Celia ROSSER (1930- ) Born Melbourne, Victoria Celia Elizabeth Rosser is a renowned Australian botanical artist, best known for having published The Banksias, a three-volume series of monographs containing watercolour paintings of every Banksia species. She trained in Art at the Melbourne Institute of Technology In 1970, Celia was appointed Science Faculty Artist at Monash University. Four years later she was appointed University Botanical Artist, and began the project of painting every Banksia species. The project took over 25 years to complete, and resulted in the publication of a three volume monograph entitled The Banksias, with accompanying text by Alex George. Publication of the final volume in 2000 represented the first time that such a large genus has been entirely painted. In 1977 Celia Rosser was awarded the Linnaean Society of London's Jill Smythies Award for botanical illustration, and in 1995 was awarded a Medal of the Order of Australia. Monash University awarded her an honorary Master of Science degree in 1981, and an honorary PhD in 1999. Banksia Rosserae is the last banksia species discovered and was named after the artist. Since 2002, the Friends of the Royal Botanic Gardens Melbourne have awarded the "Celia Rosser Medal for Botanical Art" to outstanding exhibitors at their "The Art of Botanical Illustration" exhibition. 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.Un-numbered limited edition offset photolithograph of Banksia saxicola celia rosser, banksia, botanical, gippsland campus, banksia saxicola, flora

David FRAZER (1966- ) Born Foster, Victoria, Australia David Frazer works in painting, wood engraving, etching, lithography and bronze. He studied a B.A. Fine Arts (Painting) at Phillip Institute of Technology, followed by a Diploma of Education (Secondary- Art/Craft) at Latrobe University in 1991. He completed an Honours Degree in Fine Art (Printmaking (at Monash University in 1996, and between 1998 and 2000 Frazer undertook a Master of Arts (Visual Arts) by research: “Pastoral Melancholia”, at Monash University. One of Austalia's foremost printmakers David Frazer's highly detailed woodblock and linocut prints often explore the emotional and fragile state of the human condition. His work offers a nostalgic image of Australia through its examinations of landscape, Australian buildings, sheds, and itinerant travellers. He has held seven solo exhibitions between 1996-2006 in Melbourne, Sydney and a survey show curated by the Horsham Gallery, which toured Victorian regional galleries from 2004-2005. David Frazer’s work was seen in 37 group exhibitions between 1996-2006 including the 5th British International Miniature Print Exhibition in the UK, in the 2003. He more recently held a solo exhibition with Rebecca Hossack in London 2011. (http://www.thestockrooms.com/, accessed 06/03/2015) David was awarded the Keith Wingrove Bookplate Design and in 2002.Framed limited edition linocut on paper.lls '2/36' lc 'The Text Message (study)' lrs 'D. Frazer 15'artist, artwork, david frazer, parallel prints, printmaking, linocut

Celia Rosser (1930- ) Born Melbourne, Victoria Celia Elizabeth Rosser is a renowned Australian botanical artist, best known for having published The Banksias, a three-volume series of monographs containing watercolour paintings of every Banksia species. She trained in Art at the Melbourne Institute of Technology In 1970, Celia was appointed Science Faculty Artist at Monash University. Four years later she was appointed University Botanical Artist, and began the project of painting every Banksia species. The project took over 25 years to complete, and resulted in the publication of a three volume monograph entitled The Banksias, with accompanying text by Alex George. Publication of the final volume in 2000 represented the first time that such a large genus has been entirely painted. In 1977 Celia Rosser was awarded the Linnaean Society of London's Jill Smythies Award for botanical illustration, and in 1995 was awarded a Medal of the Order of Australia. Monash University awarded her an honorary Master of Science degree in 1981, and an honorary PhD in 1999. Banksia Rosserae is the last banksia species discovered and was named after the artist. Since 2002, the Friends of the Royal Botanic Gardens Melbourne have awarded the "Celia Rosser Medal for Botanical Art" to outstanding exhibitors at their "The Art of Botanical Illustration" exhibition. 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 lithograph of Banksi Marginata Cav. (Silver Banksia). Un-numbered limited edition offset photolithograph Donated by E.J. Tippett, M.B.E., 1983. Member of Ballarat School of Mines and Ballarat College of advanced Education Council 1934-1983.art, artwork, celia rosser, rosser, banksia, botany, botanical, florilegium, available, flora, bansksia marginata, silver banksia, lithograph, printmaking

