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Eltham District Historical Society Inc
Photograph, Demolition of the former Shire of Eltham building, Main Road, Eltham, 2 Aug 1996, 1996
The Shire of Eltham Office was constructed in the late 1960s on the original site of Shillinglaw Cottage. Upon cessation of the Shire as a local government body following dismissal of councils by the Kennett Liberal Government in December 1994, the new Nillumbik Shire offices were located in Civic Drive, Greensborough. The Shire of Eltham office building was demolished and the site has remained vacant ever since. The three pine trees which featured in front of Shillinglaw Cottage and then the Shire of Eltham Offices remain standing on the vacant site as of 2017. Roll of 35mm colour negative film, 7 stripsKodak Gold 100-5eltham, main road, shire of eltham, shire of eltham office -
Eltham District Historical Society Inc
Book, Tarcoola Press, Coranderrk Database compiled by Mick Woiwod, 2012
Database of information on Coranderrk 1835 to 1995.Winner of the Local History Project Award (for activities that enhance access to records of significance to local communities) as part of the Victorian Community History Awards 2012 242 pages : illustrations ; 30 cm + 1 CD-ROM (4 3/4 in.) PDF, Word files.ISBN 9780987157416green, john., bon, anne fraser, 1838-1936., coranderrk aboriginal station. -
Eltham District Historical Society Inc
Book, Tarcoola Press, Birrarung Database compiled by Mick Woiwod, 2012
... and Cultural Heritage Council Andrew Ross Museum Nillumbik ...Sister publication to "Coranderrk database". This is a compilation of Mick Woiwod's research material, gathered over many years with information on the history of the Wurundjeri people of the Yarra Valley, from the time of first European contact. The publication runs in excess of 140,000 words. Its prime focus is the Yarra River as it has been understood by its Wurundjeri people. Includes a compilation of those difficult to locate "brief snatches of the action" collated under headings with in each instance, the provenance as to source and / or author included. Themes include: agriculture, law, ceremony, language, reconciliation, retribution, lifestyle, art & craft, climate, personalities, disease, death and the river's flora and fauna.318 pages : illustrations, maps ; 30 cm + 1 CD-ROM (4 3/4 in.) PDF or Microsoft Office Word 97-2003.ISBN 9780987157423wurundjeri, yarra river, indigenous history -
Eltham District Historical Society Inc
Book, Wattle Glen Primary School No. 4060 - 75th anniversary 1922-1997, 1997
Includes black and white photos and sections: General history of Wattle Glen and surrounding area, gold mining, 4060 Wattle Glen, Opening school buildings (newspaper articles from The Advertiser, 1922), Sunnyside Estate Wattle Glen, Wattle Glen 4060, copies of early documents, parents protest for a new classroom, I remember Wattle Glen School Days (various recollections over various years includes class photographs), Wattle Glen Primary School Today inc. lists of staff and students 1982. Second Section titled: 1997 - 75th anniversary update From the Principal, School Council, Parents Association, Newer memories, computers at Wattle Glen, Past teachers 1983-1997, 1997 classes, memories Kathleen Cuxson, Reunion 1997, Memories of Cyril Cummins (Principal 1950-52), 1997 memories, 1997 update compiled by Naomi Windisch. No page numbers This book is significant in that it documents the history of the Wattle Glen Primary School and its wider community to 1997. It is one of a very few publications written specifically on this rural community within the Shire of Nillumbik.Spiral Bound. Inscribed - For the Eltham Historical Society Collection in exchange for the '1999 Chronology', 27/4/9975th anniversary, state school no. 4060, wattle glen primary school -
Eltham District Historical Society Inc
Photograph, Memorial Tower, Kangaroo Ground c.1934, 1934c
