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Artwork, other (1319)
Ceramic (771)
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Work on paper (2118)
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Thompson's Foundry Band Inc. (Castlemaine)
Work on paper - Sheet Music, Pip Avent, Majestic Fanfare, 2019
Sheet Music For Brass Band instruments in Bb and EbABC News Themeabc tv, castlemaine state festival, charles williams -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Print - etching, Vicki Couzens, Arweet sit down, 2010
As part of the redevelopment of the Indigenous Coastal Trails, this work was commissioned by Bayside City Council as one of four prints produced in a limited edition of ten. This etching was produced in response to stories of the Boon wurrung people as written by Carolyn Briggs, Boon wurrung elder.Vicki Couzens, Arweet sit down 2010, etching, 28 x 19.5 cm. Bayside City Council Art and Heritage Collection. Commissioned 2010. etchingetching, arweet, vicki couzens, carolyn briggs, bayside indigenous coastal trail -
Gippsland Art Gallery
Print, Leach-Jones, Alun, Cypress and Acacia [III], 1986
Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Linocut print on papergippsland, artwork, permanent collection -
Federation University Art Collection
Work on paper - Printmaking - Etching, 'Burning Land' by Christopher Croft, 1974
This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed etchingart, artwork, christopher croft, croft, ballarat teachers' college collection, available, etching, printmaking, edition, ink on paper -
Australian Lace Guild - Victorian Branch
Textile - Reticella lace, 1700-1800
Use: Domestic: Household trimmingBobbin lace edging -
Eltham District Historical Society Inc
Work on paper (Sub-Item) - Photograph, Diamond Creek in 1909
People along the Diamond Creek, probably at Eltham with wooden bridge in backgrounddiamond creek, bridge -
Flagstaff Hill Maritime Museum and Village
Textile - Crochet
Length of crochet linen edging in white cotton.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, cotton edging, cotton hem, decorative edging, crochet edging -
Australian Lace Guild - Victorian Branch
Textile - Buckinghamshire Point lace, 19th century
Use - Domestic household trimmingBobbin lace edging -
Federation University Art Collection
Work on paper - Artwork - Printmaking, Geoffrey Ricardo, 'Monkeyshine' by Geoffrey Ricardo, 2000
GEOFFREY RICARDO (1964- ) Born Melbourne, Australia 1984-86 Bachelor of Arts (Fine Art), Printmaking, Chisholm Institute of Technology, Melbourne 1987-89 Printing Assistant at Bill Young Studios, Editioning intaglio prints, King Valley, VIC 1988 Full-time Studio Technician at Printmaking Department, Chisholm Institute of Technology, Melbourne 1989-90 Graduate Diploma (Fine Art), Printmaking, Monash University, Melbourne 1991 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed coloured aquatint on paper. Donated through the Australian Government's Cultural Gifts Programme by Katherine Littlewood.Under image in pencil ' T/P "Monkeyshine" Ricardo 2000'geoffrey ricardo, framed print -
Friends of Ballarat Botanical Gardens History Group
Work on paper - WIkipedia, 7/2/2010, Prime Minister's Avenue, Ballarat
john garner collection, gardens, ballarat, prime ministers, ballarat botanical gardens -
Bendigo Military Museum
Textile - TRENCH ART ASH TRAY, 1940
Trench Art made from brass ordnance pieces. The base & stand are made from a 75 mm shell casing & a .50 cal projectile. The top is made from a .50 cal, .303 projectile to form a Lightning Fighter aircarft.“75 mm. M18 LOT 2 - 1306 - 28 BB, CO 1941”military history, trench art, souvenirs, ashtrays -
Westbourne Grammar Heritage Collection
Textile - Chapel Altar Cloth, 1989
This altar cloth is one of a set of four of various sizes, embroidered and donated by a parent for the opening of the school's chapel. The chapel was completed in 1989 and officially dedicated 'in thanks for the work of J.R. Pascoe' in March 1990. Religious instruction has never formed part of the curriculum at Westbourne but Christian values have underpinned the school's identity since its very early days. Recognising the importance of spirituality to the broader life of a school, Principal John Pascoe set about building a small chapel at the Truganina campus. In 1988, Reverend George DuRink was appointed as inaugural chaplain, in time to advise on the chapel design, and remained at the school for more than twenty years. Reverend DuRink's friendly, inclusive approach to ministering, drawing largely on his extensive knowledge of philosophy and ethics, and welcoming the many faiths and cultures that came to the school from the growing surrounding community, set the tone for the spiritual dimension of education at Westbourne. An integral part of the fabric of the school, the chapel has been a place to gather for comfort and support during difficult times, a place for quiet reflection and at times a place for music and celebration.This altar cloth has historic significance as it is associated with the very beginning of the Westbourne chapel and was used in the chapel for many years. A rectangular piece of evenweave fabric with a fringed edge and cross stitched with a blue border around the entire piece and a yellow and green Westbourne logo facing the short edge at one end. -
