This is the program for the exhibitions and activities conducted by the Art Gallery of Ballarat in the winter of 2015. It includes the exhibition of the works of James Meek, of particular interest to Warrnambool as Meek was resident there for a number of years in the 19th century. The Ballarat Art Gallery is the largest and oldest regional art gallery in Australia, being established in 1884. The booklet is of interest as it shows the depth and variety of exhibitions and activities held at a regional art gallery. It includes the exhibition of the works of James Meek, a 19th resident of Warrnambool where he was well-known as a fishing company operator, a punt operator, a fisherman, a writer and lecturer and a gold prospector in the Otway Ranges. His calligraphy works are of great interest, both artistically and historically and one of his works belonging to the Warrnambool and District Historical Society was loaned to Ballarat for this exhibition. This is a booklet of 32 pages containing the program of the Art Gallery of Ballarat for Winter 2015. It contains logos of sponsors, a floor plan of the gallery, black and white and colour photographs and sketches and printed material on each exhibition. The cover has a reproduction of an image from Norma Redpath’s ‘Flight From Jerusalem’ art work. Front Cover: ‘Art Gallery of Ballarat, Winter 2015’art gallery of ballarat

This journal is the first issue of the Women's Art Forum, a women artists' collective established in 1978 (Melbourne, Australia), in connection with the Women's Art Register.The Women's Art Register is an Australian collection of national significance, documenting the work of Australian women artists from the 19th, 20th and 21st centuries.First issue of the Women's Art Forum, reporting on the state of feminist art in Australia in 1978. 100 pages. B/W text and illustrations. Articles include artist drawings, stories, histories of women artists, and reports, advocating and representing Australian women artists.Published by the Women's Art Forum of Victoria. Printed by Sybylla Co-operative Press Ltd.

Etching and engravingTitled l.r. 'Our corporate who art in heaven'. Signed l.l. 'Rosalind Atkins eX De Medici"gas masks, flowers, flora, kauri pine, colaboration

This is the program of the 2014-5 exhibition at the Warrnambool Art Gallery, ‘From the Sacred to the Profane – The Challenges and Possibilities of Renaissance Art’. This exhibition was a joint project between the National Gallery of Victoria and the Warrnambool Art Gallery and was officially opened in December 2014 by the Director of the National Gallery of Victoria, Tony Ellwood. This program is of interest as a souvenir of an exhibition in Warrnambool that was an important one as it featured historical and valuable works of art from the National Gallery of Victoria. This is a sheet of paper folded to make six sides. One side has a plasticized surface. The pages have a black background with white and red printing on five sides and a colour photograph of a painting on the front page. The back page has the logos of the Warrnambool Art Gallery Foundation, the Victorian State Government, Arts Victoria, Warrnambool City Council and Deakin Worldly.national gallery of victoria, warrnambool art gallery, art in victoria, renaissance art, warrnambool history

Originally the Sandhurst Fine Art Gallery in 1887 and situated in the great hall of the School of Mines, the name was changed to the Bendigo Art Gallery in 1890 when the gallery moved into its new permanent premises in View Street.Soft cover booklet with buff and burgundy printed cover. Contains 27 printed pages describing the evolution of the Bendigo Art Gallery with black and white and coloured photographs.Publisher Bendigo Art Gallery. Author Simone Bloomfieldbendigo, buildings, bendigo art gallery

Neville Bunning was a staffmember at the Ballarat Technical Art School.Two page hand written letter relating to setting up a Ballarat Art Society. From Neville Bunning to the Ballarat Art Gallery.604 Dana Street Ballarat 20th Aug 46 The Secretary Ballarat Art Gallery Dear Sir, I submit the attached proposition for the formation of the Ballarat Art Society. I am convinced that it is needed as an outlet of expression for teh Art School and for the development of sculpture and Painting in Ballarat. I have taken the liberty of suggesting that your committee shld form the society because I imaginbe that a society formed withou your support would be unlikely to succeed. If it failed it would mean a set-back for many years. U trust that you will be interested in the proposition Yours faithfully Neville M. Bunning. neville bunning, ballarat art society, ballarat art gallery, art gallery of ballarat, ballarat fine art gallery

