Vol. 2, No. 5, Oct-Nov 1997 CONTENTS ART BRIDGES GAP IN WAR-TORN NATION Painter Piers Batman captures life in Eritrea 3 TENACITY OF THE HUMAN SPIRIT A teacher's road back from road trauma 7 EXHIBITIONS 10 POETRY Ray Liversidge 11 STUDIO WALKABOUT Artists open studios for Eltham Festival 12 ART FROM THE HEART Interview with Herman Pekel 14 ERITREAN JOURNEY Bill Moseley's camera in Eritrea 16 ART AND THE INTERNET Two Kangaroo Ground women bring art to a wider audience 18 HOUSE AND GARDEN IN SUBURBIA Exhibition of sculpture at Austin and Repatriation Medical Centre 20 THEATRE New Playbox - powerful advocate of Australian theatre 21 SHORT STORY Goodbye Dave, by Sherry Clarke 22 BOOK REVIEW 27 POETRY READING 28 BOOK REVIEW 29 EXPATRIATES COME HOME Former Nillumbik artists exhibit works 30 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, thornton mccamish, bill moseley, eritrea, darebin festival, christine durham, michele lonsdale, ray liversidge, ona henderson, syd tunn, eltham festival, artists open studios program, nillumbik artists' open studios, david armfield, janet boddy, jules christian burns, wendy donald, jill forest, annie keil-taggart, ming bellamy mackay, jenni mitchell, grace mitchell, mervyn hannan, mary lou pittard, chris pittard, maureen runge, herman pekel, austin and repatriation medical centre, carolyn pickett, sherry clarke, manningham artspace, alan marshall short story award, eltham arts council inc., eltham library community gallery, harriot dance, chapman & bailey artists' stretchers and furniture, eltham high school

Janet MANSFIELD (1934-2013 ) Born Sydney, New South Wales Janet Mansfield studied Ceramics at the National School of Art, East Sydney Technical College in 1964 to 1965. She received a Crafts Board Grants in 1974 to study in the United States of America; to research salt glaze technique in 1975; to exhibit in Japan in 1985; to travel to Hungary fir a symposium, and an Australia-Japan Foundation Grant in 1977 to study in Japan. She was a visiting lecturer to the Gippsland Centre for Art and Design in 1980 and a Spotkanie guest in 1984. Her work was fired to wood kilns and taken to stoneware temperatures. She used salt for shorter firings, or in the anagama kiln depended on the ash and flame for glaze effects. Janet Mansfield has been editor of 'Pottery in Australia' and 'Ceramics: Art and Perception'. In 1987 she was awarded an Order Of Australia Medal for services to art and ceramics. In 1980 Janet Mansfield was a visiting lecturer at the Gippsland Institute of Advanced Education. She was a guest at Spotkanie in 1984.Wheel thrown wood fired and salt-glazed stoneware.jan feder memorial ceramics collection, ceramics, janet mansfield, gippsland campus, visiting lecturer, spotkanie

Ben RICHARDSON (1951- ) Born Hobart, Tasmania In 1972 Ben Richadson was awarded a B.Commerce degree in 1972 at the University of Tasmania. From 1978-81 he studied ceramics at the School of Art in Hobart and completed a Master of Art, Design and Environment degree in 2004. Starting out with raku, he was converted to working with local materials and firing with wood by Col Levy, Les Blakebrough and Gwyn Hanssen Pigott, who conducted a woodfiring workshop he attended in 1980. In 1982, he set up the Ridgeline Pottery at Sandford, where he still lives and works, teaching two days a week at TAFE. He was a part-time lecturer in ceramics at the School of Art from 1985-95, and a researcher in the development of Southern Ice porcelain from 1995-97. In 2004, he completed a Master of Art, Design and Environment degree and, in the same year, participated in an international woodfiring workshop and conference in the United States. His work is marked with an impressed 'BR'.Woodfired stoneware jar purchased from Woodfire 86.ben richardson, ceramics, jan feder memorial ceramics collection, gippsland campus, ridgeline pottery, woodfire 86

