This is the site of the first roadside art gallery - Hassall's Roadside Gallery created by the artist son of an artist. Ian Hassall was the son of John Hassall who was among and may have been the first of the British poster artists. The gallery opened Saturday July 14, 1962 at 1215 Main road, Eltham by the director of the National Gallery of Victoria, Eric Westbrook. Situated on the left hand side of the main road, about a mile and a half beyond Eltham, towards Research, near Coleman's Corner at the intersection of Wattletree Road. The property has remnants of a stone quarry, probably for the purpose of gaining stone for local road making. Paintings were hung on screens and removed at night for safety. Large pedestals displayed sculpture and jewellery. All types of hand made art work was displayed. Access to the exhibition and grounds was slightly lower than the level of the road. They were encircled by a narrow little moat formed by a small tributary of the Diamond Creek accessed by a small well built stone bridge built by Ian Hassall with local stone. The Gallery later became known as Hassall's Gallery Bazaar antiques, furniture, curios bought and sold. It operated through to the early 1990s. The property has been derelict and neglected for some years. At one stage a shipping container sat near the entrance. This series of ten photographs illustrate the extent of the vegetation which has taken over the land, evidence of rubbish and a possible fire. In July 2017, planning permission was sought from the Shire of Nillumbik for buildings and works to construct a dwelling and associated vegetation removal. (source planningalerts.org.au)Born Digitaleltham, main road, hassall's gallery bazaar

This is the site of the first roadside art gallery - Hassall's Roadside Gallery created by the artist son of an artist. Ian Hassall was the son of John Hassall who was among and may have been the first of the British poster artists. The gallery opened Saturday July 14, 1962 at 1215 Main road, Eltham by the director of the National Gallery of Victoria, Eric Westbrook. Situated on the left hand side of the main road, about a mile and a half beyond Eltham, towards Research, near Coleman's Corner at the intersection of Wattletree Road. The property has remnants of a stone quarry, probably for the purpose of gaining stone for local road making. Paintings were hung on screens and removed at night for safety. Large pedestals displayed sculpture and jewellery. All types of hand made art work was displayed. Access to the exhibition and grounds was slightly lower than the level of the road. They were encircled by a narrow little moat formed by a small tributary of the Diamond Creek accessed by a small well built stone bridge built by Ian Hassall with local stone. The Gallery later became known as Hassall's Gallery Bazaar antiques, furniture, curios bought and sold. It operated through to the early 1990s. The property has been derelict and neglected for some years. At one stage a shipping container sat near the entrance. This series of ten photographs illustrate the extent of the vegetation which has taken over the land, evidence of rubbish and a possible fire. In July 2017, planning permission was sought from the Shire of Nillumbik for buildings and works to construct a dwelling and associated vegetation removal. (source planningalerts.org.au)Born Digitaleltham, main road, hassall's gallery bazaar

Coach with flaps takes aboard passengers. It travelled between Kinglake and Hurstbridge. The vehicle has advertising on the side indicating: W. BODY. HURSTBRIDGE bread and pastry. The Advertiser on 15 Sep 1922 has a display advertisement on page 2 indicating that Hurstbridge bakery 'W. Body wishes to notify the Public of Hurstbridge and surrounding district that he has purchased Mr Oliver's business'. The Advertiser, Friday 10 November 1922, page 2: Mr J. D. Chalmers, who runs the motor service from Hurstbridge to Kinglake, has just had a large, body built on a two-ton motor, which will be serviceable for either 25 passengers or general goods. The work was entrusted to Mr. D.G. Graham, motor and coach builder, Hurstbridge, who completed it within a month, the finish, painting, etc.. being quite up to the standard of a city shop. The mail coach operated the route between Kinglake and Hurstbridge motor route, on which Mr. Sharpe had pioneered and run a motor mail route with a bus which carried 20 passengers, for many years but Sharpe's license for his motor bus was refused by the Country Roads Board mid 1930 as his bus was considered too large . In February 1935, Mr Sharpe was granted a license to carry passengers between Hurstbridge and Kinglake and Mr Kell between Kinglake and Hurstbridge. In 1936 the mail contract from Heidelberg to Knglake was via car and members of the community were concerned that there was no further any conveyance of passengers from Hurstbridge to Kinglake.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Neg 9 x 12.5 cm B&W printsepp, shire of eltham pioneers photograph collection, kinglake, mail coach, w. body, public transport, bus, bus travel, hurstbridge, pioneers and painters

The teaspoon is a European invention. Small spoons were common in Europe since at least the 13th century; the special spoons were introduced almost simultaneously with tea and coffee. (Pettigrew points to its use in the mid-17th century.) Originally the teaspoons were exotic items, precious and small, resembling the demitasse spoons of later times. Also used for coffee, these spoons were usually made of gilt silver, and were available with a variety of handle shapes: plain, twisted, or decorated with knobs, also known as knops, hence the knop-top name for such spoons. Widespread use and the modern size dates back to the Georgian era. The teaspoon is first mentioned in an advertisement in a 1686 edition of the London Gazette. Teaspoons, probably of English origin, are present in the 1700 Dutch painting by Nicholas Verkolje, "A Tea Party". An 1825 cartoon makes fun of a Frenchman unfamiliar with the British etiquette. The guest did not place his spoon into the cup and is thus being offered his thirteenth cup of tea! A special dish for resting the teaspoons, a "spoon boat", was a part of the tea set in the 18th century. At that time, the spoons played an important role in tea drinking etiquette: a spoon laid "across" the teacup indicated that the guest did not need any more tea, otherwise, the hostess was obligated to offer a fresh cup of tea, and it was considered impolite to refuse the offering. Pettigrew reports that sometimes the spoons were numbered to make it easier to match the cups with the guests after a refill. https://en.wikipedia.org/wiki/Teaspoon#:~:text=Teaspoon%20is%20a%20European%20invention,the%20mid%2D17th%20century).A history of the teaspoon.Metal teaspoon, badly corrodedNoneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Opera Glasses came into existence as a result of a long line of inventions, and further improvements upon those inventions. The process started in the year 1608 when a Dutch optician by the name of Hans Lipperhey developed the first pair of binoculars with a magnification capability of X3. Less than a year later, a well-known inventor and philosopher by the name of Galileo developed what became known as the Galilean telescope. Advertisements were first found for opera glasses and theatre binoculars in London as early as 1730 in the form of a long collapsible telescope. The "Opera Glass" as it was referred to; was often covered in enamel, gems, ivory, or other art and paintings. For almost 100 years opera glasses existed merely as telescopes. In Vienna, in 1823 the first binocular opera glasses and theatre binoculars began to appear. They were two simple Galilean telescopes with a bridge in the centre, each telescope focused independently from the other by extending or shortening the telescope until the desired focus was achieved, which was useful, yet very cumbersome. Two years later in Paris, Pierre Lemiere improved on this design and created a centre focus wheel. This allowed the focusing of both telescopes together. After this development, opera glasses and theatre binoculars grew in popularity because of the superior view they facilitated in opera and theatre houses. The beautiful design of the glasses themselves also added appeal to the opera-going crowd. By the 1850's opera glasses and theatre, glasses had become a must-have fashion accessory for all opera and theatregoers. A vintage pair of 1920s opera glasses probably made in France by an unknown maker the item is significant due to it's provenance that can be traced and it's completeness as a useful social item and fashion accessory used by theatergoers from the mid 19th century and well into the 20th century. Some people still use modern variants of theater glasses today to improve their enjoyment of the theater.Both glasses and case are covered with black and white snake skin. Case lined with purple velvet, and has brass closure clip.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, flagstaff hill maritime village, great ocean road, opera glasses, serpentine opera glasses, binoculars, accessories, optical instrument, scientific instrument, theater glasses, french opera glasses, hans lipperhey

