - STEPHEN BOWERS - 1993" and "ADELAIDE S.A". Description E55: Type Designed and decorated by Stephen Bowers in Adelaide between 1993-94, on a vase wheelthrown for him by Mark Heidenreich at the Pump and Crank Pottery at Taren Point, Sydney in 1989. Intended as one of a pair, the other to have black cockatoos on it; the second vase was made at the same time, but will be decorated in 1995. Bowers will probably commission Heidenreich to make pedestals on completion of the second vase. Bowers has been interested in design and decoration using sources from porcelain, textile and Australian iconography for many years. For example, on this vase, apart from his signature cockatoos, the leaf, vine, and flower motifs are derived from C18th Indian Kandahar printed textiles (hence the name "Chintz"), an early C19th ball pattern from Japanese ceramic dinnerware, the blue-and-white underglaze patterns from Chinese ceramic exportware, such as the the willow pattern mixed with the Australian icons of the Sydney Opera House and May Gibb's characters Snugglepot and Cuddlepie. Figures inspired by Tenniel's illustrations from "Alice in Wonderland" also feature on the vase, along with other symbols like the light globe, pegs on a rope (washing line?), insects, seahorse. Designed Note E55: Type The vase was wheel thrown by Mark Heidenreich at the Pump and Crank Pottery at Taren Point in Sydney in 1989, one of a number that were thrown for Bowers at this time, including the two 'Palaceware'jardinieres already in the Museum's collection. It is made from a terracotta-earthenware blend devised by Heidenreich. Bowers usually makes his own smaller plates, teapots etc, but prefers Heidenreich to make the bigger pieces. Heidenreich has enormours competence as a thrower and has since also moved to Adelaide, running a successful business making large garden urns. This vase was taken to Adelaide, and Bowers decorated it in 1993-94. It was signed and dated in 1993, because that was before the glaze firing, and before the later lustre firing. Bowers handpaints all the decoration, using coloured slips and oxides, including commercial and industrial stains. Made Note E55: Type Robin Gibson Gallery; Darlinghurst, New South Wales OwnedExchange E55: Type Exhibited at the Robin Gibson Gallery, Sydney, between November 16 - December 3, 1994. (See: flyer on Blue File). OwnedExchangeNote E55: Type Australian animals in applied art; 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 95/4/1 Vases H E54: Dimension H E55: Dimension Type 85.0 CM 95/4/1 Vases D E54: Dimension D E55: Dimension Type 53.0 CM 95/40/1 Paper dispensers E22: Man-Made Object Amol Object ID 95/40/1 E42: Object Identifier 040810.jpg E31: Document 041242.jpg E31: Document Paper dispenser, metal/wood/paper, Clarence, place unknown, 1900-1950 Statement E55: Type Clarence Made E55: Type Paper dispenser, metal/wood/paper, Clarence, place unknown, 1900-1950. Paper dispenser, bench top model, metal frame and cutting arm, mounted on a flat wooden base, holds a roll of paper, 12 inches wide, the metal is painted metallic green and shows signs of rusting, the inscription "12in Clarence 12in" (as in inches) is impressed into the front of the cutting arm. (Part 1) The frame consists of two metal upright brackets, bolted either side of a flat wooden base (Part 2) the cutting arm, a horizontal bar of the same metal, is suspended from the top of the frame (Part 3) the wooden rod, is fitted between the uprights of the frame, to support a (Part 4) roll of brown paper, 12 inches wide, mounted on a cylindrical wooden tube. Description E55: Type Impressed into the front of the cutting arm: "12 IN CLARENCE 12 IN". Marks E55: Type Company name "Clarence" marked on the front of the cutting arm. The details of the company are unknown. Made Note E55: Type The donor's grandfather, David Millie Arnott, used the paper dispenser at his pharmacy located in Campbell Parade, Bondi Beach, from the 1920s until it closed in the late 1960s. Prior to the 1920s, Arnott had a pharmacy on the corner of Glenmore Road and Oxford Street, Paddington. Before pre-packaged goods became the norm, paper dispensers were commonly found on shop counters. Used Note E55: Type Arnott, David Millie; Bondi, New South Wales; Paddington, New South Wales Used E55: Type Arnott, David Millie; Sydney OwnedExchange E55: Type Retailing Subject E55: Type 48 Retail Equipment E55: Object Type 19 Retailing Coll Dev Field E55: Type 95/40/1 Paper dispensers W E54: Dimension W E55: Dimension Type 45.0 CM 95/40/1 Paper dispensers D E54: Dimension D E55: Dimension Type 15.5 CM 95/40/1 Paper dispensers H E54: Dimension H E55: Dimension Type 31.0 CM 95/44/1 Overcoats; Fur collars E22: Man-Made Object Amol Object ID 95/44/1 E42: Object Identifier 039925.jpg E31: Document Coat, mens, wool/fur/cotton, Johann Hausner, Austria, 1931 Statement E55: Type Hausner, Johann; Austria Made E55: Type Coat, mens, wool/fur/cotton, Johann Hausner, Austria, 1931. Man's grey wool overcoat, loose fitting to mid calf length, double breasted fastening with four large buttons covered in crocheted fabric and button loops. Wide collar and lapel covered with fur. The coat is fully lined with fur except the long sleeves, they are lined with black rayon and are padded. Centre back vent at hem. Two inside breast pockets. White fabric label inside pocket `Johann Hausner/Froher Max Hartmann/Bronn Rennergasse 10/Herr [..arn..Ronin]/[3.11/31 [...osbau...]'. Description E55: Type White fabric label inside breast pocket: JOHANN HAUSNER/FROHER MAX HARTMANN,/BRONN, RENNERGASSE 10,/HERR [..ARN...RONIN/3.11/31/...OSBAU...]. Marks E55: Type Worn by Mrs Korner, the donor's, father in lawin Austria, and by her husband to travel in Russia. Used Note E55: Type Fashion; Animal rights Subject E55: Type 14 Clothing and Dress E55: Object Type 32 International product design Coll Dev Field E55: Type 95/44/1 Overcoats; Fur collars W E54: Dimension W E55: Dimension Type 59.0 CM 95/44/1 Overcoats; Fur collars L E54: Dimension L E55: Dimension Type 138.0 CM 95/56/1 Vacuum cleaners E22: Man-Made Object Amol Object ID 95/56/1 E42: Object Identifier 041394.jpg E31: Document Vacuum cleaner, automobile, rubber/aluminium, H I Clements & Son Pty Ltd, Sydney, [1955] Statement E55: Type H I Clements & Son Pty Ltd; Sydney Made E55: Type Vacuum cleaner, automobile, rubber/aluminium, H I Clements & Son Pty Ltd, Sydney, [1955]. A 4.2m length of black rubber hose, 2.5cm in diameter is connected to the side of a cast aluminium conical tube in a "T" shape. At the other end of the hose, an obliquely-cut steel tube is fitted to act as a nozzle. Description E55: Type The vacuum cleaner operated by the venturi effect created when the narrow end of the cast tube is fitted to the end of the exhaust pipe and the engine is turned on. Thus debris from the floor of the car is sucked up the hose and out of the tube with the escaping exhaust gases. (Clearly it was acceptable that all the debris should be strewn on the ground at the back of the car). Made Note E55: Type Mr Wilson used the vacuum cleaner in his 2 1/2 litre Riley. Used Note E55: Type Wilson, Austin; Hurstville, New South Wales Used E55: Type Block, Murray; Sydney OwnedExchange E55: Type Mr Austen Wilson gave the vacuum cleaner to Murray Block in the late 1980s. OwnedExchangeNote E55: Type Motoring in Australia Subject E55: Type 61 Transport-Land E55: Object Type 11 Land transport Coll Dev Field E55: Type 95/56/1 Vacuum cleaners L E54: Dimension L E55: Dimension Type 420.0 CM 95/56/1 Vacuum cleaners D E54: Dimension D E55: Dimension Type 2.5 CM 95/56/1 Vacuum cleaners W E54: Dimension W E55: Dimension Type 26.5 CM 95/60/1 