Robert JENYNS (1944 - 16/11/2015) Born Melbourne, Victoria Bob Jenyns' career spanned over four decades. Producing sculptures, prints, drawings, and paintings hee has participated in many of Australia's most significant art exhibitions including the first Biennale of Sydney (1973), the 1973, 1975 and 1978 Mildura Sculpture Triennials, the 1981 Australian Perspecta, the 2nd Australian Sculpture Biennale, and the 1990 Sculpture Triennial. Jenyns was a finalist in the 2006 Helen Lempriere National Sculpture Award, and in 2007 won the award with his work Pont de l'archeveche. At the age of 16 Jenyns studyied advertising art at the Caulfield Institute of Technology. He then studied fine art with artist/teachers including Ken Scarlett, Kenneth Jack and Fred Cress, and night life drawing classes at the National Gallery schools under John Brack. After graduating the 20 year old Jenyns taught sculpture and carving at Aspendale Technical School (Melbourne). Two years later he moved to Daylesford and where he taught art until 1978, having received teaching qualifications from Hawthorn Teachers College in 1972. From 1979 Jenyns was based in Tasmania, initially lecturing in sculpture at the Tasmanian School of Art and later serving as head of the sculpture department until 2005. Gift of the Jenyns family, 2021Painting of a red truck painted onto a stretched canvas.truck, bob jenyns, robert jenyns, transport, available

A booklet titled ' Private Lives, Public Heritage.' An exhibition of Historic Photographs presented by Bendigo Art Gallery in conjunction with the Museum of Victoria. Sponsored by the Bendigo Advertiser and the Bendigo Building Society. Cambridge Press Bendigo.1988. bottom left corner of front cover has a number sticker, 0124 THO Original copy not in this box.MOSAIC number unrelated to items in Box 147 Found copy added to box 16.20.2023. BPbendigo, history, photographs, exhibition, photography, photographs, history, bendigo, bendigo history. bottom left corner of the front cover has a number sticker, 0124 tho.

Embroidered by hand. Top edged in gathered, coffee coloured lace, 4.5 cm wide. An opening at the base is also edged in the same patterned lace.Four metal press-studs close the shoulders and neck of the cover. Padded and lined with art-silk featuring butterflies and floral designs in dark - grey and white. The initials M.B. are satin stitched on the back, while fine running stitches outline a pattern on the front, emphasising the padded effect.Hand stitched, the initials M.B. give the only indication of ownership.manchester, trimmings, pink satin hot water bottle cover

B&W Photographs of Jones & Co group - a. Three females and three males comprising the group.. Sundry annotations. Six performers of the group photographed looking out from between two stone columns; b. six members of the group posed in front of old stone building - some sitting, some standing. With single-age sheet describing the group and details re their concert in Bendigo (Art Gallery) - May 1991.

Set of 17 Souvenir tickets for each of the painted trams, issued at the time of the launch - first day ticket. Each ticket corresponds to the painted tram number. A project of the Victorian Ministry of Transport and the Ministry of Arts. Printed on gloss card except for ticket No. 1, 9. Tickets 1 to 8 have plain backs. Each ticket has the tram number in a sketch of the front of a tram. These are for the second series of Transporting Art trams.trams, tramways, transporting art, minister for transport, decorated trams

Two black and white photographs of two Bendigo Teachers' College staff members Miss J.C. Burnett and Mr. Morris on a college trip to Healesville in c.1947. Comment on back of photograph - 'Dear Miss Burnett + Mr. Morris, I could not resist showing you how you looked at Healesville. The snap will be a help when you are lecturing to the Bendigo students on the art of 'crowing.' Marjorie Robinson. See 3320.100la trobe university bendigo collection, collection, bendigo, education, bendigo teachers' college, teacher training, miss j.c. burnett, mr. geoff pryor, mr. morris, ms. marjorie robinson, teaching, tertiary education, history, fashion, clothing, costume

Personal postcard album with letters on reverse from a soldier and relatives.Cardboard and paper post card album containing souvernir cards sent during the First World War and later to Gertrude (Gertie), (Mrs C Hodgett). Cards range from scenes of Egypt, England, country Victoria and France. Also cards written by family members to Gertie. Back page of album contains abituaries and newspaper cuttings for Hodgetts, Burton, Atkinson, Cam. Cover is embossed with art nouveau decoration.Inside front cover Cards, Sent to Gertie/ From Cazzie Hodgett/Year 1916

Items souveniered or collected by James Worland Mills No 3441 59th Batt AIF. Refer 169P. Metal souvenirs from France and Letter opener. .1) Silver shield with cross, wheat, on either side, crown on top. Town coat-of arms for Ypres, with clasp. .2) Tarnished metal, lion on shield, crown on top,3 leaf clover on either side, town coat-of-arms for Arras, with clasp. .3) Letter opener. Trench art - metal rifle cartridge with pressed brass handle and knife/blade. .1) "YPRES" coat of arms. .2) "ARRAS" coat of arms. .3) "SOUVENIR OF FRANCE" (under helmet)souvenirs, coats of arms, letter openers, trench art