Paddy Fordham Wainburranga (1932-2006) Area: Arnhem Land Country: Bamdibu (Bumdubu) near Bulman Station As a child, Paddy grew up in Maningrida an Aboriginal community on the top end of the Northern Territory. He started working as a boy around cattle yards, which finally led him to working as a stockman for 20 years. Before this, he spent much of his time hunting and learning culture and customs from his father and uncles. He could remember being taken to a sacred location where he was told many Dreamtime stories of how customs came to be and why Aboriginal people practice them. Paddy was part of the movement for equal rights for all Aborigines, actively involved in claiming Bumdibu as his traditional land for his clan. He resided over this land as Jungai (caretaker, policeman). Paddy was taught to paint by his father but did not begin to paint seriously until the early 1970s. He was also recognized as a story teller, bark painter, sculpture, dancer, singer and musician. He was familiar with Central Arnhem Land rock and bark painting traditions; however he developed an idiosyncratic style which fused the figurative schema of western Arnhem Land with the narrative capacities of the north-east producing dense pictorial paintings divided into sequential segments. A suite of seven limited edition prints using the sugar lift aquatint technique. .1) Yalk Yalk Woman Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .2) Walga Walga Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .3) Nammooroddoo Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 Nammooroddoo Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .3) Nammooroddoo Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .4) Mun Gruk Gruk Woman Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .5 Mun Gruk Gruk Man Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .6) Mun Gruk Gruk Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .7) Lightning Man Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 Donated through the Australian Government Cultural Gifts Programme by Katherine N. Littlewood, 2014artist, artwork, paddy fordham wainburranga, paddy fordham, wainburranga, printmaking, aboriginal, indigenous, churchill, dreaming

A greeting card published by the Australian Comforts Fund for Christmas and New Year 1918-19. It shows important battles involving Australians in 1918. A painting of Villers Brettonneux battle on 8 August 1918 by Captain Will Longstaff who was an A.I.F. War Artist with an explanation of the offensive. Also a painting of the capture of Hamel Village on 4th July 1918 where Australians were assisted by a detachment of Americans. The war artist was A. Pearse. Was with other World War 1 memorabilia that has come from J.B. McLean. Some of the text: 'On the night of 24th August 1918, the Australians made a daring and clever counter attack in the darkness, recaptured Villers-Brettonneux, stopped the German advance and saved Amiens. This, and the Battle of Hamel, were only a prelude to the smashing advance which commenced on 8th August. Extract from Australian Corps Order, issued on 7th August:- "For the first time in the history of this Corps all five Australian Divisions will tomorrow engage in the largest and most important battle operation ever undertaken by the Corps." 85,000 Australians were engaged (with Canadians on their right and British Divisions on their left), supported by powerful artillery, tanks and aeroplanes. In this battle 7,000 prisoners, 150 guns with an immense number of machine guns and war material were captured. On August 31st and September 1st and 2nd Mont St. Quentin and Peronne fell to the Australians in three days, defeating the flower of the Prussian Guard.'A example of publications made for the troops in World War 1.A greeting card published for the Australian Comforts Fund in 1918.Greetings from Billworld war one, souvenir