Tableware; Donation boxes E22: Man-Made Object Amol Object ID 95/60/1 E42: Object Identifier 041243.jpg E31: Document 041244.jpg E31: Document Charitable equipment, 33 pieces, Sydney City Mission, wood/metal/paper, maker unknown, Australia, 1900-1950 Statement E55: Type Charitable equipment, 33 pieces, Sydney City Mission, wood/metal/paper, maker unknown, Australia, 1900-1950. A collection of equipment used by the Sydney City Mission, including 3 donation boxes, and ten tableware sets each consisting of a mug, a fork and a teaspoon (Parts 1-3) Donation boxes (3), each consisting of a rectangular, hand-made wooden box, with a handle extending from the base, and a coin slot in the top, paper lables are adhered to the sides of the boxes, with `Sydney City Mission' and various advertising slogans printed on them, including: `Need Not Creed'. Labels adhered to the bases give serial numbers and information about the collector and branch the box was used by. (Parts 4-14) Drinking mugs (10), identical, cylindrical with rolled lip, and loop handle attached to one side, made of galvanised steel. (Parts 15-24) Table forks (10), four-pronged, alluminium, with unidentified manufacuter's mark stamped on the back of the handle, one is slightly smaller, and by a different manufacturer, two have cotton thread tied around one prong. (Parts 25-34) Teaspoons (10), identical, unmarked, made of metal, probably aluminium. Description E55: Type See parts Marks E55: Type The boxes were used to collect donations for the Sydney City Mission from a variety of public places in Sydney, and the mugs, forks and teaspoons were used by the recipients of food doled out at the Alexandria mission hall. Used Note E55: Type Sydney City Mission; Sydney; Alexandria, New South Wales Used E55: Type Sydney City Mission; Sydney OwnedExchange E55: Type Social welfare; Charitable organisations; Sydney City Mission Subject E55: Type 24 Food and Drink E55: Object Type 20 Social history of Sydney and NSW 21 Migration, settlement and contact Coll Dev Field E55: Type 95/75/1 Movie projectors; Projector lamps; Movie film E22: Man-Made Object Amol Object ID 95/75/1 E42: Object Identifier 041382.jpg E31: Document Projector and accessories, metal/plastic/cardboard, Technicolor Corporation/General Electric company/Kodak/Bonds Industries, Australia, 1964-1971 Statement E55: Type Technicolor Corporation; Hollywood, California, USA; General Electric Company; United States of America; Eastman Kodak Company; United States of America Made E55: Type Projector and accessories, metal/plastic/cardboard, Technicolor Corporation/General Electric Company/Kodak/Bonds Industries, Australia, 1964-1971. Movie projector and carry case with screen and accessories. The projector has a brown metal casing. At the front there is a glass and metal lens, inscribed around the focusing ring of lens: `TECHNOR F/1.5 9.5 - 15MM ZOOM LENS'. Next to the lens is an air vent. Printed on metal plate around lens: `TECHNICOLOR/INSTANT MOVIE PROJECTOR/250/TECHNICOLOR CORP./HOLLYWOOD U.S.A.'. On the top of the projector there is a hinged dark brown metal carry handle, two silver metal knobs, one marked `FRAME' the other `ON/OFF'. There is a silver metal button that freezes the frame. Printed on a silver and blue sticker: `SUPPLIED AND SERVICED BY/CLIFFORD/AUDIO VISUAL PTY LTD/49 MARKET ST.,/SYDNEY'. On a red Dymo sticker: `47.600.052'. On the back of the projector there is an air vent, a brown plastic knob marked `ELEVATION' and a slot where the film cartridge fits in. Impressed in the metal: `150 WATTS MAX'. From the back there is a brown plastic covered power cord with a grey plastic plug. On the bottom of the projector there are two silver metal feet and one adjustable plastic foot. There is also an screw with surrounding metal plate that is marked: `50 CYCLE ONLY/240V/250V/220V/230V/110V/120V'. Also stuck to the bottom is a white sticker: `INSPECTOR 9', a metal instuction plate: `TO REPLACE LAMP...' and a makers plate: `SER NO. 146182/SMNO WATTS 250/VOLTS CYC/PAT NO US 3,139,789 3,206,757'. The carry case doubles for a viewing screen. The casing is made of wood covered with grey plastic. It has eight black plastic feet and a black plastic carry handle at the top. One side hinges up, inside there is a set-in mirror and fold up opaque plastic screen. The screen sits in two notches in the sides of the case that swing up two black plastic sheets that block light out at the sides. The projector slips into three hollows in base of case and is secured via a dark grey cotton strap with metal loop that slips under a metal hook set into the casing. The bottom of the case has a hinged panel that allows access to back of projector and one at the side that allows access to lens for focusing. The casing closes at the bottom with a metal clip. Sticker on bottom of case: `Technicolor'. The accessories consist of the following: two projection lamps with packaging. Both are glass and metal bulbs with reflective shield behind that element. Printed ontop of both bulbs: `DCL/120V/GE/MADE IN U.S.A.'. Both are packaged in printed cardboard boxes and corrugated cardboard packaging. One box is yellow, blue, red and white and marked: `GE PROJECTION LAMPS/FOR MOVIE AND STILL PROJECTORS'. The other box is colour printed and has a photo of a smiling woman with a projector and is marked: `G.E./PROJECTOR LAMP/General Electric Company/Nela Park, Cleveland, Ohio, 44112 Made in U.S.A. A spool of processed film and packaging. The 8mm film is wound on a grey plastic spool that has `310/1/17' inscribed on it. This is packaged in an aluminium film can with lid and a colour printed cardboard box. The box is yellow and is marked: `Kodak 4-x reversal/FILM/TYPE 7277', white sticker: `PROCESSED/by ASSOCIATED FILM PRINTERS PTY LTD.', `16mm/4xR455 100ft.'. Description E55: Type The film projector was used by Bonds Industries to train their staff in aspects of garment manufacture and quality control. The projector was taken from factory to factory for staff training sessions. Used Note E55: Type Bonds Industries Limited; Sydney Used E55: Type Clothing manufacturing Subject E55: Type 06 Audio and Visual Equipment E55: Object Type 28 Multiple production - Australian decorative arts and design 17 Industrial life Coll Dev Field E55: Type 95/75/2 Movie film E22: Man-Made Object Amol Object ID 95/75/2 E42: Object Identifier Collection of film cartridges and packaging (349), instructional films, Bonds Industries/Technicolor Corporation, Australia/USA, 1964-1971 Statement E55: Type Technicolor Corporation; United States of America; Bonds Industries Limited; Australia Made E55: Type Collection of film cartridges and packaging (349), instructional film, Bonds Industries/Technicolor Corporation, Australia/USA, 1964-1971. Collection of 349 film cartridges that are made of clear plastic with the loop of film enclosed inside, these cartridges are shaped that they fit into the projector. Impressed on the plastic: `TITLE/TECHNICOLOR CORP/HOLLYWOOD CALIF/PAT PEND/MADE IN U.S.A./TOP/BOTTOM'. These are packaged in three different types of cardboard boxes. The first type are yellow and white printed with following: `THIS BOX CONTAINS ONE/MAGI-CARTRIDGE/FOR YOUR/Technicolor/800 INSTANT MOVIE PROJECTOR/Technicolor/CORPORATION'. The second type are yellow and white printed with the following: `Technicolor/8mm/MAGI-CARTRIDGE/FILM MAGAZINE READY FOR INSTANT VIEWING/Technicolor CORPORATION'. The third type are white and orange printed: `Technicolor/8mm MAGI-CARTRIDGE'. Most of the boxes have typed blue and white labels with an id numbers and brief description of what is on the film. See part records for titles of films. Description