Boyd proposes to apply art criticism techniques to architecture; claims architectural criticism in Australia is "all but dead" because of the 'schizophrenic nature of architecture" (i.e. building a socio-economic object as well as art). Boyd compares Kevin Borland's design of The Legend restaurant (Lonsdale St) with a recently designed residential apartment block (15 Collins St); claims that both are schizophrenic but The Legend is masterfully so whereas the apartments are aesthetically lacking.Original manuscript of an article published as ‘The schizophrenic style’ in "The Sunday Australian", 14.3.1971Typewritten (c copy), quarto, 11 pagesTop of page 1 handwritten where and when published. The last page credits photographer Mark Strizic, so images may have been attached.architectural criticism, art criticism, melbourne architecture, the legend restaurant, lonsdale st, leonard french, legend milk bar, tivoli theatre, clement meadmore, kevin borland, colonial architecture, 15 collins st, robin boyd, manuscript

McDonald Smith is famous for paining in the tradition of tonal impressionism, with most of his works painted in oil. This influence of the European Impressionist art style is clearly seen in his artwork Flower Study. The notion of light, an impressionist theme, is depicted by the use of a tonal colour palette and varied brushstrokes. The depiction of a Japanese dragon vase hints at the art aesthetic of Japonisme in the European Impressionist movement, a possible nod of respect to the movement by McDonald Smith.Rural City of Wangaratta Collection, Wangaratta Art Prize 1997.A rectangular still life painting of a bunch of flowers in a vase painted in oil using shades of white, red, green, blue, and yellow.Obverse: P McDONALD SMITH (bottom right corner)wangaratta art gallery, painting, still life, paul mcdonald smith

Ponsonby Carew Smyth, A.R.C.A. London, was Victorian Art Inspector of Technical Schools. "Ponsonby May Carew-Smyth (1860-1939), educationist, was born on 7 August 1860 at Cork, Ireland, son of Emmanuel Uniacke Smyth, gentleman, and his wife Catherine Giles, née Carew. Carew-Smyth's initial art training and teaching was at the Belfast Government School of Art and Design. In 1885 he entered the National Art Training School at South Kensington, London, where he remained as student and teacher for five years. He also taught at Rugby School, studied at the Royal School of Wood Carving and the Guild School of Handicrafts, London, and was sent by the Department of Science and Art to study art, art education and museum procedures in Paris. Testimonials to his career in England affirm his ability and dedication as an educationist and his integrity as a man. On 23 December 1890 Carew-Smyth married Marie Reynolds of Brixton; they migrated to Australia next January. In September Carew-Smyth applied from Melbourne for the position of master of the school of art and design, established under the auspices of the Ballarat Fine Art Gallery. Opening in November, the school offered day classes and a broad curriculum, and under Carew-Smyth's guidance, established a sound reputation. In November 1899 he was appointed inspector of drawing in the Department of Education. Carew-Smyth saw drawing as a crucial link between primary and technical education, insisting on it as a 'mental process quite as much as a manual'; he believed strongly in the utilitarian value of drawing to the artisan class and of art as 'craftmanship'. By his emphasis on teacher-training, by his role in the Teachers' Training College, and by his constant travels, writing and lecturing, he upgraded both the standard and importance of drawing early in the century. His meticulous mind formulated the Austral Drawing Books which provided the basis of instruction in the subject in Victoria until 1927. Although he gave his occupation as 'artist', Carew-Smyth was primarily an educationist. He was actively involved in the early years of Prahran and Swinburne Technical colleges, and especially the Working Men's College which held his interest even after his retirement. In 1906 he was appointed chairman of the Victorian State Schools' Equipment and Decoration Society, and he was important in the organization of the state schools' exhibition that year. He designed the commemorative wall plaques installed in state schools after World War I, and the art teachers' certificate. He was prominent in bringing about the 1922 Jubilee Exhibition, and the 1926 showing of work of overseas schools, and especially the 1934 Melbourne centenary 'Early Victorian Art' exhibition. In the 1930s he wrote wide-ranging, informative and sometimes humorous articles for the Argus on various aspects of the decorative arts. In mid-1936 he was acting director of the National Gallery of Victoria. To students his single-mindedness sometimes suggested sternness, but Carew-Smyth was always held in the highest regard both professionally and personally. His colleagues recalled a man of kindness, unstinting devotion to work, and humour; he was considered quite a raconteur. Survived by his wife, a son and a daughter, he died in his home at South Yarra on 9 October 1939, and was cremated." (Margot Lethlean, 'Carew-Smyth, Ponsonby May (1860–1939)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/carew-smyth-ponsonby-may-5501/text9359, accessed 4 June 2013.)Image of the face and shoulders of a bearded man - Ponsonby Carew Smyth. The image was originally published from the State Schools Exhibition Catalogue, 1906. (Cat. No. 401)carew smyth, inspector, technical schools, art.