Bendigo Military Museum
Work on paper - LETTER, PHOTO ENVELOPE, 1) - .3) 21.2.1955
Items were in the collection belonging to Athur George Holley No 13556 RAN. Refer 2134 for service history also 2135.3, 2137, 2147. .1) - .3) Letter in ink on ruled paper, 3 pages. Letter writer is unknown, possibly A.G Holley to a Navy mate, only nicknames are used. Letter is from Box 155 Kempsey. .4) Photo envelope, light and dark brown, Kodak, no photos inside.letters, personal -
Australian Lace Guild - Victorian Branch
Textile - Tatted lace, 1900-2000
Use: DomesticTatted motif -
Australian Lace Guild - Victorian Branch
Textile - Machine Blonde lace, 1800-1900
Use: Domestic. FashionMachine lace bonnet veil -
Melbourne Tram Museum
Print - Framed Print, c2006
Framed Print of Hawthorn Tram Depottrams, tramways, htt, hawthorn, depot -
8th/13th Victorian Mounted Rifles Regimental Collection
Work on paper - VMR, Labour and Shipping Strike
Probably originally drawn for publication in Melbourne newspaper showing detachment of Victorian Mounted Rifles on way to establish order at a strike site during the Labour and Shipping Strike of August 1890. During the strike armed troops were deployed to support the police in Melbourne and in Newcastle and a number of other ports around the country. In Melbourne, the announcement that a public meeting was going to be held on 31 August 1890 to support the maritime strikers sent the Victorian government into precautionary mode. On the eve of the meeting, the Victorian Mounted Rifles were briefed by their commanding officer Lieutenant-Colonel Tom Price: 'Men of the Mounted Rifles, one of your obligations imposes on you the duty of resisting invasion by a foreign enemy, but you are also liable to be called upon to assist in preserving law and order in the colony. ... To do your work faintly would be a grave mistake. If it has to be done effectively you will each be supplied with 40 rounds of ammunition, leaden bullets, and if the order is given to fire, don't let me see any rifle pointed in the air; fire low and lay them out so that the duty will not have to be performed again.' Price was quite clear and quite unapologetic about his intentions. He only wanted ′'to hit the strikers in the legs ... not to kill them outright. He explained that the term 'lay them out' was used in his regiment to mean 'temporary disablement'. A force of 1,000 militia and mounted police and another 1,000 special constables were embodied by the time of the meeting. These forces, apart from a troop of mounted police were held in reserve out of the way and the 40,000 who attended the meeting, although enthusiastic, were orderly and the forces were not called in. Framed coloured artistic work with three works depicting soldiers on horseback in midst of angry crowds.military, strike, melbourne, maritime, vmr -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - ink and watercolour, Annette Meikle, Karinga, 1977
In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. This inter-war house located at 60 Bluff Road, Black Rock, was built in 1926 for former Scotland Yard and Criminal Investigation Branch detective Horatio Reginald Clarence McWilliams. When McWilliams died it was found that he had taken extreme measures to protect his security. All the windows were nailed shut, a network of burglar alarms ran through the house and a complicated underground air raid shelter had been built in the garden. The security measures were at odds with the name of the house – Karinga or Karinya – an Aboriginal word meaning peaceful, happy home. Later residents of ‘Karinga’ included Senator Don Chipp and his family. The property has since been demolished and apartments have been built on the land.Annette Meikle, Karinga 1977, ink and watercolour, 32 x 23.5 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, black rock, karinga, karinya, horatio reginald clarence mcwilliams, senator don chipp, historic house, bluff road -
Latrobe Regional Gallery
Print, WOLSELEY, John b.1938 Somerset, England, No More: Poster for Environment Protest, 1976
Linocut print- -
Glenelg Shire Council Cultural Collection
Print, John Courier, Reclining Figure, c. 1974
UnknownAn abstract figure lies horizontally in the centre of flat and patterned fields of colour. The figure comprises of white, blue and burgundy. The colours in the background comprise of layers of green, blue, dark rose and dark green, which combine to make fields of maroon, aqua, dark green and textured dark blue. Mounted in brown matt, framed in silver painted wooden frame, with red undercoat showing through areas of wear.Front: J Courier (lower left) Reclining figure (lower right) (pencil). Back: Artist J Courier 368 Toorak Rd Sth Yarra. Title: Reclining figure. Price $90 framed, $70 un-framed.abstract, figure, print -
Bendigo Historical Society Inc.