E55: Type The cartridges are made by Technicolor Corporation and the film was shot by Bonds Industries Limited over the period from 1965-1971 in various factories around NSW. Made Note E55: Type The films were made by Bonds Industries Limited to train their staff in aspects of garment manufacture and quality control. The films and projector were portable enough to be taken from factory to factory for staff training sessions. Used Note E55: Type Bonds Industries Limited; Australia Used E55: Type Clothing manufacturing Subject E55: Type 06 Audio and Visual Equipment E55: Object Type 95/75/2 Movie film H E54: Dimension H E55: Dimension Type 10.0 CM 95/75/2 Movie film W E54: Dimension W E55: Dimension Type 11.5 CM 95/75/2 Movie film D E54: Dimension D E55: Dimension Type 3.8 CM 95/78/1 First aid kits E22: Man-Made Object Amol Object ID 95/78/1 E42: Object Identifier 041377.jpg E31: Document First aid kit, plastic/paper/cotton or viscose/metal/medications, Haven Pty Ltd, Australia, 1963 Statement E55: Type Haven Pty Ltd; Australia Made E55: Type First aid kit, plastic/paper/cotton or viscose/metal/medications, Haven Pty Ltd, Australia, 1963. Brown vinyl pouch with internal compartments containing first aid equipment. Description E55: Type Carried by donor's father in successive cars from the early 1960s until recently. Used Note E55: Type First aid Subject E55: Type 27 Health and Medical Equipment 35 Medicines E55: Object Type 03 Health and medicine Coll Dev Field E55: Type 95/78/1 First aid kits H E54: Dimension H E55: Dimension Type 10.5 CM 95/78/1 First aid kits W E54: Dimension W E55: Dimension Type 21.5 CM 95/78/1 First aid kits D E54: Dimension D E55: Dimension Type 3.5 CM 95/88/1 Invitations E22: Man-Made Object Amol Object ID 95/88/1 E42: Object Identifier 041240.jpg E31: Document Invitation, `The Rolling Stones', paper, maker unknown, Australia, 1966 Statement E55: Type EMI (Aust) Limited; Australia Made E55: Type Invitation, `The Rolling Stones', paper, maker unknown, Australia, 1966. Invitation, small, white card, rectangular, horizontal format, with text printed on front in black lettering: "You are cordially invited to attend a reception at the Chevron Hotel Angus Macmillan Room, 3pm to 5pm, Thursday 17th February 1966 in honour of the Rolling Stones", with the EMI logo printed at the top and R.S.V.P. details at the bottom. Description E55: Type Made for EMI records, actual manufacturer unknown Made Note E55: Type Used by EMI (Aust) Limited to promote the Rolling Stones 1966 Australian tour Used Note E55: Type EMI (Aust) Limited; The Rolling Stones; Australia Used E55: Type Rock music; The Rolling Stones Subject E55: Type 22 Ephemera E55: Object Type 23 Performing arts 22 Leisure and tourism Coll Dev Field E55: Type 95/88/1 Invitations W E54: Dimension W E55: Dimension Type 12.3 CM 95/88/1 Invitations H E54: Dimension H E55: Dimension Type 9.7 CM 95/92/1 Airspeed indicators E22: Man-Made Object Amol Object ID 95/92/1 E42: Object Identifier 041372.jpg E31: Document Airspeed indicator, ex "Southern Cross", metal/glass, The British Wright Co Ltd, London, England, 1925-1928 Statement E55: Type The British Wright Co Ltd; London, England Made E55: Type Airspeed indicator, ex "Southern Cross", metal/glass, The British Wright Co Ltd, London, England, 1925-1928. Airspeed indicator has a wide circular rim with attaching screws. The instrument is made of black painted metal with the dial face black with silver graduations. The dial face is covered with glass that has a crack across the centre of it. Printed in silver in the upper half of the face `AIR SPEED/NON-LUMINOUS/OGILVIE INDICATOR/MARK IVA/NO 20870/CAL 15.6.19'. The dial is calibrated in 10 mph increments from 40 to 160 mph. The pointer is white. The pitot and static connectors protrude from the bottom of the instrument. Impressed on reverse: `THE BRITISH WRIGHT CO LTD LONDON PAT.NO.13795/13 20 8 70'. Description E55: Type Impressed on reverse: `THE BRITISH WRIGHT CO LTD LONDON PAT.NO. 13795/12 20 8 70'. Marks E55: Type The airspeed indicator is from the aircraft `Southern Cross' flown by Charles Kingsford Smith in numerous world record flights. Used Note E55: Type Kingsford Smith, Charles Used E55: Type Aviation; Kingsford Smith, Charles; The Southern Cross Subject E55: Type 60 Transport-Air E55: Object Type 12 Air transport Coll Dev Field E55: Type 95/92/1 Airspeed indicators D E54: Dimension D E55: Dimension Type 14.3 CM 95/92/1 Airspeed indicators W E54: Dimension W E55: Dimension Type 4.6 CM 95/98/1 Electrocardiographs E22: Man-Made Object Amol Object ID 95/98/1 E42: Object Identifier Electrocardiograph, portable, `Cardiotrace', metal/plastic/canvas, Medical Instrument Co. (Watson Victor), Australia, [1955] Statement E55: Type Medical Instrument Company; Sydney Made E55: Type Electrocardiograph, portable, `Cardiotrace', metal/plastic/canvas, Medical Instrument Co. (Watson Victor), Australia, [1955]. Portable electrocardiograph in black casing with leather carrying handle. Removeable hinged lid. base consists of the cardiograph with a paper printer, various black plastic dials & knobs. Fixed is 1 electrical lead & 1 lead which contains the attachments to the body. Includes canvas cover, Description E55: Type Metal plaque on inside lid;"ELECTRO-CARDIOGRAPH/ manufactured by/ MEDICAL INSTRUMENT COMPANY/ SYDNEY. . . .model A1/ , serial no. 144." Marks E55: Type Medical Instrument Co was the manufacturing arm of Watson Victor in Australia. Made Note E55: Type Belonged to the medical practice at 660 Pittwater Rd Brookvale & was used there until about 1975, when it was superseded by a new machine. Used Note E55: Type Ludowici, Stuart, Dr.; Sydney OwnedExchange E55: Type Diagnostic medicine Subject E55: Type 27 Health and Medical Equipment E55: Object Type 95/98/1 Electrocardiographs H E54: Dimension H E55: Dimension Type 23.0 CM 95/98/1 Electrocardiographs W E54: Dimension W E55: Dimension Type 38.0 CM 95/98/1 Electrocardiographs D E54: Dimension D E55: Dimension Type 31.0 CM 96/1/1 Keys E22: Man-Made Object Amol Object ID 96/1/1 E42: Object Identifier Keys, 13, metal/leather, [Ultimo Power Station], Australia, 1924-1928 Statement E55: Type Keys, 13, metal/leather, [Ultimo Power Station], Australia, 1924-1928. A set of 13 keys, possibly used originally in the switch rooms of the Ultimo Power Station Switch House. Rooms A & D had 50HZ cycles generators. Some of the keys are marked for these rooms (see: vol 5 of the Ultimo Powerhouse Study). Set of 13 keys, all attached to a circular cloth bound ring, consisting of 2 groups of 5 & 6, with 2 separate keys. All are attached to brass & cloth bound metal wires. Keys are identified by leather tags, and two brass tags. Description E55: Type One set of keys (5) stamped "ETAS"on each key. The leather tags are stamped "No.1 D/ 25 Cys, No.2 B/25 Cyc, No. 3 Bus./25 Cyc, A Bu/ 50 Cyc, B Bus/50 Cyc,". Brass tag stamped "BASEMENT 3"with key attached. Brass tag stamped "BASEMENT 2", no key attached. Second group of keys (6) stamped "H&T/V". Leather tag (no key) stamped "50 Cyc/ SERV./ TRANS." Leather tags to keys stamped "4.Trans", "50 CYC SERV TRANS", "C.TRANS", "2.TRANS". Some leather tags have markings, but are not readable. Marks E55: Type The Ultimo Power House was completed on 29 Nov 1899. It was built to provide the power for the electric tramway built on George St & Harris Street. The Switch House was completed in 1929. Possibly used in the switch rooms of the Ultimo Powerhouse. Rooms A & D had 50HZ cycle generators. It was closed on 11 Oct 1963, and reopened in March 1988 as the Powerhouse Museum of the Museum of Applied Arts & Sciences Used Note E55: Type Ultimo Power House; Ultimo, New South Wales Used E55: Type The Ultimo Power House was rebuilt and opened in 1988 as the Powerhouse Museum of the Museum of Applied Arts & Sciences OwnedExchangeNote E55: Type Ultimo Power House Subject E55: Type 03 Architectural/Interior Decoration and Fittings E55: Object Type 17 Industrial life 07 Power technologies Coll Dev Field E55: Type 96/1/1 Keys H E54: Dimension H E55: Dimension Type 20.0 CM 96/1/1 Keys W E54: Dimension W E55: Dimension Type 15.0 CM 96/129/1 Board games E22: Man-Made Object Amol Object ID 96/129/1 E42: Object Identifier Board game, 'Monopoly', cardboard/paper/wood/metal, John Sands Pty Ltd, Australia, 1949-1951 Statement E55: Type John Sands Pty Ltd; Australia; Waddfington Ltd Made E55: Type Board game, 'Monopoly', cardboard/paper/wood/metal, John Sands Pty Ltd, Australia, 1949-1951. 