Josh MUIR (1991- ) Yorta Yorta/Gunditjmara/Barkinjl Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.A computer generated artwork on stretched canvas.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

Josh MUIR (1991- ) Yorta Yorta/Gunditjmara Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.Digital print on stretched canvas.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

Josh MUIR (1991- 2022) Yorta Yorta/Gunditjmara/Barkinjl Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice. Computer generated image on canvas.josh muir, aboriginal, artwork, artist, hutchinson indigenous fellowship

Contents: • Next meeting, guest speaker; Andrew Mackenzie: The art of Frederick McCubbin • Kangaroo Ground Schoolhouse • Walter Withers Plaque Project • Shire Conservation Strategy • Recent Activities The Shire of Eltham Historical Society was formed in October 1967. The first newsletter of the Society was issued May 1978 and has been published continuously ever since on a bi-monthly basis. With the cessation of the Shire of Eltham in late 1994, the Society's name was revised to Eltham District Historical Society and this name first appeared with issue No. 103, July 1995. The collection of the Society's newsletters provides a valuable resource on the history of the Society's activities, office bearers and committee members, guest speakers and subjects of historical interest pertinent to the former Shire of Eltham and the Eltham District.A4 photocopied newsletter distributed to membersnewsletter, eltham district historical society, shire of eltham historical society

Winner of Eltham Art Award "Tower" (1993-1994) by Barry Mills and Simon Barley Wood, polycarbonate, brass and corrugated iron 8.1 x 3.75 x 3.75 mRoll of 35mm colour negative film, 8 strips and associated 10 x 15 cm colour printKodak Gold 100-5montmorency, art in public places, barry mills, eltham art award, simon barley, tower (1993/94), were street, windmill

Used by Ballarat School of Mines and Industries. The Junior Technical School was a day school combining general education with a practical preparatory training for engineering and other trades, and for art and science work.Red soft covered booklet of 20 pages containing information on aim and purpose of the school, scholarships, admission, text books etc, hours, compulsory education, accommodation and school institutions. There is a photograph of carpentary and wood turning workshop and the sheet metal workshop.warrnambool, warrnambool junior technical school, prospectus, j.murray, t. livingstone, f. tate, fritz landmann, p. webb, b. abbey, e.b. phillips, f. morse, w.j. hickford, e. battarbee, m.j. tate, charles foyle, a. robinson, john alderidge, i. macdermid, letters of support, business men

Kay Bunnett, Dancing flowers 1990, watercolour and gouache, 67 x 32.5 cm. Bayside City Council Art and Heritage Collection. Presented to City of Sandringham by the artist, 1992flowers, abstract, kay bunnett, janet kay bunnett, beaumaris art group, watercolour, gouache

"A Manual of Dyeing: for the use of practical dyers, manufacturers, students and all interested in the art of dyeing" vol. I, 5th ed. - Edmunch Knecht, Christopher Rawson and Richard Loewenthal, 1919.A.M. Collins / University Leeds / 1919dyeing

Photograph of W2 525 by Les Kossatz as part of the Transporting Art project of 1978. For the principal pamphlet using a similar photograph featuring the first 15 tramcars see item 404. Yields information about Les Kossatz Transporting Art tram of 1978.Colour print with remnants of mounting paper on rear.tramways, transporting art, w2 class, tram 525, les kossatz, trams

This is a simple wallet purse for daily use,leather was a popular material due to its durability and longevity. The decorative top corners show an art nouveau style which was popular in the 1890s.Small black leather purse with green hues and a silver chain. Circa 1890 decorative designs on front top with silver hallmarks. Inside is a kiss clasp coin purse and 4 compartments for cards. Also inside is a small purple pencil with string attached and a 'L.T.Piver No.11'French perfume sample card. There are very small hallmarks on the decorative frame and a small 'WJ' on the clasp.purse, silver, art nouveau, leather

Photograph shows W2 class tram 336 in Art Tram livery in revenue service, with destination 'Northcote via St Georges Rd, Route 9, Run number P15'. Yields information about Art Tram W2 336.Colour print with no note on the rear. Irregular shaped print.w2 class, art tram, tram 336, revenue service, northcote via st georges rd, route 9