Thomas Trengrove resigned from the Ballarat Technical Art School so he could take up a position at the Stawell School of Mines, 1908.Image of Ballarat School of Mines Ceramics Teacher, Thomas Trengrove.thomas trengrove, ballarat school of mines, clay, ceramics, pottery

Booklet with reproductions of the art panels depicting aspects of Eltham history, commissioned by the Eltham Cemetery Trust and located at Wisteria Walk South in the Eltham Cemetery42 p. colour illustrationseltham, eltham cemetery

CEMA Art Collection Part of "A Community View" 150 years in Portland Screenprint Exhibition Part of Angela Gee Residency 1983 ans 1984Laminated screenprint with three panels separated by a green border. The panels vary in size and are predominantly various shades of green. Within all panels the foreground illustrates gum tree foliage and the background shows a cloudy sky.Front: Artists Proof (lower left) Urban Gums (lower centre) R.Davies 84' (lower right) Back: 3

CEMA Art Collection part of "A Community View" 150 years in Portland Screen print Exhibition Part of Angela Gee Residency 1983 and 1984Laminated screenprint of a group of people on Portland's foreshore. People are dressed in late 1800's dress and are watching the rotunda. The work is a photographic screenprint and colour has been added to areas of the photo. In particular, green for the grass, red for the rotunda, blues for the ocean and sky, and various colours for some of the clothing.Front: 34/8 Rotunda (lower left) Lucia Natale 84' (lower right) (pencil) Back: 28

The article is about an art exhibition at The Light Factory Gallery featuring the Cezanne inspired works of Ron Reynolds. The exhibition was entitled " Cezanne's Mountain Revisited."Ron Reynolds is a prominent local identity. In 1973 he drew the illustrations for the book Greensborough and Greenhills.A half page article with 3 coloured photographs.Nilron reynolds, cezanne, france, art exhibitions, the light factory gallery

A text book designed as an aid to teachers in Victorian Primary Schools in the 1940's. It teachers the value of art and handwork as a necessary part of general education.This text book shows the importance and the growing recognition of various hand crafts as part of general education in Victorian schools in the 1940's and also that handcrafts are an integral part of the curriculum, leading towards an improvement in artistic appreciation by raising handwork from the level of manual exercises to that of creative applied art.A hard covered text book, faded blue cover.Front cover: Handwork for Schools, W.R. Dean and H. Jolly, and at the bottom of cover 'Oxford University Press, Leighton House, Melbourne, London: Humphrey Milford.' On the first page, handwritten in red, is a signature 'N. Rodgers' and the title is repeated. The price is marked as 6/6 ( Six shillings, six pence)hand crafts, schools, curriculum, education

Slides of works produced by sculptor Anna Cohn between 1970 and 1984. It is available for loan to members of Women's Art Register and visitors to Richmond Library. These slides are significant in that the set is one of around 1000 such sets that are invaluable to Art ResearchersSet of twenty slidesEach slide has a sticky label with a number, the inscription Cohn, Anna, a title and other information including date, location and sizecohn, sculpture, sculpture society, arts writer, anna cohn

Acquired by the Sandringham City Council in 1981 as winner of the acquisitive Inez Hutchison Award, established by the Beaumaris Art Group in 1966. Lenton Parr was the judge.Ulrich Stalph, Autumn at Clunes 1980, oil on canvas, 135 x 100.5 cm. Bayside City Council Art and Heritage Collection. Winner of the Inez Hutchison Award, 1981.clunes, autumn, landscape, rural, trees, ulrich stalph, beaumaris art group, inez hutchison award

Pat Corrigan was a lifelong collector of fine art and rare book and commissioned Australian artists to design personal bookplates for his family since the 1970s. Framed bookplatepatrick corrigan, bookplates, framed bookplate, keith wingrove memorial trust

Pat Corrigan was a lifelong collector of fine art and rare book and commissioned Australian artists to design personal bookplates for his family since the 1970s. Bookplate featuring Patrick Corrigan playing a trumpet in front of the Sydney Harbour Bridge.Signed: Andrew Sibley 2014patrick corrigan, sydney harbour bridge, trumpet, bookplates