Brian Cleveland taught art to Swinburne students from the 1970s to 1990s and sketched and recorded iconic areas of the city that were scheduled to vanish or be seriously altered. The Port Melbourne drawings were predominantly done in the 1990sSeventy-two (72)) pencil drawings (some with watercolour washes) by Brian Cleveland. Sites include: Centenary Bridge (including demolition) ; ships ; Princes Pier ; Station Pier ; structures and cranes on piers ; cable tram sheds ; London Hotel ; foreshore views ; Beacons (leading lights) ; kiosks ; Missions to Seamen building: railway stations.built environment, built environment - civic, piers and wharves - princes pier, piers and wharves - station pier, engineering - bridges, brian cleveland, centenary bridge, missions to seamen

Document. Norman Penrose collection: heavier weight piece of paper with notes on drawing materials. Notes on pencil work, ink work, Gillott pens, watercolour work, useful articles and paper.person, bendigo, norman william penrose, norman penrose collection, drawing materials

Gift of Mack Jost, 1992ink and watercolour on paper

Gift of the Davidson family in memory of Jean Davidson, 2022ink and watercolour on paper

Watercolour painting, side view of a Greater Glider sitting on the branch of a eucalypt tree with white background Lower right, black pen, signature 'Paul Margocsy'

Each illustration is of a scene inside the Dennys Lascelles Building in the early days of its use as the National Wool Museum. The artists were members of the CEP Project.CEP P3oject/ Drawings and watercolours/ of/ Dennys Lascelleswool stores

Slovenian carnation is a topic for many drawing, ornaments, embroideries and songsOrnamento geometrico del garofani Gec M.slovenian carnation, marcela bole, geometric ornament, slovenian association melbourne

marcela bole, christmas eve, slovenian association melbourne, drawing

Watercolour and pastel on paperSigned and dated in bottom right corner of drawing

As a Principal of Stephenson and Turner, Ellison Harvie?s 1959 design for the proposed new club rooms of the Lyceum Club, Melbourne has an elegance typical of late 1950s modernism. Harvie attended Swinburne Technical College and then, from 1925 to 1928, the Melbourne University Architectural Atelier where she excelled, becoming the first woman to receive a diploma of architectural design from that institution. Harvie was an advocate for the professional development of women in architecture and was a mentor to younger women. She was President of the Lyceum Club from 1963 to 1965. The Club had been established in 1912 for women graduates and those who had distinguished themselves in public service. The watercolour perspective is held in the archive of Berenice Harris, whose last major project was a renovation and extension to the Lyceum Club in the 1980s.watercolour, paper

Floor plan and S.W perspective watercolour of proposed house for Mr. and Mrs. R. Hellier.ink, paper

Project: Stegbar Windowalls, Springvale drawn by Robin Boyd of Romberg and Boyd; two interior perspectives. In 1952-53, Robin Boyd designed the Stegbar ‘Windowall’ - a prefabricated, structural framing/glazing system - to create a wall of windows. These ‘Windowalls’ were used extensively in domestic architecture across Australia from the 1950s to the 1970s. Boyd also designed the factory and showrooms for Stegbar Limited. The Walsh Street Archive holds exterior and interior perspectives of the building. Interior perspectives, watercolour on board.windowall, robin boyd, stegbar, ohm2022, ohm2022_35

Project: Stegbar Windowalls, Springvale drawn by Robin Boyd of Romberg and Boyd; external perspective. In 1952-53, Robin Boyd designed the Stegbar ‘Windowall’ - a prefabricated, structural framing/glazing system - to create a wall of windows. These ‘Windowalls’ were used extensively in domestic architecture across Australia from the 1950s to the 1970s. Boyd also designed the factory and showrooms for Stegbar Limited. The Walsh Street Archive holds exterior and interior perspectives of the building. External perspective, watercolour on board.windowall, robin boyd, stegbar, ohm2022, ohm2022_35

Project: Tower Hill Lake Reserve Museum drawn by Robin Boyd of Grounds, Romberg & Boyd. Drawing no 1. Aerial perspective (same as item PL136 but watercolour and pastel)Sketch, Watercolour on dyeline

In 1961 Robin Boyd designed the Tower Hill Reserve Visitors Centre to fit naturally within the surrounding terrain. The building’s shape reflects a volcanic cone. The windows allow a 360-degree view of the park. The Centre opened just after Robin Boyd’s death in October 1971. Project: Tower Hill Lake Reserve Museum drawn by Robin Boyd of Grounds, Romberg & Boyd. Drawing no 2. General view and external perspective. Watercolour on dyeline. tower hill, robin boyd, ohm2022, ohm2022_15

In 1961 Robin Boyd designed the Tower Hill Reserve Visitors Centre to fit naturally within the surrounding terrain. The building’s shape reflects a volcanic cone. The windows allow a 360-degree view of the park. The Centre opened just after Robin Boyd’s death in October 1971.Project: Tower Hill Lake Reserve Museum drawn by Robin Boyd of Grounds, Romberg & Boyd. Drawing no 3. Watercolour on dyelinetower hill, robin boyd, ohm2022, ohm2022_15