Sepia photograph of Joyce McMahon and 'Tiny' Carroll at the War Memorial Tower, Kangaroo Ground c.1934. The guns were installed in 1934 and removed in 1942. Taken in the early 1930s, the photograph ... shows the Kangaroo Ground Tower of Remembance with Joyce McMahon, daughter-in-law of Mr. P. J.McMahon, the then Shire of Eltham Secretary, her horse and a very tall person patting the horse. He is ex-serviceman W. "Tiny" Caroll who was the council's caretaker of the surrounding War Memorial Park. He lived in the stone cottage which still stands in the park. "Tiny" is seen as the fictional character "Tiny Bourke" who, in author Alan Marshall's book "This is the Grass", "was a giant of a man, well over six feet high, with huge hands that completely encircled the cup of tea". The bronze casting, which shows the 79 names of those who paid the "supremen sacrifice" in World War 1 (1914-1918), was erecfed above the entrance to the Tower in September, 1930. The Monterey cypress trees which now form the windbreak around the park's fenceline, were just knee high in this photograph. They were planted in August 1926, with all the plantings paid for, and done, by the public as the Tower was being erected. The two field guns have been identified as of German origin, Krupp 77 mm calibre captured on October 4, 1918 at Geneve, France. They were removed in 1943/44 as a wartime requirement of the Australian Govenment. A public notice dated October 16, 1926 by Cr. H Rutter, Chairman of the Eltham Soldiers War Memorial League stated: "On the summit of that central and conspicuous landmark, Garden Hill, there is being erected a massive memorial tower which will, for all time, remind every passerby of the part played by the men of the Shire of Eltham in the Great War. The work has been undertaken by the people of the Shire a a tribute of love and admiration for those who were known and dear to use in the days of their youth and early manhood, who went out from amongst us, never to return, and whose self-sacrifice has made us, each and all, thier ever-lasting debtors" Harry Gilham, Eltham District Historical Society Kangaroo Ground Tower of Remembrance, A Journey in Time: a column about Nillumbik's history, Nillumbik Mail, 9th August, 2000 Since that research the following has been sourced from Eltham and Whittlesea Shires Advertiser and Diamond Creek Valley Advocate, April 8, 1921, p. 3 Retrieved April 25, 2020, from http://nla.gov.au/nla.news-article57639687 Eltham Shire Council From Town Clerk, Melbourne, stating that a light machine-gun captured by the 22nd battalion, A.I.F. at La Motte Farm, near Beaurvoir, on Oct. 3rd, 1918, during the operations which won the Beauvoir line and completed the smashing of the great Hindenburg defence-system, has been alloted to the Shire of Eltham. - On the motion of Crs Hubbard and Smedley, it was decided to have the gun placed in the Memorial Park. Sepia Photographgarden hill, gun, joyce mcmahon, kangaroo ground, memorial tower, shire of eltham war memorial tower, tiny carroll, war memorials, war trophy, william carroll -
Eltham District Historical Society Inc
Photograph, 35 Ingrams Road, Research, Eltham Heritage Tour, 24 May 1992, 24/05/1992
ELTHAM HERITAGE TOUR The Society excursion on 24th May 1992 was arranged by David Bick, leader of the team carrying out the Shire's heritage study. David selected a number of sites or buildings identified in the study, some of them lesser known components of the Shire's heritage. The tour commenced at the Eltham Shire Office at 10.00 am. Travel was by private car and mini-bus with stops at about twelve locations for commentary by David.It included a short walk in Hurstbridge and lunch at Kinglake. Highlights of the tour included: - 10 am Leave from Shire Offices - 3 Important Trees - A Physical Link to Eltham's First Settlers - Toorak Mansion Gates - A Surviving Farm House - An Intact Circa 1900 Main Street - First Settlers - Gold Miners, and Timber-getters - An Early Hotel - A Pioneering Homestead - Changing Eltham Shire - 20th Century - 4 pm Afternoon Tea and Finish Tour Extract from ELTHAM CULTURAL HERITAGE TOUR (Newsletter No. 85, July 1992, by Bettina Woodburn) "On a right-angle turning of the Eltham Road is Wellers Pub, a Cobb & Co. coaching stop on the way to distant gold-fields and places north of the Yarra River. The Hotel dates from the 1870's. Daily distances for a bullock team was eight miles, horses could do double that distance. We