Badly worn brown leather covered bible. Coloured maps and plates, monochrome illustrations. Thirty large cartoons. The illustrated household commentary The Holy Bible. According to the Authorized version with the marginal readings and parallel references printed at length and the commentaries of Henry and Scott condensed by Rev. John McFarlane. Biblical dictionary by Rev John Eadie."The Holy Scriptures" in gilt on front cover.bibles

China plate with a raised floral border some of which are coloured. Transfer print of John Wesley in centre with text.'Rev. J. Wesley A.M.'wesley, john

Cream china plate with sepia transfer print. Image of Wesley Church Colac.'Wesley Church Colac'wesley church colac, wesley, john

1 oblong serving plate, registration number 1.4; 2 round bread and butter plates, registration numbers 1.1 & 1.2; 1 round saucer, registration number 1.3. White china with blue transfer print. 'Methodist school & church'; 'Mount Erica'.wesleyan methodist, mount erica methodist church prahran

The Open Women's Championship is open to players from other clubs as well as Peterborough players. The honourboard and original trophy tray was presented by Dawn Irvine. When there was no room for more names, a second tray was presented by Pam Bradshaw, for her mother Dawn Irvine. Open women's championship 1995 V. Beer, 1996 E Willox, 1997 S Beer, 1998 V. Beer, 1999 L Bourke, 2000 R Whitehead, 2001 F Rundle, 2002 SBA 2003 S. Beer, 2004 S Beer, 2005 S. Beer, 2006, D Robinson, 2007 S. Beer, 2008 F Rundle, 2009 T Carter, 2010 D Robinson, 2011 J Barrett, 2012 M Ryan, 2013 F Mead, 2014 R Whitehead, 2015 K. Matheson, 2016 K Matheson 2017 S Bernhard,t 2018 M Ryan, 2019 J Walsh, 2020 COVID-19, 2021 F Philip.This is significant as it records the winners of this event over the years. It is also a record of the year the event startedSquare shaped honour board with gold printing. Two round silver plated trays, with names engravedNames of winners printed on board - listed belowpeterborough, golf, women's golf, sporting honour boards, golf championships

Jock Clutterbuck is a sculptor and printmaker of national significance, known for his sophisticated abstract forms with underlying esoteric mysticism. Clutterbuck overlapped with Baldessin when he studied sculpture and printmaking at the Royal Melbourne Institute of Technology, RMIT (1965-66). He taught at RMIT from (1969-73) before lecturing in sculpture at the Victorian College of the Arts (1974-2000). He is represented in many national and international public art collections and is a recipient of many National prizes and awards. George Baldessin (1939-1978) was a printmaker and sculptor who built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.‘Frosty Night Cartouche’ is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Following a visit to the Press in 2015, Clutterbuck was reminded of a suite of paintings he had produced some thirty years earlier inspired by plein-air drawings of the night sky. This print attempts to capture something of the enchantment, mystery and drama of a frosty rural property where Clutterbuck spent many years. It is a frost dreaming; a subtle personal homage to Baldessin, embodying the reverence of a fellow artist towards an old friend. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Frosty Night Cartouche' (title); right 'Jock Clutterbuck' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)ekphrasis2018, symbols

Imants Tillers has been identified as a quintessential postmodern artist in his use of appropriation and quotation. Since 1981 he has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora. Most recently, his paintings have been concerned with place, locality and evocations of the landscape. Imants Tillers and Baldessin met on their way to the Bienal de Sao Paulo in 1975 and in the following year worked on two collaborative etching plates in Paris that were printed by Pierre Giarudon. 'Unsaid + Nameless' harks back to his experiences with Baldessin in Paris forty years ago. It is a poignant image of absence that can be read in the tradition of the momento mori. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'Unsaid + Nameless' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. In 1976 Baldessin and Tillers embarked on the collaborative work 'According to des Esseintes'; a post modern Surrealist game of consequences and sequences. In homage to his friendship and work, Tillers completed an unfinished Baldessin plate from 1976 inspired from their 'des Esseintes' collaboration. The addition of Odilon Redon's 'smiling spider' is indicative of Tiller's broader post-modern approach. Solar plate etching of Odilon Redon's 'Laraignee souriante' (The Smiling Spider) on an incomplete plate etched by George Baldessin in 1976 on Somerset paper. Other images include skewed perspectives of a wooden window frame, 'wooden' floor or table(?) folded sheet of paper and unknown apparatus. In pencil (handwritten): low plate: left '14/25' (edition); centre: 'Unsaid + Nameless' (title); right 'Imants Tillers' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)solar plate etching, george baldessin, somerset paper, spider, line, ekphrasis2018, odilon redon, appropriation, post modern, surrealism, collaboration, paris, folio

Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'Life world of the Longicorn beetle' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media

Printing plate used for illustration of the burning of the ship "Lightning" on October 31, 1869, printed in a newspaper.Printing plate used for illustration of the burning of the ship "Lightning" on October 31, 1869, printed in a newspaper.corio bay, victoria

