A framed oil painting depicting an Australian bushscape. Gift of David Alexander, 2013david alexander, art, artist, alexander, landscape, churchill, gippsland campus

Gift of Mack Jost, 1999

Gift of Mack Jost, 1998

Donated through the Australian Government's Cultural Gifts Program by Mack Jost, 1992.oil on composition boardSigned, lower rightrobert dickerson, the antipodeans, redfern

Gift of Peter and Marlyn Bancroft, 2004

non-fictionthesis, great war, ballarat, avenue of honour, michael taffe, war memorials, memory, landscape

Built by artist and cartoonist Percy Leason in 1927 in what was then New Street but renamed Lavender Park Road in the late 1950s/early 1960s. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p121 Said to be a genius, cartoonist Percy Leason’s career was at its peak when in 1925 to 1926 he built his home at New Street (now Lavender Park Road) Eltham. The Herald newspaper owner, Sir Keith Murdoch, had hired Leason for his newly acquired Melbourne Punch magazine at a salary of £1750, making him ‘one of the highest paid cartoonists in the world’.1 With this salary and financial help from Murdoch, Leason was able to build his lovely home in Eltham. At the crest of a sweeping drive, the home now two-storey in white brick with a gabled grey slate roof and dormer windows is flanked by an extension built by another owner in the 1980s. Leason lived in the home with his wife, Isabel and children, until 1937, when he left for the United States of America, where he lived until his death in 1959. The four-bedroom house and garden would have been well-suited to bringing up his family and to entertaining their friends in style. Large airy rooms have high ceilings with moulded plaster, timber floors and several are brightened with bay windows. Leason made friends with many of the artists and personalities who gravitated to Eltham. Around 1931 Justus Jörgensen, founder of the Montsalvat Artists’ Colony, helped Leason build his large studio at the back of the house. Another friend was journalist Mervyn Skipper, father of jeweller and sculptor Matcham, and artists Helen and Sonia. Leason’s teacher, artist Max Meldrum, also visited and rented accommodation in Eltham, opposite Wingrove Park. Punch folded in 1925, but Leason continued as cartoonist for Table Talk. In 1926 Leason began the cartoons of a mythical Australian town Wiregrass, which were inspired by Kaniva, his home town. The art gallery in Main Road Eltham was named Wiregrass in Leason’s honour. Leason completed 1000 drawings from 1919 to 1937, which author Garrie Hutchinson claimed, were technically unsurpassed and had regional and universal interest. Leason’s acute observations of country life stemmed from his childhood in Kaniva in Victoria’s western Wimmera, where he was born, the son of a selector, in 1889. Meldrum claimed that Leason could name every plant and the habits of every animal.2 Leason also painted 28 portraits of the last full-blooded aboriginals in Victoria at Lake Tyers in Gippsland, most of which are in a private collection. In Sydney Leason illustrated Henry Lawson’s Selected Poems and worked for The Bulletin. Leason had begun his career at 13 as an apprentice lithographic artist at Sands and MacDougall. He attended night classes at the National Gallery and the Victorian Artists Society. Leason first visited Eltham in 1910 to paint with fellow artist William ‘Jock’ Frater. They camped near Bible and Pitt Streets and along the Diamond Creek on the site of the present Eltham Retirement Centre. Despite his success as a cartoonist, Leason wanted to be recognised as a serious painter and for his anthropological work.3 He was also conservative and felt uncomfortable with the modern art scene in Melbourne.4 So he left for the United States of America to work as a painter. Ironically his time in New York saw the burgeoning of modern art, notably by artists such as Jackson Pollock. But Leason found his niche by running an art school, painting society portraits and illustrating books and magazines.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, landscape, lavender park road, percy leason, new street

landscape

landscape, painting

Gift of Mack Jost, 1993

Gift of Harold Price, 2006

This work was undertaken by a student at Horsham Campus.Light blue background with a black outline followed by a thicker pinkish brown outline with black details, artwork contains part of a tree outlined and detailed in black and coloured with the same pinkish brown colour, it has some green leaves, the tree resembles a gum tree.DER or DLR is written below the arthorsham student collection, printmaking, alumni, available, tree, gum tree, landscape