turned into Cassells Road and on the corner of Ingrams Road we admired an elaborate Edwardian villa, 1900 style. The Aqueduct conveying Melbourne's water supply was a communication line and a technological advance in 1891. It has been enlarged and re-faced and no longer used here but piped underground. Proclaimed a linear park it has reverted to crown land, controlled by local Council. Maroondah Dam was constructed in. 1920 to replace the original weir and at that time: the Aqueduct - as established into the landscape - with bridges and tunnels and pine trees were used to stop rubbish polluting the water."Record of the Society's history and activities and highlighting various aspects of the Heritage Study undertaken by David Bick used to create the future heritage overlay for the Shire of Eltham and later Nillumbik Shire.Roll of 35mm colour negative film, 4 stripsKodak Gold 100 5095shire of eltham historical society, activities, heritage tour, ingrams road, research (vic.) -
Eltham District Historical Society Inc
Document - Folder, Marshall, Robert
Robert Marshall grew up on a small farm in Panton Hills in the 1950s and became an architect, designing in an Australian style, sometimes working with Alistair Knox. Marshall first stood for local council in 1974, having to overcome a childhood stutter by relaxation techniques. He was active in the formation of Nillumbik shire; after 20 years as councillor, he was elected president for 1978 and 1979. In February 1997, his adopted son Stewart Anthony Marshall died as the result of a drug mix-up. He lived in St Andrews and his business was in Hurstbridge. Contents Newspaper article: "Rob Marshall: fist of steel in a glove of green", The Valley Voice, 24 January 1979, describing Robert Marshall's childhood and his thoughts about house design and conservation. Newspaper article: "Councillor marshals energy for next round", Diamond Valley News, no date, Robert Marshall plans to stand again for council after the amalgamation of council, describing. his vision for the district citing Alistair Knox and Don Maling as pioneers. Newspaper article: "...and your new shire president", Diamond Valley News, March 1997, Former Eltham councillor Robert Marshall elected Nillumbik Shire president. Newspaper article: "Drug mix-up led to death: court told", unknown newspaper, 28 May 1997, Report of Coroners Court hearing into death of Stewart Anthony Marshall, Robert Marshall's son. Newspaper article: "Shire chief set to pay outstanding rate bill", Diamond Valley News, 30 July 1997, Robert Marshall had not paid rates in protest during government-appointed commissioners were in power but was paying off the debt. Newspaper article: "An architect for a better way of life", Diamond Valley News, 11 August 1981, Describing Robert Marshall's travels after qualifying as an architect, his early life and his philosophy on conservation. Newspaper article: "He presides over the city's last green belt. But was does Robert Marshall make the State Government see red?" The Age, 10 January 1998, Describing dispute between Nillumbik Shire president Robert Marshall and CEO Barry Rochford, and Rochford's termination package and Marshall's environmental campaigns including the old Eltham Shire Office site. Newspaper letter: "For good governance", letter from Robert Marshall, following his defeat at recent council election after 25 years in local government, comments on his actions as president and wishes new councillors well. Newspaper clippings, A4 photocopies, etcrobert marshall, panton hills victoria, alistair knox, stewart anthony marshall, ross ray qc, vauclause hospital, benny monheit, adam bernhaut, geoff pittaway, metropolitan ambulance service, ambulance service victoria, eltham gateway action group, barry rochford, eltham shire offices site, frank lynch, eltham chamber of commerce, barry miller, rob maclellan planning minister, green wedge, don maling -
Nillumbik Shire Council
Print (etching, acquatint, stencil): Jock CLUTTERBUCK (b.1945), Jock Clutterbuck, ‘Frosty Night Cartouche’ from 'The Baldessin & Friends' commemorative folio, 2016