'Monopoly' board game consisting of board and box containing instructions and various game accessories. 96/129/1-1/1:2 Box and lid, red and white cardboard illustrations of trains, a man holding money and pound notes. Text on box: 'Monopoly. Trade Mark, Pat. App. for no. 3796-36. Manufactured in Australia by John Sands Pty Ltd by special permission John Waddington Ltd Leeds'. The donor's surname 'McCallum' has been written on the board and the box in blue pen. 96/129/1-2 Game board, folded cardboard, buff on outside, light green on inside, bearing word 'Monopoly' in the centre and rectangles around the perimeter representing various properties bearing London street names. The box contains: 96/129/1-3 Instruction leaflet, titled 'The game of Monopoly'. 96/129/1-4 game pieces, "houses", (29), blond wood, house shaped. 9/129/1-5 game pieces, "hotels", (12), stained red wood, house shaped. 96/129/1-6 dice, (2), hollow, folded metal sheeting with punctured number markings. 96/129/1-7 game counters, (5), moulded plastic cones in various colours. 96/129/1-8 game pieces, "chance" cards, (16), red cardboard, black printing. 96/129/1-9 game pieces, "community chest" cards (19), blue cardboard, black printing. 96/129/1-10 game pieces, "title deed" cards (28), white cardboard, red black and coloured printing. 96/129/1-11 game pieces, 1 pound monopoly money, (35), blue paper, black printing. 96/129/1-12 game pieces, 5 pound monopoly money, (46), yellow paper, red printing. 96/129/1-13 game pieces, 10 pound monopoly money, (64), white paper, black printing. 96/129/1-14 game pieces, 20 pound monopoly money, (20), pink paper, black printing. 96/129/1-15 game pieces, 50 pound monopoly money, (27), pink paper, black printing. 96/129/1-16 game pieces, 100 pound monopoly money, (41), white paper, red printing. 96/129/1-17 game pieces, 500 pound monopoly money, 10), white paper, red printing. Description E55: Type Text on box lid (96/129/1-1/1), printed black lettering "MONOPOLY/TRADE MARK/PAT.APP.FOR No. 3769-36/MANUFACTURED IN AUSTRALIA BY JOHN SANDS PTY. LTD./BY SPECIAL PERMISSION JOHN WADDINGTON LTD LEEDS/COPYRIGHT". Also on box lid, Outside cover, u.l.corner, handwritten blue biro, "McCALLUM". Similar printed trade mark on board (96/129/1-2) and similar handwritten inscription. Marks E55: Type made by John Sands Pty Ltd in Australia under licence from John Waddfington Ltd of the UK. Made Note E55: Type The Monopoly game was given to the donor's daughter Judith McCallum (aged 11 at Christmas 1950) as a Christmas present by her courtesy aunt Jean Griffin. Judith and her sister Margaret played with it with other children in the neighbourhood. They lived at Trafalgar St Roseville. The donor has kept it since then. Used Note E55: Type McCallum, Judith; Sydney Used E55: Type Griffin, Jean; McCallum, Judith; Sydney OwnedExchange E55: Type Given to Judith McCallum by her courtesy aunt Jean Griffin for Christmas (probably 1950). OwnedExchangeNote E55: Type Leisure and tourism; Childhood; Popular culture; Cultural imperialism Subject E55: Type 59 Toys E55: Object Type 18 Domestic life Coll Dev Field E55: Type 96/40/2 Textile lengths E22: Man-Made Object Amol Object ID 96/40/2 E42: Object Identifier Textile length, canting and cap batik, silk twill, bush banana, honey grevillia, bush tomato, bush flower design, Ada Bird Petyarre, Utopia Awely Batik, Utopia, Northern Territory, 1995 Statement E55: Type Petyarre, Ada Bird; Utopia, Northern Territory Designed E55: Type Petyarre, Ada Bird; Utopia Awely Batik; Utopia, Northern Territory Made E55: Type Textile length, canting and cap batik, silk twill, bush banana, honey grevillia, bush tomato, bush flower design, Ada Bird Petyarre, Utopia Awely Batik, Utopia, Northern Territory, 1995. Textile length, 10 momme white silk twill, dark brown background, random allover pattern of cap prints including, in orange colour, Glory Gnale's honey grevillia, Lena Pwerle's bush tomato (kudjera), Nora Petyarre's bush lily flower, and over the top, Ada Bird Petyarre's bush banana cap in white and yellow. Ends unhemmed. Description E55: Type Designed by Ada Bird Petyarre (b.1930-35), an important senior woman at Utopia. Lives at Mulga Bore. This design is made up of her own bush banana motif, as well borrowed caps designed by others in her skin group: Glory Gnale's honey grevillia, Lena Pwerle's bush tomato, Nora Petyarre's bush lily flower. Ada Bird Petyarre was one of the 9 artists to go to Yogyakarta in 1994, and to work with Agus Ismoyo and Nia Fliam at Utopia in 1995, thus learning the cap (metal stamp) printing technique and renewing dyeing skills. Utopia was formerly a pastoral lease, and was returned to the traditional owners, the Anmatyerre and Alyawarre people, in 1976. Batik printing was introduced to various groups from that time, largely through the efforts of Jenny Green and Julia Murray who were setting up a broad education program at the Women's Centre. The people live in small camps many miles apart from one another, with only a few central services, including the Womens Centre. Unlike other communities (eg. Ernabella, Papunya Tula, Bathurst Island) there has been no art co-ordinator in Utopia until 1995. Various agents such as Rodney Gooch and Christopher Hodges have supported groups of artists in the marketing of their work, and in 1988 the Robert Holmes a'Court collection of batiks was made from a major batik project. In recent years many of the artists have also started to work with acrylic paints on canvas, and have been involved in a range of printmaking projects. In 1995, 9 women from Utopia visited the Brahma Tirta Sari studio in Yogyakarta, a visit set up by James Bennett (from Jilamara Arts and Crafts, who was at that time working at the studio himself. He had had contact over many years with Julia Green and others). They sent over drawings which were made up beforehand into metal stamps (caps) and the purpose of the workshop was to upgrade waxing and dyeing skills, and to experiment with the cap stamping techniques. Formerly the artists used canting (spouts) and brushes. Most of the works from this workshop were acquired by the Museum and Art Gallery of the Northern Territory and toured as the Hot Wax exhibition from 1995. In July 1995 Nia and Ismoyo gave a number of workshops in Central Australian communities, including Utopia. Most of the works from this workshop were acquired by The National Gallery of Victoria. The batiks selected by the Powerhouse Museum in late 1995, are among the first made by the artists on their own, as a result of what they had learned, and with the support of Jan Ross Manly, their new co-ordinator. Some of the works have been made by artists who did not go to Indonesia, but who have developed their own ways of working through watching the others - Jan Ross Manly points out that these works