Commercial artist, Keith Edwin Rash (1910-1985), studied at the Ballarat Technical Art School between 1923 and 1929. These artefacts are from his professional practice. Sign writing and ticket-writing bridged art and trade, with hand lettering applied to long-term signage and short-term promotional materials. At the Ballarat Technical Art School, sign writing, ticket writing, and house decoration were overseen by Thomas Raisbeck (1884-1970) from 1915. Classes were then successively taught by former students William Kenneth (Ken) Moss (1889-1921) from 1920 until his untimely death, Albert E. Williams (1899-1986) until 1928, followed by experienced, practising sign writer, Charles Emrys (Angus) Henderson (1899-1976), who had trained under Raisbeck. A number of brushes and sponges used by Ballarat sign writer, Keith Rash, who studied sign writing at the Ballarat School of Mines. signwriting, keith rash, ballarat school of mines, brushes, ballarat technical art school, sign writing, ticket writing

This alterpiece by Charles Rocco was created with wire mesh, river stones and copper. 500 x 200 x 150cm. It was commissioned by the Catholic parish in Eltham (Our Lady Help of Christian's) in 2002 Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p81This 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, art, our lady help of christian’s church, charles rocco, eltham, resurrection of christ, sculpture

Greeting card from Neville Emerson and Staff with sketch commissioned by Neville Emerson Real Estate1975 Christmas cardart, bill caldwell, cottage, early settlers, eltham, neville emerson real estate, houses

A composition of a red vase with white flowers placed on a table. Gift of David Alexander, 2013art, artist, david alexander, still life, flowers, vase, available

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

Greeting card from Neville Emerson and Staff with sketch commissioned by Neville Emerson Real Estate. Church is Methodist, built 1880. Eltham Hotel is the square building on the left hand side of the road at apex of Maria St, built 1852. Post Office is on the left side of road above the child's head. Note only telegraph lines on top of poles: phone still being "invented". Print of ink sketch, reproduced as greeting cardart, emerson real estate, bridge street, little eltham, main road, maria street, don brown

Gift of Dr David Alexander, 2013Framed watercolour by David Alexander showing a landscape with Mount Buninyong in the distance. LRS 'D. Alexander'01art, artist, david alexander, watercolour, buninyong, mount buninyong, available

Phil May was England's leading black and white artist and his work appeared in most of the illustrated publications. He spent two years in Sydney contracted to the Bulletin where his work appeared between 1886 and 1894 and amounted to over 800 drawings.A British bookmark issued by Tuck but of significance in Australia due to Phil May's time here. He also spent a sojourn in Paris sharing digs with Charles Conder and John Longstaff.caricaturist, art, the bulletin, england, sydney, postcard bookmark, phil may

A black pen drawing mounted in a large white board set in a plain black wooden frame, depicting the front facade of the Royal Australasian College of Surgeons (RACS) building.Handwritten on bottom left corner. "Royal Australasian College of Surgeons" Framer's label on reverse. "JARMAN / THE PICTURE FRAMER / 158 BURWOOD RD. HAWTHRON 3172 / PHONE 318 7751"art, artwork, illustration, drawing, royal australian college of surgeons, building, urban sketching