... Nillumbik Shire Council melbourne Print (etching, acquatint ...Jock Clutterbuck is a sculptor and printmaker of national significance, known for his sophisticated abstract forms with underlying esoteric mysticism. Clutterbuck overlapped with Baldessin when he studied sculpture and printmaking at the Royal Melbourne Institute of Technology, RMIT (1965-66). He taught at RMIT from (1969-73) before lecturing in sculpture at the Victorian College of the Arts (1974-2000). He is represented in many national and international public art collections and is a recipient of many National prizes and awards. George Baldessin (1939-1978) was a printmaker and sculptor who built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, 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.‘Frosty Night Cartouche’ 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. Following a visit to the Press in 2015, Clutterbuck was reminded of a suite of paintings he had produced some thirty years earlier inspired by plein-air drawings of the night sky. This print attempts to capture something of the enchantment, mystery and drama of a frosty rural property where Clutterbuck spent many years. It is a frost dreaming; a subtle personal homage to Baldessin, embodying the reverence of a fellow artist towards an old friend. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Frosty Night Cartouche' (title); right 'Jock Clutterbuck' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)ekphrasis2018, symbols -
Nillumbik Shire Council
Print (etching): Michael LEUNIG (b.1945 Vic, AUS), Michael Leunig, ‘Pilgrim’ from 'The Baldessin & Friends' commemorative folio, 2016
... Nillumbik Shire Council melbourne Print (etching): Michael ...Michael Leunig is an Australian cartoonist, poet and cultural commentator. His best known works include The Adventures of Vasco Pyjama and the Curly Flats series. Leunig was declared one of Australian Living Treasures by the National Trust of Australia in 1999. George Baldessin (1939-1978) was a printmaker and sculptor who 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.one colour (yellow) etching on Somerset paper. Thick lines weave in and out to produce a figure reminiscent of his 'curly flat' characters holding a long stem flower/vine. ekphrasis2018, pilgrim, baldessin, leunig -
Nillumbik Shire Council
Print (sugarlift etching): Jan SENBERGS (b.1939 Lativia, arrived AUS 1950), Jan Sensbergs, 'New Jersey - rust belt' from the 'Baldessin & Friends' commemorative folio, 2016
... Nillumbik Shire Council melbourne Print (sugarlift etching ...Jan Senbergs was born in Riga, Latvia, in 1939 and came to Australia when he was ten. Senbergs’ work has been characterised by a simple and bold aesthetic. From lush landscapes to barren urban spaces, his body of work signifies an artist who has continually experimented with shape, form and motif, a fundamental humanist vision, a finely-honed sense of the absurd, and a rigorous studio practice spanning printmaking, drawing and painting. Senbergs is Baldessin's exact contemporary. He was also born in Europe and fled his homeland because of the war, arriving in Melbourne in 1950. Like George, Senbergs also worked at the RMIT and in 1973 represented Australia at the Bienal de Sao Paulo. Senbergs first met George when he was living in St. Kilda. George asked if he could screen print his 'Argus' catalogue for a show at the gallery in the Argus building. 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. The bluestone studio was hand built by George, 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.'New Jersey - rust belt' 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. This print finds its' origins in the time Senbergs spent at Harvard in America in 1989-90. In the context of Baldessin it explores an industrial urban surreal vision that was common to both artist. The image captures the life force of the city revealing the keen and observant eye of Jan Senbergs. Similar in sensibility to his large scale charcoal drawings of the 1990s, the artwork is not only a record of what the artist sees, but of what interest him. By following the movement of each line the viewer can witness the artist's eye travelling through, over and around each element of the urban landscape. The scale is deceptive with the image bled to the full-size of the sheet of paper like a microcosm of a much bigger whole. sugar lift etching of an urban (cityscape - New Jersey) scene - bridges, roads, buildings, in thick black brushstrokes. The image is busy; full of energy and movement. A bleed print in which the paper barely contains the city scape. In pencil (handwritten): top centre: left '14/25' (edition); centre 'New Jersey-Rustbelt' (title); right 'Jan Senbergs' (signature); print, sugarlift etching, urban landscape, ekphrasis2018, new jersey, line, rust belt -