are less influenced by the formal appearance of the Indonesian textiles. One outcome of the new technique, is the practice of borrowing caps designed by another artist in the same skin group, and who therefore shares the same stories. Thus a number of these batiks feature the same design, but used in a different way. (Similarly, some of the batiks in the earlier collections also included Javanese caps along with the Aboriginal designs.) The fibre reactive dyes are prepared in three or four sequences, and the women discuss among themselves what colour combinations to pursue. Designed Note E55: Type Made by Ada Bird Petyarre at the Utopia Awely Batik workshop at the Utopia Womens Centre in 1995. Made using azoic-napthol dyes, and using both the canting (wax-spout) and cap (metal stamp) techniques, following tuition in the cap techniques by Indonesian batik artists in Yogyakarta and Utopia. File notes: 1. I have attributed each overall batik design to only one artist, even though some of the artists have borrowed one another's cap stamps in the composition of their designs. The source of the component motifs is acknowledged in the description. 2. The co-ordinator at Utopia, Jan Ross Manly, has advised that the recent change of spelling of the names of the artists in the catalogue of the Hot Wax exhibition (by Jenny Green, linguist and initiator of the batik project in the women's centre in the late 1970s) is confusing. The names the Powerhouse Museum uses are the names commonly understood by the artists themselves, and are the names used on the Utopia payroll. Hence, I have not followed the new direction. We have already changed the names once. (An example is: from eg. Lena Pule to Lena Pwerle; MAGNT now using Lena Apwerl). Made Note E55: Type Selected from a large number of batiks brought in to Alice Springs by the co-ordinator in November 1995. OwnedExchangeNote E55: Type Aboriginal art; Australian flora; Batik Subject E55: Type 55 Textile E55: Object Type 29 One-off production - Australian decorative arts and design Coll Dev Field E55: Type 96/40/2 Textile lengths L E54: Dimension L E55: Dimension Type 298.5 CM 96/40/2 Textile lengths W E54: Dimension W E55: Dimension Type 115.0 CM 96/40/3 Textile lengths E22: Man-Made Object Amol Object ID 96/40/3 E42: Object Identifier Textile length, brish and cap batik, silk twill, honey grevillia and bush tucker design, Betty Mpitjana, Utopia Awely Batik, Utopia, Northern Territory, 1995 Statement E55: Type Mpitjana, Betty; Utopia, Northern Territory Designed E55: Type Mpitjana, Betty; Utopia Awely Batik; Utopia, Northern Territory Made E55: Type Textile length, brush and cap batik, silk twill, honey grevillia and bush tucker design, Betty Mpitjana, Utopia Awely Batik, Utopia, Northern Territory, 1995. Textile length, 12 momme white silk twill, burgundy red background with allover design of small red flowers, and over this, regular grid pattern of Glory Gnale's honey grevillia cap in yellow. Double border, comprising individual repeats in yellow and white flowers at outside with inner border repeat of white and yellow three stemmed bush tucker leaf motif. Ends unhemmed. Description E55: Type Designed by Betty Mpitjana; age mid-late 30s. Place: Camel Camp and Arlparra. Flower and bush tucker plant motif in background and border, and Glory Gnale's honey grevillia pattern. Betty Mpitjana was not one of the 9 artists to go to Yogyakarta in 1994, and has been one of the key people to provide a fresh way of designing using the cap process which she learned by observing the others using it. Utopia was formerly a pastoral lease, and was returned to the traditional owners, the Anmatyerre and Alyawarre people, in 1976. Batik printing was introduced to various groups from that time, largely through the efforts of Jenny Green and Julia Murray who were setting up a broad education program at the Women's Centre. The people live in small camps many miles apart from one another, with only a few central services, including the Womens Centre. Unlike other communities (eg. Ernabella, Papunya Tula, Bathurst Island) there has been no art co-ordinator in Utopia until 1995. Various agents such as Rodney Gooch and Christopher Hodges have supported groups of artists in the marketing of their work, and in 1988 the Robert Holmes a'Court collection of batiks was made from a major batik project. In recent years many of the artists have also started to work with acrylic paints on canvas, and have been involved in a range of printmaking projects. In 1995, 9 women from Utopia visited the Brahma Tirta Sari studio in Yogyakarta, a visit set up by James Bennett (from Jilamara Arts and Crafts, who was at that time working at the studio himself. He had had contact over many years with Julia Green and others). They sent over drawings which were made up beforehand into metal stamps (caps) and the purpose of the workshop was to upgrade waxing and dyeing skills, and to experiment with the cap stamping techniques. Formerly the artists used canting (spouts) and brushes. Most of the works from this workshop were acquired by the Museum and Art Gallery of the Northern Territory and toured as the Hot Wax exhibition from 1995. In July 1995 Nia and Ismoyo gave a number of workshops in Central Australian communities, including Utopia. Most of the works from this workshop were acquired by The National Gallery of Victoria. The batiks selected by the Powerhouse Museum in late 1995, are among the first made by the artists on their own, as a result of what they had learned, and with the support of Jan Ross Manly, their new co-ordinator. Some of the works have been made by artists who did not go to Indonesia, but who have developed their own ways of working through watching the others - Jan Ross Manly points out that these works are less influenced by the formal appearance of the Indonesian textiles. One outcome of the new technique, is the practice of borrowing caps designed by another artist in the same skin group, and who therefore shares the same stories. Thus a number of these batiks feature the same design, but used in a different way. (Similarly, some of the batiks in the earlier collections also included Javanese caps along with the Aboriginal designs.) The fibre reactive dyes are prepared in three or four sequences, and the women discuss among themselves what colour combinations to pursue. Designed Note E55: Type Made by Betty Mpitjana at the Utopia Awely Batik workshop at the Utopia Womens Centre in 1995. Made using azoic-napthol dyes, and using both the canting (wax-spout) and cap (metal stamp) techniques, following tuition in the cap techniques by Indonesian batik artists at Utopia. File notes: 1. I have attributed each overall batik design to only one artist, even though some of the artists have borrowed one another's cap stamps in the composition of their designs. The source of the component motifs is acknowledged in the description. 