Celia ROSSER (1930- ) Born Melbourne, Victoria Celia Elizabeth Rosser is a renowned Australian botanical artist, best known for having published The Banksias, a three-volume series of monographs containing watercolour paintings of every Banksia species. She trained in Art at the Melbourne Institute of Technology In 1970, Celia was appointed Science Faculty Artist at Monash University. Four years later she was appointed University Botanical Artist, and began the project of painting every Banksia species. The project took over 25 years to complete, and resulted in the publication of a three volume monograph entitled The Banksias, with accompanying text by Alex George. Publication of the final volume in 2000 represented the first time that such a large genus has been entirely painted. In 1977 Celia Rosser was awarded the Linnaean Society of London's Jill Smythies Award for botanical illustration, and in 1995 was awarded a Medal of the Order of Australia. Monash University awarded her an honorary Master of Science degree in 1981, and an honorary PhD in 1999. Banksia Rosserae is the last banksia species discovered and was named after the artist. Since 2002, the Friends of the Royal Botanic Gardens Melbourne have awarded the "Celia Rosser Medal for Botanical Art" to outstanding exhibitors at their "The Art of Botanical Illustration" exhibition. 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.Un-numbered limited edition offset photolithograph of Banksia tricuspis.celia rosser, banksia, botanical, gippsland campus

Celia ROSSER (1930- ) Born Melbourne, Victoria Celia Elizabeth Rosser is a renowned Australian botanical artist, best known for having published The Banksias, a three-volume series of monographs containing watercolour paintings of every Banksia species. She trained in Art at the Melbourne Institute of Technology In 1970, Celia was appointed Science Faculty Artist at Monash University. Four years later she was appointed University Botanical Artist, and began the project of painting every Banksia species. The project took over 25 years to complete, and resulted in the publication of a three volume monograph entitled The Banksias, with accompanying text by Alex George. Publication of the final volume in 2000 represented the first time that such a large genus has been entirely painted. In 1977 Celia Rosser was awarded the Linnaean Society of London's Jill Smythies Award for botanical illustration, and in 1995 was awarded a Medal of the Order of Australia. Monash University awarded her an honorary Master of Science degree in 1981, and an honorary PhD in 1999. Banksia Rosserae is the last banksia species discovered and was named after the artist. Since 2002, the Friends of the Royal Botanic Gardens Melbourne have awarded the "Celia Rosser Medal for Botanical Art" to outstanding exhibitors at their "The Art of Botanical Illustration" exhibition. 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.Un-numbered limited edition offset photolithograph of Banksi incana.celia rosser, banksia, gippsland campus, botanical, churchill, flora

Celia ROSSER (1930- ) Born Melbourne, Victoria Celia Elizabeth Rosser is a renowned Australian botanical artist, best known for having published The Banksias, a three-volume series of monographs containing watercolour paintings of every Banksia species. She trained in Art at the Melbourne Institute of Technology In 1970, Celia was appointed Science Faculty Artist at Monash University. Four years later she was appointed University Botanical Artist, and began the project of painting every Banksia species. The project took over 25 years to complete, and resulted in the publication of a three volume monograph entitled The Banksias, with accompanying text by Alex George. Publication of the final volume in 2000 represented the first time that such a large genus has been entirely painted. In 1977 Celia Rosser was awarded the Linnaean Society of London's Jill Smythies Award for botanical illustration, and in 1995 was awarded a Medal of the Order of Australia. Monash University awarded her an honorary Master of Science degree in 1981, and an honorary PhD in 1999. Banksia Rosserae is the last banksia species discovered and was named after the artist. Since 2002, the Friends of the Royal Botanic Gardens Melbourne have awarded the "Celia Rosser Medal for Botanical Art" to outstanding exhibitors at their "The Art of Botanical Illustration" exhibition. 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..1) Framed photolithograph of Banksia ornata (Desert Banksia) by Celia Rosser. .2) Unframed photolithograph of Banksia ornata (Desert Banksia) by Celia Rosser.art, artwork, celia rosser, rosser, botanical, banksia, gippsland campus