Neville Mirvane Bunning was born in Rockhampton, Queensland in 1902. He was home taught until 1916 and then was a boarder at Geelong Grammar School, Victoria until 1921. He then returned to Queensland and worked on the family property. During this time he built ceramic kilns and taught himself the required skills for ceramiic production. During the Depression he went to Sydney and set up an artist's studio. In 1934 he went to England and studied, wrote and did commission work. Achieving local success and had work acquired by the Victoria and Albert Museum. Neville returned to Australia and became a lecturer at East Sydney Technical School until the outbreak of the Second World War. He joined the RAAF. After the War he joined the staff of the Art School of the Ballarat School of Mines and Industries until his retirement in 1964. Neville Bunning formed the Ballarat Artist's Society, a group which sponsored art and invite guests to speak to students and the public of Ballarat. He wrote a weekly column in "The Courier", the local newspaper where he encouraged people to be more aware of the trends in art. His works were included in the 1988 Australian Bicentennial Exhibition. His sympathetic understanding of Aboriginal culture is recorded in a letter written in 1937 to the Victoria and Albert Museum. Neville Bunning continued painting during his retirement. His last major exhibition was held at the Golden Age Gallery in Ballarat in 1983. The sketch books cover a range of topics using pen, ink and watercolour.28 A3 sketch books, spiral boundneville bunning, queensland, geelong grammar school, ceramics, kilns, depression, sydney, england, commission work, victoria and albert museum, east sydney technical school, art school, ballarat school of mines and industries, ballarat artist's society, second world war, raaf, australian bicentennial exhibition, golden age gallery ballarat, painting

Queen Victoria’s appreciation of German artist Franz Xaver Winterhalter (1805-1873) began after she saw portraits by him of other European monarchs. Accordingly, between 1842 and 1861 he made fifteen visits to England and painted over 100 portraits of Her Majesty, the royal family and other friends and dignitaries. In 1843 Winterhalter was commissioned to paint matching portraits of Queen Victoria and Albert, the Prince Consort. These originals hang in the Garter Throne Room at Windsor Castle and are part of the UK Royal Collection. Many legitimate copies of Winterhalter’s portrait were produced and presented to the Parliaments of the British Empire, including the Parliament of Victoria. Such copies are referred to as “After F. X. Winterhalter” and artists responsible include William Corden and John Prescott Knight. When creating copies, artists were not restricted by the size of the original portrait. Walterhalter’s original is 2.7m x 1.7m whereas copies can reach an impressive 4.5 metres in height. The portrait that hangs in Queens Hall at the Parliament of Victoria is not signed. Comparison with other copies of the work suggest that the Parliament’s painting may have been completed by William Corden. The Government Art Collection (United Kingdom), has a Queen Victoria copy in their collection and Parliament’s portrait has similar traits. A copy by John Prescott Knight which hangs in the Legislative Council in the Parliament of Tasmania is quite different, particularly with reference to the shape of the young Queen’s face, which is rounder in the Corden portraits.This portrait of Queen Victoria was presented as a gift by the British Government to the Parliament of Victoria in April 1860. Painted on fine linen supplied under Royal Warrant by the workshop Winsor and Newton, London, the frame has been embellished with elaborate wooden carvings. Framed portrait, oil on linen, of Queen Victoria. Victoria is posed in front of a curtain partially obscuring a building (possibly Buckingham Palace) in the background. Timber frame with a layer of gesso and decorative composition ornaments. There are rose, scotch thistle, clover leaf and Acanthus ornaments. A carved wood and composition element crown, resting on a tassled pillow sits on top of the frame.Canvas unsigned. Verso printed: ‘WINSOR AND NEWTON / Rathbone Place, London’. Embossed stamp into stretcher wood, stamped ‘Winsor and Newton’ in black ink.victoria queen of great britain, 1819-1901, winterhalter, franz xaver, 1805-1873, corden, william, queens hall, parliament of victoria

