The Chinese Imperial Commissioner, Hwang How Cheng, visited Australia at the request of the Chinese Emperor for the purpose of establishing Chinese consulates in the Commonwealth. He visited Ballarat at the request of Ballarat’s Chinese community. The newspaper reported that it was hoped the Commissioner would visit the Ballarat School of Mines “where the knowledge he would get would probably be of the utmost usefulness in the development of the great resources of China.” The Commissioner was accompanied by interpreter Ah Ket (Melbourne barrister and solicitor), and met by members of Ballarat’s Chinese community, including Dr Wong Chock Son. Apparently the Chinese Commissioner wanted to visit SMB because of its international fame relating to education in mining. From the SMB Letter book (Cat. No. 436) comes the following which suggests the Commissioner was based in Adelaide) '17th November 1906 His Excellency, Hwang How Cheng Chinese Commission Adelaide May it please your Excellency By this post I have the pleasure in forwarding for your Excellency's kind acceptance (and one for Mr. When) copies of the photograph taken of your recent visit to the School of Mines. I trust they will serve a pleasing memento of what, I hope, was a pleasant visit to our Golden City. Yours Faithfully Fredk Martell Director' The visit was reported in the Ballarat Star in 14 November 1906:- The Chinese Imperial Commissioner, Hwang Hon Cheng, who recently arrived in Victoria on behalf of the Chinese Government, paid a visit to Ballarat last evening, and was entertained by his fellow countrymen at a dinner at the Bow Leong rooms, Main street. The commissioner, who came up by the express, was accompanied by his secretary and Mr Ah Ket, the well-known Chinese barrister, of Melbourne; but some disappointment was expressed by the fact that he did not wear his official robes, being attired in the more sombre European dress. Mr W. D. M’Kee presided at the dinner, on the invitation of the Bow Leong Society, and in addition to representative Chinese residents, three were also present the mayor of the city (Cr. J. J. Brokenshire), Crs. R. Pearse, G. Crocker (City), J. R. Elsworth, A. Mackenzie, J. A. M’Neil, A. Levy, G. Bunting, F. Penhalluriack (Town), Col. Williams, Mr. J. Gent, Messrs. F. J. Martell (director of the School of Mines), A. W. Hager (president of the Orphan Asylum), A. Kenny (superintendent), R. G. Fitzgerald (clerk of courts at Ballarat East), J. Trethowan, A. A. Buley, Serg Dalton, and others. Apologies were received from the mayor of the town Revs. J. West Lau, Dr Cairns, Hon. J. Y. M’Donald, L. Lederman, C. C. Shoppee and others. The gathering was a very cordial one, and the hospitality of the Chinese was greatly appreciated. After the loyal toasts, “The King” and “The Emperor of China,” had been honoured, the chairman extended a hearty welcome on behalf of the society and others to the commissioner. Mr M’Kee said he was privileged to speak in behalf of the Chinese. There was a warm feeling of friendship between them and himself, and his services were always at their command. If he were in China he would desire that a similar compliment would be extended to him. They were all pleased the Emperor of China had sent the commissioner to establish consulates in Australia with a view of the empire understanding the feelings of Australasia better than they did at present. He hoped the commissioner would have opportunity of visiting some of their industries, as they desired him to gain all the scientific and practical knowledge of those industries that he could. The toast of “The Commissioner” was proposed by Col. Williams who expressed pleasure at the visit of a gentleman of education and attainments to look into the condition of the scions of China in Australia. He hoped the commissioner would carry away a correct impression. In Australia they had nothing to conceal; they hoped to be understood. (Applause.) No intelligent man had the temerity to condescend to patronise China, one of the richest countries in the world, with a civilisation dating back thousands of years. In the matter of population alone it was equal to one-third of the world. They heard a lot about the “awakening of China.” They hoped it would be humane, just, and considerate if it had power. He hoped the commissioner would be satisfied with what he saw. The law of filial relation to the children was strictly observed in China, and he did not know whether it would not be a good thing if they had a little more of that religion here. It would be a fair thing to tell the commissioner that while he might inquire into the labour laws, the basis of these laws was not a desire to oppress but to enable every man to obtain the same conditions they expected from their own people. If he gained that impression he felt they would be fairly treated. (Applause.) Mayor Brokenshire supported the toast. They had, he said, in the Chinese a most law-abiding people. Their behaviour was an example to the British citizens. They were quiet, inoffensive men, and they toiled hard, even on Sundays. (Laughter.) Mr Ah Ket; That is what the government does with the railway employees. (Laughter.) The Commissioner replied through Mr Ah Ket, who in a graceful speech acknowledged the toast. The commissioner had, he said been delighted with what he had seen of the country – he believed it to be one of the finest in the world – and he greatly appreciated the hospitality extended to him. (Applause.) The Chairman proposed the toast of “The health of Mr Ah Ket,” and paid a tribute to his ability. It was satisfactory to see that he had risen to such a position, and it might be that in the future he would be asked to occupy a position on the bench. (Applause.) Mr Ah Ket, in response, said he had not come prepared to make a speech. He had come to Ballarat to have a quiet evening with his friends, and as soon as he arrived he had been whirled away in a motor car to a place where he found an aggregation of East and West. He was pleased to see them commingled at the festive board. That suggested the idea that East and West could meet together without friction. Misunderstandings arose only because men were superficial. If they threw off outer garments they would know each other better. He looked forward to the time when nations would understand each other. It was by an interchange of visits that such things could be accomplished, and nations would then live at peace with each other. (Applause.) Other toasts were also honored. Twelve men pose for a photograph on the stairs of a building at the Ballarat School of Mines. Back row left to right: A.D. Gilchrist (Prof. of Engineering), B. Whittington (Mathematics, Physics), Thomas S. Hart (Prof. of Geology and Mining), J.M. Sutherland (Electrical Engineering) Front row left to right: Dr Wong Chock Son (Ballarat), Fred. J. Martell, Alfred Mica Smith, Ah Ket esq (Melbourne Barrister), His Excellency Hwang How Cheng (Chinese Commissioner), Wen Esq (Secretary), Alderman Grase (mayor of Brisbane), Grase Esq (Ballarat).ballarat school of mines, alfred mica smith, fred martell, j m sutherland, a d gilchrist, b whittington, thomas hart, wong chock son, ah ket, hwang how cheng, chinese, chinese commissioner, international, new classrooms, administration building, a building

This hand written letter, in black ink script on blue lined paper, is impressed with the official stamp of the Victoria Steam Navigation Board. The left margin has the reference “S82/12" It is transcribed: "Victoria Steam Navigation Board, Melbourne, January 12th 1882 To Frederick Chapman, Master, S.S. "Julia Percy" You are herewith furnished with a copy of the report of the Official Court which assembled to enquire into the circumstances attending the collision between the steamers "Julia Percy" and "Nelson" off Apollo Bay near Cape Otway on the morning of the 25th December 1881, and you are hereby expected to attend at the Board Room, Custom House, Melbourne, at 2pm, on 13th January instant to show cause why you should not be censured accordingly. [Signature] Secretary" This document refers to the matter of a collision between two steamships, the Julia Percy and the Nelson, on 25th December 1881. The Julia Percy was at that time owned by her first owners, the Warrnambool Steam Packet Company, and she sailed under the command of Captain Chapman. She had left Melbourne the evening of 24th December, with about 150 passengers, sailing in fine weather through Port Phillip Heads around 9pm. She was headed for Warrnambool, Belfast (now named Port Fairy) and Portland. The Julia Percy was off Apollo Bay when Captain Chapman was woken by the ship’s whistle after midnight, the steamer Nelson being on a collision course with the Julia Percy.[See Link.] The Nelson struck Julia Percy midship. Boats were lowered from the ship (apart from a damaged lifeboat) and about 30-40 of the passengers boarded the Nelson. The engine room and the forehold were checked and found clear of water. The company manager, Mr Evans, had been on the Nelson, so he boarded and inspected the Julia Percy and the decision was made to continue on to Warrnambool with the passengers as there appeared to be no immediate danger. However, Captain Thomas Smith said the Nelson was taking on water, so Julia Percy followed her for about an hour towards Melbourne on standby in case of need. Then Julia Percy turned around towards Warrnambool again. Shortly afterwards the Nelson turned to follow her, the ships stopped and passengers were returned to Julia Percy, and three from Julia Percy boarded the Nelson. Both ships proceeded on their way. Julia Percy passed Cape Otway light afterwards, signalling that there had been a collision. It was discovered later that one of the passengers was missing, then thought to have boarded the Nelson but later thought to have fallen into the sea and drowned while trying to jump from Julia Percy to Nelson. There had been 3 tickets purchased under the same name of that passenger “Cutler”; a father, son and friend named Wordsworth, which had caused quite some confusion. No further mishap occurred to either ship and both the Julia Percy and the Nelson reached their destinations safely. An enquiry was instigated by the Victoria Steam Navigation Board regarding the cause of the accident between the two steamships, in connection with the death of Cutler who was supposed to have lost his life by the collision. The enquiry resulted in the following decision: "The Victorian Steam Navigation Board having taken into consideration the points urged by Captain Thos [Thomas] Smith and also by his legal advisers, is of opinion that the charge prepared against him has been sustained, but taking into consideration Captain Smith’s previous good conduct and character, the board suspends his master’s certificate No 227 issued by this board for a period of six calendar months from this date – Robert Fullarton, Chairman. “The Victorian Steam Navigation Board having beard the statement of Captain Frederick Chapman urged in his defense to the charge of dereliction of duty as master of the Julia Percy, in having no standing order on board that vessel to be called in the event of any approaching steamer’s lights being seen, find such charge sustained, and censure him accordingly – Robert Fullarton, Chairman.” ABOUT “JULIA PERCY” The S.S. Julia Percy (later named Leeuwin ) was an iron passenger-cargo steam ship built in 1876. At one point in time the Julia Percy would sail from Warrnambool to Melbourne every Friday and return from Melbourne to Warrnambool every Tuesday. The cost of a return ticket for a Saloon Fare was £1.0.0. She would sail “if practical and weather permitting”. Shipping was the cheapest and most practical means of carrying produce and goods during the period 1840-1890. Regular domestic steamer services commenced in the Warrnambool district in the late 1850’s and by 1870 the passenger trade was booming. Produce was loaded from the jetty into ‘lighters’ (small boats), which took it to the ships at anchorage in the bay. Passengers were taken to the ship’s side then climbed aboard up ladders or gangways. The coming of the railway in October 1889 meant the gradual decline and end of the steam shipping era. The Julia Percy was built in Glasgow by Thomas Wingate & Company, Whiteinch, in 1876 for the Warrnambool Steam Packet Company, which commissioned her for trade in Victoria’s western district. She was first registered in Warrnambool, Victoria in 1876. The Julia Percy changed hands several times. Her next owner was the Western Steam Navigation Co (1887), managed by Mr. T.H. Osborne (the company’s office was on the corner of Timor and Liebig Streets, Its north-western wall is now part of the current Warrnambool Regional Art Gallery. ) The Melbourne Steamship Co became the next owners (1890), followed by William Howard Smith and Sons (1901) for use in Queensland coastal trades, then she was bought by George Turnbull in 1903 and used for local mail contract in Western Australia. The Julia Percy was sold to the Melbourne Steamship Company Ltd. (1906) and re-named the “Leeuwin” but continued in her Western Australian coastal run. She was converted into a coal hulk in Melbourne in 1910 as a result of damaged caused when she was driven against the jetty at Dongara during a gale. The ship was eventually dismantled and scuttled in Bass Strait on 28 December 1934. The document is significant for its association with the wreck of the Leeuwin (Julia Percy), which is on the Victorian Heritage Register, VHR S413. . It is historically significant for being a rare artefact that has potential to interpret aspects of Western Victoria’s 19th century steamship trade and Victorian cultural history. The Leeuwin (Julia Percy) is listed on the Victorian Heritage Register as being historically significant ‘as one of only four wrecks of steamships in Victorian waters associated with the western district of Victoria’s coastal steamship trade. Reports of Victoria Steam Navigation Board about the collision on 25th December 1881 between the steamers " Julia Percy" and "Nelson". Letter from Victoria Steam Navigation Board, Melbourne to Frederick Chapman, Master, S.S. "Julia Percy", dated January 12th 1882. reference on letter in left margin "S82/12"flagstaff hill, flagstaff hill –maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, victoria steam navigation board, captain frederick chapman, captain thomas smith, thomas wingate & company, steamer julia percy, steamer leeuwin, steamer nelson, steam ship, warrnambool steam packet company, t. h. ostorne, western steam navigation co., charles cutler

This small ship’s bell, possibly a ‘mess’ or dining room bell, was the smaller of the two bells rescued by the crew of the Schomberg when it was wrecked in 1855. All of the crew from the Schomberg wreck survived. They carried the two ship’s bells with them as they made their way along the coast, eventually arriving at the home of settler, John Manning, who lived at Hopkins Point near Warrnambool. Manning acquired the Schomberg bells, presenting them to two Warrnambool churches; the smaller one to St Joseph’s Catholic Church and the larger bell to St John’s Presbyterian church. This small bell developed a crack after about a year at St Joseph's church and could no longer be used. Thomas Manifold imported a new bell for that church and the cracked belled was stored at his farm and stored. The property was sold years later to John Logan, who donated the discarded bell to the Warrnambool Museum when it first opened in 1886. The Curator, Joseph Archibald, displayed the bell in the entry. The small bell was repaired and re-plated by Briggs Marine in 1986. The larger Schomberg bell was installed in St John’s Presbyterian Church. In 1887 a ‘massive’ new bell, made in Victoria, was installed at the Presbyterian Church, so the old bell was transferred to the nearby Woodford Presbyterian authorities. During World War II the 1887 bell cracked, and could not be repaired. In 1983 the old Schomberg bell from the Woodford church was loaned to Flagstaff Hill Maritime Museum and Village. When the Schomberg was launched in 1855, she was considered the "Noblest” ship that ever floated on the water. Schomberg's owners, the Black Ball Line had commissioned the ship for their fleet of passenger liners. She was built by Alexander Hall of Aberdeen at a cost of £43,103 and constructed with 3 skins. One planked fore and aft and two diagonally planked, fastened together with screw-threaded trunnels (wooden rails). Her First Class accommodation was simply luxurious with velvet pile carpets, large mirrors, rosewood, birds-eye maple and mahogany timbers throughout, soft furnishings of satin damask, and an oak-lined library with a piano. Overall she had accommodation for 1000 passengers. At the launch, the Schomberg's 34-year-old master, Captain 'Bully' Forbes, had promised to reach Melbourne in sixty days stating, "with or without the help of God." Captain James Nicol Forbes was born in Aberdeen in 1821 and rose to fame with his record-breaking voyages on the famous Black Ball Line ships; Marco Polo and Lightning. In 1852 in the ship Marco Polo, he made the record passage from London to Melbourne in 68 days. Unfortunately, there were 53 deaths on the voyage, but the great news was off the record passage by Captain Forbes. In 1854 he took the clipper “Lighting” to Melbourne in 76 days and back in 63 days, this record was never beaten by a sailing ship. He often drove his crew and ship to breaking point to beat his previous records. He cared little for the comfort of the passengers. On this, Schomberg's maiden voyage, he was determined to break existing records. Schomberg departed Liverpool on her maiden voyage on 6th October 1855 flying a sign that read "Sixty Days to Melbourne". She departed with 430 passengers and 3000 tons of cargo including iron rails and equipment intended to build the Melbourne to Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. She also carried a cow for fresh milk, pens for fowls and pigs, and 90,000 gallons of water for washing and drinking. She also carried 17,000 letters and 31,800 newspapers. The ship and cargo were insured for $300,000 a fortune for the time. The winds were poor as she sailed across the equator, slowing Schomberg's journey considerably. The land was first sighted on Christmas Day, at Cape Bridgewater near Portland, Captain Forbes followed the coastline towards Melbourne. Forbes was said to be playing cards when called by the third mate Henry Keen, who reported land about 3 miles off. Due in large part to the captain's regarding a card game as more important than his ship, it eventually ran aground on a sand spit near Curdie's Inlet (about 56 km west of Cape Otway) on 26th December 1855, 78 days after leaving Liverpool. The sand spit and the currents were not marked on Forbes's map. Overnight, the crew launched a lifeboat to find a safe place to land the ship’s passengers. The scouting party returned to Schomberg and advised Forbes that it was best to wait until morning because the rough seas could easily overturn the small lifeboats. The ship’s Chief Officer spotted the SS Queen at dawn and signalled the steamer. The master of the Queen approached the stranded vessel and all of Schomberg’s passengers and crew disembarked safely. The Black Ball Line's Melbourne agent sent a steamer to retrieve the passengers' baggage from the Schomberg. Other steamers helped unload her cargo until the weather changed and prevented the salvage teams from accessing the ship. Later one plunderer found a case of Wellington boots, but alas, all were for the left foot. Local merchants Manifold & Bostock bought the wreck and cargo but did not attempt to salvage the cargo still on board the ship. They eventually sold it on to a Melbourne businessman and two seafarers. In 1864 after two of the men drowned when they tried to reach Schomberg, salvage efforts were abandoned. In 1870, nearly 15 years after the wreck parts of the Schomberg had washed ashore on the south island of New Zealand. The wreck now lies in 825 meters of water and although the woodwork is mostly disintegrated the shape of the ship can still be determined due to the remaining railway irons, girders and the ship’s frame. A variety of goods and materials can be seen scattered about nearby.The bell is particularly significant in that along with other items from the wreck helped in part to having the legislation changed to protect shipwrecks, with far tighter controls being employed to oversee the salvaging of wreck sites. This bell forms part of the Schomberg collection at Flagstaff Hill maritime museum. The collection as a whole is of historical and archaeological significance at a State level. Flagstaff Hill’s collection of artefacts from the Schomberg is also significant for its association with the Victorian Heritage Registered Schomberg shipwreck (VHR S 612). The collection is of additional significance because of the relationship between the objects salvaged, as together they help us to interpret the story of the Schomberg. The collection as a whole is historically significant for representing aspects of Victoria's maritime history and its potential to interpret social and historical themes from society at the time of the wreck. A small ship’s bell. The bell bears the ship’s name and year of construction on one side and the name and address of the ship’s builders on the other. These details are deeply engraved into the metal and formed in bold upper-case lettering. The bell has two bell stands, a left and a right side. Both stands have an Iron pipe made into an inverted ‘Y’ shape with a hole made in the single length, and feet attached to a rectangular metal plate at the other two ends. Feet are bolted into a timber base that has a hole drilled through the centre for mounting. Bell's front; “SCHOMBERG” with “1855” below. Bell's back “HALL & SONS (crack splits letter “N”) / BUILDERS (in italics) / ABERDEEN” (crack splits letter “B”).flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, schomberg, silver plated bell, mess bell, bell stands, captain ‘bully’ forbes, alexander hall and son, james baines and company, liverpool’s black ball line, bell, schomberg bell, ship's bell, small bell, st joseph's church, briggs marine

GEOFFREY RICARDO Born 1964, 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 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed limited edition print This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.art, artwork, geoffrey ricardo, printmaking, etching, aquatint

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 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed bookplategeoffrey ricardo, bookplates, kangaroo

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 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed coloured aquatint on paper. Donated through the Australian Government's Cultural Gifts Programme by Katherine Littlewood.Under image in pencil ' T/P "Monkeyshine" Ricardo 2000'geoffrey ricardo, framed print

GEOFFREY RICARDO (1964- ) Born 1964, 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 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed coloured aquatint on paperUnder image in pencil '4/20 "Dummy Throw" Ricardo 2000' geoffrey ricardo, framed print, printmaking, available, available framed, sport

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 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed coloured aquatint on paperunder image in pencil 'G.P. Ricardo '97'geoffrey ricardo, framed print, printmaking

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 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed coloured etchingon paper. Donated through the Australian Government's Cultural Gifts Programme by Katherine Littlewood.Under image in pencil ' state proof ', "personal best" Ricardo 2000'. From Strange Games series. geoffrey ricardo, printmaking, framed print, available framed, available, sport

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 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed intaglio print from Geoffrey Ricardo's 'A Dark City, A Narrative' suite'. Donated through the Australian Government's Cultural Gifts Programme by Katherine Littlewood.Under image in pencil ' artists proof "The Urban Heart" Ricardo 99,geoffrey ricardo, printmaking, framed print, intaglio

GEOFFREY RICARDO Born 1964, 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 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed intaglio print from Geoffrey Ricardo's 'A Dark City, A Narrative' suite. Donated through the Australian Government's Cultural Gifts Programme by Katherine Littlewood.Under image in pencil '7/25 "Love street" Ricardo 99'geoffrey ricardo, printmaking, artworks, artist