The Ballarat Technical Art School building opened in 1915. It was a division of the Ballarat School of MinesPlanes for the Ballarat Technical Art School basement and ground floor, featuring hand coloured sections. Wood Carving and Metal Working were located in the basement. Scale is 8 feet to 1 inch School of Mines Ballarat New Art School C.B.G.5.4.13ballarat school of mines, ballarat technical art school, plan, buildings, metalwork, wood carving, freehand and plant drawing, model and cast drawing, lecture room, modelling room, light and shade, architectural drawing

Australian 1880 - 1938Drypoint EtchingTitled and signed

Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Pool sculpture, opposite Zurch Art Gallery, Zurich, SwiterlandZurich / Pool Sculpture / Opposite Art Gallery (All Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

The Gallery, located at 10 FINDLAY Street Cowes, was moved from French Island as a private home for the De La Haye Family.Yellow coloured Brochure, folded in 3, with dark printing advertising the FINDLAY Art Gallery and explaining it’s history.FINDLAY Art Gallery, 1910, 1974, Phillip Island Art Awardfindlay art gallery, art gallery, cowes, tourist brochure, de la haye family

Document includes discussion of impetus, preamble, policy context, objectives of the Art in Public Places Program, What is Public Art, Identification of sites and opportunities, funding, initiation the commissioning of works, selection of artists, project management, consultation, conservation and maintenance, de-accession guidelines, ownership, documnetation, and list of 11 pieces of Public Art Pieces in the Nillumbik Art Collection. Separated from Folder 73 from Harry Gilham Collection 8 pagesnillumbik art collection, public art

Her Majesty's Territories, stereographic views of Australian sceneries, a Bendigo Art Gallery exhibition. 135 pages with sepia photographs.Bendigo Art Galleryphotography, viewers, stereographic, australia-victoria-history-photography

Hardcover w/ Dust JacketInserted in front cover: folded page of Australian Financial Review 1 February 1973, written at top: "Trish"; cross next to article titled "Rare coins for sale"; article titled "The fortunes of war reflected closely in the art market" featuring Arthur Boyd paintingwalsh st library

A colour photograph taken of a sign at then entrance to Bruno's Art & Sculptures Garden in Marysville in Victoria.A colour photograph taken of a sign at then entrance to Bruno's Art & Sculptures Garden in Marysville in Victoria. Bruno's Sculptures Garden is one of Marysville's popular attractions. There is a sculpture garden as well as a gallery of artworks. Both the garden and gallery were destroyed during the 2009 Black Saturday bushfires. Some of the sculptures were totally destroyed though a few did survive the fires. Bruno made the decision to re-sculpt the lost sculptures and re-built his gallery and re-open his garden to visitors to Marysville.Welcome to Bruno's Art & Sculpture Garden Hidden amongst the trees of the small Victorian village of/ Marysville is a world full of fantasy, beauty and humour./ Surrounded by the magical rainforest setting. Bruno Torfs has created one of the world's most unique and/ deeply inspiring experiences for art and garden lovers of all ages. With over three hundred paintings and sculptures to discover, a/ journey to Bruno's is one of Australia's most special attractions. Take a Tourbruno torfs, gardens-design, marysville, victoria, sculpture, australia, sculpture garden, sculptors, bruno's art and sculptures garden, 2009 black saturday bushfires, photograph

Document. Norman Penrose collection: cream list with red border on the front. Lists a number of Buvelot oils, watercolours and pencil drawings at the Bendigo Art Gallery 1960.Bendigo Art Gallerygovernment, local, bendigo art gallery, norman penrose collection, buvelot collection, bendigo art gallery