The Herald on 10 August described the Festival offerings as: "Varied 10-Day Programme For Kew Arts Festival Opened last night, the Kew Arts Festival in the Recreation Hall, Wellington Street, provides an interesting and varied programme for the next 10 days. Today at 8.15 p.m. Mr George Bell and Mr Colin Badger will have a public discussion on "What Is Modern Art?" The Vice-chancellor of the Melbourne University of Melbourne (Mr JDG Medley) will preside. Tomorrow at 10.30 a.m. Junior students of the Methodist Ladies College, directed by Dorothy Dwyer. will show how they learn to speak and move on the stage, and will present three short plays. Tomorrow night Elise Steele and Violet Ewart (violin and piano) Beryl Batten (songs) and Edith Parnell (accompanist) will give a concert. Paintings and other works of art will be on show from 2.30 to 5.30 p.m. on Sunday. On Monday night. Mr Colin Badger will speak on "Dead Wood and Green Shoot: Australian Literature Today" and on Tuesday night there will be "Ballet in Story and Action"— the story told by Norman Macgeorge, with Joan Burnett as ballerina and Fred Manners-Sutton at the piano. Wednesday night will have an illustrated lecture "Contemporary Art Education." by John Bechervaise. Remaining nights will be taken up with a performance of Somerset Maugham's "The Circle" presented by the Little Theatre, a youth concert, and another concert with songs and piano. On Saturday morning, August 18, there will be a special concert for young people. The festival will end on Sunday week with a chamber music programme in the afternoon."Important local arts festival initiated during the Second World War and continuing till the early 1950s. The souvenir programmes produced for successive festivals are historically and artistically significant records of visual and performing arts practice in Melbourne during this period.11 page souvenir program for the Kew Arts Festival, held in the Recreation Hall, Wellington Street, Kew from the 9th to the 19th August 1945. The content of the program can be viewed through the image carousel.kew arts festival - 1945, visual arts - kew (vic), performing arts - kew (vic)

George JOHNSON (18 August 1926- ) Born Nelson, New Zealand Arrived Australia 1953 George Johnson's formalised abstractions usually feature a pattern of small related geometrical shapes which give life, luminosity and fluidity to forms which might be mechanical and lifeless. Later his forms become become much larger and more architonic. The work of George Johnson debuted at the Herald Outdoor Art Show in 1953. The George Johnson Mural was commissioned by the Ballarat Teachers' College Students' Representative Council in 1965. It was purchased with funds raised by staff and students. At the unveiling of this work at the Ballarat Teachers' College Johnson's work was described at belonging to the "Hard Edged" school of abstract painters who had set themselves far above the mass of abstract painters by the vitality and artistic ability displayed in their work. Of the work John JOhnson said "We are all part of life and are growing and developing in many different ways, the process of development is often taking place without us even being aware of it. In my painting the embryo shapes appear and grow. I have tried to make the mural symbolic of life and growth. I do not thank that anything has been left to chance in the mural. Everything is working, and, I feel, working well. It has balance and harmony - and perhaps discord, as does life - one malfunction or imbalance throws everything out." 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.A painted mural in three panels, including hession collage. art, artwork, george johnson, johnson, ballarat teachers' college art collection, mural, hard edged

Nornie GUDE (1915-2002) Eleanor Constance (Nornie) Gude was the daughter of Walter Gude, a leading musician, and highly regarded teacher. She grew up in Ballarat and was educated at Loreto College. From 1931 to 1936 Nornie Gude attended the Ballarat Technical Art School, a division of the Ballarat School of Mines. She was accepted into the School at the age of 15 because she was so advanced in painting. Nornie Gude studied at Ballarat for five years before progressing to Melbourne’s National Gallery of Victoria School. In 1936 Nornie Gude was studying at the Ballarat Technical Art School, and the National Gallery Drawing School in Melbourne. She won many art competitions, including first prize at the 1936 Melbourne Royal Agricultural Show for still life drawing, and in 1941 became the first woman to win the National Gallery Students Travelling Scholarship. In the 1936 Ballarat School of Mines Annual Report it was stated: "It is my pleasure to report a most successful year in the Technical Art School. I the Annual Poster Competition for Technical Schools, organised by Wiltshires Pty Limited, 16 prized valued at 33 pounds 8 shillings - out of 23 prizes valued at 56 pounds - were won by our students. As an artist Nornie Gude held no theories and was once heard to say, “You spend your first 20 years learning technique and the next 20 years losing it”. 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.commercial artA large, original goauche poster produced for one of the regular poster competitions held during the 1930s (the exhibition stickers are still evident on the lower left hand side). It depicts a scene in the Ballarat Botanical Gardens. Written verso "Nornie Gude Technical Art School Ballarat" Exhibition Sticker "Exhibit NO 8545 Class No 1736art, artwork, gude, nornie gude, eleanor constance gude, ballarat, ballarat botanical gardens, statue, ballarat technical art school, alumni

Ronald EDWARDS PEPPER Gunai Ronald Edwards Pepper is the grandson of Dulcie (Dolly) Mullet and Watson Pepper, Ronald’s family moved to Morwell in the 1960s from Lake Tyers Mission. He graduated from Federation University with a Bachelor of Visual and Media Arts in 2017, and has completed several commissions and participated in numerous exhibitions, in Australia and overseas. Artist Ronald Edwards-Pepper is keen to express himself through painting and telling stories of his Gunai/Kurnai ancestors. "My nanna and her stories have been part of my life, and who I have become today, and this influences my artworks. My grand-parents are Dolly Mullet & Watson Pepper. They came from Lake Tyers Mission and moved to Morwell in the 1960s with their mob of kids. Now this is the family home." EDUCATION: 2013-2017 - Bachelor of Visual & Media Arts/Federation University. 2010 - Trainee Mentor in Education (Latrobe Regional Gallery, Morwell) 2008 - Certificate III in Aboriginal Torres Strait Islander in Languages 2007 - Traineeships, Young Ambassador at the Latrobe Regional Gallery, Morwell 2006 - Completed & Graduated - Awarded 'Student of the Year’ 2005 - Certificate IV ATSI Cultural Arts, TAFE Mid-valley Campus Gippsland 2003 - Certificate 4 in Aboriginal and Torres Strait lslander Art & Design, TAFE Mid-valley Campus, Gippsland 2002 - Certificate 3 in Aboriginal and Torres Strait Islander Art & Design, TAFE Mid-valley Campus, Gippsland AboriginalSigned verso "R.Edwards"ronald edwards, aboriginal, gunai kurnai

