Unframed limited edition photo etching. Promised gift under the Australian Government's Cultural Gift Program.Signed lower right "Ricardo 09"geoffrey ricardo, framing required, promised cultural gift, printmaking

Unframed limited edition photo etching. Promised gift under the Australian Government's Cultural Gift Program.Signed lower right "Ricardo 09"geoffrey ricardo, framing required, promised cultural gift, printmaking

Unframed limited edition photo etching. Promised gift under the Australian Government's Cultural Gift Program.Signed lower right "Ricardo 09"geoffrey ricardo, framing required, promised cultural gift, printmaking

Unframed limited edition photo etching. Promised gift under the Australian Government's Cultural Gift Program.Signed lower right "Ricardo 2012"geoffrey ricardo, framing required, promised cultural gift

Unframed limited edition photo etching. Promised gift under the Australian Government's Cultural Gift Program.Signed lower right "Ricardo 09"geoffrey ricardo, framing required, promised cultural gift, printmaking

This is a soda syphon for holding soda water used by the aerated waters business of Reeves of Warrnambool (possibly bottled in the 1970s or 80s). It is a Fletcher bottle. John Davis established a cordial business in Warrnambool in 1859 and this business was taken over by John Fletcher. Ralph Reeves purchased the Fletcher business from the estate of the late John Fletcher in 1931 and continued to use the Fletcher bottles. The business of Reeves soft drinks continued in Koroit Street until the 1980s.This soda syphon is of considerable importance as it links two prominent soft drinks makers in Warrnambool – Fletcher and Reeves. It will be useful for display as it tells of a time when this sort of soda syphon was in use.This bottle is a soda syphon with an oblong-shaped glass base and a metal spout. It has a solid glass base and a pink-coloured tube inside the bottle. It has a chip on the base and the spout is a little corroded. The name and logo (scrolls and patterns) of J. Fletcher of Warrnambool is etched into the glass. There is also a red and cream paper label of Reeves.Paper label: ‘Reeves soda water’ Glass etching: ‘J. Fletcher, Warrnambool, F. Trade Mark’ john fletcher, reeves family

B & W mezzotint engraving of the Rev. John Wesley, surmounting small etching of Epworth Church. Timber frame.The Revd. John Wesley, A.M. Fellow of Lincoln College Oxford. Born at Epworth in Lincolnshire June 28th 1703 Died in London March 2nd 1791 Epworth Church Drawn by J. Jackson, R.A. July 18th 1825 Published Aug. 1st 1825 by the Rev. Thos. Roberts Bristol.

Three piece manicure set including - Nail file, nail cleaner and small hand mirror with bird etching.manicure equipment, nail files, hand mirrors

After a quiet period, interest in bookplates in Australia began to increase in the early 1970s, Entrepreneurial art and book collectors such as Edwin Jewell and others commissioned multiple Bookplate designs from a range of well known fine artists. At a 1997 meeting in Melbourne of the Ephemera Society of Australia Edwin Jewell and others announced the formation of the Australian Bookplate Society. The society was instrumental in promoting the art of the bookplate through establishment of the Australian Bookplate Design competition. The competition includes a design award for secondary schools students.Venetian prince set against eastern buildings, seas, gondolas and ships with eastern architecture, symbols and camels. A dragon and elephant in prince's diadem and hair. Library details surrounding sun and moon either side of main figure all in bi-coloured inks.Inscribed beneath image, "The Secrets of the Silk Road" Ex Libris Biblioteca Bodio Lambnago - Etching Natalija 2019

Deep red board cover with an etching of a boy and his dog in black and green on the cover and blank back - 128 pagesfiction

John Gartner was a fine printer and publisher, an author, a noted philatelist, and also collector of Australian banknotes and coins. He was born on 16 July 1914 and was largely self-educated, leaving school at fourteen for work following the death of his father. Gartner developed a strong interest in the history of typography and printing and was apprenticed at the Advocate where his father had been a linotype operator. Aged 17, Gartner bought a hand press and some fonts of type, and in 1937 acquired a platen press from which he set and printed his private press books, published under the imprint of The Hawthorn Press. Gartner had a strong collection of Australian bookplates. He also looked at the work of artists overseas and commissioned personal plates. He subsequently built an international collection with preference for artists who printed from wood. His initial searches were in Belgium and Holland. (http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-84/t1-g-t7.html)Black and white Bookplate made with the etching process featuring a nude woman in a spherical frame. The figure 08 appears on the sphere.Signed lower centre [illegible]keith wingrove memorial trust, bookplate, australian bookplate design awards, john gartner, printmaking - etching, nude, life drawing

Silver Wedding gift to Mr. and Mrs. W.J. Sebire, from their daughter.2 Silver Egg cruets with handle and decorative etching on tray and eggcups. 8 cups, 8 spoons and 2 trays.

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

Brass mug shaped vessel with decorative etching. possibly trench art made from some other decorative brass item.souvenir, ww1, trench art

Etching of a group of large buildings laid out in roughly the shape of the letter ' Y ' . Underneath is printed ' Mullers Orphanages, Ashley Down.buildings, government, orphanage, mullers orphanages, ashley down

Framed soft ground etching with aquatint depicting the Joss House in Bendigo. Donated through the Australian Gifts Programme by Katherine Littlewood.chinese, bendigo joss house, kenneth jack, printmaking, bendigo, joss house

Brendan Michael COOPER (13/5/1968 - ) Born Papua New Guinea Arrived Australia 1974. Bachelor of Visual Arts (Fine Arts) with distinction in 2016 Established printmaker and sculptor predominantly concerned with the urban and natural environment, who works with conceptual art and sacred geometry. 2018 completed an honours in Fine Arts with distinction at RMIT, and started a Masters Fine Arts at RMIT in 2019. Three limited edition prints Aluminum etching over eucalyptus transfer on 350 gsm archival Wild Letter Printing Paper brendan cooper, artwork, printmaking

AN ETCHING OF VERY EARLY CLUNES. TREE GUARDS AROUND TREES ALONG CREEK BANK, ORIGINAL NAMED TULLAROOP CREEK.CLUNES TOWNSHIP, CRESWICK CREEK, DOUBLE STORY BUILDINGS AND MINE POPPET HEADS.TOWN OF CLUNESlocal history, photography, photographs, clunes township.

Soft Cover book. Soft cover cardboard, red and black print on front, spine and back. Front cover illustration. Black ink cartoon style portrait of a man, Back cover - small cartoon style etching of two men. 448 pages, cut plain, white. Illustrated black and white and colour photographs, etchings and cartoons.Biography of war artist Will Dysonbooks, biography, war artist, cartoons

Pobably belonged to donor's mother Abigail (b: 1902 d: 1995)A kniutting needle metal guage in a suede cover with gumnut etching on front. Needle guage is shaped like a bell with leather tie on topNo: 1-16 Knitting pin size is width of slotshandcrafts, knitting

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, etchings, artworkCard mounted etching style drawing of the "Steam Packet Wharf, Mack's Hotel, etc Geelong and features the paddle steamer PS CITIZENOn the reverse - "PS Citizen - 196 tons Built 1843 Ran Melbourne - Geelong Trade till Oct 15th 1862 when she left for New Zealand and was never seen again"geelong, steam packet wharf, ps citizen, mack's hotel

This lithograph shows William Webb's Cordial and Aerated Waters factory on William Street. An 1887 plan shows three buildings forming part of the factory. Black & white etching of Large building of Webb Bros Cordial factory with delivery cart out front and lower wooden buildings to the leftPort Fairy Steam Aerated Water and Cordial Factory Webb Bros. William Street Port Fairyfactory, business, shop