In the early 1900s, Mary Sweeney commissioned artist Charles Bertie to paint the main house at Culla Hill. He charged her 5 shillings for the picture and 18 pence for the frame She took this painting with her when she married Michael Carrucan in 1910 and it hung in the Dalton Street farmhouse for many years. At a later time (1960s), the Burstons (the then owners of Culla Hill) had a card printed from the painting. The original sketch was photographed in 1970 for reproduction in the Shire history publication Pioneers & Painters (1971). The very fragile original was kept in the Council strongroom and suffered significant damage to its edges over the years, no doubt it has also yellowed. A comparison of the original as digitised (2022) with the negative taken 50 years earlier also reveals that the left 20% of the sketch has been cut off, probably due to damage. In June 1842 Thomas Sweeney applied to the Superintendent, C.J. La Trobe, asking permission to purchase a portion of the recently surveyed ‘Parish of Nillumbik'. His request was allowed and handed to the sub-treasurer and Land Board. He paid £110 for 110 acres and called the land 'Culla Hill'. He first built a temporary house, a slab hut 12 feet by 10 feet, in which he lived with his wife, an Irish girl whom he had married in 1838. (His first wife had been drowned at Port Jackson.) Some time later he built a permanent residence on the model of a Tipperary farmhouse. It was a rectangular building of hand-made bricks and stone quarried from the Western Hill with a recessed verandah in front, and bore a slate roof. The out-buildings consisted of a detached kitchen, stable and a barn. It was in this house that succeeding generations of Sweeneys were reared. The original slab hut became a washhouse and survived till recent years. 'Culla Hill' became a social centre for the district, church services being held there on various occasions. The first wheat crop in the district was planted by Sweeney who also supplied the first grain for a mill that later was built at Eltham. He took an active interest in the development of the district. At this time travelling people--many of them runaway sailors or convicts--often passed the settlement, and some of them stayed and worked with Sweeney. A tribe of aborigines living on the river below 'Culla Hill' were apparently on good terms with Sweeney, for it is said that they helped him with the building of his house. Very little is known about the aborigines who originally lived in the Eltham district. There must have been many of them; their stone axes, grinding stones, and anvil stones have been found in the gullies around Research and canoe trees and artifacts were found on the Kangaroo Ground hills. Early settlers remembered a tribe that camped on the site of the present railway bridge at Eltham. They held corroborees there and visited settlers for hand-outs of 'flour and bacca’. There was an aboriginal reserve on the Yarra, upstream from Eltham, but most of those who had collected there later went to live on the Pound Reserve at Warrandyte, where the last aborigines in the area finally ended their days. The Pound Reserve, of 1,103 acres, was established at Pound Bend in 1841. The chief protector, George Robinson, and his four assistants, were given instructions to care for the aged and sick, to provide blankets and rations for all who lived there, to train the able-bodied men in agriculture and other trades and to find them jobs. The Yarra blacks, who later came under the protection of William Thomas, have been described as a 'fine race, well made and above the average height'. Thomas Sweeney died on 6 September 1867 and was buried in the Eltham Cemetery. To his wife Margaret and his son John, he left the entire property of 'Culla Hill'. To his other son Patrick, he left 150 acres, including a small two-roomed wooden cottage. He had five daughters: Kate and Margaret (twins) who were born in 1842, Ellen 1846, Annie 1848 and Johanna 1851. John Sweeney farmed 'Culla Hill' until his death in 1909. He had ten children; one of them, Mary, became Mrs M. Carrucan whose son, Mr John Carrucan, still lives at Eltham. 'Culla Hill' passed out of the Sweeneys possession in 1939 and was renamed by its new owners, 'Sweeneys', in memory of its pioneers. - Pioneers & Painters: One Hundred Years of Eltham and its Shire, Alan Marshall 1971, pp10-12 Original colour sketch artwork 4 x 5 inch black and white negative of original colour sketchculla hill, art, charles bertie, drawing, mary carrucan (nee sweeney), sketches, sweeney's cottage

Geoffrey RICARDO (1964- ) Born Melbourne, Australia 1984-86 Bachelor of Arts (Fine Art), Printmaking, Chisholm Institute of Technology, Melbourne 1987-89 Printing Assistant at Bill Young Studios, Editioning intaglio prints, King Valley, VIC 1988 Full-time Studio Technician at Printmaking Department, Chisholm Institute of Technology, Melbourne 1989-90 Graduate Diploma (Fine Art), Printmaking, Monash University, Melbourne 1991 Travelled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, Framed intaglio print from Geoffrey Ricardo's 'A Dark City, A Narrative' suite. Under image in pencil ' "The Illuminated City" Ricardo 99"geoffrey ricardo, printmaking, framed print, intaglio, etching

"Today the Chalet lounges and hallways are stocked with a number of disparate furnishings of unknown provenance - table and chair settings... many ranging in styles from Edwardian and Art Deco periods. While they may appear to be original to the rooms, the items are not evident in any of the historic photographs surveyed in the course of this report, so their historical association with the Chalet does not appear to be strong and enduring. Some, including the Art Deco dining table and chairs in the Music Room ( MBC0038.2) ... appear to be domestic furnishings rather than those of a 'resort house'. Two blonde wood chairs with brown leather seats. Carved floral design at back, top of chairs.