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 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Etching with aquatint on paper depicting a group of people pulling along a giant inflatable cow. Donated through the Australian Government's Cultural Gifts Programme by Katherine Littlewood.Lower left "State Proof" Lower right "Ricardo '97"geoffrey ricardo, printmaking, balloon, cow

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 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed coloured aquatint.geoffrey ricardo, printmaking

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 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed coloured etching.geoffrey ricardo, printmaking, available, lobster

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 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012 Framed limited edition coloured print showing two men in dinosaur masks, leaning over and heading butting each other. Edition is limited to 30, print is number four.On the left, between print and matting: 4/30 "Naturalists" On the right, between print and matting: signed Ricardo ' 92 On front upper right hand corner pale dark red stain on glass On back, left hand corner, red ink finger prints near where it appears that the backing board has been torn to remove the previous tape. On back, both vertical sides has a number of dents towards the outside of it near the tape. art, artwork, print, limited edition, geoffrey, ricardo, fantasy, colour, available, sport

(Cancelled) Certificate of Title originally issued for Crown Portion 15, Section 5 to Robert David Taylor, of Eltham, County of Evelyn, Farmer, 13 March 1925. It is with this title that the land allotment was subdivided into 48 lots. The title shows the issuance to Robert David Taylor with encumbrance placed upon it by immediate former owner, Hugh Patrick Keogh, a former member for Gippsland and Melbourne Real Estate Agent. Following Taylor's death in 1934 the title passes to his Executors, sons Robert David Taylor of Bible Street, Eltham and William McLelland Vance Taylor of Northcote. The property is then sold to Frank Stokes who develops the Stokes Orchard. Compulsory acquisitions by the Melbourne Metropolitan Board of Works and State Electricity Commission show provisions of easemenst for town water supply and high voltage power transmission lines. Subsequent lots are then sold off with the development of the Stokes Orchard Estate residential development in the mid to late 1970s. A History of the Development of Crown Allotment 15, Section 5, Parish of Nillumbik – Stokes Orchard Crown Allotment 15, Section 5, Parish of Nillumbik (CA15) is a square allotment of 158 acres or approximately a quarter of a square mile. It lies just beyond the eastern end of Pitt Street, south of Nyora Road to the northern end of Eucalyptus Road and extends east from Eucalyptus Road to Reynolds Road. The topography of CA15 is generally steep, sloping up to a hill near the centre of the land, the ridgeline passing through the properties along the southern side of Diosma Road. Eucalyptus Road is a straight north-south road with its northern end at the north west corner of CA15. Until the end of the 1970s this road was an un-named Government Road and was largely not open to traffic. With residential development in the 1970s the road was constructed, and the council allocated the name obviously in recognition of the predominant species of the local bushland. CA15 was purchased from the Crown by George D’Arley Boursiquot, a prominent Melbourne printer, on 28th October 1852. On November 23, 1922, former Member for Gippsland and Melbourne Real Estate Agent, Hubert Patrick Keogh purchased the allotment then sold it March 13, 1925, to local farmer, Robert David Taylor, a former Shire of Eltham Councillor (1911-1920) and Shire President (1919). Taylor had extensive land holdings stretching west towards Bible Street and Main Road. The Taylor home was situated at the top of the hill in Bible Street at present day 82 Bible Street. At the time of Taylor’s purchase in 1925, CA15 was subdivided into 48 lots that could be described as small rural properties or large residential lots. A typical lot size was one hectare or 2.5 acres. The subdivision created two roads, Nyora Road, and Diosma Road, each following an irregular alignment between Eucalyptus and Reynolds Roads. However, the lots were not sold off separately nor were the roads constructed. The land effectively remained as one parcel for many further years. Robert David Taylor died November 30, 1934, and probate was granted to his son of the same name, Robert David Taylor of Bible Street, Salesman and William McLelland Vance Taylor of 73 Emmeline Street, Northcote, Clerk, with the transfer of the land into their names on July 8, 1935. Frank Stokes worked as a qualified accountant at Kennons leather factory in Burnley, while living at 1 Thomas Street, Mitcham. He suffered from migraines and wanted to return to working the land (he had previously worked on farms and orchards since coming to Australia from England in 1926, both in WA and Vic.). He first travelled to the district by train in July 1942 to find land with the intention to establish an orchard. By chance he met Arthur Bird of Bird Orchard (bounded by Pitt Street, Eucalyptus Road, and Wattle Grove) and they got talking over their common interest. Arthur put Frank up for the night and pointed out the land, 158 acres- part of the Taylor Estate- £900, Crown Allotment 15, Section 5, Parish of Nillumbik (CA15) somewhat diagonally opposite Bird Orchard. Stokes applied through the Riverina Agency to purchase the land who in turn applied for permission from Canberra to sell as there was a new government regulation introduced during the Second World War banning land sales except for immediate production. Stokes obtained a loan on his Mitcham house of £600 @ 5% and paid £450 deposit with quarterly payments of £15 spread over 5 years. Stokes was assisted and advised by Arthur Bird who farmed the neighbouring orchard. In early 1943 Stokes took possession and would catch the train out to Eltham on Fridays after work and began building a hut on the corner of Nyora Road and the Government Road (Eucalyptus Road) for shelter and to lock up tools. He established an orchard on the central western part of the land through the centre of which ran a natural waterway (part of the present-day linear park) and was able to pay a neighbour (Hawkins) to help with clearing and fencing 25 acres, and with a horse and single furrowed plough, planted approximately 2,500 fruit trees - cherries, peaches, plums, almonds, pears, apricots and lemons as well as a few apples and oranges; a massive task. Aerial photographs from the 1940s through to the 1990s clearly show the orchard with most of the larger CA15 site remaining as natural bushland. A huge problem was hares and rabbits eating all the new buds off the tiny trees. As well as laying poison he painted the trees with a mixture of cow manure and lime, often working by moonlight. Procurement of wire and wire netting was difficult because of the war but after much effort he obtained a permit from the Agricultural Department for supplies in March 1944. In February 1945 Stokes applied for a permit to build a “packing shed” as no house building was allowed. It was to be 33 feet x 21 feet and cost £312. It was constructed mostly from second-hand materials, which were hard to obtain, especially iron for roofing. Stokes finished work at Kennons on October 31, 1945, and in March 1946 he sold the family home at Mitcham for £1,230 plus £170 for furniture. On May 15, 1946, title to the CA15 property was issued to Frank Howard Alfred Stokes, Orchardist and Gladys Ethel Stokes, Married Woman, both of Pitt Street, Eltham. The family of five then moved into the very unfinished “packing shed” at Eltham, which was a struggle to weatherproof. Eventually rooms were divided off and lined with hessian bags and whitewashed. Their income was firewood (cut and sold), selling rockery stones and cut Sweet Bursaria. (It was discovered during the 1940s that Sweet Bursaria contained the sunscreen compound Aesculin. The RAAF utilised this compound from Sweet Bursaria during WW2 for pilots and gunners.) The orchard’s first fruit sale was a half-case of Le Vanq peaches in December 1947 for the price of 8 shillings. In 1956 plans for house were drawn and Glen Iris bricks purchased (1956 Olympic Rings variant). The building of the house commenced in 1957 - 12 feet of original packing shed was removed – and was completed in 1959. Water was connected from newly built pressure storage on the property at the end of 1959 and the electricity connection for the first time at 3pm on April 29, 1960. The house remains to present day (somewhat modified) at 1 Nyora Road, home to Nyora Studio Gallery. On occasions, spare remnants of the 1956 bricks have been known to be unearthed in gardens on the estate as they were utilised by Frank Stokes to fill in rabbit holes. On May 26, 1950, a parcel of land was compulsorily acquired by the Melbourne and Metropolitan Board of Works on the hilltop to establish an easement for a high-level service reservoir to augment Eltham’s water supply. The project also included pipe tracks for the necessary water mains. The reservoir has now been superseded by higher level water tanks east of Reynolds Road and its former site is now a public reserve. On November 27, 1964, the State Electricity Commission served notice to compulsorily acquire a further parcel through the eastern part of the land for a major electricity transmission line that augmented supply from the La Trobe Valley to Melbourne. The easement was registered February 11, 1966. The easement was widened July 18, 1969 for a second transmission line to be constructed. In 1971 Melbourne Metropolitan Planning Scheme amendments adopted Nyora Road as the boundary between a residential zone to the north and a rural zone to the south. This determined the future development of the land. In the mid-1970s the Shire of Eltham divided the orchard into numerous rate-able parcel lots, the 48 lots having been established in 1925 and the subsequent rates assessment proved unsustainable for Stokes. He commenced selling lots outside the boundary of the orchard, north of Diosma and South of Nyora. However shortly later the land between Nyora and Diosma Roads and west of the electricity easement was sold and subdivided into residential lots, a housing development by Macquarie Builders and marketed as the Stokes Orchard Estate. New streets were created, and most were named after trees, although one, Stokes Place, commemorates the former owners. The development was undertaken in two stages; Stage 1 (1975) encompassing Scarlet Ash Court, Ironbark Close and Peppermint Grove bounded by Nyora and Eucalyptus roads and Stage 2 (1978) encompassing Stokes Place, Orchard Way, The Crest and The Lookout bound by Nyora and Diosma roads. The developer, Macquarie Builders went bankrupt shortly after the release of Stage 2 leaving many purchasers to fend for themselves and arrange for their own independent builders. There were also difficulties with sewerage for the land immediately south of Diosma Road and so the conventional residential lots were abandoned in favour of larger lots. The development of Orchard Way, The Crest and The Lookout did not proceed as planned and the proposed lots were incorporated into five-acre parcels instead. These included a low-density group housing development by the Graves family and the award winning Choong House (1983) with Gordon Ford developed garden immediately next door situated on the ridge of the hill nestled amongst the original bush, Eucalypt trees and Sweet Bursaria. In 1994, Nillumbik Shire Council applied Significant Environment and Significant Landscape overlays upon the properties on the south side of Diosma Road to ensure protection of this natural bush garden environment. With the arrival of the sewer along Diosma Road in the 1990s, most of these five-acre parcels have since been subdivided multiple times. The Choong house presently sits on a 2.7-acre property, which in 2022 Nillumbik Council nominated for Cultural Significance Heritage protection and is considered potentially significant at State level. The Stokes family were also associated with the Eltham Christian Church. In the 1970s this church had met in temporary premises in Eltham. Lots of the original 1925 subdivision remained south of Nyora Road and a number of these lots were utilized for the Eltham Christian School, which was established by the Eltham Christian Church in 1981. The school operated on this site until 2000. The premises are now used by The Vine Baptist Church. By the mid-1980s the whole of CA15 had been developed for residential and school purposes, except for the sections north of Diosma Road and between the transmission lines and Reynolds Road. Sewerage issues had been resolved for the section north of Diosma Road and in 1987 it was in the process of being subdivided into residential lots. The development coincided with the discovery of colonies of the rare and endangered Eltham Copper Butterfly on the site. This resulted in a community and political campaign to save the butterfly habitat. With the co-operation of the land developer the subdivision was altered to create two bushland reserves in the critical butterfly habitat areas. In the late 1980s the State Government was investigating options for establishing a metropolitan ring road link between Diamond Creek and Ringwood. The chosen route was adjacent to Reynolds Road and so this created a freeze on development of CA15 between Reynolds Road and the electricity easement. The ring road proposal was eventually abandoned, and this part of the land was subdivided into low density residential lots. Diosma Road has been discontinued at the electricity easement and the eastern part incorporated into View Mount Court with access from Reynolds Road. The whole of CA15 has now been developed for residential or associated purposes, ranging from conventional density to quite low density south of Nyora Road. Some remnants of the orchard remain, a few cherry trees on the Graves property and a lone apple tree in Stokes Place. The butterfly reserves comprise significant areas of remnant bushland. Linear reserves through the estate link with central Eltham via the Woodridge linear reserve and with Research along the electricity easement. CA15 as it exists today has a complicated history of rural use, Government acquisition, urban development, and community action. References: • “Stokes Orchard, an incomplete history”; Russell Yeoman with Doug Orford • Correspondence, Beryl Bradbury (nee Stokes) • Aerial Photographs, 1931-1991, Landata (landata.vic.gov.au) • Certificate of Title, Vol. 4930 Fol. 985900 • Plan Number LP 10859 neil webster collection, diosma road, eltham copper butterfly, eucalyptus road, ironbark close, nyora road, peppermint grove, power transmission lines, reynolds road, scarlet ash court, stokes orchard estate, stokes place, woodridge estate, frank stokes, certificate of title

A “Bill of Fare” is a menu or list of food offered for a meal. This Bill of Fare from the sailing ship Schomberg is handwritten in pen in hard-to-read script on the printed pages specifically for the Schomberg ship, of the Black Ball Line of Australian Packets. (‘Packets’ were vessels that had a regular trade run of cargo, passengers and mail; the sailing ship Schomberg was designed for long voyages between England and Australia.) These menus posed a puzzle as they have the handwritten dates of, May 10 and 12, 1856, by which time the Schomberg had sunk (she sunk on December 26, 1855). The donor of these pages of Bill of Fare is a stamp collector from Melbourne. He came across the menus in a package that he bought in 1980 at a stamp auction in Tasmania. He decided to give the menus to Flagstaff Hill this year during his annual family holiday in Warrnambool. A 1981 newspaper article about this donation included an interview with Flagstaff Hill’s curator Mr Peter Ronald, who said that the stationery of these menus is genuine. He went on to say that there would have been much stationery printed for use on the Schomberg although she sank on her maiden voyage. These menus could have been written at a dated late because the surplus Schomberg stationery could have been used for menus on other ships. We will probably never be sure of the answer but none-the-less the pages are still connected to the Schomberg. Below is what we believe the menu consists of although some of the writing is indecipherable - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - (first menu) Roast Mutton Boiled Mutton? Ox Tail Mulligatawny? Or possibly Ox Tail Vegetables? Mutton Pies? ------------------------------- Vegetables Potatoes ---------------------------------- Dessert Fruit Puddings? Saturday May 10, 1856 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - AND - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - (second menu) Boiled Mutton Roast Mutton? Roast Geese? Ox Tail?? Calves Head Broth? ------------------------------- Vegetables Potatoes ------------------------------- Dessert Tarts? Rice Pudding? ?...Maids?? Monday May 12, 1856 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Background of “SCHOMBERG” When SCHOMBERG was launched in July, 1855, she was considered the “Noblest ship that ever floated on water.” SCHOMBERG’s owners, the Black Ball Line (one of three companies by that name), commissioned the ship for their fleet of passenger liners. She was built by Alexander Hall of Aberdeen, UK at a cost of £43,103. She was constructed with 3 skins: one planked fore and aft, and two diagonally planked, fastened together with screw threaded trunnels (wooden rails). Her first class accommodation was luxurious: velvet pile carpets; large mirrors; rosewood; birds-eye maple; mahogany; soft furnishings of gold satin damask; an oak-lined library; and a piano. Overall she had accommodation for 1000 passengers. SCHOMBERG’s 34 year old master, Captain James ‘Bully’ Forbes, had promised Melbourne in 60 days at the launch, "with or without the help of God." James Nicol Forbes was born in Aberdeen in 1821 and rose to fame with his record-breaking voyages on the famous Black Ball Line ships MARCO POLO and LIGHTNING. In 1852 in the MARCO POLO he made the record passage from London to Melbourne in 68 days. There were 53 deaths on the voyage but the great news was of the record passage by the master. In 1954 Captain Forbes took the clipper LIGHTNING to Melbourne in 76 days and back in 63 days, this was never beaten by a sailing ship. He often drove his crew and ship to breaking point to beat his own records. He cared little for the comfort of the passengers. On this, the SCHOMBERG’s maiden voyage, he was going to break records. SCHOMBERG departed Liverpool on her maiden voyage on 6 October 1855 flying the sign “Sixty Days to Melbourne”. She departed with 430 passengers and 3000 tons cargo including iron rails and equipment intended to build the Melbourne to Geelong Railway as well as a bridge over the Yarra from Melbourne to Hawthorn. She also carried a cow for fresh milk, pens for fowls and pigs, and 90,000 gallons of water for washing and drinking. SCHOMBERG also carried 17,000 letters and 31,800 newspapers. The ship and cargo was insured for $300,000, a fortune for the time. The winds were poor as she sailed across the equator, slowing SCHOMBERG’s journey considerably. Land was first sighted on Christmas Day, at Cape Bridgewater near Portland, and Captain Forbes followed the coastline towards Melbourne. Forbes was said to be playing cards when called by the Third Mate Henry Keen, who reported land about 3 miles off. Due in large part to Forbes regarding a card game as more important than his ship, SCHOMBERG eventually ran aground on a sand spit near Curdie's Inlet (about 56 km west of Cape Otway) on 26 December 1855, 78 days after leaving Liverpool. The sand spit and the currents were not marked on Forbes’s map. Overnight, the crew launched a lifeboat to find a safe place to land the ship’s passengers. The scouting party returned to SCHOMBERG and advised Forbes that it was best to wait until morning because the rough seas could easily overturn the small lifeboats. The ship’s Chief Officer spotted the steamer SS QUEEN at dawn and signalled it. The master of the SS QUEEN approached the stranded vessel and all of SCHOMBERG’s passengers and crew were able to disembark safely. The SCHOMBERG was lost and with her, Forbes’ reputation. The Black Ball Line’s Melbourne agent sent a steamer to retrieve the passengers’ baggage from the SCHOMBERG. Other steamers helped unload her cargo until the weather changed and prevented the salvage teams from accessing the ship. Later one plunderer found a case of Wellington boots, but alas, all were for the left foot! Local merchants Manifold & Bostock bought the wreck and cargo, but did not attempt to salvage the cargo still on board the ship. They eventually sold it on to a Melbourne businessman and two seafarers. In 1864 salvage efforts were abandoned after two men drowned when they tried to reach SCHOMBERG. Parts of the SCHOMBERG were washed ashore on the south island of New Zealand in 1870, nearly 15 years after the wreck. The wreck of the SCHOMBERG lies in 825 metres of water. Although the woodwork is mostly disintegrated, the shape of the ship can still be seen due to the remaining railway irons, girders and the ship’s frame. A variety of goods and materials can be seen surrounding the wreck, by divers. Flagstaff Hill holds many items salvaged from the SCHOMBERG including a ciborium (in which a diamond ring was concealed in concretion), communion set, ship fittings and equipment, personal effects, a lithograph, tickets and photograph from the SCHOMBERG. These Bills of Fare are significant due to their connection to Flagstaff Hill’s collection of artefacts from the Schomberg, which is significant for its association with the Victorian Heritage Registered shipwreck S612. The collection is primarily significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Schomberg. The Schomberg collection is archaeologically significant as the remains of an international passenger ship. The shipwreck collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the shipwreck and the ship, which was designed to be fastest and most luxurious of its day. The Schomberg collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history. Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. Menu, or Bill of Fare, on cream coloured stationery from the sailing vessel “Schomberg”. Two rectangular pieces of paper, each bears the printed words “Black Ball Line of Australian Packets, Bill of Fare, Ship, Schomberg”, a printed symbol of the Black Ball line (a black ball on a red flag) and a decorative border. Both pages are handwritten, in similar but different sized writing, with a Bill of Fare and a date, Page (1) dated May 10th 1856 and (2) dated May 12th ’56, (Both dates are AFTER the Schomberg sank in December 26th 1855.) Both pages have three fold lines spaced across their width. To be used for the return voyage.Printed on the pages ““BLACK BALL LINE OF AUSTRALIAN PACKETS.” “Bill of Fare, / SHIP / “SCHOMBERG”.” Handwritten list of food, and on one page “Saturday May 10 1856” and on the other page “Monday May 12” warrnambool, peterborough, shipwrecked coast, shipwreck coast, flagstaff hill maritime museum, flagstaff hill maritime village, maritime museum, great ocean road, flagstaff hill, sailing ship schomberg, shipwreck schomberg, black ball line of australian packets, bill of fare schomberg, menu schomberg 1856, food mid-1800’s, food on ships mid-1800’s, menu, may 10, 1856, may 12, 1856