Donald Mackintosh – notes from eeb notebook with re binding 1900 Games Shooting Donald Mackintosh Universal Paris Exposition pigeon shooting events won the Prix (Grand) de l’Exposition The grande Prix Centenaire 3rd de Paris tied ??? the Grand Prix Monte Carlo twice The London Gun Club Challenge Cup (3 times in a row) The Melbourne Gun Club Challenge (3 times in a row) The Gran Prize of Italy The Grand Prize Aix les Bains The Belgian Championship The Madrid Grand Prize as a result was declared the Champion of the World recorded Sydney Morning Herald and Australasian. Items of importance from Martha Myers/ Marjorie collection. Donald bought a freestanding gramophone to encourage Marjorie in her music studies to be able to listen to the great artists and composers and performers of the time He also bought an oil and watercolour paintings of the same scene at the Mitta Mitta river. The artist was Margery McCann sister of the well known artist (his work is in the State Library Gallery) Photograph of Donald and his friend Jock Lauder. Sheet music Francis and Day 4th Album if Harry Lauder’s Popular Songs. Roamin’ in the Gloamin Allans & Co. Christmas and New Year card signed From D & M Macintosh 1933- Melton Village of Stars – includes Marjorie Myers, twice winner of South Street Competitions, pianoforte Ballarat. May Ferris, Gold Medal for highest marks for L.L.C.M. Exam London College of Music in the Commonwealth. Telegram sent to Mrs Myers from McIntoshlocal identities

William FRATER (1890-1974) Born 31 January 1890 at Ochiltree Castle, near Linlithgow, Scotland Arrived Melbourne, Australia in September 1910 In a lecture on modern art in 1925, Frater stated the basic position from which the rest of his oeuvre stems: 'Copying nature is not an art; … to copy effects of light tends to destroy form and colour'. Frater gave aggressive leadership to the small group of modernists in the 1920s. His example, teaching, lecturing and crusty style of polemic did much to disrupt the academic style as the arbiter of pictorial values and to pioneer a change of taste in the community.His approach in the 1930s was markedly indebted to Cézanne, especially in the portraits which predominated until his retirement from stained-glass designing in 1940. (L. J. Course, 'Frater, William (1890–1974)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/frater-william-6239/text10739, published first in hard copy 1981, accessed online 3 May 2016.) Jock Frater was on of the first modern painters who opposed the fashionable and academic schools of painting. During the 1930s he exhibited with the Contemporary Art Group along with Arnold Shore and George Bell. During a very conservative period in Australian Art John Frater advanced the cause of innovation and modernism. 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 seated nude study in oil on paper. Lower centre in pencil "W. Frater". In lighter pencil "painted 1932"art, artwork, frater, william frater, life drawing, nude, oil on paper, portrait, jock frater, william jock frater, available

MEDIUM: Acrylic on canvas. DESCRIPTION: Blue and black, no external frame. A figurative nude, the close up takes most of the canvas. It sits on a dark background in undefined surroundings. The blue woman sits flat as many of Matisse’s works do, favouring this style over the illusionistic depth to achieve his aim, here we see this replicated. Matisse is also noted for his use of colour as a means of expression rather than description. Here we have a woman painted all in blue, with this knowledge we could say the artist has painted his subject as someone who has been captured in a very relaxed, very calm version of herself, an ocean onto herself, mysterious and captivating in this moment. Her arm slung confidently above and around her head, her view directly facing the viewer provocatively. The only other colour on her other than the thick black lines which outline and shadow her contours, is the circular red of her earring -mirroring the generous sweeping curves of the work. The presence of visible brushstrokes produces a sense of movement and energy as well as providing a decorative quality to the painting.Signed and dated on bottom proper left of center of image (on reverse of canvas).acrylic, darvall, matisse

Destination roll - white lettering on black background for the St Kilda - Brighton tramway, operated by the Victorian Railways until November 1956. Letters are 125 high, with painted black linen (glossy black), leaving the letters white, but with edge to give a shadow effect - see images. Roll quite stiff when rolled out. Roll 790 wide, with a top section (no destinations) 225 long, the destination roll section, 995 long and a bottom 240 long. Destinations in order are: ST KILDA RLY; DICKENS ST; VAUTIER ST; ELWOOD DEPOT; MID BRIGHTON; BRIGHTON BCH. Rolled in direction with destinations on the outside of the roll. Image information: btm1745i1 - photo of roll showing front of destinations btm 1745i2 - close up of part of St Kilda, when held up to light - no flash btm 1745i3 - close up of part of St. Kilda from rear or primary painted side btm 1745i4 - close up of part of St. Kilda from front showing painting method. See Destination City - 5th edition Not to be used in a tramcar destination box - original to be kept in archives.tram, trams, vr trams, destination roll, st kilda - brighton

One of a few service vehicles built from almost new by the MMTB rather than being a converted vehicle. Donated to the BTM in 1999 and has been an operational tram 2001.Single truck (4 wheels), special purpose tram fitted with two cabs, control equipment, air brakes, track scrubber or cleaning equipment, pump, water and air lines to clean track. Carries approx. 4 cubic metres of water. The tram was built by the Melbourne and Metropolitan Tramways Board in 1934 using the cabs from a C class tram (No. 32). It was transported to the isolated Footscray system a number of times to clean the rails there. In 1961 it received additional body bracing and repainted in the diagonal black and string (light cream) stripes. The tram became 8W during 1975 as the then new Z class trams came into service. By the early 1990's the need for the tram and the other similar cars used to "scrub" the surface of the rails was no longer. The tram was stored at Malvern depot for many years before being donated to the Ballarat Tramway Museum by the Public Transport Commission in September 1999. It has been scrubbing the rails in Ballarat since March 2001. For a detailed article see April 2008 issue of Fares Please. Photo Warren Doubleday 20/9/2008 after painting completed See Destination CityMMTBtrams, scrubber tram