Selection from a collection of photographs given to John Jansson from the Estate of Bill Barrett - Fisheries & Wildlife on Phillip Island441-01: 2nd year growth of Fathom Hen Seeds underwater dormant for 12 years. 441-02: Photo of Bill checking nesting boxes in Rhyll Swamp 441-03: Black & White photo of Bill & helper 441-04: Bee Hive at Rhyll Swamp 441-05: Royal Spoon Bill with 12 eggs 441-06: Ibis Hatchlings 441-07:Chestnut Teal Duck eggs at Rhyll Swamp 441-08: Photo of a painting of a Mallard Duck with 6 ducklings. Descriptions written on back of photographsrhyll swamp phillip island, mallard duck, royal swamp hen, royal spoon bill, bill barrett, chestnut teal duck eggs, beehive at rhyll swamp, fathom hen plants at rhyll swamp, nesting boxes rhyll swamp, john jansson

Soft cover book. Cover - cardboard with adhered paper cover. Black, white and red print on front, spine and back. Illustrated - front - black and white photograph of 5 soldiers seated within a bomb and battle damaged buildings in a streetscape. Back - colour photograph of troops on patrol at sunrise in Southern Afghanistan. Gold Rising Sun badge on front cover. 166 pages - cut, plain, beige paper, Illustrated in black and white and colour photographs, paintings, maps, Corp badges and Badges of Rank.books, history, australian army

"THE/ WAR DIARIES/ OF/ WEARY DUNLOP/ JAVA AND THE BURMA - THAILAND RAILWAY 1942 - 1945" Book - item in the collection of Richard William McGILVERY, RAAF. Refer Cat. No. 7287P for his service details, photo, awards, HARD COVER BOOK WITH DUST COVER. Hard cover - cardboard with adhered red buckram, gold print on spine. Dust cover - paper, white print on front, spine and back on red background. Folded flaps with black print on beige background. Illustrated - front - colour seated portrait of Sir Edward Dunlop. Back - copy in colour of watercolour painting of "Weary Dunlop" operating in a jungle hospital by "Jack Chalker". 401 pages - cut, plain, off white paper. Illustrated black and white photographs and sketches.history, books, ww2, autobiography

Honkie & Ginny is a journey that travels from the cottages of Port Melbourne to Gallipoli, the battle fields of the Western Front and the gold fields of Bendigo. A personal tale from a grand niece.Biography. Honkie & Ginny from Black Sheep to Holy Dove - Henry Foster Midgley 1894 - 1917. Soft cardboard cover, black print on front, spine & back, yellow background. Front has 2 sepia portraits, smaller one of women superimposed over corner of soldier in uniform, small colour photo of At Peace in Flanders poppies below portraits. Back cover has colour photo of a wreath. 220 pages, cut plain paper. Illustrated in black & white photos, line drawings, posters & paintings. Handwritten in black ink on title page: "To Bendigo Memorial Museum with many thanks. Brenda S-C, August 2013" books, biography, western front

Edith (Alice) Watson (1914–2010) studied at the Ballarat Technical Art School, at the School of Mines Ballarat, from 1930 until 1933. Watson was warmly regarded in her home town, Murtoa, easily winning local fundraiser, ‘Most Popular Girl’ in 1936. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths 1972 and 1988. Watson was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio. Alice's comprehensive folio of Ballarat Technical Art School work is held by the University's Geoffrey Blainey Research Centre.A cardboard box containing items used by Alice Watson to produce paintings. The items included are: tubes of oil colour; two paint palettes; paint brushes; imperial measure tape measure; pencils; an erasure; two pencil sharpeners; a roll of brown, gummed tape; small, round container of various pins; a State Savings Bank Victoria ruler; and a collection of scraps of artists paper held together with a metal clip which includes a list of paint colour names and a design tracing of a fuschia. There is a small, plywood, stretching board. alice watson, edith alice watson, ballarat school of mines, artists workbook, ballarat technical art school, paint, oil paint