Sir Charles Edward Kingsford Smith is a famous Australian, well known in civil aviation history for his courageous endeavours in flight. He broken many flight records for long distance and time travelled and he was also a war hero in World War 1. He has been referred to as being “known to millions of Australians as “Smithy” … he was one of Australia’s true twentieth-century legends”. In honour of his place amongst the world’s famous pioneers his image is featured on Australia’s $20 note, Sydney airport is named after him, there is a memorial to Kingsford Smith, Taylor and Ulm at the Anderson Park, also in Sydney and his plane “Southern Cross” is on view at Brisbane Airport. Kingsford Smith wrote ‘The Old Bus’ (1932) and he and Ulm were co-authors of ‘Story of 'Southern Cross' Trans-Pacific Flight’ (1928). His also wrote a book about his own life ‘My Flying Life’ which was published after his death in 1937. and the story of his life was filmed in Australia in 1946. A BRIEF HISTORY OF SIR CHARLES EDWARD KINGSFORD SMITH (1897 – 1935) … Kingsford Smith was born 9th February 1897 in Brisbane, Queensland, Australia. His parents were William Charles Smith and Catherine Mary, nee Kingsford. His mother’s maiden name of “Kingsford” was added to the family name when they spent time in Canada from around 1903 to 1907, after which they returned to Sydney, Australia. In 1915 Kingsford Smith enlisted in Australian Imperial Force. He served in 4th Signal Troop, 2nd Division Signal Company at Gallipoli Peninsular as a ‘sapper’ or combat engineer and later in Egypt and in France as a dispatch rider. In 1916 Kingsford Smith was transferred to the Australian Flying Corps as a sergeant. He was discharged after training in England and commissioned as a second lieutenant in the Royal Flying Corps. He was appointed fling officer and soon joined the 23rd Squadron in France. He brought down four machines in his first month there and also did invaluable work attacking enemy targets. He was wounded and shot down and later awarded the Military Cross ‘for conspicuous gallantry and devotion to duty’. He was promoted to lieutenant in 1918 and served as a Flying Instructor with the R.F.C. Kingsford Smith was not allowed to participate in the 1919 England to Australia air race because of assumed lack of navigational experience. He and his pilot friend Cyril Maddocks formed a business and flew joy-flights in both England and America. In America he did some stunt flying with a Flying Circus. Kingsford Smith returned to Australia in 1921 and found employment as a pilot. He soon realised the value of air transport in such a vast country. He formed a partnership with pilot Keith Anderson in 1924 and they purchased two Bristol Tourer biplanes. Their business broadened to include Charles Ulm and became the Interstate Flying services in Sydney. Together they performed important ‘demonstration’ flights including a flight around Australia in 10 days and 5 hours using very limited navigational equipment. Kingsford Smith immediately started to search for support to do a trans-Pacific flight. This support came from the New South Wales government, Sidney Myer and G. Allan Hancock, an American oil magnate. On 31st May 1928 Kingsford Smith, Charles Ulm and two American crewmen, Harry Lyan and Jim Warner, took off from Oakland, California and flew to Brisbane via Hawaii and Suva. This historic flight took 83 hours and 38 minutes. Their Fokker plane had three engines and was named the “Southern Cross”. This amazing achievement resulted in huge financial subscriptions. Kingsford Smith was awarded the Air Force Cross and appointed as honorary squadron leader, Royal Australian Air Force. Kingsford Smith flew his Southern Cross plane from Point Cook in Victoria to Perth nonstop. Then in September – October 1928, with Charles Ulm and an Australian crew, he piloted the Southern Cross from Sidney to Christchurch New Zealand. This flight showed that was possible for regular passenger and mail services across the Tasman Sea. Kingsford Smith flew his plane to England to an order for four aircraft, planning to use them for an inter-capital air service in Australia. Sadly on 1st April 1929 he was forced to land, having lost radio contact with the ground and having run into bad weather over north – west Australia. Keith Anderson and Robert Hitchcock both perished before the search party reached them. Once official enquiries were completed the flight to England continued in June and was completed in record time of 12 days and 18 hours. In January 1930 Kingsford Smith piloted the “Southern Cloud”, one of the new Avro Ten planes, on the first flight of his airline, the Australian National Airways, from Sydney to Melbourne. The “Southern Cross” was overhauled in Holland by the Fokker Aircraft Co. and in June 1930 Kingsford Smith achieved an east-west crossing of the Atlantic from Ireland to Newfoundland in 31.5 hours. Kingsford Smith returned to England and took delivery of an Avro Avian biplane that he named the “Southern Cross Junior” and flew solo from England to Darwin, Australia. This record breaking flight took less than 10 days. He beat four other planes that had left England before him and he was 5.5 days faster than Hinkler. Sadly Kingsford Smith’s “Southern Cloud” was lost during a flight from Sydney to Melbourne in 1931 with no surviving crew or passengers; in 1958 the wreckage was discovered in the Snowy Mountains. Later that year Kingsford Smith flew his “Southern Cloud” from Australia to Timor, collecting mail from a damaged Imperial Airways plane in Timor. Other flights followed. Kingsford Smith was knighted in 1932 for his services in Aviation. He returned to selling joy flights then established the Kingsford Smith Air Service, a flying training school in Sydney. In 1933 Kingsford Smith flew the amazing record flight in “Miss Southern Cross” – a Percival Gull - from London to Wyndham in Western Australia in just over ten days. The Australian Commonwealth then gave Kingsford Smith a large grant and he was also appointed as aviation consultant to Vacuum Oil Co. Another flying record was made when Kingsford Smith and Sir P.G. Taylor flow “Lady Southern Cross” from Brisbane to San Francisco in order to sell her there; the west-east-trans-Pacific flight made aviation history. They returned to Australia to make an attempt at the trans-Tasman flight but their attempt failed due to engine failure; they managed to get back to Sydney safely, minus most of their cargo. Kingsford Smith had his unsold “Lady Southern Cross” shipped back to England, from where he and J. T. Pethybridge in the “Lady Southern Cross” attempted another record breaking flight from England The Old Bus Author: Charles Kingsford Smith Publisher: Distibuted by Herald Feature Service Date; 1932Label on spine cover with typed text RA 629.1309 KIN flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, the old bus, charles kingsford smith

Herbert Trangmar Allan, refer 2755.4 for his extensive service history and wards. .2) Details gifting of a pair of Japanese binoculars to Col H T ALLAN by Pacific Island Regiment. .3) Certificate issued by Winston Churchill, Secretary of State for War (The War of 1914-1918), awarded to Capt H T ALLAN MC. .4) Herbert Trangman ALLAN born 5.1.1895 at Woolwich, NSW. Middle name misspelled, should be Trangmar not Trangman. .6) Congratulating H T ALLAN on receiving the Military Cross award for leading 2 companies which had lost officers during action on Passchendaele Ridge on 9.10.1917. .7) Describes life behind the lines whilst H T ALLAN's battalion has been resting for a month. Daily life consisted of training drills, sport & entertainment. Writer takes time to describe the countryside & weather. .8) Relate to H T ALLAN's military exam results & his promotion to 2nd Lieutenant in 1915. .9) To Herbert Allan's father, Mr P Allan detailing the citation for awarding of the Military Cross to Herbert ALLAN. Original citation appeared in the London Gazette,5.4.1918. .10) Form addressed to Capt H ALLAN MC, 17th Battalion stating his period of enlistment in the 1st AIF was to expire 26.5.1919. .11) Letter from Lord BIRDWOOD (General) to Herbert ALLAN in response to a letter received 19.11.19?. General BIRDWOOD expresses his opinions on difficulties the allied troops face in their fight against the Japanese. .12) Letter to Capt H T ALLAN advising of MID oak leaves sent to him. Details guidelines for attaching oak leaves to both the larger Victory Medal & the small service dress medal. .13) Form details H T ALLAN's WWII Army No, Rank, Unit & Decorations & Medals held. The form has not been signed & dated. .14) Details service record of Lt Col H T ALLAN NX12229. Includes military service from 1912 - 1944, schools & courses attended, decorations, promotions & overseas service. .16) Form issued to H T ALLAN on 15.12.1939 granting permission to leave New Guinea for Australia & return within a period of 12 months. Issued by Customs Office in Salamaua. Lists H T ALLAN's age as 44, height 5' 10" & occupation. .17) Letter from Major General MORSHEAD GOC, AIF (ME) to Major H T ALLAN, OBE, MC congratulating him on being awarded the OBE for outstanding service at Tobruch. .18) Letter from Major General MORSHEAD to Major H T ALLAN, OBE, MC replying to ALLAN's letter of 15.6.1943. MORSHEAD is congratulating ALLAN on his appointment to New Guinea Force, also acknowledges his excellent service record. .19) Letter acknowledges H T ALLAN's resignation from the Office of Production Member of the Australian New Guinea Production Control Board, effective from 28.8.1946. .20) Major General WINDEYER commanded the 20th Brigade from 1942-1946. .22) Card sent from the CO of the 3rd Australian Anti-Tank Regiment. .23) Menu for Farewell Dinner held in the Officer's Mess of the 20th Infantry Brigade, Tobruch on 22.10.1941. .24) Menu & Toast list for Farewell Dinner to Brigadier J J MURRAY DSO MC VD. Attended by H T ALLAN & held in the Officers Mess, 2/17 Australian Infantry Battalion on 22.12.1941. .25) Invitation to Col H T ALLAN by Lady Gowrie (wife of Governor General Baron Gowrie) to attend a Luncheon at Government House, Canberra, ACT. .26) Letter to Major (T/Lt Col) H T ALLAN from Major W A JENNER advising him of his secondment to 2/17 Australian Infantry Battalion & appointment to command 5 Aust Base Sub Area. .27) Application for Africa Star with Eighth Army Clasp signed by H T ALLAN & approved by Lt Colonel of 2/17 Australian Infantry Battalion. H T ALLAN held the rank of Major (substantive) at the time of qualification, 1.3.1942 - 11.1942. He held the rank of Lt Colonel at the time of application in 2.1944. .28) Detailing changes in command & promotions including that of Lt Col H T ALLAN, dated 1.4.19? .29) For Lt Col H T ALLAN detailing movements required by First Australian Army command. .30) Acknowledgement & confirmation of Col H T ALLAN's application for campaign awards for WWII. .31) Letter addressed to Lt Col H T ALLAN from Lt Gen Stanley Sauige requesting information on New Britain for a forthcoming visit. .32) Certificate was presented to H T ALLAN on 16.4.1942 when he was awarded an OBE by King George VI. .33) Document details H T ALLAN's relinguishing of Command of the HQ of Pacific Islands Regiment. ALLAN also relinguished the rank of temporary Colonel & was transferred to the Reserve of Officers with rank of substantive Lt Colonel. .35) Official letter to Colonel H T ALLAN from Joseph Francis, Minister for the Army. The letter acknowledges Col ALLAN's long & distinguished career during both peace & wartime. .36) a) & b) From H T ALLAN (assumed) to Prime Minister J B CHIFFLEY referring to the production of copra in New Guinea, the actions of the Commonwealth Bank in relation to planters & the collaboration of New Guinea natives with the Japanese. Assumed to be a copy of original. .37) Letter to H T ALLAN indicating he had been placed on the Retired List with the rank of Honorary Colonel. .38) Letter invites H T ALLAN to officially open the State Conference in Lae in late March or early April 1958. Invitation was extended due to H T ALLAN for distinguished service in PNG. .39) Letter to H T ALLAN thanking him for accepting the invitation to open the Papua & New Guinea State Conference in late March or early April 1958. .40) Letter from H T ALLAN to Lt Gen Sir Henry WELLS, Chief of the General Staff, Victoria Barracks, Melbourne. ALLAN requests permission to wear his uniform for official engagements during his upcoming visit to New Guinea. ALLAN also offers advice on how to deal with native troops including serving time with them, learning their language & studying their customs. He suggests that this would help quell & dissent & revolt. .41) Reply from Major General DALY to HT ALLAN thanking him for his offer to spend time with the CO of the Pacific Island Regiment to address concerns with that unit. This meeting would coincide with ALLAN's upcoming visit to PNG. .42) HT ALLAN's reply to Major General T J DALY's letter of 26.2.1958. ALLAN requests an opportunity to discuss PIR issues with Major General DALY prior to his visit to PNG. .43) Major General T J DALY's reply to HT ALLAN's request for a meeting to discuss ongoing issues with the Pacific Island Regiment. .44) Letter from HT ALLAN to Brigadier D M CLELAND notifying him that he will be staying in Port Moresby on his way to the RSS&AILA Congress in Lae. .45) Lieutenant Colonel MCGUINN writes to invite Colonel ALLAN to visit the PIR during his visit to New Guinea at the end of March of the beginning of April 1959. .46) Letter of appreciation to H T ALLAN thanking him for his efforts in presenting the case for the Territory of New Guinea during the post WWII transition period. .47) Letter to H T ALLAN from New Guinea Citizens Association, Lae Branch, thanking him for his service on behalf of the people of the Territory of New Guinea. The association offered to send ALLAN a suitable present in recognition of his service. .48) Major General T J DALY's reply to HT ALLAN's suggestions for handling disquiet amongst the native troops in the Pacific Island Regiment. .49) Reply from Lieutenant General WELLS to H T ALLAN granting him permission to wear his uniform on his forthcoming visit to New Guinea. WELLS also notes that he has passed other requests made by ALLAN to Major General DALY. .50) Copy of H T ALLAN's reply to Lieutenant General WELL's letter of 24.2.1958 [.49)]. .51) A written account of Colonel H T Blue ALLAN's visit to New Guinea in 3.1958. Article appeared on p.65 & 67 of the 6.1958 edition of Pacific Islands Monthly. .52) Newspaper account of Colonel H T Blue ALLAN's opening of the Rabaul Branch of the Native Ex Servicemen's Association. Colonel ALLAN spoke of the involvement of the Pacific Islands Regiment during WWII. .53) The Rabaul Times account of Colonel H T Blue ALLAN's opening of the Rabaul Branch of Native Ex Servicemen's Club. Featured on p1, concluded p3. .54) Biographical account of Colonel H T ALLAN's service in WWI & WWII. In addition an account of his success in New Guinea between the wars is included. .55) a.b. Biography of Colonel H T ALLAN written by R W Robson who was the founder of the Pacific Islands Monthly. Article was written following ALLAN's death on 23.5.1967 aged 72. This item is a pre publication copy of Robson's article which appeared in the Pacific Islands Monthly. .56) Text of a valedictory given at the funeral of Colonel Herbert Trangmar ALLAN OBE, MC, ED, NX12229 held 26.5.1967 following his death on 23.5.1967. The speech summarized his life in both wars & civilian life. 57) Invitation issued to Colonel H T & Mrs ALLAN to attend a Garden Party at Government House on 18.2.1954. At this function Colonel H T & Mrs ALLAN were to be presented to her Majesty Queen Elizabeth II.Herbert T ALLAN Collection. The contents are all of various size, the Album is the size documented. .1) Large teal green album containing 16 plastic pockets each with white card insert. Various documents & photos contained in each pocket. .2) Typed letter, black type on cream paper. .3) Certificate mounted on fawn card backed with dark brown veneer. Presented to Capt H T ALLAN MC for being mentioned in despatches on 7.11.1917. .4) New South Wales Birth Certificate extract, printed on pink paper with watermark. .5) Telegram on tissue paper to a sheet of cream paper. Pin located top L corner. Requests the attendance of Lt Herbert ALLAN, Russell Hotel, Russell Square. .6) Typed letter mounted on grey cardboard. .7) 2 page letter on foolscap paper, secured by pin top L corner. Written from France by Herbert (Bert) ALLAN & addressed to his father. .8) 11 pages secured with a clip top L corner. 1st document typed, 2nd handwritten, remainder printed. Relate to H T ALLAN's military exam results. .9) Typed letter from Department of Defence Base Records Office to P ALLAN. .10) Document, printed form to inform the recipient that their period of enlistment in the 1st AIF had expired. .11) 4 page handwritten letter on 2 sheets of paper. 1st page has a printed letterhead. .12) BR Form No 20. Typed formal letter from AIF Base Records Office to accompany Mentioned in Despatches oak leaves sent to the recipient. .13) Form AAFA36 used for recommending the awarding of an Efficiency Decoration. Form details service record & details of a serving soldier. .14) 1 large / 1 small page, numbered, detailing the service record of Lt Col H T ALLAN. Black type on cream paper. 2 pages are loose but evidence of attachment visible. .15) Bachelor of Arts Degree Certificate (testamur) granted by the University of Sydney, awarded to Herbert Trangmar ALLAN. Printed on cream parchment. .16) Proforma document issued by the Territory of New Guinea permitting leave & return to the Territory. Printed 2 sides, black type on cream paper. .17) Letter on Australian Imperial Force letterhead from Major General MORSHEAD to Major H T ALLAN. .18 Letter on HQ2 Aust Corps letterhead from Major General MORSHEAD to Major H T ALLAN. .19) Typed letter on External Territories letterhead from J R Halligan to H T ALLAN. .20) Cream Christmas card folded in 2, sent to H T ALLAN. On front in black lettering is HQ 20th Australian Infantry Brigade below black Rising Sun emblem. Inside in black lettering is With Best Wishes for Christmas and New Year. Christmas 1944. .21) Cream card folded in 2. Front illustration depicts a devil figure riding a platypus & carrying a pennant with 2/13 on it. The devil is depicted attacking a German & Japanese soldier. Below the devil is a boomerang with Greetings Xmas 1944 printed on it. Illustration is in green & black. Inside on LHS is a message from 2/13 Battalion. On RHS is a list of 2/13 battle honours from 1940-1943. On back in black print is 1944-1945 New Guinea Australia. .22) Cream Christmas card folded in 2. Front illustration in brown with word Greetings in green. RHS inside printing in green & brown letters. Artillery badge on back in brown. .23) Cream card folded in 2. Typed menu on cream paper attached inside. Front cover illustrated with 20th Infantry Brigade colour patch & a rat over a scroll with words - So What? .24) Cream card folded in 2. On front black printing accompanied by 2/17 Battalion colour patch that is black over green diamond shape. Inside a list of Toasts & Dinner Menu printed in black. Back page for autographs. .25) Cream invitation card. Black cursive script printing below gold crown on front. .26) Typed letter on cream paper. .27) Typed foolscap application form to claim the Africa Star. .28) & .29) Message form filled with typed orders. .30) Typed letter acknowledging an application for campaign medals & listing eligible awards. .31) Typed letter on bond paper. .32) Certificate on cream parchment. Black print in cursive script. Text details the awarding of an OBE to the recipient. .33) Typed text on Australian Military Forces letterhead. Cream paper. .34) Typed text. Temporary note for H T ALLAN's discharge from AMF. .35) Typed letter on Commonwealth of Australia, Minister for the Army letterhead. .36) a) & b) 2 page letter in black type on cream paper. Pages are loose, letter unsigned. .37) 1 page typed letter on Australian Military Forces letterhead. .38) & .39) 1 page typed letter on Return Sailors, Soldiers & Airmen's Imperial League of Australia, Papua & New Guinea Branch letterhead. .40) 1 page typed letter, unsigned. .41) Single sided typed letter on Australian Military Forces letterhead on cream paper. .42) 1 page typed letter, unsigned on cream paper. .43) Single sided typed letter on Australian Military Forces, Northern Command, Victoria Barracks, Brisbane letterhead on cream paper. .44) Single sided typed letter on cream paper. .45) 2 page typed letter on folded cream paper bearing the letterhead of the Pacific Islands Regiment. .46) 1 page typed letter on cream, lined paper. .47) 1 page typed letter on cream paper. .48) 1 page typed letter on Australian Military Forces, Northern Command Headquarters, Victoria Barracks, Brisbane letterhead on cream paper. .49) 1 page typed letter on Chief of General Staff, Australian Military Forces, Army Headquarters, Victoria Barracks, Melbourne letterhead on cream paper. .50) 1 page copy of an unsigned letter on cream paper. .51) Magazine article: Building a New Nation in New Guinea : Some advice from Colonel Blue ALLAN. Black & white article with a 2nd small section stapled to the main page. Large page features a black & white captioned photo of a group listening to a uniformed Officer deliver a speech. Also features advertising front & back. .52) Newspaper article: Official Opening of Native Ex Servicemen's Club. Black & white typed newspaper article featuring a captioned black & white photo of a uniformed Australian Officer & a group of New Guinea Ex Servicemen. .53) a. b. c. Newspaper article: Master Blue Came Back to the Islands: 4000 Attend Club Opening. 3 Section article cut from a newspaper. One part is the banner of the newspaper with date published. Other sections contain the text of the article. The larger section features a black & white photo of an Australian Army Officer in uniform. .54) Newspaper article, untitled. Black & white typed newspaper article with black & white caricature of an Australian Army Officer featured. .55) a. b. Magazine article: The Story of a Big Man who Loved Soldiering. 2 page black & white typed article with sub headings. .56) Text of a Speech. 2 page typed text written for a valedictory given at a funeral. Pages connected with a staple in the top L corner. .57) Printed, cream card invitation to a Garden Party for the recipient to meet Queen Elizabeth II & The Duke of Edinburgh. Text is in cursive script under the Coat of Arms of Her Majesty. .2) Signature ? Capt S C PIR. .4) Date of issue typed: 30.11.1954 Name of recipient: Herbert Trangman Allan Stamped: T Wells, Registrar General NSW .5) Handwritten: To Lt Herbert Allan, Russell Hotel, Russell Square. Typed: Buckingham Palace OHS. Your attendance is required at Buckingham Palace on Wednesday next the Twentyeighth inst (28.11.19?) at ten o'clock am service dress please telegraph acknowledgement Lord Chamberlain London. Stamped: Central District 24 NO 19. .6) Signed in pencil: W Birdwood. In pencil on back: 15 x 12. .8) p1: Handwritten signature. Copy dated 29.12.1915. p2 Handwritten in ink: P Allan Esq, Mount Hunter Hill. Military Examination. Copy dated 29.12.1915. Handwritten in pencil: Results: H T Allan. Tactics - Distinction 92% HE Barff p3 Underlined in ink: 38th Infantry Herbert Trangmar Allan to be 2nd Lieutenant (provisionally). Dated 16 June 1914. p5 Handwritten: Total 139. Lieut Allan tied with 15 others for 20 place. p7, 9, 10 & 11underlined in ink: H T Allan. p8 Underlined in ink: Allan HT. .9) & .10) Signature in black ink. .12) Handwritten signature in black ink: On back handwritten signature in black ink: Clive Wilkinson, Buddong, Robinson St, Chatswood. Also ? Rd, Cremorne Pt. .13) Handwritten in black ink: Details of HT Allan's Commission Service from 16.6.1914 - 18.2.1946. .15) Handwritten signature of the University Chancellor, Dean of Faculty of Arts & Registrar. Handwritten name of recipient. Seal of the University of Sydney imprinted bottom LHS. .16) Handwritten in black ink: Details of recipient. Stamped in red ink: New Guinea Customs. Stamped in blue ink: H M Customs, Cooktown, dated 17.12.1939. Handwritten on reverse: Signature. Stamped on reverse in red ink: New Guinea Customs, dated 15.12.1939. .17) & .18) Handwritten signature: Major General Morshead. .19) Handwritten signature in black ink: J R Halligan. .20) Handwritten inside in blue ink: Lt Col Allan. Good wishes from your many friends here. Signed by Major General Windeyer. .21) Inside LHS handwritten in blue ink: Lt Col Allan & an indecipherable signature. .22) Inside RHS handwritten: To Major (Blue) Allan OBE MC from Lt Col? .23) On front handwritten in blue ink: H T Allan?. Inside in black ink & pencil are 19 signatures. .24) On front: 3 signatures in black ink & pencil. On back: 36 signatures in black & blue ink & pencil. .25) On back handwritten in black ink: Colonel H T Allan OBE MC, with 3 ink lines below name. .26) Handwritten in blue/black ink: Signature. Handwritten in blue pencil top R corner: A32/3477. Handwritten in black ink bottom L corner: Cond (?) 15/9A. Handwritten in black ink: Signature. .27) Stamped top R corner: 2/17 Bn Received 9.2.1944. Signature in black ink: H T Allan. Signature in black ink: ? Lt Col 2/17 Aust Inf Bn 10.2.1944 Page bottom in pencil: Blue will keep 1 1/4 for you? .30) Handwritten: Details of eligible medals. Handwritten signature: J C K Miller Capt 7.3.50. Handwritten bottom L corner: Col H T Allan Bottom R corner: OBE, MC, 1914-19, Victory, ED, MID 1914-18, MID 1939-45 On back: Steak & Kidney Morris ) Clark ) Vowood ) 10/- 70215 Maughan ) Allan ) .31) Top of page: Imprinted Coat of Arms Top LHS in black ink: TOP SECRET AND PERSONAL Handwritten signature: Stanley Sauige .32) Embossed top L corner: Seal of the Most Excellent Order of the British Empire. Handwritten: Mary R. .32) Signed: Queen Mary, mother of George VI. .33) Handwritten signature. .34) Handwritten in blue ink: HERBERT TRANGMAR ALLAN 6 MAY 46 Handwritten signature. .35) Handwritten signature in blue ink: Joseph Francis, Minister for the Army. .37) Handwritten signature. .38) & .39) Handwritten signature: J W Knight. .41), .43) & .45) Handwritten signature in blue ink. .46) & .47) Handwritten signature in black ink: Henry G Eckhoff. .48) Handwritten signature in blue ink: With best wishes Yours sincerely T J Daly. .49) Handwritten signature in black ink: Yours sincerely H Wells. .57) Handwritten in black ink: Colonel & Mrs H T Allan.certificates, records, awards, administrative, compendium