Nillumbik Shire Council
Print (etching and photo polymer): Imants TILLERS (b.1967 Syd., AUS) in posthumous collaboration with George BALDESSIN (b.1939 Treviso ITA – d.1978 Melb., AUS), Imants Tillers, 'Unsaid + Nameless' from the 'Baldessin & Friends' commemorative folio, 1976; completed 2016
... Nillumbik Shire Council melbourne Print (etching and photo ...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 -
Nillumbik Shire Council
Print (woodcut and etching on chine-colle): John WOLSELEY (b.1938 Somerset, UK; arrived 1976 Melb., AUS), John Wolseley, 'Life world of the Longicorn beetle' from the 'Baldessin & Friends commemorative folio', 2016
... Nillumbik Shire Council melbourne Print (woodcut ...Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. 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. 'Life world of the Longicorn beetle' 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. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media -
Nillumbik Shire Council
Video (HD): Ash KEATING, North Park Proposition (from the 'Urban Boundary Proposition' series)
... Nillumbik Shire Council melbourne Video (HD): Ash KEATING ...Video of artist painting the facade of a concrete warehouse into a ‘Trompe-l’oeil’ landscape painting using fire extinguishers as paint brushes. The warehouse slowly disappears into the landscape. -
Nillumbik Shire Council
Artist Book: Theo STRASSER, Ghost Bones, 2017
... Nillumbik Shire Council melbourne Artist Book: Theo ...Nillumbik Prize 2018 finalist. The artist lives and works in Nillumbik. A juxtaposition of the mechanical (digital camera) with the hand painted. Each turning page exposes the artist’s own experiences and responses to his environment. The book unfolds into a sequence of pages that opens up to a landscape. digital photographs and hand painted (detailed/cropped) images of trees on paper, encased in an archival box. -
Nillumbik Shire Council
Print: (archival inkjet): Jessie IMAM, Jessie Imam, Ground Cover, 2017
... Nillumbik Shire Council melbourne Print: (archival inkjet ...Imam is represented in the Nillumbik Shire Art Collection and was the winner of the 2015 Nillumbik Prize for her work "Diagram of sentiment #1" (judged by Linden New Art Director Melinda Martin). She was also a finalist in the Nillumbik Prize 2016, 2015, 2013 and 2010. Imam completed a residency at Laughing Waters in 2011. Imam works within photography, the moving image and installation to create works centred on themes of embodiment and the female perspective. In this work she participates in a dialogue between her body and the Finnish Archipelagos in order to develop a relationship with the islands as both a place and an organic body [of land] where flux and change occurs. Photograph of the artist immersed from the waist down in green moss (landscape).N/Afinnish, archipelago, inkjet, print, photographic, body, island, moss -
Nillumbik Shire Council
Painting: Kevin CHIN, Kevin Chin, Castle Under the Sky, 2018
... Nillumbik Shire Council melbourne Painting: Kevin CHIN ...This painting was sparked by a US studio residency at Yellowstone National Park, shortly after Trump’s election. In America, Chin witnessed conservative nationalism and divisiveness, but also an equal reaction promoting diversity and challenging structural inequality. Developing this work in Australia, Chin examined how a sense of place forms fluidly in the consciousness, to surpass geographic borderlines.Kevin Chin is a local artist. He has been a finalist in the Nillumbik Prize for Contemporary Art (2015, 2019). In this painting Chin explores economic, cultural and social structures that shape the world in which we live, questioning who has built what, who takes ownership, and who has the right to the land. Landscape painting depicting a house (upside down) and a half finished urban structure sitting amongst mountain peaks and land that has been cleared and immersed in fog/smoke.N/Alandscape, kevin, chin, structural, inequality, castle, trump, painting, nillumbik, residency, yellowstone, realism, oils -