Belonged to Clarence (Clarrie) Edward Nicholls who was a communications person on the Sunderland Flying Boats. He was in the Battle of Britain. He was seconded to the RAF and flew out of Plymouth. He was shot down a number of times. He was in the peace keeping corps in Japan and then Korea, and then went into the full time Korea. At one time Clarrie and his two brothers were in New Guinea at the same time. They knew they were all there together but they could not find each other, and officials would not tell them where they were. He flew the last Sunderland back to Lake Boga. He wanted to buzz his parents in Wodonga so he knew he was on the way, but the authorities wouldn't let him. Clarrie Nicholls was a flag bearer for the Melbourne Olympics.Red hard covered book of 200 pages. The following images are by official war artist Geoff Mainwaring (SX13471) who later taught painting at the Ballarat Technical Art School. * 'And Again. So-Heave', page 121 * 'Day's Work Done', page 121 * Untitled image, pg 185 Includes photographs of General Sir Thomas Blamey, Corporal Jim Gordon, John Lavarack, Iven Maccay, Australian Women's Army Service, Convalescent Diggers at Heidelberg Hospital; and maps of the Malay Peninsula and Singapore.clarence nicholls, nicholls, world war 2, geoffrey mainwaring, new guinea, singapore, libya, solomon islands, charles bush, ivor heale, g.j. browning

Large printed timetable for Technical School examinations in 1901. Subjects included Chemistry, Geology, Asssaying, Hydraulics, Agriculture, Engineering , Mine Surveying, Algebra, Mineralogy, petrology, Botany, Trigonometry, Euclid, Land Surveying, Steam and gas Engines, Applied Mechanics, Drawing, painting, engineering drawing, building construction, architecture, drapery, modelled design, casting clay models, composition of form and colour, Lettering, Wood Carving, historic ornament, Wood Carving. .1) Trade Subjects .2) Other subjects, including artexaminations, technical schools, trades, art, technical art school, timetable, clay modelling, ceramics

Book. ALEC H CHISHOLM COLLECTION. 194 page hardcover book by C. E. Sayers, Shepherd's Gold, the story of Stawell, Victoria. Includes 36 B & W photographs and the dust jacket has a picture of Stawell from Big Hill from the painting by John Glover. Published in 1966 by F. W. Cheshire Pty Ltd. And printed by Griffen Press. Catalogue sticker ''2190 SAY'' on spine. Handwritten in ink on flyleaf ''For Alec Chisholm Sincerely C. E. Sayers 10, October 1966.''C. E. Sayersbooks, collections, history, alec h chisholm collection, c.e.sayers, stawell, history

Paper poster, two pieces of brown paper stitched together with large stitches of black cotton. Back supporting layer of brown paper in two sections of the poster. Front sheet has painting of the Union Jack hanging vertically. Top of poster: "It's our Flag' on dark green background. 30cm folded over at bottom of poster. Written on bottom section ' Fight for it, Work for it'. Guy Lipscome signature on bottom of flag, LHS. 'Published by the Parliamentary War Committee' on bottom LHS. Bottom RHS "Syd Day Ltd'flags, national, it's our flag poster

Black and White reproduction (copy by scanning and reprinting) of a sepia toned image of an ESCo Bendigo Electric tramcar at the time of opening trails with many people on board, crews, a dog, in the Ball Mall area. Shows details of the car decoration, painting, crew uniforms, seating arrangements, truck arrangements. Information provided with photographs says "Trial run on route to Golden Square 8.4.1903", copied from Leonard C. Bennetts collection by William Scott. Shows edges and edge damage of original photograph. Two copies held.Copy 1 - has "20)" in the top left hand and right hand corners of the front of the photograph. On the rear "140)" in ink in the top left hand corner. In pencil and ink "Bendigo Tramways (Company electric) / Trial run on route to Golden Square 8.4.1903", "copies from Leonard C. Bennetts Collection" and a "William F Scott" address label in the bottom right hand corner. copy 2- has "12" in a circle on the top left hand front. Back has been covered by a sheet of paper, but has similar notes to copy 1 and cropping instructions.trams, tramways, bendigo, pall mall, golden square, trials, esco