After the death of Stan Savige this address was given at the Canberra Conference in October 1954. It is tribute to his life. Sir Stanley Savige KBE : Commemorative Address Federal Conference of Legacy Clubs, Canberra : October 1954. On the 15th of May this year Legacy learned to its enduring sorrow of the death of its Founder, Lieut. General Stanley George Savige KBE, CB, CBE, DSO, MC, ED, for more than 30 years affectionately known to us all as Legatee Stan Savige. He was the embodiment of all those things for which Legacy stands, and each one of us who knew him and worked with him feels a great and abiding sense of personal loss. It is proper, therefore, that those of us at this Conference, the first after his passing, representative of Legacy throughout the Commonwealth, and comprising so many who were his friends, so many who knew the depth of his love for Legacy, should acknowledge our debt to our Founder and ensure, so far as we may, that the inspiration of his life and work in this Cause shall not be lost to those who follow after. It was not ordained that Stanley George Savige - should enjoy a long life, but it was to prove a life of outstanding service. Born at Morwell in Victoria some 63 years ago, he received with his brothers and sisters such education as was then available to a lad in a mining district. He had no particular opportunities of advancement, but from his early days he cherished a strong ambition to make a success of his life, and with this in view he lost no opportunity of adding to his knowledge. Always a lover of the open country, a good bushman and a fine shot, he became as a young man, a Scoutmaster with a keen following of boys. Even in those early days he attracted youth and showed undoubted promise of the quality of leadership which later was to make him famous. Opportunity came with the first World War, and he took his place as a private soldier in the original 24th Battalion AIF. Followed Gallipoli and Anzac where his marksmanship and bush craft stood him in good stead. Conscious that his early training was not sufficient to secure the promotion he desired, he set himself to enlarge it. Only a man of fine fibre and rare determination could apply himself to study on that war torn Peninsula, where our men, hitherto untested, suffered every known hardship and no man knew, from hour to hour, whether he would survive. But Savige achieved it. Himself then a Corporal he found another Corporal who was a former Schoolmaster and learned from him all that he had to teach. Savige was on his way. He was commissioned on the Field and allotted the heroic task of leading the last party off that desperate coast during the famous evacuation. In France he became the Adjutant of his Battalion and one of the best known officers in the 6th Brigade. He won the Military Cross and was mentioned in despatches. Early in 1918 he received a signal distinction, He was included in a small but distinguished band of Officers and Non-Commissioned Officers from the British and Dominion Forces most carefully selected for individual courage and proved qualities of leadership, and was sent to Persia, under the command of Major-General Dunsterville, Kipling’s famous Stalky, to assist and mobilise the friendly tribes with a view to protecting the road to India, left wide open by the withdrawal of Russia. The story of the Dunsterforce, its suffering and achievements in the face of incredible hardships and difficulties, was later to be told by Savige in his book “Stalky’s Forlorn Hope”. He emerged, finally, unscathed, despite his active participation in several of the bloodiest battles of all time, with the rank of Captain and a DSO and MC to his credit, to say nothing of three mentions in despatches. In later years, further decorations were to be conferred upon him, but I believe he valued none of these so highly as his awards for outstanding personal bravery won in the Field when he was an Officer of comparatively junior rank. Such was the man who in August 1923, at the instance of his former Commander, Major-General Sir John Gellibrand, gathered around him a handful of men who had fought and laughed with him over four well remembered years. This small band adopted the name of “Legacy”, but its purpose then was, in the main, to assist in safeguarding the interests of ex-servicemen in this country. Worthy although the case undoubtedly was, the conception and ideal which was to distinguish Legacy from all kindred post-war movements did not emerge until two years later. The torch had not been lit. Legacy had not yet found its soul. What has been achieved since then is known to you all. The Legacy ideal, unique in its conception, with no known counterpart elsewhere, is now accepted, welcomed and honoured throughout the Commonwealth and abroad. But in those early days the achievements of our Founder in the face of all manner of difficulties and frustrations are worthy of our lasting memory and thankfulness. As the source of every river lies in the hills, so must the inspiration from which stems a great conceptions of service to one’s fellow men be lofty and above reproach. Savige was the embodiment of this new expression of comradeship, as he was the central figure and driving force of the little group that sponsored it. But for his zeal, his faith and determination, it is likely that the flame, newly kindled, might have flickered and died. The idea of men returned from active service pledging for the sake of their former comradeship, their personal assistance to the widows, and above all, to the children of those who had fought beside them and paid the full price of War, was so completely new and unexpected that it was by no means readily accepted. There were no funds, no precedents to guide the new adventurers, only the clear bright flame of an ideal just envisaged, and the conviction that the Cause was unassailable. Nor were there lacking many who said that the community held no place for Legacy, that it was born of sentiment only, and would quickly pass. The scoffers are gone and one since forgotten, but the torch remains and burns brighter than ever. Down the years of Legacy there are many names deserving of honour, men from all States and all stations of life, but no name stands out in such clear and bold relief as does the name of our Founder. By his works you shall know him. He was, in truth, the Soul of Legacy. He sought no office and preferred to work as one of the team. Six years went by before he accepted the Presidency of Melbourne Club, and then only because his fellows would book no further delay. “The Spirit of Legacy is Service” - so runs the Charter, and that was Savige’s Creed. By virtue of his attainments he was called upon to take a leading part in the administration of Legacy, first within his own club and later, as Chairman of the Co-ordinating Council of Legacy in Australia. But always it was the essentially human character of the work which enthralled and upheld him, and the tasks which gave him most joy were those which brought him into close personal contact with the youngsters and their home life. Like their elders they recognised his goodwill and his leadership and responded to it. It was Savige who made possible the first camps held for the boys and girls by Melbourne Club. These were erected on his own seaside property, and were originally conducted under his personal direction and largely with the aid of funds he had collected. There was hardly an important post in his own Club that Savige did not at some time occupy and adorn. He was happiest in the company of those men with whom he had served in the field, and cherished always the comradeship born of active service which is of the essence of Legacy. He was a man of strong convictions but attentive always to another’s point of view. As a Legatee he played a leading part in bringing hope and encouragement to many a mother on whom the whole responsibility of a young family had been suddenly and tragically laid; in the attainment of the ambitions of many an orphan child, which not so long since had seemed to him or her to be mere dreams, impossible of realisation. Comfort for the bereaved, new hope for the children’s physical and educational welfare, assistance with the home, aid for the sick, money for the needy and a new courage to face a future that hitherto had held no promise, all these facets of Legacy endeavour combine to present a living and enduring memorial to the man we honour as our Founder today. Between the two World Wars in addition to establishing himself successfully in civilian life and answering the constant calls of Legacy on his energy and time, Savige maintained an active association with the Army. He was convinced that a Second AIF would one day be urgently called upon, and as a Battalion Commander he spared no effort to train the Officers under his charge during the uneasy years of peace for the trial that he felt must come. These men have all subsequently had distinguished military careers, their names are well known and many of the serve in Legacy today. When the second crisis came, Savige himself was one of the first to offer, and although his youth was spent, he proudly carried the number VX13 throughout the terrible years that followed. This time he was to command, first the 17th Australian Infantry Brigade in the first action of the Second AIF against the enemy at Barida, and subsequently at Tobruk and Derna - all famous names now. It was his patrols which gave the warning - unheeded at the time - that Rommel’s reinforcements were reaching North Africa far earlier than was expected. Then followed the grim days of Greece and Crete when the fine qualities of his leadership were put to the utmost test. I have been told by those who were closest to him it was typical of Savige that when his convoys were on the move back and were being blasted from the air by the unopposed Luftwaffe, he should sit by the side of the open road, wearing his red banded cap, to steady the morale of men who had then no chance of hitting back at the enemy. Unorthodox no doubt, but here was a man indeed. Throughout the whole campaign and later when he commended the 3rd division in New Guinea and later still when with the rank of Lieutenant-General he became a Corps Commander in New Guinea and Bouganville, it was at all times characteristic of him that he should see for himself the situation in the forward areas. He dealt personally with his subordinate commanders whenever it was possible to do so. No one says his G.S.O. 1. understood better than he did the importance of front line troops seeing their G.O.C. frequently, and knowing that he was aware of and prepared to share their hardships and dangers. He took many risks that he should not have taken, exhausted himself physically and mentally times without number, and considered himself not at all in order to secure the success of his operations. Finally, in Bouganville, he brought his campaign to a victorious conclusion and accepted the personal surrender of the Japanese Commander. Savige is known as one of Australia’s most human military leaders, but let no one believe that he did not ask and receive the utmost of his men. He trained them in a hard school but he was ever conscious of their needs and observant and thoughtful of their welfare. Fearless and untiring under conditions which brought younger men down, he asked nothing that he was not himself prepared to give and do. The close of the Second World War left him with the same brave heart; but a vitality greatly impaired. He was called up again and again to perform important national tasks, notably that of Co-ordinator of Demobilisation and Dispersal. But his interest in Legacy never flagged it was in fact more personal than ever, for under his command many junior legatees, sons of former comrades had proved themselves worthy of their Fathers in war and in peace. In the bearing and achievements of the young men of the Second A.I.F. he took a particular and justifiable pride. He applied himself to the Extension of Legacy to areas where it had not previously been practicable to operate. His record of service and close personal contact with the men of both wars made him a most welcome pioneer and many new Clubs and Groups resulted from his efforts. He founded, and I doubt whether any one else could have done so, the Club in the great Capital of our Empire. His reputation and obvious sincerity surmounted obstacles that might well have daunted lesser man. Legacy’s debt to him visibly increased. But he was ever a simple man, with a great love and understanding of his fellow men and a true Legatee at heart. Much that he did will never be known or recognised, save by those who benefitted. His service in Legacy ranged from the humble kitchen of cottage and farm to our representation in Westminster Abbey itself. A knighthood set the seal upon an outstanding career. None the less when upon the death of Field Marshall Sir Thomas Blamey, Lieut. General Sir Stanley Savige became the Patron of the Melbourne Club, he retained at his own express desire, the title of Legatee Savige, and when on that final day we bade him farewell, when the Flags he had served so well were lowered and the guns which had formed a grim final salute, it was apparent to all who had eyes to see that this great and simple man had won such a place in the hearts and affection of his fellow country men as is given to few men indeed. From the packed Cathedral, escorted by his fellow Generals, followed by men of his own Units, by Legatees and a great company of others who had cause to honour and esteem him, he made his last journey. But that is not the end. His voice and presence are lost to us but his memory and inspiration must ever remain. As he has bequeathed to the National War Memorial yonder his diaries, records and battle plans, so he has bequeathed to us his fellow Legatees his greatest achievement and his trust, Legacy itself. Never was the Torch passed by worthier hands. Now it is ours to hold it high. Whatever material memorial the future many hold for him, Legacy owes its Founder a livelier recompense. It is within our power to implement what I believe to be his greatest wish, that Legacy and its ideal of comradeship and service shall flourish and endure. Let each one of us then resolve that we shall, within our Clubs, in all tasks to which we are assigned, both great and small, keep in our minds the life and spirit of Stanley George Savige, so that we may be proud at all times to say of Legacy to those who follow after - “If you would see his memorial - Look around you”.The tribute to Stanley Savige shows how greatly he was regarded by the Legatees.Off white quarto paper with black type, address given about Stan Savige to the Canberra Conference, x 12 pages.savige, speech, obituary