This small album belonged to E Joy, Eaglehawk, 1913 & 1914Small green church art stamp album consisting of 24 pages with coloured stamps marking events in the church calendar.On cover: "CHURCH ART STAMP ALBUM"

Bendigo Art Gallery was founded in 1887. Typed and signed letter from Gordon Thomson, Deputy Director of the NGV addressed to Mr W. B. Bolton at Bendigo Art Gallery. Letter is on National Gallery of Victoria letterhead requesting photographs and information about the gallery on behalf of UNESCO for publication in the International journal 'Museum'. The letter has a postcard of the gallery taped to top left. Possibly related to Cat No 0305.Postcard lower centre; Murray Views No 35. Art Gallery, Bendigo Victoriabendigo art gallery, city of greater bendigo tourism

246 p. : ill. (some col.)Agony down under: Australian artists addressing AIDS /​ Ted Gott Allan from Sadness: a monologue with slides /​ William Yang Art from the Pit: some reflections on monuments, memory and AIDS /​ Simon Watney America: where angels don't fear to tread /​ Thomas Sokolowski The war on culture /​ Carole S. Vance Read my lips /​ Jimmy Somerville For a friend /​ Jimmy Somerville, Richard Coles Self-documentation, self-imaging,: Australian people living with HIV/​AIDS /​ Kathy Triffitt, co-ordinator Aesthetics and loss /​ Edmund White Psycho-cultural responses to AIDS /​ Dennis Altman Faces of AIDS /​ Lynn Sloan Lovers and friends /​ Richard Coles Where the streets have new aims: the poster in the age of AIDS /​ Ted Gott OI: opportunistic identification, open identification in PWA portraiture /​ Jan Zita Grover Don't leave me this way: art in the age of AIDS : catalogue of works.

Eltham Town Park was partially constructed on a tip site. The park and lake were landscaped in 1973-1974. As early as late 1980 a proposal to rename it Alistair Knox Park was met with significant community resistance with a petition of 1600 signatures against however Council ultimately pushed the name through in 1987. Many residents continued to call it Eltham Town Park for some years later. Wendy Price 1988 Entrant No. 147 Ref: Series 34, Items 35, 36, 107, 108 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Front: Entrant No. and name on printed label Rear: Entrant No., name and address on printed label; also 'Series 34' and the 'Item No.' in pencilshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, eltham photographic survey exhibition, series 34, series 35, alistair knox park, artist, eltham town park, film - kodak ga 100 5095, scan - 35mm negative, shillinglaw cottage, wendy price

Eltham Town Park was partially constructed on a tip site. The park and lake were landscaped in 1973-1974. As early as late 1980 a proposal to rename it Alistair Knox Park was met with significant community resistance with a petition of 1600 signatures against however Council ultimately pushed the name through in 1987. Many residents continued to call it Eltham Town Park for some years later. Wendy Price 1988 Entrant No. 147 Ref: Series 34, Items 35, 36, 107, 108 The images in this record were not selected for inclusion. SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. shire of eltham archives, bicentennial project, eltham community photographic survey, alistair knox park, artist, eltham town park, film - kodak ga 100 5095, scan - 35mm negative, series 35, wendy price

Publication accompanying the project, The f Word: Contemporary feminist art in Australia. Curated by Caroline Phillips, this project included multiple components: A Dinner Party: Setting the table; the Regional Feminist Art Forum, the Technopia Tours Feminist Art Bus, and two exhibitions.feminism, feminist art, melbourne, the dinner party, australia, judy chicago, west space, latrobe visual art institute, bendigo, gippsland art gallery, sale, victoria, ararat regional art gallery, ararat, technopia tours, kim donaldson, catherine bell, penny byrne, filomena coppola, kate just, jill orr, clare rae, elvis richardson, kate beynon, karen buczynski-lee, destiny deacon, laurene dietrich, eliza-jane gilchrist, janice gobey, georgia macguire, robyn massey, caroline phillips, louise saxton, inez de vega, lyndal walker, justine makdessi, the great petition, natalie thomas, laura castagnini, lyndal jones, vicki kinai, dot ket, virginia fraser, juliette peers, louise burchill, carolyn barnes, melbourne social equity institute, ebony gulliver, kalinda vary, kate robertson, stephanie alexander, kate macneill, victoria duckett, hana assafiri, victoria bennett, anne marsh, catherine deveny, danni zuvela, jon dale, marcia jane, catherine evans