An original newspaper cutting from The Illustrated London News 28 August 1852 regarding the steam-packet Great Britain leaving London for Port Phillip and Sydney.Realism, historical, etchings1. An original newspaper cutting from The Illustrated London News 28 Aug 1852 regarding the steam-packet GREAT BRITAIN leaving London for Port Phillip and Sydney. 2. Geelong Advertiser LTTE 09 Sep 1986 from the Alsop Family re SS Great Britain 3. Photocopy of an article from the 'Coastal Pilot' 1968 re the hand-over of a painting of the SS Great Britain to the QHS. 4. Cut-out from The Echo 20 Sep 1988 re SS Great BritainOn the reverse - [NIL] 1852, steam-packet ship, iron-screw steam-ship, ss great britain

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

Depiction of a beach with large boulders in the foreground. The boulders are covered in lichen and algae, and beach sweeps up towards centre right of image. The central third of painting shows the sea (continuing behind the boulders), depicted in blue with white highlights and dark blue shadows. It is edged in the background by a cliff face (painted in brown and grey). Sky is darker blue at top and lighter blue where it meets the horizon. Mounted in double matt (pale tan on faun) with decorative cut-out border, framed under glass in wooden frame.Front: Rankin '90 (lower right) (white paint) Back: 333 (upper left) (sticker) 1990- (upper left) (pencil). Low tide Cape Grant area September 1990 $350 Pastel Ian Rankin. 46 Hurd St Portland Vic 3305 Phone Portland 231465. Phone 055/231465.cape grant, seascape, beach

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

A grey soft covered book titled 'Seven Painters. An Introduction to Pictures by A. C. Ward.' On front cover book titled 'Seven Painters.' The seven painters are - Jan Van Eyck, Leonardo Da Vinci, El Greco, Vermeer, Constable, Whistler and Cezanne. Oxford University Press. Series titled 'Living Names.' 82pgs., photos, ill.artwork, lydia chancellor collection, collection, art, artwork, history, painters, education, drawing, male, individiual, painting