Photo - see pdf file for further information. Number Brief Description CC1 S178 at Elsternwick level crossing track works CC2 Building East Preston Depot 1955 CC3 Camberwell depot – post WW2 – lots of trams and a black cat CC4 W2 584 and SW6 958 northbound – Chapel St and Brighton Road CC5 W2 357 – southbound, Chapel St Brighton Road CC6 Pascoe Vale Road, Raceday working – note the signal CC7 The Preston Workshops - The Argus, post WW2, 223, 647 et al CC8 923 or is it 922 being built at Preston – The Argus photo - CC8A 832 being positioned onto trucks at Preston after an overhaul – Argus Photo – see also CC306 CC9 Footscray depot` CC10 W5 797 in St Kilda Road during track works – 1950s CC11 W2 457 at Kew Post Office CC12 Wellington Parade – W2 432, 492 and 337 – special event CC13 Swan St line up of trams – football? Or other special event – Sinclair’s bus on the right side. CC14 W2 630 being washed at a depot – The Argus photo CC15 Royal Park line at Flemington Road – W2 355 and W5 786 CC16 Nicholson St track construction from a tram cab CC17 T181 on tour at Gordon St CC18 T181 on Maribyrnong Bridge CC19 Ditto at River St just off bridge CC20 As for CC18 CC21 At Raleigh Rd CC22 T181 at Footscray depot CC23 Track construction, Nicholson, just north of Gertrude CC24 Commissioning overhead Bourke St tram 988 CC25 Queens Parade – 997 and 994 CC26 Swapping trolley wheel to skid – commissioning CC27 Track construction in Gertrude St CC28 985 in Queens Parade running special CC29 997 in Queens Parade CC30 1033 at North Fitzroy – AETA Special CC31 Bourke St at Elizabeth St – has passengers on board CC32 W6 985, 996 Queens Parade, Mk 3 bus 333 CC33 As above CC34 Showing construction at Nicholson & Gertrude – Bourke St CC35 W2 223 on Burnley temporary bridge – VR track expansion CC36 W5 823 – ditto CC37 Tram on old bridge prior to removal CC38 W2 433 on temporary bridge with new bridge beams and old track CC39 Looking down showing temporary single track – Swan St CC40 Tait train passing under tram bridge CC41 SW6 on single line – off loading CC42 W2 547 at City Road Junction CC43 City Road Jtn – 1969 – 596 and 771 CC44 City Road Jtn – 1969 – 596 and 771 (same as CC45 438 in Flinders St CC46 355 somewhere CC47 552 somewhere CC47A 364 at Preston Workshops? CC48 W2 334 on Traverser – Preston Workshops CC49 Wellington pade – large line up of trams, c1950 925, and 611 CC50 W2 493 Franklin st – advertising for Savings Certificates CC51 Possibly 551 with advertising for fund raising for Blind institute CC52 249 at Hawthorn – Riversdale Junction – with a Tally Ho and Village Fair Aux. board CC53 MMTB Postcard of 511 CC54 Wattle Park terminus with Single line warning sign CC55 Wattle Park Duplication CC56 36 at Domain Junction – 833 CC57 36 at Domain Junction CC58 36 at Domain Junction with 810 and 833 CC59 36 in Swanston by Flinders St Station CC60 36 in Spencer St at A’Beckett CC61 36 crossing Collins St CC62 36 crossing Collins St CC63 36 northbound in St Kilda Road with Shrine in background CC64 36 northbound in Swanston St at Flinders St CC65 Postcard – Ballarat 36 in Domain Road CC66 Postcard - Stampshow – Hawthorn Horse tram CC67 Postcard - Stampshow – Peace cable tram CC68 Postcard - 1041 and cable car set 1 at Preston CC69 Postcard - Colins & Elizabeth – greetings from old Melbourne CC70 Postcard - Cable car set at Preston CC71 Postcard - Twentyman’s cable cars CC72 Postcard - Nu-color-vue – horse tram 256 CC73 Cable car set – Market & Flinders CC74 Cable trams at Twentymans’ in their shed CC75 Cable tram track at Bourke & Spencer prior to removal CC76 Cable tram bogie at Preston Workshops – used as a dolly CC77 Cable trams at Twentymans’ CC78 Postcard - Valentines – Bourke looking west from Swanston CC79 Postcard - Rose 3938 – Bourke at Swanston – the Leviathan building CC80 Postcard - Valentines – Elizabeth St looking south from Collins – No. 19 CC81 Postcard - Rose P4765 – Bourke St Melbourne CC82 Postcard - Rose 4090 – cable tram passing Parliament house CC83 Postcard - Valentines – GPO Elizabeth St CC84 Interior of cable trailer with clothing on a set CC85 Elizabeth St looking north CC86 Cigarette card - Collins St No. 41- WD HO Wills CC87 Postcard - Rialto building with cable set CC88 Postcard - Valentines - Swanston at Flinders looking north CC89 CC90 Q 150 Hanna St – dated on rear CC91 176 turning – photo ex Alan Jungworth CC92 161 on Princes Bridge – minimum fare 4d sign and Inspector CC93 459 at Point Ormond CC94 158 at Gordon St – side on view CC95 X 217 in Swanston St CC96 X 217 in Swanston St with an East Brighton destination CC97 T177 CC98 T177 Peel St – no destination roll – being transferred? CC99 X1 462 in Glenhuntly Road to Point Ormond CC100 X1 462 in Glenhuntly Road to Elsternwick Rly Station CC101 X1 462 in Glenhuntly Road to Point Ormond CC102 Q 150 Hanna St CC103 190 at Camberwell Depot CC104 T182 at Footscray CC105 X1 466 and W2 at Footscray CC106 190 at Camberwell Depot CC107 X1 467 Barkly St Footscray CC108 X2 679 turning into William St from La Trobe St CC109 X2 677 Glenhuntly Road with Point Ormond Destination CC110 Postcard T180 CC111 Postcard format – X1 467 on a truck – see also CC178 CC112 Postcard format – X1 467 at Wantirna South CC113 Q200 and SW6 896 at Thornbury – has labels on rear CC114 T177, Ballarat Road – has labels on rear CC115 T178 at Point Ormond CC116 Postcard X1 465 and 466 CC117 Postcard – X2 676 CC118 Postcard – TMSV X2 217 CC119 810 on temporary bridging – 24-12-67 CC120 W2 575 – Queens Parade junction in, still temporary bridging, substation under construction CC121 Forming Queens Parade Junction base slab CC122 W2 596 prior to tramway works – all tracks still in position CC123 It’s a mass of reinforcing – bridging being formed CC124 Looking north with substation being built CC125 Looking east with some rather tight curves, Wellington St still in use CC126 SW6 958 ex Wellington St with all tracks and signal box and buildings. CC127 Victoria Pde at Gisborne looking east – at least 4 cars CC128 SW6 893? With dash canopy lights and SW6 862 and a man with a newspaper CC129 SW6 894 on the S curves, with tram in Wellington St CC130 Similar photo CC131 W2 564 turning into Wellington St – the concrete tracks are not that old CC132 W2 552 running out of Wellington St CC133 W5 732 from Fitzroy St into St Kilda Road with next iteration in position – very wonky CC134 W5 764 turning into Fitzroy St CC135 SW6 947 turning from Wellington St CC136 W2 586 running out of High St CC137 W2 500 turning into Wellington St CC138 W2 543 in Wellington St inbound CC139 L103 with St Kilda Junction destination, and a tower truck on right CC140 Workmen – new track in Queensway in use CC141 Ditto CC142 L103 in Queensway, and another car in bound CC143 Looking east along Wellington St which has been taken out of use. Also a MMTB Roller CC144 W5 824 and a W2 and all types of wobbly temporary track CC145 W2 354 to High St CC146 Sw6 947 on the S bends CC147 W2 500 looking north – tram on the S bends CC148 SW6 896 leaving the S bend CC149 W2 357 and a MMTB City bus with trees/gardens on the side CC150 W5 817 Elliot Ave – see also CC302 CC151 W2 552 – note the large trolley bridge CC152 W2 550 at depot or workshops CC153 1B truck CC154 SW2 432 CC155 W2 155 at Glenhuntly CC156 SW6 937 on AETA tour? CC157 X2 677 on Footscray service – Ballarat Rd? CC158 W2 641 – High St Kew? CC159 SW6 847 – Power St Hawthorn CC160 Simpson St – big line up CC161 W2 546 truck No. 1? CC162 W2s at Glenhuntly depot CC163 No. 15 truck under 899 CC164 206 and other junk at Preston Workshops CC165 W in Swanston St Melbourne – Rose series card CC166 Y1 613 Batman Ave?? or William St at Collins CC167 Tram plans CC168 X 217 Swanston St – see also 95 and 96 CC169 217 in Swanston St – same as 95 CC169A 192 in St Kilda Road at Princes bridge CC170 192 in St Kilda Road at Princes bridge CC171 Bendigo 3 arriving Malvern depot – being unloaded CC172 Ditto CC173 T180 at a depot CC174 X1 463 wheel set CC175 C30 – dog car side view – close up CC176 C30 dog car CC177 206 and 30 at Preston Workshops CC178 X1 467 on a truck – see CC111 also CC179 42 CC180 42 at a depot, no destination box CC181 W2 556 1A type truck CC182 Flinders St Station – Rose Series CC183 W7 1035 Spring – Nicholson St CC184 W7 1022 MMTB Post Card CC185 Adelaide 178 – has on rear – R. Lilburn 4/82 CC186 Adelaide 175 – has on rear – R. Lilburn 4/82 CC187 Y1 610 on AETA tour CC188 Y1 610 on AETA tour with large group – Point Ormond CC189 AETA display – has GH55-32 in pencil on rear CC190 AETA display – has GH55-29 in pencil on rear CC191 Y1 610 on AETA tour with large group – Point Ormond CC192 VR 53 at Footscray CC193 VR cars 40 and 34 at Elwood wash dock CC194 W7 1024 as the 1970 Christmas tram CC195 Geelong – loading a set of 22E trucks CC196 Geelong 10 and 23 running an AETA special CC197 Geelong – AETA special CC198 Geelong 7 at Junction CC199 Geelong 10, in the city CC200 Geelong 33 with Belmont destination CC201 Geelong 15 Eastern Park destination 29-3-1948 CC202 Geelong 23 at Railway Station – 29-3-1948 CC203 Geelong 23 at Railway Station – 29-3-1948 CC204 Geelong – loading a bogie tram CC205 Geelong – loading a bogie tram CC206 Geelong 40 – loaded on truck CC207 Geelong 40 – on jacks CC208 Geelong 40 on jacks – 19 behind CC209 Geelong 38 with two workers on either side CC210 – 214 Australian Historic Tramways stamp folder and set CC215 Bendigo 17 at depot – has dup JBS on rear CC216 Bendigo 20, 29 bogie and straight sill car at Charing Cross CC217 Bendigo one man bogie Pall Mall CC218 Bendigo – Bogie 23, other cars and welding truck at depot CC219 Bendigo 7 with Quarry Hill destination CC220 Bendigo 21 with Lake Weerona destination CC221 ESCo 18 Ballarat CC222 Ballarat bogie 22 on AETA special CC223 Ditto CC224 Ballarat 34 at Stones Corner – R Lilburn CC225 Ballarat 15 in Bridge St – R Lilburn CC226 Ballarat 40 at Gardens – R Lilburn CC227 Ballarat 37 running out of depot – R Lilburn CC228 Postcard – Valentines – Sturt St with loaded horse tram trailer CC229 AETA Geelong tram tour ticket – 29-3-1948 CC230 Postcard – Geelong – Valentine 2114 – T&G building CC231 Postcard – PMTT ! – High St Malvern CC232 Postcard – Empire – Glenferrie Road, Malvern at Wattletree Rd CC233 Postcard Y469, MMTB CC234 Postcard Z2 Spring St CC235 Postcard – Z1 MMTB CC236 Postcard – Stamp Show W1 431 CC237 Postcard – Stamp show B2005 CC238 Postcard – Stamp show W6 982 CC239 Postcard – Valentines 1264 – Johnstone Park with tram in distance CC240 Postcard – Rose 10711 – Swanston and Lonsdale – Hospital and W232 CC241 Postcard – Rose 4827 – Fitzroy St St Kilda W2 362 and 548 CC242 Postcard – Valentines – 939 – St Kilda War Memorial, W and a R? CC243 Postcard – Valentines – 572 – St Kilda War Memorial, W 413 and 140? CC244 Postcard – Valentines – 938 – Uper and Lower Esplanade – L 104 CC245 Postcard – St Kilda Rd at Princes Bridge Y1 and W CC246 Postcard – Biscay BG82 – W5 814 - CC247 Postcard – Biscay 796112 – Bourke St looking west CC248 Postcard – Biscay 796109 – Bourke St looking east CC249 Postcard – Biscay 2AUS58 – Z5 Bourke St CC250 Postcard – Biscay BG 249 – Swanston St CC251 Postcard – National View – St Kilda Rd – shrine and Prince Henrys W2 405 CC252 Postcard – Nu color vue – 11 ML 156 – St Kilda Rd CC253 Postcard – Nu color vue – 11 ML 153 – Swanston St CC254 Postcard – Nu Color vue – Collins St 442 CC255 Postcard – Pitt card – Adelaide – H 364 at Victoria St CC256 Postcard – SPER L/P 154 CC257 Postcard – BTMS – 550 CC258 Postcard – SPER – Brisbane 295 CC259 Adelaide 131 at Burnside – has R Lilburn on card, c1911 CC260 Adelaide 194 CC261 Adelaide 235, with two crew, The News photo CC262 Rockhampton, outside post office – has source of photo details CC263 Sydney – 2086 and 2062 arriving Circular Quay CC264 Sydney – P class – Pitt St? CC265 Sydney – 1610 at Circular Quay CC266 Brisbane 99 and 468 CC267 Sydney with bridge behind CC268 Steam tram Paramatta Park – 103 CC269 Sydney – Museum Station =- Elizabeth St CC270 Sydney – weed burner 137S at a loop Demonstrates the work of Charles Craig in photography and collection of prints.Assembled album in a black presentation folder of 270 photographs from the Charles Craig Collection - 86 sleeves - part 1 of 2. All photographs have been scanned and placed on the Museum's G drive. A list of all photographs with details where possible has been compiled. Victorian Provincial, Launceston, Hobart and Sydney tram photos have been transferred to other Museums, image files retained.melbourne, tramways, tramcars, trams, charles craig, st kilda junction, trackworks

ABOUT THE ARTIST – Philip James Gray “Philip is one of Australia’s leading maritime artists and his meticulous research and social commentary paintings of ships, such as, the Loch Ard and Schomberg form an important part of Warrnambool’s Flagstaff Hill Maritime Museum.” [ref. Dr Marion Manifold, Artist and Art Historian, 2014] Philip James Gray was born in London but has lived most of his life in Australia. He graduated from a London school of art as an illustrator, specialising in technical and scientific illustration as well as other commercial and applied art. He was also a student for a time of Fyffe Christie - British figurative artist, mural painter and humanitarian – who had a great influence on his career. Philip has always worked as a professional artist and illustrator. Many publications on maritime history have featured his work. His paintings have been released and sold all over the world as limited edition prints. The State Library of Victoria’s ‘Latrobe Collection’ holds two of his paintings. His street painting of ‘The Ashes Contest’ decorates the brick wall of Old Bakery Laneway in Sunbury and a Sunbury café owner commissioned him to paint the ‘Sunbury Pop Festival’ as a remembrance of local history. [ref. Sunbury Leader, Nov 15 2013] Philip has been an active member of the Sunbury Art Society in Victoria for several years, serving on the committee for some of that time and being involved in exhibitions. He enjoys helping new artists and sharing his skills and experience. [other references: Sunbury Art Society Inc. Oct-Nov 2012] HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Print of the sailing ship Loch Ard by artist Philip J. Gray, 1993. Depicts the Loch Ard in full sail at sea, figures on deck. Limited Edition number 54/925. Print is adhered to a piece of chipboard and is stamped by the framer, Ian's Picture Framing of Warrnambool.Signature of "Philip J. Gray" , "54/925" Stamped on back "IAN'S PICTURE FRAMING, 48 KEPLER STREET, WARRNAMBOOL 3280, PH: (055) 628 022, FAX: (055) 628 145"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, print, philip j. gray

This crocheted bedspread was used by Dr. and Mrs. Angus in their home in "Birchwood" Warrnambool. It was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the "W.R. Angus Collection" that includes historical medical equipment, surgical instruments, and material once belonging to Dr. Edward Ryan and Dr. Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr. Angus's belongings. The Collection's history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr. Angus, up until 1969. WR Angus Collection: Doctor William Roy Angus qualified as a doctor from Adelaide University in 1923. Dr. Angus was born in Murrumbeena, Victoria in 1901 until he died in 1970. He qualified as a doctor in 1923 at the University of Adelaide and was a Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period house surgeon to Sir Henry Simpson Newland. Dr. Angus was also briefly an Assistant to Dr. Riddell of Kapunda SA, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was a physician, surgeon, and chemist. In 1926, he was appointed as new Medical Assistant to Dr. Thomas Francis Ryan (T.F. Ryan), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr. Tom Ryan's absence. Dr. Angus had become engaged to Gladys Forsyth and it was decided he would take time to further his studies overseas in the UK. in 1927 He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship's Surgeon on the Australian Commonwealth Line's T.S.S. Largs Bay. Dr. Angus married Gladys in 1929, in Ballarat and had one son Graham born in 1932, and two daughters (Helen and Bernice, both were born at Mira, Nhill SA Dr. Angus was a 'flying doctor' for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928. The Organisation began in South Australia through the Presbyterian Church that year, with its first station being in the remote town of Oodnadatta, where Dr. Angus was stationed. He was locum there on North-South Railway at 21 Mile Camp taking up the position of 'flying doctor' in response to a call from Dr. John Flynn; the Organisation later became known as the Flying Doctor Service. Between 1928-1932 he was a surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia but in1933 he returned to Nhill where he'd previously worked as a Medical Assistant and purchased a share of the Nelson Street practice and Mira hospital from Dr. Les Middleton the current owners of what was once Dr. Tom Ryan's practice. When Dr. Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital's Honorary House Surgeon 1933-1938. His practitioner's plate from his Nhill surgery states "Hours Daily, except Tuesdays, Fridays and Saturday afternoons, 9-10 am, 2-4 pm, 7-8 pm. Sundays by appointment". This plate is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. Dr. Edward Ryan and Dr. Tom Ryan had an extensive collection of historical medical equipment and materials spanning 1884-1926 and when Dr. Angus took up practice in their old premises he obtained this collection, a large part of which is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. During his time in Nhill, Dr. Angus was involved in the merging of the Mira Hospital and Nhill Public Hospital into one public hospital and the property titles passed on to Nhill Hospital in 1939. In 1939 Dr. Angus and his family moved to Warrnambool where he purchased "Birchwood," the 1852 home and medical practice of Dr. John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station.) The Angus family were able to afford gardeners, cooks, and maids with their home becoming a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr. Angus had his silkworm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr. Angus was appointed on a part-time basis as Port Medical Officer in Warrnambool and held this position until the 1940's when the government no longer required the service of a medical officer he then became Warrnambools last serving Port Medical Officer. Dr. Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital from 1939 to 1942, He served as a Surgeon Captain during WWII from 1942 to 1945, in Ballarat, Victoria, and in Bonegilla, N.S.W., he completed his service just before the end of the war as he suffered a heart attack. It was during his convalescence he carved an intricate and 'most artistic' chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was an Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr. Angus was elected member of Spain's Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this accolade, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne. In his personal life, Dr. Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along 'for the ride' and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr. Angus' patients was Margaret MacKenzie, author of a book on local shipwrecks that she'd seen as an eye witness from the late 1880s in Peterborough, Victoria. In the early 1950's Dr. Angus, painted a picture of a shipwreck for the cover jacket of Margaret's book, Shipwrecks, and More Shipwrecks. Dr. Angus and his wife Gladys were very involved in Warrnambool society with a strong interest in civic affairs. Their interests included organisations such as Red Cross, Rostrum, Warrnambool and District Historical Society (founding members), Wine and Food Society, Steering Committee for Tertiary Education in Warrnambool, Local National Trust, Good Neighbour Council, Housing Commission Advisory Board, United Services Institute, Legion of Ex-Servicemen, Olympic Pool Committee, Food for Britain Organisation, Warrnambool Hospital, Anti-Cancer Council, Boys' Club, Charitable Council, National Fitness Council, and Air Raid Precautions Group. He was also a member of the Steam Preservation Society and derived much pleasure from a steam traction engine on his farm. He had an interest in people and the community He and his wife Gladys were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death on 28th March 1970, his family requested his practitioner's plate, medical instruments, and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the "W. R. Angus Collection". The W.R. Angus Collection is significant for the social and medical achievement's that Dr. William Roy Angus had accomplished in his lifetime and the collection of equipment that he and his predecessors had used to treat patients give an insight into the working lives of early colonial medical practices in rural Australia. This collection of medical artefacts is on display located at Flagstaff Hill Village and the Port Medical Officers building where Doctor Angus had practice as the last Port Medical Officer for Warrnambool.Crocheted double bedspread, from the W.R. Angus Collection. White cotton, hand crocheted 30 squares joined as patchwork then a border crocheted around edge. Each square is 41cm square.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, great ocean road, hand crafted manchester, crocheted bedspread, patchwork bedspread, household linen, early 20th century bedspread, dr. w r angus