2. The co-ordinator at Utopia, Jan Ross Manly, has advised that the recent change of spelling of the names of the artists in the catalogue of the Hot Wax exhibition (by Jenny Green, linguist and initiator of the batik project in the women's centre in the late 1970s) is confusing. The names the Powerhouse Museum uses are the names commonly understood by the artists themselves, and are the names used on the Utopia payroll. Hence, I have not followed the new direction. We have already changed the names once. (An example is: from eg. Lena Pule to Lena Pwerle; MAGNT now using Lena Apwerl). Made Note E55: Type Selected from a large number of batiks brought in to Alice Springs by the co-ordinator in November 1995. OwnedExchangeNote E55: Type Aboriginal art; Australian flora; Batik Subject E55: Type 55 Textile E55: Object Type 29 One-off production - Australian decorative arts and design Coll Dev Field E55: Type 96/40/3 Textile lengths L E54: Dimension L E55: Dimension Type 283.0 CM 96/40/3 Textile lengths W E54: Dimension W E55: Dimension Type 112.0 CM 96/40/4 Textile lengths E22: Man-Made Object Amol Object ID 96/40/4 E42: Object Identifier Textile length, canting and cap batik, silk satin, bush tomato and bush flower design, Lena Pwerle, Utopia Awely Batik, Utopia, Northern Territory, 1995 Statement E55: Type Pwerle, Lena; Utopia, Northern Territory Designed E55: Type Pwerle, Lena; Utopia Awely Batik; Utopia, Northern Territory Made E55: Type Textile length, canting and cap batik, silk satin, bush tomato and bush flower design, Lena Pwerle, Utopia Awely Batik, Utopia, Northern Territory, 1995. Textile length, 12 momme white silk satin, dark orange and brown background with dense cap texture, Lena's white bush tomato cap motif in yellow and white applied in random grid pattern, with large yellow flower motifs and starbursts at each end. Centre area has dark brown and orange starbursts with white bush tomatoe and folliate motif also in white. Ends unhemmed. Description E55: Type Designed by Lena Pwerle, age late 60s/early 70s. She has used her own bush tomato cap, and large yellow honey grevillia flowers. Lena Pwerle was one of the 9 artists to go to Yogyakarta in 1994 and work with Nia Fliam and Agus Ismoyo. Utopia was formerly a pastoral lease, and was returned to the traditional owners, the Anmatyerre and Alyawarre people, in 1976. Batik printing was introduced to various groups from that time, largely through the efforts of Jenny Green and Julia Murray who were setting up a broad education program at the Women's Centre. The people live in small camps many miles apart from one another, with only a few central services, including the Womens Centre. Unlike other communities (eg. Ernabella, Papunya Tula, Bathurst Island) there has been no art co-ordinator in Utopia until 1995. Various agents such as Rodney Gooch and Christopher Hodges have supported groups of artists in the marketing of their work, and in 1988 the Robert Holmes a'Court collection of batiks was made from a major batik project. In recent years many of the artists have also started to work with acrylic paints on canvas, and have been involved in a range of printmaking projects. In 1995, 9 women from Utopia visited the Brahma Tirta Sari studio in Yogyakarta, a visit set up by James Bennett (from Jilamara Arts and Crafts, who was at that time working at the studio himself. He had had contact over many years with Julia Green and others). They sent over drawings which were made up beforehand into metal stamps (caps) and the purpose of the workshop was to upgrade waxing and dyeing skills, and to experiment with the cap stamping techniques. Formerly the artists used canting (spouts) and brushes. Most of the works from this workshop were acquired by the Museum and Art Gallery of the Northern Territory and toured as the Hot Wax exhibition from 1995. In July 1995 Nia and Ismoyo gave a number of workshops in Central Australian communities, including Utopia. Most of the works from this workshop were acquired by The National Gallery of Victoria. The batiks selected by the Powerhouse Museum in late 1995, are among the first made by the artists on their own, as a result of what they had learned, and with the support of Jan Ross Manly, their new co-ordinator. Some of the works have been made by artists who did not go to Indonesia, but who have developed their own ways of working through watching the others - Jan Ross Manly points out that these works are less influenced by the formal appearance of the Indonesian textiles. One outcome of the new technique, is the practice of borrowing caps designed by another artist in the same skin group, and who therefore shares the same stories. Thus a number of these batiks feature the same design, but used in a different way. (Similarly, some of the batiks in the earlier collections also included Javanese caps along with the Aboriginal designs.) The fibre reactive dyes are prepared in three or four sequences, and the women discuss among themselves what colour combinations to pursue. Designed Note E55: Type Made by Lena Pwerle at the Utopia Awely Batik workshop at the Utopia Womens Centre in 1995. Made using azoic-napthol dyes, and using both the canting (wax-spout) and cap (metal stamp) techniques, following tuition in the cap techniques by Indonesian batik artists at Yogyakarta and at Utopia. File notes: 1. I have attributed each overall batik design to only one artist, even though ome of the artists have borrowed one another's cap stamps in the composition of their designs. The source of the component motifs is acknowledged in the description. 2. The co-ordinator at Utopia, Jan Ross Manly, has advised that the recent change of spelling of the names of the artists in the catalogue of the Hot Wax exhibition (by Jenny Green, linguist and initiator of the batik project in the women's centre in the late 1970s) is confusing. The names the Powerhouse Museum uses are the names commonly understood by the artists themselves, and are the names used on the Utopia payroll. Hence, I have not followed the new direction. We have already changed the names once. (An example is: from eg. Lena Pule to Lena Pwerle; MAGNT now using Lena Apwerl). Made Note E55: Type Selected from a large number of batiks brought in to Alice Springs by the co-ordinator in November 1995. OwnedExchangeNote E55: Type Aboriginal art; Batik; Australian flora Subject E55: Type 55 Textile E55: Object Type 29 One-off production - Australian decorative arts and design Coll Dev Field E55: Type 96/40/4 Textile lengths L E54: Dimension L E55: Dimension Type 302.0 CM 96/40/4 Textile lengths W E54: Dimension W E55: Dimension Type 112.0 CM 96/40/5 Textile lengths E22: Man-Made Object Amol Object ID 96/40/5 E42: Object Identifier Textile length, canting and cap batik, silk twill, bush tomato (kudjera) design, Lena Pwerle, Utopia Awely Batik, Utopia, Northern Territory, 1995 Statement E55: Type Pwerle, Lena; Utopia, Northern Territory Designed E55: Type Pwerle, Lena; Utopia Awely Batik; Utopia, Northern Territory Made E55: Type Textile length, canting and cap batik, silk twill, bush tomato (kudjera) design, Lena Pwerle, Utopia Awely Batik, Utopia, Northern Territory, 1995. Textile length, 12 momme white silk satin, green-brown background, with dense random allover pattern of Lena Pwerle's bush tomato (kudjera) design in gold and white the extra detail at borders is applied with canting making the pattern around the border denser. Ends unhemmed. Description E55: Type Designed by Lena Pwerle, a senior woman; age late 60s/early 70s. The design features her own cap motif of the bush tomato. Lena Pwerle was one of the 9 artists to go to Yogyakarta in 1994 and work with Nia Fliam and Agus Ismoyo. Utopia was formerly a pastoral lease, and was returned to the traditional owners, the Anmatyerre and Alyawarre people, in 1976. Batik printing was introduced to various groups from that time, largely through the efforts of Jenny Green and Julia Murray who were setting up a broad education program at the Women's Centre. The people live in small camps many miles apart from one another, with only a few central services, including the Womens Centre. Unlike other communities (eg. Ernabella, Papunya Tula, Bathurst Island) there has been no art co-ordinator in Utopia until 1995. Various agents such as Rodney Gooch and Christopher Hodges have supported groups of artists in the marketing of their