Nillumbik Shire Council
Painting: Jenni MITCHELL (b.1955 Melb, AUS), Research Creek, Eltham East
... Nillumbik Shire Council melbourne Painting: Jenni MITCHELL ... -
Nillumbik Shire Council
Painting: Lesley SINCLAIR (b.1901 - d.1999 AUS), Old Farm, Dalton St
... Nillumbik Shire Council melbourne Painting: Lesley SINCLAIR ... -
Nillumbik Shire Council
Painting: C DUDLEY WOOD (b.1905 - d.1980 AUS), Golf Club Hotel, Lower Plenty
... Nillumbik Shire Council melbourne Painting: C DUDLEY WOOD ... -
Nillumbik Shire Council
Painting: Rick AMOR (b.1948 Melb, AUS), The Domain
... Nillumbik Shire Council melbourne Painting: Rick AMOR (b ... -
Nillumbik Shire Council
Assemblage: Peter HOOK, Childhood Reflections, Kangaroo
... Nillumbik Shire Council melbourne Assemblage: Peter HOOK ... -
Nillumbik Shire Council
Assemblage: Peter HOOK, Artist Reflection, Studio Summer
... Nillumbik Shire Council melbourne Assemblage: Peter HOOK ... -
Nillumbik Shire Council
Sculpture: Peter CARRIGY, Platypus
... Nillumbik Shire Council melbourne Sculpture: Peter CARRIGY ... -
Nillumbik Shire Council
Print (etching): Martin KING, Kalumburu
... Nillumbik Shire Council melbourne Print (etching): Martin ... -
Nillumbik Shire Council
Pottery: Jeff MINCHAM (b.1950 SA, AUS), Lidded 'Kagome' Vessel
... Nillumbik Shire Council melbourne Pottery: Jeff MINCHAM (b ... -
Nillumbik Shire Council
Print (mezzotint): Graeme PEEBLES (b.1955 Melb, AUS), Sentinel
... Nillumbik Shire Council melbourne Print (mezzotint): Graeme ... -
Nillumbik Shire Council
Ceramic sculpture (porcelain): Prue VENABLES, Group of Three Jugs
... Nillumbik Shire Council melbourne Ceramic sculpture ... -
Nillumbik Shire Council
Painting: Drew GREGORY (b.1947 Melb, AUS), Grong Grong
... Nillumbik Shire Council melbourne Painting: Drew GREGORY (b ... -
Nillumbik Shire Council
Print (etching): Dean BOWEN, The Offering, 1997
... Nillumbik Shire Council melbourne Print (etching): Dean ...Dean Bowen is renowned for his charming, child-like aesthetic and unique thematic interplay between the urban and rural as well as humans and animals. Bowen has developed a distinctive and humorous symbolic language that filters through each work. His highly charismatic and whimsical renderings of animals, human characters and Australian environments celebrate the vicissitudes of life, evincing the simple pleasures of human habitation within the artificial and the natural world. The work and thoughts of Jean Dubuffet, particularly those which focus on the philosophy of 'Art Brut', give support to Dean's belief that untrained artists are more honest, that artists interested in emulating the art of children are trying to regain the pure expression they lost with childhood. 'The Offering' was a finalist in the Nillumbik Art Awards in 1997. The work refers to the act of giving back, rather than taking which Bowen sees as more prevalent in our Western society. While the image is childlike, the expression of the boy is a mixture of sadness and happiness, knowing and naivety, youth and age. The smile has a Mona Lisa quality and the earthy and sensuous colours suggest landscape. When realising the images he relies on memory rather than observation so that the struggle with drawing and representation sometimes doesn't work. The style of the drawing and the flat space relates to the graphic style of cartoons and caricature. The intuitive and the imaginative are essential elements in his work. lower right 'Dean Bowen '97' -
Nillumbik Shire Council
Drawing: Peter Bryant BURNS (b.1924 AUS), Voyager
... Nillumbik Shire Council melbourne Drawing: Peter Bryant ...Burns studied at Melbourne Technical College and University of Melbourne. An architect and painter he exhibited with the Contemporary Art Society where he was to become secretary and vice president.