TBATBATwo boxes, paper. 1. Anti-Hanging Committee - regarding hanging. 1962. 2. Ballarat Banking Co. Ltd. Chairman's address and 145th report. August 1954. 3. Country Municipal Association circular regarding conference on centralisation, Ballarat. 22 November 1916. 4. Geelong Town Band's weekly performance programme. n.d. 5. Ironmasters' Association of Victoria rules and regulations agreed upon at the General Iron Trades' Conference, Melbourne. 1891. 6. Melbourne Eight Hours Anniversary programme. 1901. 7. Museum of Applied Science of Victoria, on gas from our brown coal. n.d. 8. New Australian Trade Unionist Committee regarding rally to protect shooting of Polish workers. 195-? 9. Circular from Ballarat Trades and Labour Council to Ironmoulders' Society regarding the Congress. 1891. 10. List of subjects to be discussed at Congress. 11. Circular from Melbourne Trades Hall Council regarding financial help for Congress. 1891. 12. Reports of Standing Orders Committee appointed by the Congress, 23-29 April 1891. 13. Trade Mark Committee report. 14. Committee on Federation report. 15. Draft scheme of Federation (Australasian Federation of Labor). 16. Draft scheme of Federation (Australasian Federation of Labor) to the Labour Councils and Unions of Australasia. (2 copies.) 17. Asian and Pacific Regions Peace Conference, Peking, October 1962. Report on Peking, Melbourne. 1962. (2 copies). 18. Australian Bureau of Census and Statistics. Labour and Industrial Statistics, Melbourne. 1911. 19. Australia. Laws, Statutes, etc Trade Marks Bill, 1905. Workers' Trade Marks. Melbourne, 1905. 20. Australian Council of Trade Unions. Agenda paper for ... Congress, 1953. Melbourne, 1953. 21. Australian Labor Party. Work of the Labor government. Melbourne, 1928. 22. Australian Textile Union, Victorian Branch. Wages Sheet. Melbourne, 1953? 23. Baker, W.A. The Commonwealth Basic Wage. 1907-1953. Sydney, 1953? 24. Building Workers' Industrial Union. Building Workers support your convention. n.p. 1954? 25. Carters' and Drivers' Union. Committee of Management. Important to members of Carters and Drivers' Union. Melbourne, 1936. 26. Dougherty, Tom. Santamaria unmasked. Melbourne, 1954? 27. Eight Hours' Anniversary Sports Programme, 1893. Ballarat 1893. 28. Eight Hours' Anniversary Programme, 1894. Ballarat, 1894. 29. Fadden, Arthur W. The menace of political banking. Sydney, 1945. 30. Federated Clerks' Union, Victoria Branch. The Fennessy Story. The Braun Story. n.p., 1954. 31. Federated Clerks' Union, Victoria Branch. Manifesto, n.p., 1955. 32. Greater Ballarat Association. Seventeenth annual report. Ballarat, 1954. 33. Langridge, H.E. Employers in the Labor Party. Melbourne, 1914. 34. Metal Trades Federation. National Conference of Federal Council and delegates from State branches. Sydney, 1960. 35. Municipal Association of Victoria. Arbitration aware regarding employment of members of the Municipal Officers Association of Australia. Melbourne, 1950. 36. Municipality of the Town of Ballarat East. Annual report, 1919. Ballarat, 1919. 37. Plumbers and Gasfitters Employees' Association of Australia. Melbourne Branch. Why did Menzies abdicate when he had a working majority and 18 months to go? Melbourne, 1955? 38. Plumbers and Gasfitters Employees Union of Australia, Melbourne Branch. Who are the wreckers in the Australian Labor Party? Melbourne, 1955. 39. Spence, W.G. The ethics of New Unionism. Sydney, 1892. (42 copies) 40. Trades Hall Council, Melbourne. Statement of accounts, 1959. Melbourne, 1959. 41. Universal Business Directories (Australia) Pty. Ltd. Home edition for Ballarat. Melbourne, 1954. 42. Victoria, Apprenticeship Commission. Twenty-seventh annual report. Melbourne, 1956. 43. Victorian Labor College. Labor Colleges. Melbourne 191? (3 copies) 44. W.F. Williams. An appeal to the workers of Victoria. n.p., 19?? 45. Workers' Industrial Union of Australia. Preamble, classification and rules. Melbourne 1919? 46. ACTU Bulletin, 1955, Vol 2, No. 2 47. Amalgamated Engineering Union monthly journal, 1954, No. 3. March 48. American Economist, (New York), 1893, Vol 12, No 12, September 49. Australian Worker, (Sydney), 1955, Vol 64, No. 10, May; No. 15, September (held by ANU and at Trove online) 50. Building Workers' Organiser, official organ of the Building Trades Federation, 1954, June 51. Bulletin issued by the Economic Information Service, Melbourne. No. 2 1954, Nos. 10, September; 13 August; 1956, No 14, January 52. Ballarat Courier, 1890, Vol 46, No. 7096, April 53. Ballarat Star, 1888, Vol 33, No. 95, April 54. The Clerk, official journal of Federated Clerks' Union, Victorian Branch, 1955, Vol 10, No. 2, February/March 55. Common Cause, official journal of the Miners' Federation of Australia 1954 Vol 19, No. 10, March; No. 12, April 1955 Vol 20, No. 12, April; No. 19, May 1955 Vol 20, No. 23, June; No 28 July 1955 Vol 20, No. 29, August 1956 Vol 21, No. 17, May 56. Evening Echo, Ballarat, 1915, No. 6673, September 57. Evening Post, Ballarat, 1889, Vol 38, No. 6326, March 58. Industrial Herald, published by Labor Press, Geelong 1952 Vol 34, No. 35, June 1954 Vol 36, No. 20, March; No. 23, April 1954 No. 36, July; No. 39 July 1958 Vol 40, No. 19, March 59. Labor Call, published by Industrial Printing and Publicity Co., Melbourne. 1953, Vol 46, No. 2417, September 60. Labor Supplement. 1952, November 1954, February; March 61. Light, Ballarat diocesan journal. 1955, September. 62. Locomotive journal, published by the Australian Federated Union of Locomotive Enginemen. 1954, Vol. 16, No. 4, January. 63. People's Tribune Supplement, ed. by E.E. Jones, Melbourne. 1886, Vol 5, No. 20, April. 64. Railways' Union Gazette, published by J.D. Michie, Melbourne. 1919, June, Frank Byett in memoriam edition. 65. Rehab News issued by Central Ex-Servicemen's Office, Melbourne. 1946, Vol 2, No. 30, May. 66. Sheet Metal Workers, official organ of the Sheet Metal Working, Agricultural Implement and Stovemaking Union of Australia, Sydney. 1954, No. 107, February. 67. Socialist Comment, Socialist Party of Australia, Melbourne. 1937, No. 2, February. 68. Tocsin, A.L.P. Victorian Branch. 1955?, No. 2, October; No. 4, December. 1956, No. 5, February. 69. Tribune, CPA Sydney. 1965, No. 958, August. 70. UN World, published by Egbert White, New York. 1948, Vol 2, No. 11, December. 71. Miscellaneous newspaper cuttings. Posters 72. Eight Hours' Anniversary, Ballarat, 22 April 1892. 73. Eight Hours' Anniversary, Ballarat, 21 April 1894. 74. Eight Hours' Anniversary, Ballarat, 21 April 1913. 75A. Eight Hours' Anniversary, Ballarat, 3 April 1922. 75B. Electoral Rolls, persons entitled to be enrolled and to vote, 1922. 76. Progress, prospectus of debentures to publish a daily Labour paper to be called "Progress". 1904, Vol 1, No. 1, December. Cards 87. Smoke night social 88. Bi-election 89. How to vote card Roneoed material 77. Circular letter regarding new morning newspaper. n.d. 78. Circular letter from Trades Hall Council, Melbourne. 21 March 1955. 79. Article, History of the recent ALP dispute. n.d. 80. Article: What is freemasonry (from Ballarat St. Patrick's Gazette, October 1854). (2 copies) 81. Information summary of HRH Duke of Edinburgh's study conference on the human problems of industrial communities. ALP Broadcasts from Station 3KZ 82. Incentive payments by Norman A. Gibbs. 17 August 1953. 83. Escalating wages by F.J. Riley. 25 February 1954. 84. Margins by F.J. Riley. 4 March 1954. 85. Freezing margins by F.J. Riley. 17 March 1954. 86. The struggle across the Ages (No. 2) by F.J. Riley. 7 May 1954. ballarat trades and labour council, ballarat trades hall, unions, anti-hanging committee, hanging, ballarat banking co. ltd., country municipal association, geelong town band, ironmasters' association of victoria, general iron trades' conference, museum of applied science of victoria, new australian trade unionist committee, ironmoulders' society, melbourne trades hall council, btlc, intercolonial trades and labor union congress, 7th., trade mark committee report, committee on federation report, australasian federation of labor, asian and pacific regions peace conference, australian bureau of census and statistics, abs, australian bureau of statistics, trade marks bill, actu, australian council of trade unions, australian labor party, alp, australian textile union, w.a. baker, building workers' industrial union, carters and drivers' union, tom dougherty, eight hours' anniversary sports programme, labour and industrial statistics, workers' trade marks, building workers, santamaria, arthur w. fadden, federated clerks' union, fennessy, braun, greater ballarat association, h.e. langridge, metal trades federation, municipal association of victoria, ballarat east, plumbers and gasfitters employees' union of australia, menzies, w.g. spence, new unionism, universal business directories, victoria apprenticeship commission, victorian labor college, w.f. williams, workers' industrial union of australia. preamble, classification and rules. melbourne, 1919?, amalgamated engineering union, american economist, australian worker, building workers' organiser, building trades federation, economic information service, the courier, ballarat star, the clerk, common cause, miners' federation of australia, evening echo, evening post, industrial herald, labor call, labor supplement, light journal, locomotive journal, australian federated union of locomotive enginemen, people's tribune supplement, railways union gazette, frank hyett, rehab news, central ex-servicemen's office, sheet metal worker, sheet metal working, agricultural implement and stovemaking union of australia, socialist comment, tocsin, tribune, un world, eight hour anniversary, electoral rolls, progress, freemasonry, st patrick's gazette, hrh duke of edinburgh, incentive payments, wages, f.j. riley

In March 2024, Milissa Box (DTP) was at a trash and treasure market. She'd found a $5 photo album for sale with some photos that she thought might be of interest… From what I can gather it belonged to the gentleman pictured who was a worker at Dandenong in the Comeng and ABB eras. He appears to have worked on the Z3, A1/A2, B1/B2 class trams, Hong Kong LRVs, Comeng Melbourne suburban trains, and later the extra Victorian-purchased XP power cars and XAM sleepers to enable the Riverina XPT to be extended to Melbourne. It's clear he was very proud of the vehicles he'd helped to build. I have scanned a selection of the images, which appear to be a mix of official builder's portraits, team photos, and self-taken shots showing candid everyday scenes on the shop floor. There are also images of the launch of the XP power cars with then-Victorian Premier Joan Kirner; and some personal visits to see the Flying Scotsman, Victorian Goldfields Railway, Coal Creek, etc. Filename Description Date Comeng Scans 2024-03-05 0001 Three Comeng workers (including the photographer) stand in front of Comeng suburban train 697M (Chopper unit) c. June-July 1989 Comeng Scans 2024-03-05 0002 Three Comeng workers (including the photographer) stand in front of Comeng suburban train 697M (Chopper unit) c. June-July 1989 Comeng Scans 2024-03-05 0003 Hong Kong Light Rail Phase 1 LRV 1013 being lifted onto its transport loader c. 1987-88 Comeng Scans 2024-03-05 0004 Walter Wright transport truck (Mack) waits to draw a heavy transport platform out of a shed at Comeng Dandenong. Hong Kong Phase I LRV (1024) can be seen inside the shed c. 1988 Comeng Scans 2024-03-05 0005 Hong Kong Light Rail Phase 1 LRV 1013 on its transport loader in a shed at Comeng Dandenong ready for transport c. 1988 Comeng Scans 2024-03-05 0006 Hong Kong Light Rail Phase 1 LRV 1013 on its transport loader in a shed at Comeng Dandenong ready for transport c. 1988 Comeng Scans 2024-03-05 0007 The photographer is pictured fitting components to the cab of a Phase I Hong Kong LRV No 1026 c. 1988 Comeng Scans 2024-03-05 0008 Hong Kong Light Rail Phase 1 LRV 1013 on its transport loader at Comeng Dandenong ready for transport c. 1988 Comeng Scans 2024-03-05 0009 Hong Kong Light Rail Phase 1 LRV 1013 on its transport loader at Comeng Dandenong ready for transport c. 1988 Comeng Scans 2024-03-05 0010 Hong Kong Light Rail Phase 1 LRV 1013 on its transport loader at Comeng Dandenong ready for transport c. 1988 Comeng Scans 2024-03-05 0011 The photographer and a colleague are pictured in the car park posing for a photo at Comeng Dandenong c. 1988 Comeng Scans 2024-03-05 0012 The photographer and a colleague are pictured inside the cab of Comeng suburban train 697M, posing for a photo at Comeng Dandenong c. 1989 Comeng Scans 2024-03-05 0013 A stainless steel Hitachi train bodyshell is being transported on a truck-trailer. Possibly taken at Martin and King in Bayswater, under transport to the station for railing to Somerton for fitout. This is a later series M car with the rear-mounted pantograph (note the mounting lugs above the non-driving end) c. 1980 Comeng Scans 2024-03-05 0014 A shot at Comeng Dandenong of the onsite workforce standing in front of a Phase I Hong Kong LRV. c.1987-88 Comeng Scans 2024-03-05 0015 A shot at Comeng Dandenong of the onsite workforce standing in front of a Phase I Hong Kong LRV. c.1987-88 Comeng Scans 2024-03-05 0016 Hong Kong Light Rail Phase 1 LRV 1038 on its transport loader at Port of Melbourne ready for transport c. 1988 Comeng Scans 2024-03-05 0017 Three Comeng workers (including the photographer) stand in front of a workbench at Comeng Dandenong c. June-July 1989 Comeng Scans 2024-03-05 0018 A newly completed Comeng train (wearing VicRail teacup orange) on the factory access track at Comeng Dandenong c. 1981 Comeng Scans 2024-03-05 0019 A newly completed Z3 class tram on a transporter, with its bogie frames waiting transport to Preston Workshops for final fitout and commissioning c. 1981 Comeng Scans 2024-03-05 0020 A newly completed Comeng train (wearing VicRail teacup orange) on the factory access track at Comeng Dandenong c. 1981 Comeng Scans 2024-03-05 0021 A newly completed Z3 class tram on a transporter, with its bogie frames waiting transport to Preston Workshops for final fitout and commissioning c. 1981 Comeng Scans 2024-03-05 0022 A Comeng/ABB artist impression presumably part of their bid for the Double Decker demonstrator train for Melbourne. Note the similarity to similar Comeng sets constructed for Sydney. c. Nov 1989 – April 1990 Comeng Scans 2024-03-05 0023 Victorian Railways steam locomotive K 169 on static display at Coal Creek. c. 1980s Comeng Scans 2024-03-05 0024 Comeng suburban train carriage 1190T on a traverser in the yard at Comeng Dandenong. c. June-July 1989 Comeng Scans 2024-03-05 0025 Comeng suburban train carriages the yard at Comeng Dandenong. c. June-July 1989 Comeng Scans 2024-03-05 0026 Comeng suburban train carriages the yard at Comeng Dandenong. c. June-July 1989 Comeng Scans 2024-03-05 0027 Comeng suburban train carriages the yard at Comeng Dandenong. c. June-July 1989 Comeng Scans 2024-03-05 0028 Comeng suburban train carriages the yard at Comeng Dandenong. c. June-July 1989 Comeng Scans 2024-03-05 0029 Comeng suburban train in a shed at Comeng Dandenong. c. June-July 1989 Comeng Scans 2024-03-05 0030 Comeng suburban train carriage 1190T on a traverser in the yard at Comeng Dandenong – possible Factory Acceptance Inspection by the Met c. June-July 1989 Comeng Scans 2024-03-05 0031 Comeng suburban train carriage 1190T being tractor-shunted in the yard at Comeng Dandenong – possible Factory Acceptance Inspection by the Met c. June-July 1989 Comeng Scans 2024-03-05 0032 Two Comeng workers carry a train part (possibly a first aid kit) for fitting to a Comeng suburban train. c. June-July 1989 Comeng Scans 2024-03-05 0033 Comeng suburban train carriage 1190T on a traverser in the yard at Comeng Dandenong – possible Factory Acceptance Inspection by the Met. One of the Met staff appears to be giving one of the Comeng workers a kiss on the cheek. c. June-July 1989 Comeng Scans 2024-03-05 0034 A B2 Class tram is on a low-loader multiwheel transport trailer waiting transport to Preston Workshops; while what appears to be a classic AP6 Valiant Safari Wagon is in the foreground. c. June-July 1989 Comeng Scans 2024-03-05 0035 A B2 Class tram is on a low-loader multiwheel transport trailer waiting transport to Preston Workshops; while a worker poses for a photo with his hand on the rigging. c. June-July 1989 Comeng Scans 2024-03-05 0036 A B2 Class tram is on a low-loader multiwheel transport trailer waiting transport to Preston Workshops; An HT Holden Belmont sedan has been posed in front to appear as if it is towing the heavy vehicle. c. June-July 1989 Comeng Scans 2024-03-05 0037 A B2 Class tram is on a low-loader multiwheel transport trailer waiting transport to Preston Workshops; An HT Holden Belmont sedan has been posed in front to appear as if it is towing the heavy vehicle. c. June-July 1989 Comeng Scans 2024-03-05 0038 A1 Class tram 232 is pictured up on stands while various A/B class tram cab frames are in the foreground in various stages of assembly. Of note, 232 appears to have been returned to Dandenong for major repair or other work, and shows signs of having been in traffic for some time (weathering and wear) c. June-July 1989 Comeng Scans 2024-03-05 0039 various A/B class tram cab frames are in the foreground in various stages of assembly. c. June-July 1989 Comeng Scans 2024-03-05 0040 A group of Comeng Dandenong workers stopped on a tea break. c. June-July 1989 Comeng Scans 2024-03-05 0041 An A/B Class tram cab being fitted out with electronics and controls. c. June-July 1989 Comeng Scans 2024-03-05 0042 A new Comeng suburban train in Metropolitan Transit livery on the test track at Comeng Dandenong. c. mid 1980s Comeng Scans 2024-03-05 0043 A new Comeng suburban train in Metropolitan Transit livery on the test track at Comeng Dandenong. c. mid 1980s Comeng Scans 2024-03-05 0044 Interior shot of a new Comeng suburban train at Comeng Dandenong. c. mid 1980s Comeng Scans 2024-03-05 0045 Interior shot of a new Comeng suburban train at Comeng Dandenong. c. mid 1980s Comeng Scans 2024-03-05 0046 The exterior sign at Dandenong showing ABB brand. Early 1990s Comeng Scans 2024-03-05 0047 A B2 Class tram is on a low-loader multiwheel transport trailer waiting transport to Preston Workshops. Early 1990s Comeng Scans 2024-03-05 0048 The Brush generator and Paxman Valenta engine as fitted inside a new XP power car for NSW Countrylink (paid for by Victoria) c. 1992 Comeng Scans 2024-03-05 0049 An exterior shot of a new Countrylink XP power car for NSW under construction (paid for by Victoria) c. 1992 Comeng Scans 2024-03-05 0050 Two new XAM class XPT sleeper carriages under construction at Comeng Dandenong c. 1992 Comeng Scans 2024-03-05 0051 A B2 class tram under construction at Comeng Dandenong Early 1990s Comeng Scans 2024-03-05 0052 A B2 class tram under construction at Comeng Dandenong Early 1990s Comeng Scans 2024-03-05 0053 An exterior shot of a new Countrylink XP power car for NSW being moved out of the shed c. 1992 Comeng Scans 2024-03-05 0054 An exterior shot of a new Countrylink XP power car at Comeng Dandenong c. 1992 Comeng Scans 2024-03-05 0055 An exterior shot of a new Countrylink XP power car at Comeng Dandenong c. 1992 Comeng Scans 2024-03-05 0056 An exterior shot of a new Countrylink XP power car at Comeng Dandenong c. 1992 Comeng Scans 2024-03-05 0057 B2 class trams under construction at Comeng Dandenong Early 1990s Comeng Scans 2024-03-05 0058 An XP Powercar from NSW wearing the Intercity XPT Candy Livery at Comeng Dandenong. It is not known if this was originally painted in this livery (incorrectly) or if this was one of the first delivered series transported to Dandenong to aid the construction process of the four additional locomotives. Early 1990s Comeng Scans 2024-03-05 0059 Melbourne B2 Class tram B2.2100 (renumbered from 2102) painted in the distinctive Chocolate and Cream livery to mark the completion of 100 B2 class trams Early 1990s Comeng Scans 2024-03-05 0060 A factory forklift wearing a hand painted “We love Labo(u)r” cardboard sign, possibly in connection to a media event with the Victorian Premier onsite at Comeng Dandenong. c. 1992 Comeng Scans 2024-03-05 0061 An exterior shot of a new Countrylink XP power car at Comeng Dandenong c. 1992 Comeng Scans 2024-03-05 0062 Two new new Countrylink XP power cars under construction and final fitout at Comeng Dandenong c. 1992 Comeng Scans 2024-03-05 0063 An exterior shot of a new Countrylink XP power car on the traverser at Comeng Dandenong c. 1992 Comeng Scans 2024-03-05 0064 A B2 Class tram is on a low-loader multiwheel transport trailer waiting transport to Preston Workshops. A large banner is draped on the side explaining that this is the 106th vehicle delivered to the Public Transport Corporation (B2.2108). c. Oct 1992 (based on delivery date) Comeng Scans 2024-03-05 0065 Victorian Premier Joan Kirner addresses a group of dignitaries in front of an ABB banner inside the main administration building at Dandenong, on the occasion of the first XPT power car purchased by Victoria being unveiled at a media event c. 1992 Comeng Scans 2024-03-05 0066 An ABB executive addresses a group of dignitaries in front of an ABB banner inside the main administration building at Dandenong, on the occasion of the first XPT power car purchased by Victoria being unveiled at a media event c. 1992 Comeng Scans 2024-03-05 0067 Victorian Premier Joan Kirner addresses the media in front of a completed XP class XPT power car at Dandenong, on the occasion of the first XPT power car purchased by Victoria being unveiled at a media event c. 1992 Comeng Scans 2024-03-05 0068 An exterior shot of a new Countrylink XP power car at Comeng Dandenong c. 1992 Comeng Scans 2024-03-05 0069 A Melbourne B2 class tram undergoing testing on the test circuit at ABB Dandenong c. early 1990s Comeng Scans 2024-03-05 0070 An XPlorer type DMU emerges from a shed at ABB Dandenong c.1994 Comeng Scans 2024-03-05 0071 Voith final drive axle mounted units for XPlorer railcars waiting to be fitted at Dandenong. c.1994 Comeng Scans 2024-03-05 0072 A completed XAM class sleeper carriage at ABB Dandenong. c.1993 Comeng Scans 2024-03-05 0073 Completed XPlorer railcars wait transfer to South Dynon for bogie exchange and transfer to NSW at ABB Dandenong. c. 1994 Comeng Scans 2024-03-05 0074 A clipping from an ABB internal newsletter outlining the staff-led initiative to commemorate the 100th B2 class tram with a special livery c.1992 Has photographs of ABB, Steamrail tours, Castlemaine and Maldon Railway, Fying Scotsman 4472 visit and Puffing Billy.Yields information about the people and events at Commonwealth Engineering plant Dandenong and the activities of the unknown compiler.Album containing 40 leaves, photos in a heavy card 3 ring spring binder.comeng, commonwealth engineering co., tramcars, hong kong, nsw, sydney, melbourne, railways, the met, b class, cmr, steam engines, abb, asea brown boveri