Huddart Parker traded between 1876 and 1961. It was established in 1876 by James Huddart, T.J. Parker, John Traill and Captain T. Webb. The business rapidly expanded and was travelling between Melbourne and Sydney by 1882 and Melbourne to Adelaide from 1886. The Company was established in Geelong but moved its offices to Melbourne by 1890. It is likely this saucer was used on the Huddart Parker shipping line some time between 1876 and 1961. Historically, the early establishment of the company in Geelong is significant for the region. The object is significant for its connection to early Victorian transport from regional ports to larger cities.A white glazed saucer with a blue transfer print with geometric design on rim. Huddart & Parker Co. logo transfer print on rim and base.Makers Mark: "C McDANN & CO ENGLAND HANLEY R.NO 764041" on base. "HUDDART PARKER LINE" logo on rim.geelong maritime museum, huddart parker line, huddart parker, c. mcdann and company, hanley, shipping lines geelong

Coloured lithographInscription beneath plate "WENTWORTH RIVER DIGGINGS / GIPPS.LAND / from a Picture by N. Chevalier - Printed and published by Charles Troedel, Melbourne Album Office, 73 Collins ST EAST."

Multi-plate etchingSigned and dated 'A Kellett 01' in lower right corner under printed image. Edition 21/40, and title 'garden study' lower left corner under printed image.

This image was one of a series taken by Harold Millane in the late 1940's. They were printed onto post cards. Mary Millane, Harold's wife, printed captions on each negative with Indian ink. The series includes a variety of views of Mitcham, Vermont, Nunawading, Park Orchards and Doncaster East. The post cards were sold as souvenirs in the Millane shop on the N-E corner of Station Street and Whitehorse Road, Mitcham (originally the Mitcham Post Office).Clear photograph showing details of shops, vehicles, streetscape, lighting.Celluloid half plate B + W negative.Whitehorse Road Mitcham, Vic. hardy scott, h. s .beckwith, richards drapers, d. g. williamson, r. gracie, s. kelly, cenotaph, mitcham memorial hall

Veteran Affairs Crockery consisting of- Dinner plate,Bread plate,Bowl and Cup & Saucer.White with two blue circles on outer edges and blue circle half way down.. Square Veterans Affairs label in blue on each item. (5 Items)Blue Square outline with Veterans Affairs printed in blue inside.On base of items-Bristile Made in Australia Dates various dates 8/88-6/85-3/86-4/87.

Soft cover with 39 pages which include colour prints and black and white prints.Published in 1982 by Osprey Publishing Ltd London UK

"Victoria the Golden" documents life in Victoria between 1850 and 1862 as viewed by artist William Strutt. Momentous events in the Colony’s history such as Separation Day (1 July 1851), the sitting of the first Legislative Council (13 November 1851), the death of Burke (June 1861) and the Black Thursday bushfires (6 February 1851) are depicted. In 1907 the Premier of Victoria Thomas Bent purchased "Victoria the Golden" from Strutt for £120 and presented it to the Library. The album depicts events in chronological order with what Strutt considered “fidelity to nature and accuracy”, so that present day Victorians may view the sketches “as records of what we may now look upon as the dim past in the rapidly progressive history of Victoria”. Victoria the Golden is celebrated as one of the Parliament’s great treasures. It is a testament to William Strutt’s skill as a draughtsman and contains over 100 assorted images which were executed between the years of 1850-1862. Strutt’s particular talent was to be able to step back and record each event with particular care to detail. Many of the pieces contained within this album are littered with notes, such as the correct resting position of a corporal’s sword or details about the cloth and cut of a subject’s jacket. Strutt also notes in one of his many sketches of the new Legislative Council chamber at Spring Street that the President, Sir James Palmer, is seated ‘a little too high’ (page 30). Throughout the album, Strutt’s illustrations bring to life the diverse nature and peoples of the new colony. His range of subjects is comprehensive and includes parliamentarians, lawyers, wives and daughters, merchants, labourers, police and military officers, indigenous communities, farmers, miners, prisoners and explorers. The everyday and the extraordinary are depicted with each turn of the page. 44 leaves heavy card, approximately 1mm thick. Sketches, watercolours and prints of varying sizes and papers are glued onto the pages. Full leather binding in blue leather with title and decorative border in gold. There are four raised bands on the spine, with gold decoration on the bands and at the head and tail of the spine. Marbled end papers and flyleaves. Gold on the edges of the book block. Card pages have a sheet of mottled blue paper on recto. Album leaf connection is a guarded system with stiff stubs and cloth hinges. Each page has a sheet of glassine paper attached at the binding edge to protect the images. Many pages stamped with "Parliament of Victoria" verso. Printed in gold, recto: "VICTORIA THE GOLDEN/ SCENES,/ SKETCHES,/ AND JOTTINGS FROM NATURE./ BY/ Wm. STRUTT/ MELBOURNE, VICTORIA./ 1850-1862" First pages include handwritten 'introductory remarks' and index of plates.parliament of victoria, colony of victoria, separation day, victorian legislative council, burke and wills expedition, wills, william john, 1834-1861, burke, robert o'hara, 1821-1861, strutt, william, 1825-1915, bent, thomas sir, 1838-1909, native police corps, fawkner, john pascoe, 1792-1869, black thursday bushfires, gold rush, princes bridge, melbourne