"The fine structure of St. Peter's, with its prettily-decorated interior, which holds crowded congregations at Holy Mass on Sundays, is alone an eloquent testimony of the piety and devotion which permeates the whole parish. Attached to the church is a circulating library, and Catholic papers and other literature are distributed at the church door. Branches of the H.A.C.B. Society and Catholic Federation are doing much good work. (Melbourne Advocate, 17 January 1914) "OPENING AND CONSECRATION OF THE NEW CATHOLIC CHURCH OF ST. PETER’S, DAYLESFORD Cross on St. Peter'sNotwithstanding the inclemency of the weather, the opening of the new Catholic Church of St. Peter’s, yesterday (Sunday), attracted a crowded congregation. Although the rain, which has poured almost incessantly for some days past, had left our roads and streets in the condition for which Daylesford is celebrated in winter weather, and although he storm and rain seemed to increase as the hour announced for the ceremonies approached, the church was filled by a large congregation, comprising all sects and denominations of Christians in and around the district. The beautiful edifice, erected mainly through the zeal, liberality and energy of the respected pastor, presented a most imposing appearance, and reflects infinite credit upon the Rev. Mr. Slattery, and the flock committed to his charge. The church was commenced in November 1863 and has been in the hands of the workmen up to the present time, work being uninterruptedly carried on. On commencing the foundations, it was necessary to excavate until solid clay was reached, which in consequence of the deep rich chocolate soil on the site of the building, had to be carried down to an average depth of 6 feet 6 inches. The foundations were laid with massive stones in courses of 12-inch, and four feet thick, reducing to 3 feet below the floor line. The style of the building is decorated Gothic, and consists of a nave, 80 feet by 30 feet in the clear, and a chancel 18 feet high; from floor line to apex of roof, 47 feet, which is elegantly constructed, consisting of six spans or frames with puncheons resting on carved corbels, low down between the windows. The north side consists of a handsome entrance, near the north-west angle, approached by nine steps of cut stone, and four bays of windows on nave, and a small door on side of chancel, intended as an entry from the sacristy. The south side presents a very handsome view to Victoria street, a beautiful porch entrance giving access to the building on the south-east end of nave; and on the south-west angle a handsome octagonal spire, terminating in an iron cross, with gilt floriations; the height of top of cross, from floor line, is 88 feet. A stone stairs gives access to the organ gallery and the belfry. The whole of the windows are of a handsome geometrical design, and carved in stone, with mullions and tracery, and glazed with amber-tinted glass, the chancel window being 15 feet high, and 8 feet wide. The chancel arch is unusually large, 27 feet St. Peter's interiorhigh and 18 feet wide, and handsomely moulded, and presents a fine appearance from the body of the church. The roof is stained a rich oak, with heavy cornice, and all the walls are smoothly plastered, and colored peach color, giving the amber-tinted glass a beautiful soft cathedral appearance to the interior. The altar is of a very chaste design, the panels being moulded with Gothic heads, and finished in white and gold; the altar rail was not completed, but is intended to be of polished cedar, with carved pillars. The interior fittings will be proceeded with immediately, and to complete the design, an organ gallery, with sittings for about 100 persons besides the choir, will be constructed on the west end. It is intended also to place pillar gaslights on each side of the main entrance, for lighting during vespers in winter. The style of architecture has been strictly carried out, and in the best and most substantial manner. The building has been erected under the superintendence of the architect Mr. John Townsend Brophy, a member of the congregation, and who has discharged his duty with great ability and care. The hour of half-past eleven has scarcely passed when from the sacristy entered His Lordship the Right Rev. Dr. Gould, Bishop of Melbourne, preceded by the Very Rev. Dean Hayes (Sandhurst), the Rev. P. J. Slattery, and a number of boys dressed in white surplices. The Right Reverend Prelate proceeded to the foot of the altar, the Very Rev. the Dean on his right, and the Rev. P. J. Slattery on the left. The prayers usual upon the occasion were read by the Bishop. A procession was then formed, and went around the church in the following order. Several youths bearing wax candles first, next the Very Rev. the Dean, then the Bishop and his train bearers, and following were the Rev. Mr. Slattery and acolytes. Having returned to the altar in the same order, the Deacon (Dean Hayes) and Sub-Deacon (Rev. P. J. Slattery) proceeded to robe his Lordship, who had taken his seat at the epistle side of the altar, for the solemn High Mass, at appropriate times wearing his mitre and bearing his crozier. The mass, which was chanted by the Bishop with touching simplicity and earnestness, was then commenced. The choir, under the direction of Mr. Meunsch, organist, was full and most effective. Mrs. Testar, of Melbourne, having generously offered her valuable services, took the leading soprano solos, and it is scarcely necessary to