Queen Victoria was born at Kensington Palace, London, on 24 May 1819. She was the only daughter of Edward, Duke of Kent, the fourth son of George III. Her father died shortly after her birth and she became heir to the throne because the three uncles who were ahead of her in the succession - George IV, Frederick Duke of York, and William IV - had no legitimate children who survived. Warmhearted and lively, Victoria had a gift for drawing and painting; educated by a governess at home, she was a natural diarist and kept a regular journal throughout her life. On William IV's death in 1837, she became Queen at the age of 18. Queen Victoria is associated with Britain's great age of industrial expansion, economic progress and, especially, empire. At her death, it was said, Britain had a worldwide empire on which the sun never set. In the early part of her reign, she was influenced by two men: her first Prime Minister, Lord Melbourne, and then her husband, Prince Albert, whom she married in 1840. Both men taught her much about how to be a ruler in a 'constitutional monarchy, in which the monarch had very few powers but could use much influence. Albert took an active interest in the arts, science, trade and industry; the project for which he is best remembered was the Great Exhibition of 1851, the profits from which helped to establish the South Kensington museums complex in London. Her marriage to Prince Albert produced nine children between 1840 and 1857. Most of her children married into other Royal families in Europe. Edward VII (born 1841), married Alexandra, daughter of Christian IX of Denmark. Alfred, Duke of Edinburgh and of Saxe-Coburg and Gotha (born 1844) married Marie of Russia. Arthur, Duke of Connaught (born 1850) married Louise Margaret of Prussia. Leopold, Duke of Albany (born 1853) married Helen of Waldeck-Pyrmont. Victoria, Princess Royal (born 1840) married Friedrich III, German Emperor. Alice (born 1843) married Ludwig IV, Grand Duke of Hesse and by Rhine. Helena (born 1846) married Christian of Schleswig-Holstein. Louise (born 1848) married John Campbell, 9th Duke of Argyll. Beatrice (born 1857) married Henry of Battenberg. Victoria bought Osborne House (later presented to the nation by Edward VII) on the Isle of Wight as a family home in 1845, and Albert bought Balmoral in 1852. Victoria was deeply attached to her husband and she sank into depression after he died, aged 42, in 1861. She had lost a devoted husband and her principal trusted adviser in affairs of state. For the rest of her reign she wore black. Until the late 1860s she rarely appeared in public; although she never neglected her official Correspondence, and continued to give audiences to her ministers and official visitors, she was reluctant to resume a full public life. She was persuaded to open Parliament in person in 1866 and 1867, but she was widely criticised for living in seclusion and quite a strong republican movement developed. Seven attempts were made on Victoria's life, between 1840 and 1882 - her courageous attitude towards these attacks greatly strengthened her popularity. With time, the private urgings of her family and the flattering attention of Benjamin Disraeli, Prime Minister in 1868 and from 1874 to 1880, the Queen gradually resumed her public duties. In foreign policy, the Queen's influence during the middle years of her reign was generally used to support peace and reconciliation. In 1864, Victoria pressed her ministers not to intervene in the Prussia-Denmark war, and her letter to the German Emperor (whose son had married her daughter) in 1875 helped to avert a second Franco-German war. On the Eastern Question in the 1870s - the issue of Britain's policy towards the declining Turkish Empire in Europe - Victoria (unlike Gladstone) believed that Britain, while pressing for necessary reforms, ought to uphold Turkish hegemony as a bulwark of stability against Russia, and maintain bi-partisanship at a time when Britain could be involved in war. Victoria's popularity grew with the increasing imperial sentiment from the 1870s onwards. After the Indian Mutiny of 1857, the government of India was transferred from the East India Company to the Crown, with the position of Governor-General upgraded to Viceroy, and in 1877 Victoria became Empress of India under the Royal Titles Act passed by Disraeli's government. During Victoria's long reign, direct political power moved away from the sovereign. A series of Acts broadened the social and economic base of the electorate. These acts included the Second Reform Act of 1867; the introduction of the secret ballot in 1872, which made it impossible to pressurise voters by bribery or intimidation; and the Representation of the Peoples Act of 1884 - all householders and lodgers in accommodation worth at least £10 a year, and occupiers of land worth £10 a year, were entitled to vote. Despite this decline in the Sovereign's power, Victoria showed that a monarch who had a high level of prestige and who was prepared to master the details of political life could exert an important influence. This was demonstrated by her mediation between the Commons and the Lords, during the acrimonious passing of the Irish Church Disestablishment Act of 1869 and the 1884 Reform Act. It was during Victoria's reign that the modern idea of the constitutional monarch, whose role was to remain above political parties, began to evolve. But Victoria herself was not always non-partisan and she took the opportunity to give her opinions, sometimes very forcefully, in private. After the Second Reform Act of 1867, and the growth of the two-party (Liberal and Conservative) system, the Queen's room for manoeuvre decreased. Her freedom to choose which individual should occupy the premiership was increasingly restricted. In 1880, she tried, unsuccessfully, to stop William Gladstone - whom she disliked as much as she admired Disraeli and whose policies she distrusted - from becoming Prime Minister. She much preferred the Marquess of Hartington, another statesman from the Liberal party which had just won the general election. She did not get her way. She was a very strong supporter of the Empire, which brought her closer both to Disraeli and to the Marquess of Salisbury, her last Prime Minister. Although conservative in some respects - like many at the time she opposed giving women the vote - on social issues, she tended to favour measures to improve the lot of the poor, such as the Royal Commission on housing. She also supported many charities involved in education, hospitals and other areas. Victoria and her family travelled and were seen on an unprecedented scale, thanks to transport improvements and other technical changes such as the spread of newspapers and the invention of photography. Victoria was the first reigning monarch to use trains - she made her first train journey in 1842. In her later years, she became the symbol of the British Empire. Both the Golden (1887) and the Diamond (1897) Jubilees, held to celebrate the 50th and 60th anniversaries of the Queen's accession, were marked with great displays and public ceremonies. On both occasions, Colonial Conferences attended by the Prime Ministers of the self-governing colonies were held. Despite her advanced age, Victoria continued her duties to the end - including an official visit to Dublin in 1900. The Boer War in South Africa overshadowed the end of her reign. As in the Crimean War nearly half a century earlier, Victoria reviewed her troops and visited hospitals; she remained undaunted by British reverses during the campaign: 'We are not interested in the possibilities of defeat; they do not exist.' Victoria died at Osborne House on the Isle of Wight, on 22 January 1901 after a reign which lasted almost 64 years, then the longest in British history. Her son, Edward VII succeeded her. She was buried at Windsor beside Prince Albert, in the Frogmore Royal Mausoleum, which she had built for their final resting place. Above the Mausoleum door are inscribed Victoria's words: "Farewell best beloved, here, at last, I shall rest with thee, with thee in Christ I shall rise again." Source: https://www.royal.uk/queen-victoria This picture captures Queen Victoria in her later years. It may well have been painted to commemorate her Golden Anniversary in 1887, or her Diamond Anniversary in 1897.Picture, print, reproduction of a drawing or photograph of Queen Victoria. She is wearing a dark-coloured dress, white headdress and a diamond necklace and earrings. On her left shoulder is the Royal Order of Victoria and Albert, awarded to female members of the British Royal Family and female courtiers. There are four grades or classes of this Royal Order as well as the Sovereign's Badge, which is exclusive to her. Also across her left shoulder, is a blue riband representing the Order of the Garter. The picture is in a medium-coloured timber frame with a white string across the width at the rear. The label says it was framed by Hoy Art, Warrnambool. The signature of the Queen is on the picture but is not obvious since the picture has been re-framed."HOY ART / PICTURE FRAMING / 48 Kepler St, Warrnambool 3280 / Phone (055) 62 8022" Signature (hidden by new framing) "Victoria H.R.S."flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, picture of queen victoria, queen victoria, the royal order of victoria and albert, the order of the garter, hoy art

"A perpetual spring in the adjacent creek provided a steady supply of fresh water to the site on which the homestead is built. Although we can not be certain of the identity of the builder, the first stage of ‘The Willows’ homestead appears to have been constructed in the mid 1850s. The house is situated on Crown Allotment No.1 (No Section), Parish of Kororoit, an allotment of 5 acres 3 roods 4 perches. Although it had surveyed the land, the Crown did not offer it for sale until 22nd November 1861, at which time it was purchased by Charles March Williams. (Although the property is directly opposite and immediately adjacent to the Township of Melton, and was sold as ‘Suburban Allotment 33’, it was situated within the Shire of Braybrook rather than the Shire of Melton until 1917.) Considerable improvements had taken place on the land prior to the Crown sale. When CM Williams purchased the allotment in November 1861 he paid £23.5.0 for the land itself, and valued the improvements at £400. Even allowing for some exaggeration by Williams, this is an extremely high valuation for improvements, and must have included a house. Some local research has claimed that in 1858 Williams had taken over the interest of a Mr Parkinson in the property, and that Parkinson built the house upon taking possession of the land c.1855. It was definitely built by 1861, when a map shows a square building on the site marked as ‘House’. The property is important in the district for its association with the establishment of the pound. The district pound had been established in 1854, when George Scarborough of Mount Cottrell (Mt Cottrell Road, south of Greigs Road) was appointed pound-keeper. Scarborough resigned in 1857. The pound was moved to Melton following agitation from local farmers and Charles March Williams appointed pound-keeper on 26th April 1858. Williams, the son of a doctor, had been born in London. Reminiscences of local residents of the time, as recorded in the Express newspaper, note Williams’ success in breeding horses on the property. Sales of up to 60 guineas were noted. Whether this was from Williams’s own stock or from unclaimed pound stock is not made clear. Williams appeared before a government inquiry in 1860 and advocated registration of all stock brands in the State. Williams died in 1862 leaving a widow, Catherine, and five living children aged 15 years to five months. At the time of his death Williams had entered negotiations with one Matthew Devenish and had a mortgage of £100 on allotments 1 and 2, Parish of Kororoit. Catherine Williams was appointed pound-keeper on 2 September 1863, with her eldest son Charles as her assistant. Her tenure was short for on 22nd March 1864 George Minns senior paid Matthew Devenish £135 for allotments 1 and 2 Parish of Kororoit (considerably less than Williams had claimed the property was worth in 1861) and on the same day paid William Tullidge £45 for the adjoining allotments 3 and 4. In April 1867, James Ebden Minns, the newly married son of George senior became the owner of The Willows property having entered into a mortgage arrangement with his father to the extent of £200. At the time George Minns was residing in Kaarimba having left Melton in 1867 for a short trip to England and upon his return having taken up a selection in the Kaarimba district with his son Frederick who had a hotel licence there. James paid out the mortgage on 2-1-1873. James Minns was appointed pound-keeper in 1872; in 1885 the pound was moved elsewhere and Minns purchased the old pound site and added it to his farm. The Willows residence underwent a major change about this time. A two room extension, similar in style but with a lower elevation was added to the original rear of the house with a chimney matching the distinctive originals. Window arrangements did not match the original but became a feature of the façade when the new addition became the front of the building. Six buttresses were attached to the east and west walls of the old building, two to the south wall and the whole rendered with mortar to give the appearance of dressed stonework around the windows. Galvanized iron was placed over the shingles and a verandah added on three sides. By 1876 The Willows was the homestead for a thriving mixed farm of 340 acres of which 156 was rented from a H. Ruck. In October of that year the Australasian travelling reporter visited and reported on the property. In common with the nearly every other property in the district the farm had ‘recently’ (generally within the last two years) abandoned cultivation of crops, and turned over completely to cattle pasture. Butter making was the principal occupation of the farm, which had about 50 head of cattle, a large proportion of which were milking cows. The reporter also noted that a ‘large number of pigs are kept upon this farm and are found to be very profitable stock’. Their manure was used in an orchard and garden in which ‘large quantities of lucerne and prairie grass are grown for the use of stock when ordinary feed is scarce’. Two bores attached to deep brick lined wells supplied water for the house in addition to the farm. A commodious timber barn and necessary sheds had also been constructed. Access to the property was improved following the construction of the bluestone ford across the creek c.1887, when the recreation ground came into use. Prior to this date it may have been that the crossing referred to as ‘Mr Minns bridge’ was used. This appears to have been a flimsy structure and has but two references in Council reports in the Melton Express in the 1880’s. It is believed that in the late 1890’s a timber building was added near the rear of the building to house a kitchen, ablutions and laundry rooms and rooms for seasonal workers. This was attached to the house by means of a trellised walkway using the original front entry to the house (long since the back door). A photograph of this building appears in a local history of Melton. This was demolished in recent decades during the period when the house was tenanted (after the Minns family had left). James Minns son, George, took over the property following his marriage to Alice Walsh in 1903. James and Caroline moved into a house on the former JH Games property at the eastern end of Henry Street. George held the position of Shire Secretary for Melton for 40 years. He was a most prominent member of the community being Secretary to, among others, the Melton Coursing Club, the Shooting Club and the Cemetery Trust. He also rode with the hunting parties who sported across the Plains and were entertained at Mount Kororoit. George and Alice had one son, Norman who followed his father into local government and became Secretary of the Shire of Werribee completing a record term in this position. George retired to Werribee in 1951, where he died in 1965. The National Trust records note that James Ebden Minns and his sons were ‘leading men of the district, Justices of the Peace, and Shire Councillors’. It claims that Sir Thomas Bent was a frequent visitor. The Willows passed into the hands of George’s grandson, Bruce Minns and the property was let for a number of years. In the 1960s it became vacant and was subject to vandalism. Major structural problems arose with the part demolition of the roof, the loss of windows and doors and holes dug into and under the floorboards. The outbuildings were particularly targeted. Following widespread public support, the Shire of Melton purchased the house, with 3.75 acres of land, in 1972. In 1975 the Shire of Melton and the Melton and District Historical Society were successful in nominating the building for National Trust classification, and then the Australian Heritage Commission’s Register of the National Estate. The AHC particularly noted its ‘townscape importance’. It was envisaged that the farmhouse would form ‘a picturesque centrepiece to Melton’s planned … historical park, along with Dunvegan bluestone cottage … and similar structures as they become available.’ In a time of great Melton’s ‘satellite city’ development the Council spelt out its broader vision in its submission to the AHC: ‘Melton is destined to become, by the end of the present century, a city of between 75,000 and 100,000 people. Significant relics of the past, such as ‘The Willows’, regrettably will be rare in that situation. It is essential that sufficient tangible links with Melton’s pioneering days remain to promote in the new community a sense of history and continuity’. Under the direction of ‘The Willows’ Restoration Committee and consultant architect John Hitch, all outbuildings, with the exception of the garage and toilet, were demolished and the dwelling house restored. Finances were provided by the Shire of Melton and the National Estate Grants Program, and considerable amount of voluntary labour was provided by the local community. The orchard was removed, and remaining wooden buildings were relocated to provide an open vista for visitors to the Park. The property was furnished with donations from district families keen to preserve this example of pioneer life in the area. The Willows became the headquarters of the Melton and District Historical Society". Invitation to the family reunion at the Willowslocal identities, pioneer families