A Program of public events held at the Bendigo Art Gallery. Monthly mini tours, Evening Viewings and Calligraphy Workshops. Light brown coloured paper - Top of the page has the words - A voice from the Golden City - BendigoBendigo Art Gallery

Beginning in Bendigo from humble origins to a captured market Post Office Gallery.An exhibition of a selection from the diverse industry which has emerged from Bendigo, 28 pages with colour & black and white photographs published by Bendigo Art Gallery.Bendigo Art Gallerybendigo, history, businesses, bendigo-history-businesses

Collection of thirty-nine postcards donated by Jillian Rigby which had been owned by her grandparents, George and Edith Weir, who from c.1917 lived at 84 Princess Street, Kew. The mostly 'mint' postcards were purchased in Victoria and while travelling overseas. The sole dated postcard is dated from 1929. The postcards are numbered sequentially from 2017.0058.01-39. The remainder of the collection donated by Jill Rigby which was once owned by the Weirs of Broken Hill and Kew consist of costumes, costume accessories, photographs, and documents.The postcards in the Weir collection, especially those purchased on a trip or trips to the mother country, i.e. United Kingdom, represent a representative sample of sites that were considered significant to those Australians undertaking a reverse grand tour by member of the erstwhile colonies. Those postcards which are early views of Melbourne must have been produced commercially for some decades from the early part of the 20th century.Souvenir Letter Card of Clovelly containing eight hand-coloured postcards, joined concertina-like, published and produced by J. Salmon, Art Publisher, Sevenoaks especially for G. S. Reilly, The Art Store, Clovelly. The letter card was probably purchased by George and Edith Weir on a trip to England and Scotland, circa 1928.SOUVENIR LETTER CARD OF CLOVELLY / PRODUCED AND PUBLISHED BY J SALMON, ART PUBLISHER, SEVENOAKS / SPECIALLY FOR G S REILLY, THE ART STORE, CLOVELLYpostcards, george and edith weir, postcards -- clovelly (uk), weir collection

Pedro J. Lemos was an educator and artist. He was also the editor of the School of Arts Magazine and Director of Stanford University Museum of Fine Arts. He was born in 1882 and died in 1954. This art portfolio contains ten periods of art history: Egyptian, Assyrian, Grecian, Roman, Byzantine, Romanesque, Saracenic, Gothic, Renaissance and Georgian. Some of the images are: The Temple of Luxor in Egypt, Temple of Zeus, the Arch of Titus, Gothic cathedral in Cologne, Assyrian furniture and weapons, Greek architectural decorations, Byzantine costumes, Renaissance weapons and household articles, plus much more. Blue, large, hard cover. Black tape edges and spine. Title is written in orange on front cover. Ribbon ties stitched to the edge of the cover used to close book by tying them together. Loose pages showing coloured and b/w illustrations of the ages of art. Includes fold-out text booklet with five pages. The book has a number of coloured prints of examples of art through the ages, including Egyptian, Assyrian, Grecian, Roman, Byzantine, Romanesque, Saracenic, Gothic, Renaissance and Georgian. Inside the front cover there is a plate titled "Ballarat Techincal Art School Library no. R/400". It is also stamped with the publisher's details. art, art ages, pedro j lemos, historic art, egyptian art, grecian art, roman art, byzantine art, romanesque art, saracenic art, gothic art, renaissance art, american colonial art, assyrian art, ancient costumes, ancient weapons, ancient instruments, ancient household articles, ancient furniture, ancient architectural, textile decorations