Strong association with the artist Gordon Thurling and demonstrates in a pen and ink drawing the last tram in Sturt St at the time of the closure of the SEC system.Black and white drawing of tram 39, with destination "Sebastopol" with Ballarat Town Hall in background, which has been coloured with green, grey and yellow watercolours. Has words "The last tram Sturt St. Ballarat - 19th September 1971" with a thick brown border. Printed onto off white paper and mounted onto heavy cardboard. Artist - Gordon Thurling, BTV6 graphic artist at the time. Second copy from donation of ?? added 20-6-2017 - see image i2.and 8546 for a photocopy of a coloured version.trams, tramways, town hall, drawings, last day, closure

Artist - Gordon Thurling, BTV6 graphic artist at the time. Understood that he also worked for Myer in Ballarat, has since passed away. See item 6422 for another example.Strong association with the artist Gordon Thurling and demonstrates in a pen and ink drawing the last tram in Sturt St at the time of the closure of the SEC system.Coloured photocopy of a drawing by Gordon Thurling titled "The last tram Sturt Street Ballarat 19 September 1971". Originally a Black and white drawing of tram 39, with destination "Sebastopol" with Ballarat Town Hall in background, which has been coloured with green, grey and yellow watercolours.ballarat, trams, tramways, closure, drawings, last day, town hall, tram 39, gordon thurling

The owner of the 'Autograph' book was Mary Alys (Gipps) Kirkland, the daughter of Richard Brook Woodthorpe Gipps (c.1872-1946). The family had migrated from Great Britain to Coorparoo, Brisbane, where most of the items in the album were created. In June 1925, The [Brisbane] Telegraph reported the wedding of Richard Gipps to Mary Alys Kirkland at Elvaston, The Righi, South Yarra. The bride, like the groom, was originally from Queensland, but at the time of her marriage lived with her parents at 21 The Righi. The album passed to their daughter Rosemary Alison (Gipps) Vaughan-Smith, and thence by donation to the collection of the Kew Historical Society. While the signatures are interesting, they are not rare. Rather it is the illustrations that dazzle with the surety of their design and execution. In the portraits, one can recognise the debt that Edwardian art and design owed to the Pre-Raphaelites whose serene and poised idealisations of women are exemplified in the drawings, albeit simplified for a new 20th century sensibility. Typical, is a very early portrait from 1906 of Mary Alys Kirkland by a 20-year-old Garnet Agnew (1886-1951). Agnew later became an illustrator for The Brisbane Courier and The Queenslander Illustrated Weekly, creating cover illustrations for these publications between 1926 and 1930. Another pen and ink portrait of Mary Alys Kirkland was created in 1910 by Augusta Frances Isabel Hobday (1884-1961). Augusta, with her brother and sister, Percy Stanhope Hobday and Gladys Hobday, were artists and teachers. Each was involved for many years in the Queensland Art Society. While the album has historic, aesthetic and social significance to Brisbane’s history, as a document, its preoccupations have a wider Australian relevance and importance. Compiled between 1905 and 1922, the 'Autograph' book has considerable aesthetic coherence, even though drawings and text are by different hands. Together, it provides a vivid depiction of social life and values in Brisbane in the period preceding the First World War. Like other autograph albums of the period, it is a compilation of pen and ink sketches, watercolours, quotations, poems, aphorisms and signatures. Most entries are from Queensland, particularly Coorparoo in Brisbane; friends and acquaintances from other Australian States also contributed items. The autograph album predictably contains numerous mementoes of the notable and the forgotten. It includes the signatures of the British contralto Dame Clara Butt (1872-1936) her husband, the baritone R. H. Kennerley Rumford (1870-1957), and that of the Australian actress and singer Nellie Stewart (1858-1931). autograph albums, manuscripts - kew historical society, rosemary vaughan-smith, vaughan-smith collection, dame clara butt, garnet andrew, augusta frances isabel hobday, coorparoo - brisbane, nellie stewart, mary alys kirkland, mary alys gipps (nee kirkland)

The Pickwick Club of Kew was founded by local residents in 1897. In 1904 it produced its first publication - Pickwick Portfolio Vol.1 No.1 - for which the local artist and member Alice Marion Ellen Bale (1875-1955) designed this frontispiece. The frontispiece was printed in Volume 1/1 and adapted for Vol.1/2 in 1912. Each member of the Club adopted a pseudonym from a work by Charles Dickens. Alice Bale is recorded in the 1912 edition as using the name Mark Tapley, a character in Martin Chuzzlewit (Dickens, 1842). Gift of the Friends of the KHS Collection, 2022Frontispiece, created in watercolour and ink on artist's paper, for the first edition of the Pickwick Portfolio of 1904 by the Kew Pickwick Club. Signed lower left by Mark Tapley, the pseudonym within the Club of the artist A.M.E. Bale.Lower left in pencil "Mark Tapley" (pseudonym). Initials above to the right AMEB (Alice ME Bale)a m e bale, pickwick clubs, pickwick club of kew