Textile - SMOKERS CAP
Smokers cap, Navy blue velvet embroidered on top and sides with white flowers and green leaves, button and green and white tassle , interior of white cotton with red circles.costume, male, cap -
Wodonga & District Historical Society Inc
Textile - Haeusler Collection Cotton Napkin with Decorative Border c.1920s
The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. The textiles in the Haeusler collection belonged to Ilma Margaret Ernestine Haeusler (née Tasker), born in 1900 in Tallangatta. These textiles were handmade by Ilma between 1919 and 1928 for use in the family home during her marriage to Louis Alfred Haeusler (b.1878). Ilma died in childbirth in 1928, leaving one surviving son, John Alfred Lyell (b.1922). In the nineteenth and early twentieth century prior to the mass production of clothing and textiles, needlework, alongside motherhood, was the defining work of women. Hand sewing and embroidery was central in the everyday lives and domestic roles of women.The item is handmade and unique, with well documented provenance. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history, and women’s history. Haeusler Collection Handmade Cotton Napkin with Decorative Bordertextiles, sewing, handiwork, women's history, domestic, craft, family, social history, haeusler collection, haeusler, wodonga -
Gippsland Art Gallery
Work on Paper, Struss, Elsie, Untitled, Undated
Donated from the estate of Wemyss Struss, 2016Marker on papergippsland, artwork, permanent collection -
Darebin Art Collection
Print - Yosl Bergner, Yosl Bergner, Crooked Lamp, Unknown
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Ararat Gallery TAMA
Textile, Tori de Mestre, Chrysalis
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Gippsland Art Gallery
Print, Reynolds, Fiona, Night Vision, 2015
Donated by the artist, 2015Soft-ground aquatint on papergippsland, artwork, permanent collection -
Forests Commission Retired Personnel Association (FCRPA)
Print - "Hospital and Spring Hill from Church Street, Creswick" by T.G. Moyle, 1881
The Victorian School of Forestry (VSF) was established in October 1910 at Creswick. It was located at the former Creswick Hospital, built in 1863 during the gold rush. The creation of VSF was one of the many recommendations of a Royal Commission held between 1897 and 1901 into forest degradation. The first tertiary forestry school in Australia, VSF was administered by the Forests Commission Victoria (FCV) until 1980, when VSF amalgamated with the University of Melbourne to become that institution's School of Ecosystem and Forest Sciences. Over the period from 1910 to 1980, 522 students completed the Diploma of Forestry at VSF.Limited Edition Print number 92 of 200. Framed Print - Hospital and Spring Hill from Church Street, Creswick" by T.G. Moyle, 1881Published by Trustees of Creswick Historical Museum 1981. Gift from Lorraine Carr (wife of Neil Carr ) in 2003 written on label on back -
Geelong Gallery
Print - The visit of Dr Syntax to the Widow Hopefull at York, ROWLANDSON, Thomas, 1820
Hand coloured aquatint -
Phillip Island Conservation Society Inc.
Work on paper - photocopy of letter to editor newspaper cutting, "Threat to/ Penguins"
This letter to the editor of an unknown newspaper probably dates from the late 1960s or early 1970s. At that time the Victorian government’s Liberal Party Premier was Sir Henry Bolte. In a reference to the major industrial valley in Germany, he and his government had a vision to make Western Port and Hastings into “the Ruhr of Victoria”, if not Australia. While this letter does not refer to Western Port, but apparently to Wiliamstown, the situation was similar in both bays. Substantial land was zoned in Hastings by the Bolte Government for industrial purposes, where BP built a refinery for oil imported through the Port of Hastings. The large oil tankers entered Western Port Bay via the western channel, which required dredging to accommodate them. It became a common site to see globules or patches of oil washed up on beaches around Western Port, and oil-affected wildlife. It is impossible to know how many wildlife were affected directly by oil spills and other forms of pollution in the Bay during that era. Sufficient numbers of oiled Little Penguins were found to prompt numerous references to the problem in newspapers, including letters, articles and even major features. The refinery eventually closed, with tanker traffic dramatically reducing in Western Port from the late 20th century.Statement of significance: This letter to the editor is significant in making reference to pollution caused in Port Phillip and Western Port bays by tanker traffic and the presence of oil refineries on industrial land in the bays. It is also indicative of the emergence of many conservation-related community groups of volunteers in Australia during the 1960s and 1970s in response to growing concern around conservation issues. Letters to the editor were a common means for these groups to have their concerns aired in public.Photocopy of newspaper cutting, single column letter to the editor.little penguins, oil spill, western port, port of hastings, henry bolte, "ruhr of victoria", oiled penguins, oiled wildlife, bp refinery, oil tankers, , mrs d waight, williamstown and district animal relief society -
Federation University Art Collection
Work on paper - Artwork - Bookplate, A.J.Sibley
Signed Irena Sibley in pencil lower right beneath plate