Famous Swiss landcape painter Louis Buvelot came to Melbourne in 1864 and set up a portrait photography studio which he operated for one year only in 1865. This photograph is believed to be the oldest photo in the Shillinglaw Family Album collection. It is believed that the subject is a young Phillip Shillinglaw, without beard, at age 22 or 23. Phillip Shillinglaw was born Melbourne, August 7, 1842. He married Sarah Ann Kidd in Heidelberg, Victoria, February 28, 1872. In 1881 Phillip and Sarah and their small family moved to Eltham and made home in what was later to become known as Shillinglaw Cottage but which Phillip named 'Wattle Brae'. Shillinglaw Cottage is significant to Eltham’s local history. It is one of the earliest known buildings still in existence. Records suggest that the cottage was built circa 1859 by a man named Cochrane, believed to be Thomas Cochrane, in conjunction with George Stebbings though it is not known what Stebbings’s contribution was. It is believed Stebbings owned the cottage between 1874 and 1888. According to Margaret Ball’s (2017) book Shillinglaw Family of Eltham 1660-2007, Thomas Cochrane and family lived there from 1867 to 1874 however this is contrary to the records of assessable rates levied by the Eltham District Road Board, established in 1858, which shows Cochrane was the owner occupier (in Little Eltham) of approximately 25 acres of cultivated land and 25 acres of pastureland upon which a hut was sited in 1860. It is suspected that George Stebbings may have acquired the property from Cochrane in 1874 as it is noted that he had a tenant for a period, James Rossiter, who was the editor for the Evelyn Observer in Kangaroo Ground in 1874 (LATE SHIRE OFFICE AT KANGAROO GROUND (1934, February 16). Advertiser (Hurstbridge, Vic. : 1922 - 1939), p. 5. Retrieved February 25, 2022, from http://nla.gov.au/nla.news-article56743657). In 1881 Phillip Shillinglaw became the ratepayer for the cottage though Stebbings retained ownership until 1888 at which time it was transferred to Shillinglaw. Photographer: Louis Buvelot Swiss landscape painter and portrait photographer, settled in Melbourne in 1864, admired by the artists from the Heidelberg area such as Tom Roberts and Arthur Streeton who bestowed him with the accolade of 'Father of Australian painting’. In the 1870s, his work increasingly drew elements from Australian landscape such as the bush land in works like Lilydale (1878) and Bush Track. "Louis Buvelot :: biography at :: at Design and Art Australia Online." Daao https://www.daao.org.au/bio/louis-buvelot/biography/. Accessed 9 Mar. 2023. On arriving in Melbourne in February 1865 Buvelot bought a photographer's studio at 92 Bourke Street East and took portraits for a year. In 1866 he moved to 88 La Trobe Street East and resumed his painting while Caroline-Julie gave French lessons to help Buvelot to establish himself as an artist in Melbourne. "Biography - Abram-Louis Buvelot." Australian Dictionary of Biography https://adb.anu.edu.au/biography/buvelot-abramlouis-3132. Accessed 2 Dec. 2022. CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, shillinglaw family photo album 1, 1865, l. buvelot photographer, louis buvelot, phillip shillinglaw (1842-1914), unknown

This letter is a photographed copy of a typed transcript of an original. It is dated 28 March 1962 and was written by Ian F. Sloane Esq. of Savernake Station, NSW. Sloane’s great uncle, Hugh Gibson, was the owner of Glenample Station, Vic., where Eva Carmichael stayed to recuperate from her ordeal as the only female survivor of the LOCH ARD shipwreck in 1878. The letter is in reply to an earlier inquiry for information about the LOCH ARD tragedy from Alasdair Loch, 10 Beaconsfield Parade, Lindfield NSW. Most of the letter consists of tantalising asides: about trips to Glenample in 1916 and 1917 and the digging up of an old piano at Loch Ard Gorge; the possession of his uncle’s personal account of the shipwreck and its aftermath; the existence of a painting of Eva when she was staying at the Glenample homestead in 1878; and the disputed ownership of “a very old black iron box” containing letters from relatives of the shipwreck victims (who Hugh Gibson had written to advising of their unhappy fate). Unfortunately the letter, written in haste prior to Sloane’s departure overseas, contains no substantive information. However it concludes with an interesting footnote concerning Eva’s emotional recovery at Glenample. Sloane’s postscript states: “Miss Carmichael was very well after the wreck, full of fun and laughter, until she suddenly cracked, and had a nervous breakdown…Mrs Gibson…got a young girl, the same age as Eva, as her companion[…She] proved trumps and saved Eva’s mind. They became lifelong friends. Both wrote to my aunt till they died. Miss Carmichael stayed about 6 months at Glenample I think.” The shipwreck of the LOCH ARD is of State significance ― Victorian Heritage Number S417A photographic copy of a typed letter-transcript. The original letter was written to Alasdair Loch, Lindfield NSW, and is from Ian F. Sloane Esq. of Savernake Station NSW. It is dated 28 March 1962 and is two pages long.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, letter, alasdair loch, ian f sloane, sloane, loch ard, hugh gibson, eva carmichael, glenample station, tom pearce, glenample homestead

The Salamandra is a Polish glider designed by Waclaw Czerwinski at the Military Glider Workshops in Krakow in 1936. This glider, designated “W.W.S.1”, was produced in substantial numbers prior to the second world war and used in Poland and some other eastern European countries for training pilots. Only one example survived the war, hidden away in the village of Goleszow in Silesia. In addition, no technical drawings could be found, so when the glider was discovered, the Gliding Institute being keen to re-establish gliding in Poland, used the glider to draw up new plans for construction. Five were built for the Institute in 1947 before production was resumed of the “Salamandra 48” at the SZD Jezow Workshops. Improvement were made by adding airbrakes and structural changes for the “Salamandra 49” and a windscreen and larger tailplane were changes adopted for the “Salamandra 53”. An export version designated “53A” was sold to and built under licence in China. Production of the Salamandra ceased in the early 1960s. Total production may have been in excess of 500. The glider was well regarded as a light weight trainer capable of soaring performance. The Museum’s replica was built by Ray Ash and may be may be classified as a “Salamandra 53”. However, he has added something of his own to the design by replacing the cable runs in the wings with control rods. The glider is substantially complete. The wings and tail / rudder surfaces have been covered with poly-fibre fabric. The fuselage woodwork is sealed with varnish. In addition to the finishing work (including painting) and rigging of the main components, the linkages for Ray’s control rod modification may need further engineering to make them operational. The Ray Ash Salamandra is the first of the type to appear in Australia. The Salamandra did not play any role in the development of gliding in Australia in the early years. However, it is an important exhibit in that it shows in tangible form a nacelle fuselage training glider in configuration and construction detail. As such it revisits the pioneering era of the 1930s and 1940s in Australia when wood, wire and fabric were the rule and the nacelle primary glider was generally the first step up for pilots who had mastered the basics in an open primary.Nacelled solo training glider of traditional wood and fabric construction. Construction incomplete.Noneaustralian gliding, sailplane, glider, salamandra, czerwinshi, poland, ash