Anne Scott Wilson is a video and photography artist interested in memory, motion and the body. Her work often experiments with movement and light exposure over time. The images in Fly Rhythm series record landscapes from the Dandenong Ranges to Altona and were produced for an exhibition at the Wyndham Art Gallery called EXPERIMENT in 2012.australian art, australian photography, photography, female artist

Undated black and white photograph, which mostly shows buildings in Sussex Street, Linton, near the corner of Sussex and Clyde Streets. Surrey Street can be seen in the foreground but there are no houses along it."View of Linton from school. Large tree gum planted was in front of cottage dad built when they were first married. Now half covered with ivy". "(16)".sussex street linton, surrey street linton

Gift of the Friends of Horsham Art Gallery, 1990

warrandyte

Nadine Christensen’s practice encompasses painting, installation and drawing and has comprised an ongoing investigation into natural phenomena. She draws on diverse sources including design and illustration, architecture, new and arcane technologies, science fiction, animation, tall stories and curiosities to engage the changing possibilities and conditions of light and perception. Christensen’s work also explores the desire to map and understand our environment as well as the role of narrative and story telling in the unfolding of information throughout contemporary culture. Recent work samples from small moments in her larger paintings and utilises aspects of external surfaces and everyday objects such as piles of dirt, tables, ropes and chains that occupy the juncture between the real and the imagined. Montage style paintings combine Christensen’s highly recognisable gradational and flat colouring, 3D rendering and trompe l’oeil effects while the imagery itself veers from representational and identifiable elements toward pure abstraction.

Arthur LINDSAY (1912-1990) Born Melbourne Arthur Lindsay was a student at the George Bell School c 1942; He was active in the 1940s and 1950s and mainly painted landscapes in oil.A pencil landscapesigned lower left "A. Lindsay"arthur lindsay, landscape, gumtrees

RealismHENDERSON, John Black Born 1827 London, England Died 1918 AustraliaRecto: Titled l.c. ink"Bad Saddle, Wilsons Promontory" Verso: On mount board u.r., pencil "Wilsons/Prom"landscape.

View of landscape and farming land at Mt Mercer in the early part of the twentieth century Representation of the small outlying rural areas near Buninyong in the early twentieth centuryLandscape around Mt Mercer circa 1920mt mercer, landscape

The (logging) truck carries a representation of John Glover’s painted landscapes, which Cox has painted on a solid block of wood. John Glover is one of Australia’s most celebrated colonial landscape painters. Born in England, he was a highly successful water-colourist and painter of landscapes in the tradition of French artist Claude Lorrain. Arriving in Australia in 1831, Glover adapted his picturesque style and luminous technique to his new surrounds, creating naturalistic and atmospheric paintings of Australian nature, settler life, and Aboriginal culture. Working out of doors, Glover developed an understanding of the unfamiliar Australian landscape, especially the twisting forms of native eucalyptus trees. His direct experience of nature, as both pioneer settler and painter, resulted in a new approach using a subtle palette of olive greens, ochres, misty greys and intense blues, and layered glazes of mauve, grey and gold, to portray Australian light and atmosphere. Dale Cox continues the ongoing preoccupation and tradition of landscape painting in the Nillumbik area and our impact on the environment in a contemporary way. The truck creates a playful nexus between painting (representational landscape) and sculpture, purposely bluring boundaries across these traditionally distinct disciplines. ‘Ghost’ seeks to convey the idea that when we remove something significant from a location, like the landscape itself, the remaining ‘place’ changes to become a new ‘place’. This may seem self-evident until we think more deeply about location and landscape. The white truck is a ghost, an ethereal, transient being that spirits away an entire place, forever removed from itself, and forever changed. Logging wild trees can never be like harvesting a ‘crop’. Logging removes a landscape, and changes a place forever. The ‘packaging’ of this painted landscape highlights the anomaly between commodity and our environment. Dale Cox was a local artist and this work was highly commended at the 2012 Nillumbik Prize. White plastic toy (logging) truck with a landscape painting on a wooden block. The landscape painting is reminiscent of paintings by colonial artist John Glover. N/Alandscape, truck, sculpture, environment, john glover, colonial, painting, ghost, nillumbik prize