work, and in 1988 the Robert Holmes a'Court collection of batiks was made from a major batik project. In recent years many of the artists have also started to work with acrylic paints on canvas, and have been involved in a range of printmaking projects. In 1995, 9 women from Utopia visited the Brahma Tirta Sari studio in Yogyakarta, a visit set up by James Bennett (from Jilamara Arts and Crafts, who was at that time working at the studio himself. He had had contact over many years with Julia Green and others). They sent over drawings which were made up beforehand into metal stamps (caps) and the purpose of the workshop was to upgrade waxing and dyeing skills, and to experiment with the cap stamping techniques. Formerly the artists used canting (spouts) and brushes. Most of the works from this workshop were acquired by the Museum and Art Gallery of the Northern Territory and toured as the Hot Wax exhibition from 1995. In July 1995 Nia and Ismoyo gave a number of workshops in Central Australian communities, including Utopia. Most of the works from this workshop were acquired by The National Gallery of Victoria. The batiks selected by the Powerhouse Museum in late 1995, are among the first made by the artists on their own, as a result of what they had learned, and with the support of Jan Ross Manly, their new co-ordinator. Some of the works have been made by artists who did not go to Indonesia, but who have developed their own ways of working through watching the others - Jan Ross Manly points out that these works are less influenced by the formal appearance of the Indonesian textiles. One outcome of the new technique, is the practice of borrowing caps designed by another artist in the same skin group, and who therefore shares the same stories. Thus a number of these batiks feature the same design, but used in a different way. (Similarly, some of the batiks in the earlier collections also included Javanese caps along with the Aboriginal designs.) The fibre reactive dyes are prepared in three or four sequences, and the women discuss among themselves what colour combinations to pursue. Designed Note E55: Type Made by Lena Pwerle at the Utopia Awely Batik workshop at the Utopia Womens Centre in 1995. Made using azoic-napthol dyes, and using both the canting (wax-spout) and cap (metal stamp) techniques, following tuition in the cap techniques by Indonesian batik artists in Yogyakarta and at Utopia. File notes: 1. I have attributed each overall batik design to only one artist, even though some of the artists have borrowed one another's cap stamps in the composition of their designs. The source of the component motifs is acknowledged in the description. 2. The co-ordinator at Utopia, Jan Ross Manly, has advised that the recent change of spelling of the names of the artists in the catalogue of the Hot Wax exhibition (by Jenny Green, linguist and initiator of the batik project in the women's centre in the late 1970s) is confusing. The names the Powerhouse Museum uses are the names commonly understood by the artists themselves, and are the names used on the Utopia payroll. Hence, I have not followed the new direction. We have already changed the names once. (An example is:from eg. Lena Pule to Lena Pwerle; MAGNT now using Lena Apwerl). Made Note E55: Type Selected from a large number of batiks brought in to Alice Springs by the co-ordinator in November 1995. OwnedExchangeNote E55: Type Aboriginal art; Batik; Australian flora Subject E55: Type 55 Textile E55: Object Type 29 One-off production - Australian decorative arts and design Coll Dev Field E55: Type 96/40/5 Textile lengths L E54: Dimension L E55: Dimension Type 294.0 CM 96/40/5 Textile lengths W E54: Dimension W E55: Dimension Type 112.0 CM 96/40/6 Textile lengths E22: Man-Made Object Amol Object ID 96/40/6 E42: Object Identifier Textile length, canting and cap batik, silk satin, bush lily flower, honey grevillia, pencil yam and lizard design, Nora Petyarre, Utopia Awely Batik, Utopia, Northern Territory, 1995 Statement E55: Type Petyarre, Nora; Utopia, Northern Territory Designed E55: Type Pwerle, Lena; Utopia Awely Batik; Utopia, Northern Territory Made E55: Type Textile length, canting and cap batik, silk satin, bush lily flower, honey grevillia, pencil yam and lizard design, Nora Petyarre, Utopia Awely Batik, Utopia, Northern Territory, 1995. Textile length, 12 momme white silk satin, dark brown and ochre background with small dark textured pattern, the whole divided into large rectangles at the border and across the width of the textile with a yellow cap pattern of Glory Gnale's honey grevillia. First and alternate rectangles with grid of Nora Petyarre's four-petalled bush lily flower in yellow, and Joy Petyarre's pencil yam and lizard design in white. Second and alternate rectangles using the same motifs with more yellow. Ends unhemmed. Description E55: Type Designed by Nora Petyarre; age early -mid 30s. Lives at Arlparra. The design features her own bush lily design, with Glory Gnale's honey grevillia design and Joy Petyarre's pencil yam and lizard design. This is the first design the co-ordinator has known to be divided into rectangles in this way. Utopia was formerly a pastoral lease, and was returned to the traditional owners, the Anmatyerre and Alyawarre people, in 1976. Batik printing was introduced to various groups from that time, largely through the efforts of Jenny Green and Julia Murray who were setting up a broad education program at the Women's Centre. The people live in small camps many miles apart from one another, with only a few central services, including the Womens Centre. Unlike other communities (eg. Ernabella, Papunya Tula, Bathurst Island) there has been no art co-ordinator in Utopia until 1995. Various agents such as Rodney Gooch and Christopher Hodges have supported groups of artists in the marketing of their work, and in 1988 the Robert Holmes a'Court collection of batiks was made from a major batik project. In recent years many of the artists have also started to work with acrylic paints on canvas, and have been involved in a range of printmaking projects. In 1995, 9 women from Utopia visited the Brahma Tirta Sari studio in Yogyakarta, a visit set up by James Bennett (from Jilamara Arts and Crafts, who was at that time working at the studio himself. He had had contact over many years with Julia Green and others). They sent over drawings which were made up beforehand into metal stamps (caps) and the purpose of the workshop was to upgrade waxing and dyeing skills, and to experiment with the cap stamping techniques. Formerly the artists used canting (spouts) and brushes. Most of the works from this workshop were acquired by the Museum and Art Gallery of the Northern Territory and toured as the Hot Wax exhibition from 1995. In July 1995 Nia and Ismoyo gave a number of workshops in Central Australian communities, including Utopia. Most of the works from this workshop were acquired by The National Gallery of Victoria. The batiks selected by the Powerhouse Museum in late 1995, are among the first made by the artists on their own, as a result of what they had learned, and with the support of Jan Ross Manly, their new co-ordinator. Some of the works have been made by artists who did not go to Indonesia, but who have developed their own ways of working through watching the others - Jan Ross Manly points out that these works are less influenced by the formal appearance of the Indonesian textiles. One outcome of the new technique, is the practice of borrowing caps designed by another artist in the same skin group, and who therefore shares the same stories. Thus a number of these batiks feature the same design, but used in a different way. (Similarly, some of the batiks in the earlier collections also included Javanese caps along with the Aboriginal designs.) The fibre reactive dyes are prepared in three or four sequences, and the women discuss among themselves what colour combinations to pursue. Designed Note E55: Type Made by Lena Pwerle at the Utopia Awely Batik workshop at the Utopia Womens Centre in 1995. Made using azoic-napthol dyes, and using both the canting (wax-spout) and cap (metal stamp) techniques, following tuition in the cap techniques by Indonesian batik artists in Yogyakarta and at Utopia. File notes: 1. I have attributed each overall batik design to only one artist, even though some of the artists have borrowed one another's cap stamps in the composition of their designs. The source of the component motifs is acknowledged in the description. 