Williams' use of the dog and poem was inspired by a print by the late Barbara Hanrahan (an artist friend) in which a women was holding a cat accompanied by a dog and in which words from a William Blake poem were included / After her mother died Williams made a work of her mother with the dog, holding the cat and using the same words in the Hanrahan print / The dog is a family pet; Dolcie, that Williams fell in love with / The dog as a symbol has been used in fifteenth and sixteenth century painting to represent fidelity in marriage / The use of the dog is also a contradiction to the themes in this work by Williams / Williams found that many of her women friends were having emotional and romantic difficulties, suffering from the same malady again and again, feeling rejected, destroyed and having unfulfilled desires / The female figure standing on her hands is not seeing things realistically / The figure is head over heels, vulnerable, with her skirt around her head revealing more than normal / The text enhances the meaning of the work and draws the viewer into experiencing the foolishness of love, demanding the viewer travel around and around to read it / Overall the dog provides structure to the work and a reliable object on which all else balances / Balance has been one of the recurring or repetitive themes within William's work / It references the physicality of clay, the difficulties in creating balance with the clay and balance in the work / Williams' work is about form rather than colour / Sometimes she uses a coloured clay like a pale terracotta / Williams likes the flatness of the surface in relationship to the marks of the text / She describes herself as a Minimalist, paring down the form to the bare essentials. 'In Love' was a finalist in the 1997 Nillumbik Art Award held at the Eltham Community and Reception Centre, Pitt Street, Eltham. A ceramic sculpture made of white stoneware clay (coated with a wash of gesso) of a girl doing a hand stand on the back of a dog (retriever?) / Her face/head is partially covered by her skirt which has come down / Her skirt is inscribed in the round with the poem "The Lady's First Song" (1938) by W.B. Yeats (see inscriptions and markings) / The dog is looking straight ahead and upwards towards the sky and his tail is pointing straight out. The dog is covered with cross-hatch incised lines to give the illusion of fur and texture / Hand written inscription of W.B. Yeats poem "The Lady's First Song" (1938) on girl's skirt / I turn round / Like a dumb beast in a show. / Neither know what I am / Nor where I go, / My language beaten / Into one name; / I am in love / And that is my shame. / What hurts the soul / My soul adores, / No better than a beast / Upon all fours.williams / yeats / love / ceramic / stoneware / dog

Bendigo followed much the same pattern as Ballarat, and was not ready for an up-to-date studio until 1880 when the Bartlett Bros. (Francis and Henry) who bad conducted a successful business in Melbourne for many years opened a small studio there. It was such a success that they decided to build large modern premises, and Francis made two trips to England and the Continent for the latest ideas. In 1884 Henry died, and to replace him, Francis secured the services of Robert W. Bugg, then employed by Foster & Martin (both pupils of Batchelder's) in Collins Street, Melbourne. In that studio Bugg made some fine portraits of Anthony Trollope during the novelist's long tour of Australia. Francis Bartlett was a keen business man, and Robert Bugg was a great operator and a fine painter. Together, their success was quite outstanding. Fifteen years later Bartlett retired with a fortune, and Bugg took over the studio. Robert William Bugg, one of our leading Painter-Photographers, was born in London in 1853, and came to Melbourne when he was five years old. He became a pupil of Louis Buvelot and, in 1879, a member of the Victorian Academy of Arts. In Bendigo he gave annual exhibitions of his oils and water colours, a number of his exhibitions being officially opened by his friend Alfred Deakin. There are a number of Bugg's Paintings in the Bendigo Art Gallery. All the portraits, landscapes, buildings, and city views illustrated in "Bendigo and Vicinity, 1897", are from photographs taken by Robert Bugg. He was a clever, genial and popular soul, and his influence on the cultural life of his adopted city was considerable. He retired in 1932 and died in his early eighties.Eleven Photos of Bendigo from Glass Plate Negatives, Campaspe River at Axedale, Axe Creek, Lake Weroona, White Hills Botanical Gardens, Conseratory Gardens, Bendigo Fernery. Slides are ex Bartlett Brother Bendigo. history, bendigo, bendigo conservatory gardens, campaspe river axedale, axe creek victoria, lake weroona bendigo, white hills botanical gardens bendigo, bartlett brothers bendigo, rosalind park bendigo

Bendigo followed much the same pattern as Ballarat, and was not ready for an up-to-date studio until 1880 when the Bartlett Bros. (Francis and Henry) who bad conducted a successful business in Melbourne for many years opened a small studio there. It was such a success that they decided to build large modern premises, and Francis made two trips to England and the Continent for the latest ideas. In 1884 Henry died, and to replace him, Francis secured the services of Robert W. Bugg, then employed by Foster & Martin (both pupils of Batchelder's) in Collins Street, Melbourne. In that studio Bugg made some fine portraits of Anthony Trollope during the novelist's long tour of Australia. Francis Bartlett was a keen business man, and Robert Bugg was a great operator and a fine painter. Together, their success was quite outstanding. Fifteen years later Bartlett retired with a fortune, and Bugg took over the studio. Robert William Bugg, one of our leading Painter-Photographers, was born in London in 1853, and came to Melbourne when he was five years old. He became a pupil of Louis Buvelot and, in 1879, a member of the Victorian Academy of Arts. In Bendigo he gave annual exhibitions of his oils and water colours, a number of his exhibitions being officially opened by his friend Alfred Deakin. There are a number of Bugg's Paintings in the Bendigo Art Gallery. All the portraits, landscapes, buildings, and city views illustrated in "Bendigo and Vicinity, 1897", are from photographs taken by Robert Bugg. He was a clever, genial and popular soul, and his influence on the cultural life of his adopted city was considerable. He retired in 1932 and died in his early eighties.Photos from Glass Plate Negatives Slides are ex Bartlett Brother Bendigo. The Slides were used for advertising prior to the shows and during intervals; possibly at one of the three picture theatres, the Lyric, the Plaza, or the Princes Theatre. history, bendigo, bartlett brothers bendigo, bendigo theatre advertising