The Victorian-era mansion Madford in Wellington Street had several incarnations before it was finally demolished. While the precise details of its original construction have not been discovered, we know that it was originally named Elm Lodge, and that the property was offered for sale in 1863 by Thomas Mitchell, of the firm Mitchell & Bonneau, wholesale ironmongers and merchants. The house was sold in about 1873 to William Siddeley (1827-1905), who was described on the occasion of his death as ‘the father of Australian shipping’. The next owner was Arthur Septimus King (1827- 99), who renamed the house Madford after his purchase of the property in 1875. It was A.S. King for whom this artwork was completed. Following King’s death in 1899, portions of the property were sold, including to the Borough of Kew in 1905, to form the Alexandra Gardens. Then, in 1920, the house and its remaining lands were sold to the Catholic Church who opened St Anthony’s Home for Children on the site in 1922. That building was promptly demolished, and the site redeveloped circa 1976.Gift of James Pearson, 2022This fine perspective drawing of the architectural elements of Madford [formerly Elm Lodge, later St Anthony's Home for Babies] is contrasted with the freer addition in watercolour of the layout and plants of the garden facing Wellington Street. The view selected is the south-facing main facade and the west facing side. After A.S. King purchased the house in 1875, it was extended with new wings at the rear to accommodate his large family. There is no indication of these extensions in the painting so its creation must predate the renovations, and probably depicts the original building on the site."MADFORD / The Property of A. S. KING Esq"elm lodge, madford, st anthony's home for babies, houses -- wellington street -- kew (vic.), thomas mitchell, william siddeley, arthur septimus king

Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Preliminary sketch of 'Roberts House' [Trinity Grammar School] by the artist Joy Stewart. Inscription: "Roberts House". Another ink drawing by the artist of Roberts House is 1980.0037. A finished watercolour is 1980.0018. Signed by the artist: "JStewart".roberts house (trinity grammar school), joy stewart

Wes WALTERS (06 August 1928 - 19 August 2014) Born Mildura, Victoria From 1940 t0 1945 Wes Walters attended the Ballarat High School. He then studied architecture at the Gordon Institute in Geelong, followed by art at the Ballarat School of Mines (a division of the Ballarat School of Mines). During his time at the Ballarat Technical Art School (later Federation University Australia) Walters studied under Neville Bunning and Taylor Kelloch, and was awarded the Ballarat Ladies Art Association Scholarship in 1948. He next moved to Melbourne to work as a commercial artist with the George Patterson advertising agency. Each evening Walters studied life drawing at the Victoria Artists’ Society and taught himself anatomy. Wes Walters excelled in both abstract and realist art. He won the Art Gallery of Ballarat’s Minnie Crouch Prize for watercolour art in 1953 and 1956. He won the prestigious Archibald Prize in 1879 for his portrait of Phillip Adams. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed abstract pastel artwork by Wes Walters.wes walters, abstract, pastel, alumni, alumni

Wes WALTERS (06 August 1928 - 19 August 2014) Born Mildura, Victoria From 1940 t0 1945 Wes Walters attended the Ballarat High School. He then studied architecture at the Gordon Institute in Geelong, followed by art at the Ballarat School of Mines (a division of the Ballarat School of Mines). During his time at the Ballarat Technical Art School (later Federation University Australia) Walters studied under Neville Bunning and Taylor Kelloch, and was awarded the Ballarat Ladies Art Association Scholarship in 1948. He next moved to Melbourne to work as a commercial artist with the George Patterson advertising agency. Each evening Walters studied life drawing at the Victoria Artists’ Society and taught himself anatomy. Wes Walters excelled in both abstract and realist art. He won the Art Gallery of Ballarat’s Minnie Crouch Prize for watercolour art in 1953 and 1956. He won the prestigious Archibald Prize in 1879 for his portrait of Phillip Adams. 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 abstract artwork which involves the use of airbrush and torn paper.wes walters, abstract, available

Wes WALTERS (06 August 1928 - 19 August 2014) Born Mildura, Victoria From 1940 t0 1945 Wes Walters attended the Ballarat High School. He then studied architecture at the Gordon Institute in Geelong, followed by art at the Ballarat School of Mines (a division of the Ballarat School of Mines). During his time at the Ballarat Technical Art School (later Federation University Australia) Walters studied under Neville Bunning and Taylor Kelloch, and was awarded the Ballarat Ladies Art Association Scholarship in 1948. He next moved to Melbourne to work as a commercial artist with the George Patterson advertising agency. Each evening Walters studied life drawing at the Victoria Artists’ Society and taught himself anatomy. Wes Walters excelled in both abstract and realist art. He won the Art Gallery of Ballarat’s Minnie Crouch Prize for watercolour art in 1953 and 1956. He won the prestigious Archibald Prize in 1879 for his portrait of Phillip Adams. 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 water colour showing boats along a pier.wes walters, watercolour, boats, vessels, sailing, available, alumni, ballarat technical art school