add, rendered them with exquisite taste and feeling – her beautiful voice being heard with great effect throughout the entire building. The choir consisted of the following ladies and gentlemen who volunteered to aid in the ceremonies upon this most interesting occasion. Ladies: Mrs. Tresar, soprano; Mrs. J.J. McCormick, alto; Miss Julia Conry, soprano; Mrs. Vincent, soprano; Mrs. Aitken, soprano. Gentlemen: H. Guthiel, tenor; Master John Murphy, tenor; James Knox, bass; J. M. Murphy, bass; Mr. Staunton, baritone; Mr. Sourby, alto; Mr. Short, bass. The chant, “Let us adore,” during the procession, was given by Mrs. Vincent with considerable power. The selection of the “Imperial Mass” (Haydn’s No. 3) was felicitous, and the highly artistic and finished manner in which the different parts were sustained, demonstrated that great and persevering care must have been bestowed on the preparation for “the opening day.” The “Kyrie” was given with the full strength and power of the choir. The swelling of the voices in complete harmony, and the pealing of the organ in the midst of incense and prayer, produced a most marked effect upon the congregation. In the “Gloria,” the solos of Mrs. Testar were really beautiful and Mrs. McCormick rendered the alto solos with considerable merit. Mr. Knox sang the part commencing with the words “Qui tolles” with much taste and power. The “Credo” than which we believe there is not a more magnificent piece of sacred music extant, was most successful in its rendering, nor do we ever remember to have heard anything more touching than the manner in which the line “Vetam Venturi in Seculi,” was given by Mrs. Testar. The offertory hymn “Come unto Me all ye that labor,” was given by Mrs. Testar with the most thrilling effect. The “Sanctus” having been sung, in which Mr. Sourby ably rendered an alto solo, the “Agnus Dei” was commenced with a solo by Mrs. McCormick and was given with great taste and feeling, Mrs. Testar, at the conclusion of the “Agnus,” taking up the soprano part. Mass being concluded, the Very Reverend Dean Hayes ascended the altar and proceeded to preach the opening sermon, taking as his text Second Paralipomenon [Chronicles II], 7th chapter and 16th verse – “For I have chosen and have sanctified this place that My hand may be there for ever, and My eyes and My heart may remain there perpetually.” St Peter's manseAt the close of the sermon a collection was made by the very reverend preacher, assisted by John Egan, Esq., Corinella, on behalf of the church, and about fifty pounds were contributed. When it is remembered that 500 tickets had been issues at 10s each, and the inclemency of the weather taken into consideration, the collection may be regarded as a large one. Benediction was sung by the Rev. P. J. Slattery, assisted by Dean Hayes, the choir singing the “O! Salutaris Hostia” and “Laudate.” Handel’s Hallelujah Chorus was sung at the termination of the ceremonies. The vestments issued at Benediction, as well as at the Mass, were of the most gorgeous and beautiful character. When the Benediction was over, the Rev. P. J. Slattery, standing at the front of the altar said– “I wish to say one or two words before the congregation leave. I feel most deeply indebted to all of you who have attended here today for the honor and glory of God, not withstanding the difficulties you had to encounter from this most inclement season. I am truly delighted at such a manifestation of feeling, and will not easily forget it.” The rev. gentleman having disrobed, thanked the members of the choir for their kindness in assisting at the ceremonies, and more especially Mrs. Testar, who had braved all the storm and rain to be present at, and give the advantage of her great musical abilities on, the “opening day.” (Daylesford Mercury, 15 May 1865.)A number of photographs of St Peter's Catholic Church, Daylesford, taken at the 150th anniversary celebration. st peter's catholic church daylesford, decoration, altar decoration, anniversary, daylesford, religion, painting, interior, slattery, gough, d'alton, mcmahon

Sepia photograph of Hopwood's Punt, showing the gangway extended to river bank. There are 5 workmen, dressed in work clothes and boots, at the front of the punt and 2 gentlemen, dressed in coats and umbrellas. Stock, produce (possibly wool bales) and people are on board. There are 3 horses hitched to a wagon and behind there looks like a large consignment of wool bales. There appears to be women at the side of the punt (1 with an umbrella up). At the side of the punt there appears to be a passenger landing. There is also a small row boat tied to the side of the punt. Wagons, barge and possibly other punts are in the background. There was a painting of this scene by J. C. Armytage around 1857.This is a very good example of the cargo, people, produce and animals, that were using the punt to cross the Murray river in the late 1800s. The difference between workers and gentry can be seen as well as the modes of transport at this time.Sepia photograph of Hopwood's Punt, showing the gangway extended to river bank. Stock, produce (possibly wool bales) and people are on board. Wagons, barge and possibly other punts are in the background. Mounted on buff cardboard printed with red lines and letters.On the front at the top, above the red boarder "Royal", at the bottom below the red boarder "Hopwood's Punt, Echuca". On the reverse, "W. B. Payne, Darling St., Echuca"murray river, echuca, hopwood's punt, j. c. armytage (painter)