2. The co-ordinator at Utopia, Jan Ross Manly, has advised that the recent change of spelling of the names of the artists in the catalogue of the Hot Wax exhibition (by Jenny Green, linguist and initiator of the batik project in the women's centre in the late 1970s) is confusing. The names the Powerhouse Museum uses are the names commonly understood by the artists themselves, and are the names used on the Utopia payroll. Hence, I have not followed the new direction. We have already changed the names once. (An example is: from eg. Lena Pule to Lena Pwerle; MAGNT now using Lena Apwerl). Made Note E55: Type Selected from a large number of batiks brought in to Alice Springs by the co-ordinator in November 1995. OwnedExchangeNote E55: Type Australian flora; Australian animals; Batik; Aboriginal art Subject E55: Type 55 Textile E55: Object Type 29 One-off production - Australian decorative arts and design Coll Dev Field E55: Type 96/40/6 Textile lengths L E54: Dimension L E55: Dimension Type 300.0 CM 96/40/6 Textile lengths W E54: Dimension W E55: Dimension Type 113.0 CM 96/40/7 Textile lengths E22: Man-Made Object Amol Object ID 96/40/7 E42: Object Identifier Textile length, canting and cap batik, brushed silk, bush tucker motif of bush bean and bush tomato, and bush potato flower, Nancy Petyarre, Utopia Awely Batik, Utopia, Northern Territory, 1995 Statement E55: Type Petyarre, Nancy; Utopia, Northern Territory Designed E55: Type Petyarre, Nancy; Utopia Awely Batik; Utopia, Northern Territory Made E55: Type Textile length, canting and cap batik, brushed silk, bush tucker motif of bush bean and bush tomato, and bush potato flower, Nancy Petyarre, Utopia Awely Batik, Utopia, Northern Territory, 1995. Textile length, white silk, dark brown background, with lighter brushed texture. Border of large bush-potato flowers in yellow and light orange, with double border at ends. Large bush bean motif in yellow and orange-tan placed randomly over textile, with large grouping of this motif at each end. The spaces in between filled with [Violet Petyarre's] cap motif of a bush tomato in yellow and orange. Ends unhemmed. Description E55: Type Designed by Nancy Petyarre; age early 50s. Lives at Mosquito Bore. The design features the bush bean, a large yellow bush in season at this time of the year (October/November), as well as the bush tomato and bush potato flower. Utopia was formerly a pastoral lease, and was returned to the traditional owners, the Anmatyerre and Alyawarre people, in 1976. Batik printing was introduced to various groups from that time, largely through the efforts of Jenny Green and Julia Murray who were setting up a broad education program at the Women's Centre. The people live in small camps many miles apart from one another, with only a few central services, including the Womens Centre. Unlike other communities (eg. Ernabella, Papunya Tula, Bathurst Island) there has been no art co-ordinator in Utopia until 1995. Various agents such as Rodney Gooch and Christopher Hodges have supported groups of artists in the marketing of their work, and in 1988 the Robert Holmes a'Court collection of batiks was made from a major batik project. In recent years many of the artists have also started to work with acrylic paints on canvas, and have been involved in a range of printmaking projects. In 1995, 9 women from Utopia visited the Brahma Tirta Sari studio in Yogyakarta, a visit set up by James Bennett (from Jilamara Arts and Crafts, who was at that time working at the studio himself. He had had contact over many years with Julia Green and others). They sent over drawings which were made up beforehand into metal stamps (caps) and the purpose of the workshop was to upgrade waxing and dyeing skills, and to experiment with the cap stamping techniques. Formerly the artists used canting (spouts) and brushes. Most of the works from this workshop were acquired by the Museum and Art Gallery of the Northern Territory and toured as the Hot Wax exhibition from 1995. In July 1995 Nia and Ismoyo gave a number of workshops in Central Australian communities, including Utopia. Most of the works from this workshop were acquired by The National Gallery of Victoria. The batiks selected by the Powerhouse Museum in late 1995, are among the first made by the artists on their own, as a result of what they had learned, and with the support of Jan Ross Manly, their new co-ordinator. Some of the works have been made by artists who did not go to Indonesia, but who have developed their own ways of working through watching the others - Jan Ross Manly points out that these works are less influenced by the formal appearance of the Indonesian textiles. One outcome of the new technique, is the practice of borrowing caps designed by another artist in the same skin group, and who therefore shares the same stories. Thus a number of these batiks feature the same design, but used in a different way. (Similarly, some of the batiks in the earlier collections also included Javanese caps along with the Aboriginal designs.) The fibre reactive dyes are prepared in three or four sequences, and the women discuss among themselves what colour combinations to pursue. Designed Note E55: Type Made by Nancy Petyarre at the Utopia Awely Batik workshop at the Utopia Womens Centre in 1995. Made using fibre reactive (napthol) dyes, and using both the canting (wax-spout) and cap (metal stamp) techniques, following tuition in the cap techniques by Indonesian batik artists at Utopia. File notes: 1. I have attributed each overall batik design to only one artist, even thoughsome of the artists have borrowed one another's cap stamps in the composition of their designs. The source of the component motifs is acknowledged in the description. 2. The co-ordinator at Utopia, Jan Ross Manly, has advised that the recent change of spelling of the names of the artists in the catalogue of the Hot Wax exhibition (by Jenny Green, linguist and initiator of the batik project in the women's centre in the late 1970s) is confusing. The names the Powerhouse Museum uses are the names commonly understood by the artists themselves, and are the names used on the Utopia payroll. Hence, I have not followed the new direction. We have already changed the names once. (An example is: from eg. Lena Pule to Lena Pwerle; MAGNT now using Lena Apwerl). Made Note E55: Type Selected from a large number of batiks brought in to Alice Springs by the co-ordinator in November 1995. OwnedExchangeNote E55: Type Australian flora; Batik; Aboriginal art Subject E55: Type 55 Textile E55: Object Type 29 One-off production - Australian decorative arts and design Coll Dev Field E55: Type 96/40/7 Textile lengths L E54: Dimension L E55: Dimension Type 286.0 CM 96/40/7 Textile lengths W E54: Dimension W E55: Dimension Type 110.5 CM