Framed limited edition lithograph.Edition 6/10geoffrey ricardo, printmaking, woman

Australian 1920 - 1999Lithograph [Bodford Terrace Folio]

Australai 1913 - 1986Lithograph AP s.24Title, edition, signed and inscribed To Beverly and Bob

French 1808 - 1879Lithograph [from printed book]

Lithograph 4/50Signed and edition

Lithographs of various types pertaining to Suez Canal, shipwrecks and marine art of the 1800s. Also included in this collection are lithographs connected with cable laying done during this particular period. These woodcut lithographs appeared in "The Illustrated London News"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, lithographs, woodcut lithographs, illustrated london news, 19th century lithographic art

Displayed in original toy cabinet of museum for unknown length of time. Copy of an original lithographBiography of Outhwaite, Ida Sherbourne 188 - 1960 in Supplementary FileBlack and white etched print of children and pixies playing around open fire. Print is set in brown wooden frame. Copy of an original lithograph. The etching is by Ida Rentoul Outhwaite identified by her signature in the top right hand corner covered by the mounting.|On the back of this copy of the etching (the page appears to be cut from a book) is an etching of a koala and a camp fire on which he has brewed billy tea. A sweet four verse poem describing the picture accompanies the etching.|The initials I.S.R.O. are at base of the etchingillustrations, reproductions

Madagascar was a large British merchant ship built for the trade to India and China in 1837 that disappeared on a voyage from Melbourne to London in 1853. The disappearance of Madagascar was one of the great maritime mysteries of the 19th century and has probably been the subject of more speculation than any other 19th-century maritime puzzle, except for the Mary Celeste. Madagascar, the second Blackwall Frigate, was built for George and Henry Green at the Blackwall Yard, London, a shipyard that they co-owned with the Wigram family. A one-eighth share in the vessel was held throughout her 16-year career by her first master Captain William Harrison Walker Walker. Madagascar carried freight, passengers, and troops between England and India until the end of 1852. In addition to her normal crew, she also carried many boys being trained as officers for the merchant marine. Known as midshipmen from naval practice, their parents or guardians paid for their training, and they only received a nominal wage of usually a shilling a month. Due to the Victorian Gold Rush, Madagascar, under the command of Captain Fortescue William Harris, was sent to Melbourne with emigrants. She left Plymouth on 11 March 1853 and, after an uneventful passage of 87 days, reached Melbourne on 10 June. Fourteen of her 60 crew jumped ship for the diggings, and it is believed only about three replacements were signed on. She then loaded a cargo that included wool, rice, and about two tonnes of gold valued at £240,000, and took on board about 110 passengers for London. On Wednesday 10 August, just as she was preparing to sail, police went on board and arrested a bushranger John Francis, who was later found to have been one of those responsible for robbing on 20th July the Melbourne Private Escort between the McIvor goldfield at Heathcote, Victoria and Kyneton. On the following day, the police arrested two others, one on board the ship and the other as he was preparing to board. As a result of these arrests, Madagascar did not leave Melbourne until Friday 12 August 1853. After she left Port Phillip Heads Madagascar was never seen again. When the ship became overdue many theories were floated, including spontaneous combustion of the wool cargo, hitting an iceberg and, most controversially, being seized by criminal elements of the passengers and/or crew and scuttled, with the gold being stolen and the remaining passengers and crew murdered. There have been many rumors as to what happened to Madagascar over the years but what really happened is still a mystery. The lithograph was made around 1950 from an original painting of Madagascar a Vessel with a notorious past and is interesting and a significant item for the ships part in early Victorian history. The picture is it’s self not valuable or can be associated with a significant person in history. The interest lies in the events that are linked to the ship in the mid 19th century.Lithograph of the ship Madagascar, in a wooden frameThe Madagascar East Indiaman 1000 tonsflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, lithograph, the madagascar, east indiaman

Coloured Lithograph of helicopters resupplying a firebase.lithograph, helicopter, firebase

copy of a lithograph fair condition unmountedSt Kilda Pier - Sunday Afternoon. Copy courtesy LaTrobe Library, Melbourne, from The Illustrated Australian News 22 .1.1879, p.52

COPIES OF LITHOGRAPH OF CHINESE RIOT 1873local history, photography, photographs, mining, chinese riot

Donated by the artist, 1997Etching, lithograph and chine colle on papergippsland, artwork, permanent collection

Graham KING (23 February 1915 – 11 October 2008) Known as a master printmaker, Graham King was instrumental in the revival of Australian printmaking in the 1960s. He was the inaugural Secretary of the Print Council of Australia, and was later President. A lecturer in Printmaking at the Royal Melbourne Institute of Technology (RMIT) from 1966 to 1988, he was awarded an Order of Australia for his services to education in 1991. 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 lithograph in predominantly blue and black.Signed lower edge " Proof 2/5. 'Nocturne'. Graham King '63."art, artwork, graham king, king, printmaking, edition, available

As a constant observer of the natural world, I am constantly observing and drawing trees. While I never intend to anthropomorphise objects in nature, I often see trees as having strong ‘characters’. As I was looking through my journal recently I noticed a page where I had drawn a group of trees standing in a line. This immediately gave me the idea for my lithograph Family Tree. (https://www.printcouncil.org.au/product/kaye-green-family-tree/, accessed 30 November 2022)Kaye L. GREENLithograph PCA PRINT COMMISSION 2011kaye l. green, gippsland art collection

Australia 1913 - 1986Lithograph 34/100 s.19Edition and signed

Australia 1913 - 1986Lithograph 5/40 s.111Signed, dated, edition and numbered

Australia 1913 - 1986Lithograph 5/40 s.122Signed, dated, numbered and edition

Australia 1913 - 1986Lithograph 5/40 s.124Signed, dated, numbered and edition

Australia 1913 - 1986Lithograph 5/40 s.125Signed, dated, edition and numbered

Australia 1913 - 1986Lithograph 5/40 s.127Signed, dated, numbered and edition

Australia 1913 - 1986Lithograph 5/40 s.127Signed, dated edition and numbered

Australia 1013 - 1986Lithograph 5/40 s.128Signed, dated , numbered and editioned

Australia 1913 - 1986Lithograph 5/40 s.129Signed, edition, numbered and dated

Australia 1913 - 1986Lithograph 5/40 s.130Signed and dated, edition and numbered

Australia 1913 - 1986Lithograph 5/40 s.131Signed, dated, numbered and edition

Australia 1913 - 1986Lithograph 5/40 s.132Signed ,dated, numbered and edition