Bendigo followed much the same pattern as Ballarat, and was not ready for an up-to-date studio until 1880 when the Bartlett Bros. (Francis and Henry) who bad conducted a successful business in Melbourne for many years opened a small studio there. It was such a success that they decided to build large modern premises, and Francis made two trips to England and the Continent for the latest ideas. In 1884 Henry died, and to replace him, Francis secured the services of Robert W. Bugg, then employed by Foster & Martin (both pupils of Batchelder's) in Collins Street, Melbourne. In that studio Bugg made some fine portraits of Anthony Trollope during the novelist's long tour of Australia. Francis Bartlett was a keen business man, and Robert Bugg was a great operator and a fine painter. Together, their success was quite outstanding. Fifteen years later Bartlett retired with a fortune, and Bugg took over the studio. Robert William Bugg, one of our leading Painter-Photographers, was born in London in 1853, and came to Melbourne when he was five years old. He became a pupil of Louis Buvelot and, in 1879, a member of the Victorian Academy of Arts. In Bendigo he gave annual exhibitions of his oils and water colours, a number of his exhibitions being officially opened by his friend Alfred Deakin. There are a number of Bugg's Paintings in the Bendigo Art Gallery. All the portraits, landscapes, buildings, and city views illustrated in "Bendigo and Vicinity, 1897", are from photographs taken by Robert Bugg. He was a clever, genial and popular soul, and his influence on the cultural life of his adopted city was considerable. He retired in 1932 and died in his early eighties.Nine Photos of vehicles from Glass Plate Negatives Slides are ex Bartlett Brother Bendigo. The Slides were used for advertising prior to the shows and during intervals; possibly at either of the three picture theatres, the Lyric, the Plaza, or the Princes Theatre. history, bendigo, bartlett brothers bendigo, bendigo theatre advertising

Bendigo followed much the same pattern as Ballarat, and was not ready for an up-to-date studio until 1880 when the Bartlett Bros. (Francis and Henry) who bad conducted a successful business in Melbourne for many years opened a small studio there. It was such a success that they decided to build large modern premises, and Francis made two trips to England and the Continent for the latest ideas. In 1884 Henry died, and to replace him, Francis secured the services of Robert W. Bugg, then employed by Foster & Martin (both pupils of Batchelder's) in Collins Street, Melbourne. In that studio Bugg made some fine portraits of Anthony Trollope during the novelist's long tour of Australia. Francis Bartlett was a keen business man, and Robert Bugg was a great operator and a fine painter. Together, their success was quite outstanding. Fifteen years later Bartlett retired with a fortune, and Bugg took over the studio. Robert William Bugg, one of our leading Painter-Photographers, was born in London in 1853, and came to Melbourne when he was five years old. He became a pupil of Louis Buvelot and, in 1879, a member of the Victorian Academy of Arts. In Bendigo he gave annual exhibitions of his oils and water colours, a number of his exhibitions being officially opened by his friend Alfred Deakin. There are a number of Bugg's Paintings in the Bendigo Art Gallery. All the portraits, landscapes, buildings, and city views illustrated in "Bendigo and Vicinity, 1897", are from photographs taken by Robert Bugg. He was a clever, genial and popular soul, and his influence on the cultural life of his adopted city was considerable. He retired in 1932 and died in his early eighties.Seven Photos of vehicles from Glass Plate Negatives. Slides are ex Bartlett Brother Bendigo, photographers. The Slides were used for advertising prior to the shows and during intervals; possibly at either of the three picture theatres, the Lyric, the Plaza, or the Princess Theatre. history, bendigo, bartlett brothers bendigo, bendigo theatre advertising

This was built in 1905 and was the home of William and Emily Kleinert from 1905. William was a coach-builder, wheelwright and blacksmith. He moved from Prahran to Surrey Hills. His son Ernest worked with him as a coach painter and also worked as a painter undertaking intricate hand painting on early cars. Their other son Martin played for the Surrey Hills Football Club. In return for the support given to the club by Mrs Emily Kleinert, the club built a rotunda in South Surrey Park as a memorial to her. Alan Holt research: Lot 6 was sold to Martin Kleinert by Karl Richter in 1860 together with a portion of another adjacent lot. From 1860-1885 Martin worked it as a market garden leasing some land for grazing when it was not required for gardening. He died in 1898. In a formal document, William declared he was the son of Martin "who purchased land in 1860, died in 1898 and the land has been continually occupied by father and family since. It has been cultivated as a market garden; when not being used for gardening it was let for cultivation and grazing." William died in 1939 and the property passed to his sons Martin and Ernest. The Kleinert land extended from Union Road to Essex Road. They ran horses, ducks and fowls and Emily Kleinert grew flowers. The Kleinert property later became the South Surrey Park. The family sold the land to the Camberwell Council in the 1950s. Ernest and Ida Kleinert lived on the corner of Scotsdale and Warrigal Roads. The donor of the photo Nada Harris, nee Kleinert, was Ernest and Ida's daughter. Ida lived to a good age (> 93 years) and in later life lived in Burwood.Black and white photo of a Victorian cottage with a typical bull-nosed veranda. It is set behind a wooden picket fence with undeveloped grazing land studded with mature trees in the background. Taken front-on from the street. There appears to be a path but no formal curb to the road.south surrey park, union road, surrey hills football club, blacksmiths, wheelwrights, coachbuilders, rotunda, miss nada kleinert, mr william kleinert, mrs emily kleinert, mr martin kleinert, mr ernest kleinert, mr karl richter, mrs ida de vasy, mrs nada harris

William was a coach-builder, wheelwright and blacksmith. He moved from Prahran to Surrey Hills to property owned by the family. The house at 34 Union Road was built in 1905 for William and his wife Emily. Their son Ernest worked with him as a coach painter and also worked as a painter undertaking intricate hand painting on early cars. Their other son Martin played for the Surrey Hills Football Club. In return for the support given to the club by Mrs Emily Kleinert, the club built a rotunda in South Surrey Park as a memorial to her. Alan Holt research: Lot 6 was sold to Martin Kleinert by Karl Richter in 1860 together with a portion of another adjacent lot. From 1860-1885 Martin worked it as a market garden leasing some land for grazing when it was not required for gardening. He died in 1898. In a formal document, William declared he was the son of Martin "who purchased land in 1860, died in 1898 and the land has been continually occupied by father and family since. It has been cultivated as a market garden; when not being used for gardening it was let for cultivation and grazing." William died in 1939 and the property passed to his sons Martin and Ernest. The Kleinert land extended from Union Road to Essex Road. They ran horses, ducks and fowls and Emily Kleinert grew flowers. The Kleinert property later became the South Surrey Park. The family sold the land to the Camberwell Council in the 1950s. Ernest and Ida Kleinert lived on the corner of Scotsdale and Warrigal Roads. The donor of the photo Nada Harris, nee Kleinert, was Ernest and Ida's daughter. Ida lived to a good age (> 93 years) and in later life lived in Burwood.Black and white photo of a large group of men, women and children posed for the photograph which is taken outdoors. William Kleinert is identified as seated in the front centre playing his German melodion. Sons Ernest and Martin and William's daughters Ivy and Rose are also in the photo (not identified). Nada Kleinert (daughter of Ernest and Ida and 1st grand-daughter of William and Emily) is standing next to her great-grandmother Radford.surrey hills football club, blacksmiths, wheelwrights, coachbuilders, south surrey park, rotunda, miss ida kleinert, emily kleinert, mr william kleinert, miss ivy kleinert, miss rose kleinert, mr ernest kleinert, miss nada kleinert, mrs nada harris, mr martin kleinert