A framed print of a painting detailing an artists impression of the memorial service held at Long Tan on Aug 18 1969. Image is monochrome and shows solders standing in from of a large white grave marker. No artist name is visible of the print. Plate underneath image states 'BATTLE OF LONG TAN MEMORIAL SERVICE 18 AUG 1969'battle of long tan, vietnam, vietnam war, memorial

The artist is currently a member of the Tramways / East Melbourne RSL, and has donated these prints himself. Framed print of the image created by 'Andrew Archibald'. Print is signed by the artist and editioned as 11/ 100. Image shows a young child receiving medical attention in AfghanistanPlate states 'Donated by Craig Horne' andrew archibald, afghanistan, medcap, children, medical treatment, doctors, artworks, war

Hard cover book contains black and white prints

Set of two digital images, scanned from colour prints taken on the BTM Tramcar showcase of: .1 - Andrew Mitchell and Matt Grindrod .2 - Carl Mahoney and Chris Phillips Photos by Steven Altham with trams 14 and 40. The "Trams1" - plate - the photographers? trams, tramways, btm, events, museum operations, tram 14, tram 40

831.1 - Aluminium plate cut and stamped with the letters and words "467026 1 / BALLARAT TRAMWAY SO / BALLARAT VIC". Used by the BTPS/BTM in the ANZ Bankcard machine as the ID plate from the late 1970's to July 1998, when replaced by the Commonwealth Bank Machine. Plate salvaged for archive storage. Has two holes and cut outs for location onto machine. 831.2 - Plastic card -with words " ANZ BANK / MERCHANT SUMMARY CARD / CREDIT CARDS" and embossed onto cards is "561057 3011 467026 1 / BALLARAT TRAMWAY SOC / BALLARAT VIC". Words ANZ in the ANZ blue style of the time, rest black printing on white card. 831.3 - Envelope that contained item 831.2 - white envelope used by the BTPS at the time, mid 1970's with handwriting in black ink "Society Bank Card / For Claiming on / To be kept in safe at all times" Envelope has the words in green ink "BALLARAT TRAMWAY PREERVATION SOCIETY LIMITED / BOX 632, P.O., BALLARAT, VICTORIA, 3350 / A voluntary organisation operating the / BALLARAT TOURIST TRAWAY / Botanic Gardens, Ballarat". Envelope printed by Milldean Press.See 831.3tramways, trams, bankcard, btps, stationery, sales

Thirteen sheet book, each sheet printed single side, secured with two metal clips and washers in a pink cover card cover, titled "Westinghouse brake repairs parts". Published May 1927, by Westinghouse Brake Co. of Australasia. Binders - "The Grip Binder" - nickel plated steel using sheets printed by The Westinghouse Brake & Saxby Signal Co. Ltd. Cover larger than the sheets. Details parts list for: DH25 - Motor Driven Air Compressor for 1500V DC ER4C - Control Governor ES16 - Air compressor Governor Emergency Application Valve Used for electro-pneumatic brake equipment - Sydney Suburban electrification. Scanned to the COTMA Website 4-10-2015."Colin Rutledge" stamped on top of page 1.trams, tramways, westinghouse, compressors, governors, equipment

One Hundred page book with nine fold out plates tipped in, green card titled "The Westinghouse Brake - Reference Book", published by Westinghouse Brake Co. in 1904. Text has been sewn into sections and then bound into the book. Plate inside front cover, has been printed in colour showing the extent of the use of the Westinghouse brake system that had been adopted on the various railways. Plat 110E (page 43) has an orange plastic component acting as a brake handle and showing how the various ports and parts interrelated in the valve. Inside the back cover are two loose folded sheets, plate 209 and 209A, Improved triple valve and the "Graduating Release Valve", dated August 1905. Covers compressed air brake systems on railway trains, showing how they are designed, operated, parts listing and has a number of pasted in erratum in the book. "Colin Rutledge" stamped on top of page 1 and inside front cover. On cover written in black ink "Melbourne Office, WB Co. of A, Jan '11"trams, tramways, westinghouse, railway brakes, equipment, compressors, carriages

Technical pamphlet, titled ""Knorr Quick Action Automatic Air Brake" consisting of printed cover (folded sheet, printing only on front cover and two inset folded sheets plate III and plate IV with technical notes and diagrams of the brakes on locomotives and carriages. Details the action of the brakes, operation and equipment. Published by the Knorr Brake Co. of London, Steam Railway Dept. Sheets have been punch with two holes along the left hand edge - probably at a later date. Scanned to the COTMA Website 4-10-2015."Colin Rutledge" stamped on top of page 1.trams, tramways, knorr brakes, train brake systems