Kylie THOMAS (14 May 1973 - ) Born Creswick, Victoria A graduate of the Bachelor of Arts (Visual Arts) (1993) and Diploma of Visual Arts (1995) from Federation University (then University of Ballarat) Kylie Thomas continued her art practice after studying under distinguished sculptors Peter Blizzard and Adrian Mauriks. This work was acquired from her graduate folio. Soon after completing her studies Kylie Thomas became an artist in residence at Ballarat Grammar School building a public sculpture for the grounds conceived by one of her selected students as part of the program. She became the youngest exhibiting applicant to be awarded the City of Port Phillip, Rupert Bunny Foundation artist in residence program. After moving to Mallacoota she was absorbed into the community as a visual artist, actor, playwright and assistant publicist. Her commissioned public artwork and sculptures as part of residences collections were all lost in the 2019 bushfires that decimated Mallacoota. Moving back to her hometown of Creswick Kylie Thomas completed a Diploma in Education qualifying as a secondary teacher, always continuing her art practice while teaching. Needing to work again, but with no desire to teach, Kylie Thomas studied Building Design and Architectural Drafting, homing in on other areas which could link back to her artistic practice. Working in this field for a short time she moved to Melbourne where she exhibited paintings and sculpture installations as part of The Melbourne Fringe Festival. She also worked in set design, and as a stage manager and theatre actor. 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.This work is a spiritual totem created in the tradition of the bricoleur, dedicated to bygone cultures, lost technology and mystery referencing nature, humanity and technology. Humanity to use technology with and for nature. The materials are symbolic, the use of bone, Perspex, computer parts, found and crafted objects constructed in a resulting harmony creating a symbiotic relationship. Tapping the 4th dimension that could lift off into space and come back again, with a feeling of weightlessness, awe and suspension captured. A sculpture which stands on a white pedestal with perspex cover. 'Cultural Dedication' is the final work in a series of sculptures influenced by the ancient cultures of Egypt. art, artwork, kylie thomas, sculpture, alumni

Stewart MacFARLANE (1953- ) Born Adelaide, South Australia Stewart MacFarlane entered the South Australian School of Art when 16 years of Age. He traveled to New York in 1975 to study at the School of Visual Arts for 2 years. He remained living and working in New York for several years, receiving residences and fellowships to Skowhegan School of Sculpture and Painting in Maine, the Fine Arts Work Center in Provincetown, Massachusetts and the MacDowell Colony, New Hampshire. He exhibited in group shows as well as having three solo exhibitions in New York. Firstly at Razor Gallery, SoHo in 1979, then Belanthi Gallery in 1979 and the Australian Consulate New York in 1983. MacFarlane returned to Australia in 1983, undertaking post-graduate studies at the Victorian College of the Arts in 1984. He taught at The Gippsland Institute of Advanced Education (now Federation University Gippsland Campus) in 1885, and the following year moved to Darlinghurst, Sydney to paint. Later that year, he was artist-in-residence in the Besozzo Studio, Italy. In 1987, MacFarlane lived and painted in Mornington, Victoria for several months before receiving an initial residency with the Roswell Artist-in-residence program, New Mexico, for a year. Over the next eight years he moved between Melbourne, Sydney and Roswell, producing one or more solo exhibitions each year. In 1994 he received a residency at The Bemis Center, Omaha, Nebraska, then traveled to Mexico to paint for 3 months. MacFarlane worked in Queensland upon his return, and for the next seven years. He moved to Hobart, Tasmania in 2002, returning to the mainland in 2011.(http://www.stewartmacfarlane.com/bio-cv/) A framed linocut. This linocut was one of the Patron Print Series produced as a fundraiser to assist Gippsland School of Art students.printmaking, artist, artwork, gippsland campus, stewart macfarlane

Life’s a Dish was a tourism campaign created by the City of Greater Bendigo in conjunction with Bendigo Pottery to encourage food tourism within the City. Seven restaurants and cafes whose menus featured local ingredients were chosen to participate with their businesses promoted on ceramic dinner plates. Customers were encouraged to purchase all seven plates and were then eligible for the eighth ‘Connoisseur Master Plate’ free. The limited edition plates were made by Bendigo Pottery and artist Sue James was employed to work with each resturant on a design, hand painting each plate. Plates were priced at $25.00 each and were also available at the Visitor Centre. This is the second Life's a Dish series and artist Faye Brady was the painter of the first series, of which we currently have no examples. The first Life's a Dish series launched in 2006 featured Balgownie Estate, Bazzani Italiano, The Bridge, Gallery Cafe, Georgie's Cellar Restaurant, GPO, Goldmines Restaurant and Bar, Let's Get Saucy, The Puddler, Quills, Raffaelles and Whirrakee. Established by George Guthrie in 1857 (about 5km north of its current site) and then again seven years later in 1864 after it initially closed, Bendigo Pottery remains one of the most influential and longest running potteries in Australia. Over the years the Pottery has contributed to the growth and development of the district through both its products including building products, table ware and decorative and commemorative war as well as artistically, being responsible for training and supporting many potters locally. It has partnered with the City on various tourism promotions and the Civic Collection holds a number of important items within its collection.Set of eight dinner plates each featuring a hand drawn design which encompass the restaurants defining features. Restaurants include Domaine Asmara (0407.2), Gallery Cafe (0407.7), Hotel Shamrock (0407.5), La Piazza (0407.3), Malayan Orchid (0407.6), Quills (0407.1)and Twenty 2 (0407.4). The eighth plate features the words 'Life's a Dish - Connoisseur' / 'Bendigo & Region' (0407.8)bendigo pottery, city of greater bendigo tourism, sue james