Material relating to the Shire of Eltham War Memorial located at Garden Hill, Kangaroo Ground. Also known as The Eltham Shire War Memorial Tower, Shire of Eltham Soldiers' Memorial and Kangaroo Ground War Memorial Park. Includes photocopies, newspaper clippings, correspondence and more beginning from early history 1919-2009. Contents: Archive Box 1 Folder 1 (Publication Proofs) The Tower of Remembrance and War Memorial Park On Garden Hill at Kangaroo Ground, Victoria 1919-2010 Folder 2 (Up to 1960) 1. Binder with plastic pockets. Photocopies. Minutes of the Kangaroo Ground War Memorial Bazaar Committee, 1922-1926 EDHS Newsletter No. 123 November 1998 PRESIDENT'S REPORT ACQUISITION FROM NILLUMBIK SHIRE'S MEMORABILIA Recently found in a storage box of old Shire of Eltham items was a school size, blue lined black covered writing book. It is recognized as the minute book and cash receipt book of the period 1922-1926 when the Memorial Park Committee, who it seems were part of the Shire of Eltham Soldier's Memorial League, was requested to raise funds for building the Shire of Eltham War Memorial Tower at Kangaroo Ground. History tells us that the tower, which is currently being refurbished, was officially opened by the Governor General of Australia, Lord Stonehaven on 11.11.26. The ladies invited to the first meeting at the Shire Hall did so on 21st September 1922. The minutes book reads: Present: Mesdames Bell, Bourchier, McMahon, Gosling, Cockcroft, Wraight, E Coutie, R Rogers, A Jones, AH White, Davies, Everitt and the Misses Lacey, Harris, N Weller, Gosling, Bell and D and G J Bourchier. These people became the Kangaroo Ground Memorial Bazaar Committee along with others named at further meetings. They conditionally accepted the role of raising funds, their condition being that the Bazaar Committee be given representation on any committee empowered to deal with the memorial in proportion to the amount of money raised by the bazaar'. The Andrew Ross Museum has the original book. We at Eltham District Historical Society have two photocopies for public perusal. 2. Transcriptions of newspaper articles 1919-1920. 6 pages. 3. Photocopy of program for thanksgiving service July 6th, 1919 held at Public Hall, Panton Hill. 4. Photocopies: a. Kangaroo Ground, The Advertiser, 17 Oct 1919 (working bee) b. The Advertiser August 1920 – advertisement for coach between Eltham and KG. c. Anzac Memorial Service, The Eltham & Whittlesea Shires Advertiser & Diamond Creek Advertiser, April 14, 1922 and April 28, 1922 d. Anzac Day services. April 27, 1923 e. Photocopy Anzac Commemoration, local newspaper, May 2, 1924 f. Shire of Eltham Memorial Service, The Advertiser April 23, 1926 g. Eltham Shire War Memorial Advertiser August 13,1926 h. Eltham Shire War Memorial The Advertiser October 26, 1926 i. Eltham The Advertiser, December 17, 1926 j. Kangaroo Ground April 26, 1929 5. Photocopy. Eltham War Memorial Tower article, The Advertiser, November 19, 1926 6. Typed transcription of parts of newspaper articles for three titles, November 1926 7. Transcription. Public Notice, October 16, 1926 8. Photocopy Kangaroo Ground Armistice Day local newspaper, November 25, 1927 9. Photocopy Kangaroo Ground Armistice Day local newspaper, November 16, 1928 10. Photocopy Kangaroo Ground, local newspaper, April 26 1929 11. 3 Original Copies. One Hardback. Dedication of memorial official brochure, 1951 original but damaged 12. Photocopy with notes from G.G. relating to the land transfer/acquisition/contract via White and Gepp. Folder 3 (1961-1970) 1. Original newspaper article: Place with a view at Kangaroo Ground, The Age, May 11, 1963, p18 Folder 4 (1981-1990) 1. Newspaper article, Memorial a fire watch. Diamond Valley News, March 16, 1982, 2 original copies. 2. Newspaper article. An Obvious Monument by Russell Yeoman article with photo: Network Nov/Dec 1984, p14. Folder 5 (1991-2000) 1. Original newspaper article: “Kangaroo Ground Tower is top spot”. Thought to be from a tourist information free newspaper, Mountain Country, Summer [1993] p39. 2. Newspaper article with reference to quoins – a contrasting edging or corner stone on the façade of a stone or brick house. Age August 2000 3. Program. Service program for Remembrance Day commemoration ceremony, 1996. 4. Speech by Harry Gilham for Remembrance Day commemoration ceremony, 1996 5. Newspaper article: Remembrance, Diamond Valley News, 20 November 1996 6. Word Document. A Tower of Strength by Dean Stewart April 1997 7. Newspaper articles: Tower group needed, Diamond Valley News, September 17, 1997, p3 and advertisement “Nillumbik, Nominations for Kangaroo Ground Memorial Tower and Grounds Advisory Committee”, Diamond Valley News, September 17, 1997 8. Newspaper article: Council apology; scaling new heights, 1997 about Aboriginal Reconciliation. Probably Diamond Valley News ca 1997. 9. Photocopy / Newspaper Article: Two newspaper clippings, “Memorial with a view” 30 April 1997 and “Funds boost to restore tower to its former glory”, Diamond Valley News, 3 December 1997. 10. Newspaper article: Kangaroo Ground Tower of Remembrance Nillumbik Mail, 9th August 2000 and Research notes (July 2000) by Harry Gilham pertaining to photo in August 2000 newspaper article. 11. Photocopy. Newspaper article: New lease of life for tower (Concept plan) Nillumbik Mail, September 27, 2000 12. Photocopy: 4 pages, War Memorials of Victoria; a pictorial record, c.1994 Folder 6 (2001-2010) 1. Newspaper article: $10,000 to start refurbishment, Nillumbik Mail, Feb 21, 2001 2. Circular. KG War Memorial Advisory committee circular August 2001 3. Newspaper article: Tower group retained 4. Program for re-dedication of the Kangaroo Ground War Memorial Tower 8th November 2001 with copies of pages 65-70 of from The Tower of Remembrance and War Memorial Park 1919-2001 (see Folder 1) - Speaking notes from the day from Nillumbik Shire Mayor, Cr. Sigmund Jorgensen and Harry Gilham and Speech by John Landy, Governor of Victoria 5. 2 pages of Harry Gilham notes – Draft of ‘book’ notes ‘Thank you’ for rededication ceremony to be held Thursday, Nov 8, 2001 - list of invitations, notifications and acknowledgements. 6. Proposed running sheet. Re-dedication of KGT. November 8, 2001 7. Newspaper article (2 copies) Century of war service, DVL November 14, 2001 page 6 8. Letter. Gov. John Landy to Harry Gilham. Thank you for visit. [2001] 9. Newsletter Clipping: Governor of Victoria re-dedicates KG War memorial Tower, Nillumbik News (NSC) Christmas 2001 10. Newspaper article: War Memorial to be restored: DVL November 19, 2003 11. Newspaper article: Memorial Facelift Sept 29 2004. 12. Folder. Collection of maps and context Yarra Water proposal to build water tanks 13. Newspaper clipping. Pressure on with new tank. Re installation of water tank near site. DVL March 2, 2005 14. Folder of emails and designs from Dennis Ward re poppies and prostrate rosemary for formal garden around base of tower April 2005 15. Folder. Letters and paperwork re the Victorian Government “Community Cabinet” and invitation for community groups to speak directly with a government minister. Actual submission not included in folder. 16. Newspaper clipping. Time to remember among the poppies, Diamond Valley Leader, 9 November 2005, p1 and 17. Newspaper clipping. Lone pine company for souls. DVL 9 November 2005 18. Folder. Restoring Community War Memorials Grants Program. Application and associated paperwork 2005/2006 January 2006 19. Newspaper article. Shared views. Valley Weekly, June 21 2006 20. Newspaper article: Kangaroo Ground, Restoration on schedule, DVL October 2006? 21. Newspaper article. Towering over the terrain. The Age August 8, 2009 22. Photocopy. Nillumbik Shire Council. Policy and service report re lease of land to Victoria Police for police radio communications and re-building of radio tower. December 9, 2009 23. Schematics: A3 photocopies, Kangaroo Ground memorial Tower, front and rear view, Tom Manley, 17 Apr 2001 Folder 7 (2011 on) 1. Magazine article and cover. Cover story – The Kangaroo Ground Memorial Tower, The Genealogist, March 2010 2. Newspaper article. (2 copies) Photo and caption. Diamond Valley Leader, July 14, 2010 3. Newspaper notice: Notice of application for a planning permit to construct radio communications tower, DVL, October 10, 2012 4. Copy. Reference enquiry to National Film and Sound Archive. 10 September 2012 5. Copy letter. Quotation/estimate for Shire of Nillumbik on renovation and underpinning of old care takers cottage, KG. 30 September, 2012 6. Story. The Kangaroo Ground Tower of Remembrance by Amy Shaw. Yarrambat Primary School Year 6 History speech, 2014. 7. Program: Remembrance Day service, 11th November 2014 8. Newspaper article. Tribute to bravery DVL, November 19, 2014. 9. Minutes. MAC meeting. 2 September 2016. Folder 8 (Interpretative Signs Grant 2000-2001) 1. Folder. Various including Letters. EDHS Grant project: Kangaroo Ground Park and Tower of Remembrance interpretative signage from Parks Victoria 2000-2001. Folder 9 (Miscellaneous) 1. Folder Gilham collection. Google earth images of Tower, Extract describing history of Tower, including honour roll for WW1 and WW2, 8 pages, Extract describing history of Tower, including honour roll for WW1 and WW2, 3 pages, 2002 and 2004; Kangaroo Ground Tower; Southwell-Keely M.; WAR MEMORIALS IN AUSTRALIA; 8 pages, https://web.archive.org/web/20080722161554/http://www.skp.com.au/memorials2/pages/30054.htm) 2. Letter. Undated, unsigned re application to council to proposed work to police radio masts behind caretaker’s cottage. 3. Brochure: Heritage Nillumbik. Includes cover photo and other information about site. Published by Nillumbik Shire Council. About 2006. 4. Folder of notes and photocopies of various Certificates of Title for property 5. Inward loan documents. Two. Andrew Ross Museum inward loan for collection items from “War Memorial Tower” 2003 6. Photocopies of postcards of Soldiers War Memorial: One taken c.1926 before completion around base, on colour print on paper (enlarged) of Soldiers War Memorial postcard c.1930s prior to gun placements with typed text pasted on and additional detail version mounted on card with handwritten explanatory notes by Harry Gilham. 7. Photocopy of photo of tower 1944 with guns in place from Gordon and explanatory notes plus A4 photo paper print of image (photoshopped cleaned up). 8. Miscellaneous photocopies of photos taken by Harry Gilham of Memorial Park entrance, model tower in font of tower entrance, caretaker’s cottage, spiral staircase, Menin Gate sign and possibly planting of Lone Pine. Folder 10 (Fire Spotting Operations) 1. Biographical notes on Herman Motschall 1969-1981 2. Newspaper article, Memorial Tower top site for fire spotter, Diamond Valley News, May 15, 1973. 3. Proper Officer's report on an addition to the Kangaroo Ground Memorial Tower for Fire Spotting purposes: "This report covers the history of the tower, its uses, and reasons why it should be put to greater use, benefiting the Shire Council and ratepayers" Includes detailed commentary around the proposal to use the Shire of Eltham War Memorial at Kangaroo Ground for fire spotting. From Shire of Eltham archives. H. J. Masefield Property Officer. 4. Eltham Shire Council meetings 14 and 24 September 1973 references to fire watching facilities. Summary of end of season reports from spotters 1965-1973. 5. Newspaper clipping; Memorial a fire watch by Marguerite Marshall Diamond Valley News 16 March 1982 6. Letter: Cover letter from Dennis Ward 20 Feb 2006 architect for CFA Cabin design and Proposal to upgrade the fire spotting cabin, 2007 including a cost and concept plan dated 7 February 2009. 7. Newspaper article. From that first puff of smoke – horror. Diamond Valley Leader, Feb 25, 2009, p. 7 8. Invitation: State Government announcement of refurbishment of KGWM Fire spotting tower 19 October 2009 9. Newspaper article. Tower– up, Black Saturday watch. Cover and page. Diamond Valley Leader, October 28, 2009 10. Invitation. Opening of newly upgraded fire spotting tower, 11 April 2010 11. Newspaper article. Incredible luxury at fire spotting tower, Diamond Valley Leader, April 21, 2010, p, 5 12. Printout of plan of base of tower including comms cabinet and ladder to CFA cabin. Dated 17/6/2010   Archive Box 2 Folder 11 (Moor-rul Viewing Platform) 1. Agenda. Planning and building committee 12 March 2003 Application for construction of a viewing platform and road entry refurbishment and coach parking bay. 2. Envelope. Letters, paperwork and emails, mainly from Dennis Ward re roof design for the viewing platform and order for poppy seeds. 2005 3. Newspaper article (enlarged and laminated). Stolen Red gum seats sap new project’s momentum. (Local paper), April 3, 2007 4. Convenor’s Notes – Opening of the Viewing Platform at Kangaroo Ground, Shire of Nillumbik 5. Folder. Nillumbik Reconciliation Charter. Opening of the Moor-rul viewing platform 17.4.2008. Compiled by Harry Gilham. Includes newspaper clipping, speech, photocopy of photos with captions. 6. Newspaper article. View from the hill is a thrill. Heidelberg and Diamond Valley Weekly, April 22, 2008 7. Newspaper article. A platform towards reconciliation. Diamond Valley Leader, 23 April 2008. 8. Newspaper article: 6 reasons to visit Hurstbridge, The Age, Jun 6 2012 9. Article: Aboriginal cultural values and heritage management issues 10. Folder: Material relating to design and construction of viewing platform Folder 12 - Shire of Nillumbik Advisory Committee 1. 2011 Diary, Harry Gilham, Kangaroo Ground Advisory Committee 2. Photocopy. Newspaper clipping. Nillumbik Council seeking nominations for new Kangaroo Ground Memorial Tower and grounds advisory committee. DVN 17 Sept 1997 3. Letter. From NSC to Dean Stewart re heritage listing status. 12 July 1998. 4. Business paper for NSC Council meeting: KG Memorial Tower and Grounds advisory committee, 12 March 2002. Includes Terms of Reference Folder 13 - Friends of Kangaroo Ground War Memorial Park Inc. 1. KG Tower and land occupational health & Safety (guidelines) for volunteers 2. Supplementary notes (not related to fire spotting) from Friends group or advisory group of Kangaroo Ground War Memorial Park including design of seating, proposed budget for works, hand written notes from meeting by H.G. about 1999. Folder 14 - Soldiers. 1. Folder of material pertaining to men from the Shire of Eltham who enlisted in WW1 and for whom the Shire of Eltham War Memorial was dedicated. 2. Folder on residents from Shire of Eltham who died in WW2 1939-1945 with listings of each from Commonwealth War Graves Commission, WW2 Nominal Roll for Eltham 3. Newspaper article: Mates join to recall past, Diamond Valley News, November 16, 1994 4. Newspaper article: Board replaced, Diamond Valley News, September 2, 1998 about Hurstbridge RSL Honour Roll Board 5. Newspaper article: Keeping the memories alive; VP Day honoured, Valley Weekly, August 17, 2005 6. Newspaper article: In our hearts; Tributes for war heroes, Diamond Valley Leader, November 9, 2005, p1 7. Newspaper article: Service honoured, Diamond Valley News, Leader, April 23, 2008 8. Newspaper article: Salute to last men standing, Diamond Valley Leader, April 20, 2011, p1 and Last of the world warriors, pp8-9 9. Newspaper article: We will remember, Diamond Valley Leader, April 25, 2012, p3 10. Newspaper article: Family legacy builds whole town, Diamond Valley Leader, Oct, 2013, p15 11. Photos and details of Honour Boards in the shire 12. Miscellaneous notes by Harry Gilham Folder 15 – Welcome Home Committee Meeting Minutes. 1. Extracts from Welcome Home Committee Meeting Minutes 18 August 1917 to 14 August 1919. Folder 16 – World War One Local Enlistments. 1. Lever arch binder containing records of local enlistments by name from the Diamond Valley including extracts from Commonwealth War Graves Commission records. Archive Box with documentsharry gilham collection, fire spotting, kangaroo ground, shire of eltham war memorial, masefield h. j., cfa, kangaroo ground war memorial park, shire of eltham soldiers' memorial, eltham shire war memorial tower

[from EDHS Newsletter No. 75, November 1990:] WALTER WITHERS PLAQUE At long last we have unveiled our plaque in the Walter Withers Reserve. The function was attended by a number of members and friends of the Society and descendants of the Withers family. Following the unveiling, the group proceeded to the Eltham Shire Office for afternoon tea and a small exhibition of Withers' paintings arranged by Andrew Mackenzie. The unveiling was performed by Mary Owen, a grand-daughter of Walter Withers. Her speech provided an interesting personal perspective on Withers and is repeated in full here: I feel somewhat overwhelmed by the responsibility of paying tribute to the man you have all come to honour today. I have the feeling that most of you probably know more about him and his work than I do. Walter Withers died nearly seven years before I was born and so I never knew him. Sadly, although other members of his family inherited some of his talent, I was not among them and I know very little about art. This is doubly hard to bear because my husband had some ability to draw and my second daughter also has some talent in this direction. My children are all artistic - mostly in the field of music inherited partly from their father - a Welshman who sang like a Welshman - and partly from my grandmother, Fanny Withers who, I believe was no mean pianist. However all this talent gave me a miss and for many years I felt a complete ignoramus in the fields of the arts. It was not until I was nearly fifty years old that I walked into a gallery in Brisbane and, as I wandered around the room, suddenly one picture leapt at me and I knew instantly that it had been painted by my grandfather. I had never seen the picture before and it gave me quite a shock to find that I had recognized the style of painting. I realized then that I had absorbed more than I realized simply by living with pictures and with people who painted them and talked about their painting and the painting of others. When I was a child I sometimes spent school holidays with my Aunt Margery Withers and her husband, Richard McCann. Aunt Marge painted me several times but I'm afraid I was a restless subject and used to sit reading a book and look up grudgingly when she wanted to paint my eyes. During the September holidays my aunt and uncle were busy preparing paintings far the annual exhibition of the Melbourne Twenty Painters, to which they both belonged. I remember how important I used to feel when they took me along to the Athenaeum Gallery on the Friday night before the opening to help hang their pictures. There were many artists there but the two I remember are perhaps surprisingly both women: Miss Bale and Miss Tweddle. I remember how cold it used to be up in that gallery at night. They used to heat water on a gas ring to make tea and Aunt Marge used to bring sandwiches and fruit for our evening meal. Everyone seemed to be poor in those days and no-one dreamed of going out for a meal. It was a case of make-do - even to cutting down frames to fit pictures or cutting pictures to fit the frames. They had to use the same frames from year to year if the pictures didn't sell. The opening was an exciting event for me. I felt I was privileged to meet important people - people who knew a lot more than I - and Uncle Dick would get quite merry after a couple of the tiny sweet sherries which were always distributed. I realise now that quite a lot of "art talk" rubbed off on me during my visits to the Athenaeum and during my stays with my aunt and uncle. I suspect that much of our most useful learning comes this way and those of us who have had the privilege of associating with artists, writers, philosophers and other thinkers have a richness in our lives of which we may be unaware. Walter Withers was a prolific painter and, although he painted for love of it, I suspect that the need to provide for his family drove him, like Mozart, to greater efforts than he might otherwise have achieved. Reading old letters and articles about the Heidelberg artists, I have come to realize something of the constant strain placed on many of them - particularly Withers and McCubbin - by poverty and the need to make ends meet. Withers was ever conscious of the need to provide for his wife and his five children and there are touching letters to his wife, regretting that he was not able to earn more for them. In addition to his painting, he worked hard at teaching and illustrating and, as he grew older, the strain began to tell and his health deteriorated. He seems never to have had a very strong constitution and suffered from rheumatism, which must have made painting quite painful at times. His eldest daughter, Gladys, was eventually confined to a wheelchair with rheumatoid arthritis and I have a tendency to arthritis myself, so I am particularly aware of what this could have meant to him. Recently I found a short letter written by my mother to her mother, Fanny Withers on the anniversary of her father's birthday in 1919, in which she said: "Poor old Dad, I often think now what a lot he must have suffered. His life was too hard and too strenuous for him. He had too many chick-a-biddies, I think. He wasn't equal to so much town life and train journeys with so many delicacies as he had. Since I have been ill, I have realised what he must have felt like.” He certainly drove himself to produce. He travelled all over Victoria by train, buggy, bicycle and on foot and for a time he travelled from Eltham to Melbourne every day by train, although later he lived in Melbourne during the week and only returned to Eltham for the weekends. My mother died seven years after her father's death, when my twin sisters were 10 days old and I was 16 months. So I never knew my mother or my grandfather. But my two aunts, Gladys and Margery, sometimes took me to stay with Gan Withers at Southernwood in Bolton Street . No cars in those days and it seemed a very long hot and dusty walk from the Station. Three memories remain with me of Southernwood. One is the well at the back which I found quite terrifying; the second is Gan killing a snake - even more terrifying. She was a formidable woman, my grandmother and a great ally and support to her husband. I think she was the business end of the partnership. The third memory of Southernwood is my grandfather's studio – down what seemed like a toy staircase inside the room. This and the big walk-in fireplace stayed in my mind from the age of about six until I saw them again about forty years later when the house was being used as a Sunday School. I just wish that money could be found to purchase this old house for the City of Eltham so that a permanent museum could be established in memory of a man who did so much to put Eltham on the map of art history. Recently I have become interested in family history and spent some time in England, Ireland and Wales looking for traces of my ancestors. I realized then how important it is to have records of people who have contributed to our society. We forget so soon and it is amazing how often, within two generations, names, dates and many details are forgotten. We are fortunate that so many of Walter Withers' works have been bought by galleries and that people like Andrew Mackenzie have taken the trouble to search out people who knew him and to write about him and his work. And I am very grateful to the Historical Society of Eltham for recognizing the importance of having a permanent tribute in Eltham to the contribution made by Walter Withers, who loved Eltham so much and who has assured this lovely district a place in the annals of history. I am indebted to Kathleen Mangan; the daughter of another famous Australian painter , Fred McCubbin, - featured in The Age this morning (thanks again to Andrew Mackenzie) for the most apt tribute to Walter Withers. Kathleen is not well and she rang me a couple of days ago, regretting that she could not be present today “to pay tribute” as she said, “to Walter Withers for I always think Walter Withers is the spirit of Eltham.” Thank you, Kathleen. And now I have much pleasure in unveiling the plaque commissioned by the Eltham Historical Society from Bob McLellan of Charmac Industries to commemorate the life and work of Walter Withers, the spirit of Eltham. Mary Owen, 13 October 1990.Three colour photographswalter withers rock, walter withers reserve, mary owen

[from EDHS Newsletter No. 75, November 1990:] WALTER WITHERS PLAQUE At long last we have unveiled our plaque in the Walter Withers Reserve. The function was attended by a number of members and friends of the Society and descendants of the Withers family. Following the unveiling, the group proceeded to the Eltham Shire Office for afternoon tea and a small exhibition of Withers' paintings arranged by Andrew Mackenzie. The unveiling was performed by Mary Owen, a grand-daughter of Walter Withers. Her speech provided an interesting personal perspective on Withers and is repeated in full here: I feel somewhat overwhelmed by the responsibility of paying tribute to the man you have all come to honour today. I have the feeling that most of you probably know more about him and his work than I do. Walter Withers died nearly seven years before I was born and so I never knew him. Sadly, although other members of his family inherited some of his talent, I was not among them and I know very little about art. This is doubly hard to bear because my husband had some ability to draw and my second daughter also has some talent in this direction. My children are all artistic - mostly in the field of music inherited partly from their father - a Welshman who sang like a Welshman - and partly from my grandmother, Fanny Withers who, I believe was no mean pianist. However all this talent gave me a miss and for many years I felt a complete ignoramus in the fields of the arts. It was not until I was nearly fifty years old that I walked into a gallery in Brisbane and, as I wandered around the room, suddenly one picture leapt at me and I knew instantly that it had been painted by my grandfather. I had never seen the picture before and it gave me quite a shock to find that I had recognized the style of painting. I realized then that I had absorbed more than I realized simply by living with pictures and with people who painted them and talked about their painting and the painting of others. When I was a child I sometimes spent school holidays with my Aunt Margery Withers and her husband, Richard McCann. Aunt Marge painted me several times but I'm afraid I was a restless subject and used to sit reading a book and look up grudgingly when she wanted to paint my eyes. During the September holidays my aunt and uncle were busy preparing paintings far the annual exhibition of the Melbourne Twenty Painters, to which they both belonged. I remember how important I used to feel when they took me along to the Athenaeum Gallery on the Friday night before the opening to help hang their pictures. There were many artists there but the two I remember are perhaps surprisingly both women: Miss Bale and Miss Tweddle. I remember how cold it used to be up in that gallery at night. They used to heat water on a gas ring to make tea and Aunt Marge used to bring sandwiches and fruit for our evening meal. Everyone seemed to be poor in those days and no-one dreamed of going out for a meal. It was a case of make-do - even to cutting down frames to fit pictures or cutting pictures to fit the frames. They had to use the same frames from year to year if the pictures didn't sell. The opening was an exciting event for me. I felt I was privileged to meet important people - people who knew a lot more than I - and Uncle Dick would get quite merry after a couple of the tiny sweet sherries which were always distributed. I realise now that quite a lot of "art talk" rubbed off on me during my visits to the Athenaeum and during my stays with my aunt and uncle. I suspect that much of our most useful learning comes this way and those of us who have had the privilege of associating with artists, writers, philosophers and other thinkers have a richness in our lives of which we may be unaware. Walter Withers was a prolific painter and, although he painted for love of it, I suspect that the need to provide for his family drove him, like Mozart, to greater efforts than he might otherwise have achieved. Reading old letters and articles about the Heidelberg artists, I have come to realize something of the constant strain placed on many of them - particularly Withers and McCubbin - by poverty and the need to make ends meet. Withers was ever conscious of the need to provide for his wife and his five children and there are touching letters to his wife, regretting that he was not able to earn more for them. In addition to his painting, he worked hard at teaching and illustrating and, as he grew older, the strain began to tell and his health deteriorated. He seems never to have had a very strong constitution and suffered from rheumatism, which must have made painting quite painful at times. His eldest daughter, Gladys, was eventually confined to a wheelchair with rheumatoid arthritis and I have a tendency to arthritis myself, so I am particularly aware of what this could have meant to him. Recently I found a short letter written by my mother to her mother, Fanny Withers on the anniversary of her father's birthday in 1919, in which she said: "Poor old Dad, I often think now what a lot he must have suffered. His life was too hard and too strenuous for him. He had too many chick-a-biddies, I think. He wasn't equal to so much town life and train journeys with so many delicacies as he had. Since I have been ill, I have realised what he must have felt like.” He certainly drove himself to produce. He travelled all over Victoria by train, buggy, bicycle and on foot and for a time he travelled from Eltham to Melbourne every day by train, although later he lived in Melbourne during the week and only returned to Eltham for the weekends. My mother died seven years after her father's death, when my twin sisters were 10 days old and I was 16 months. So I never knew my mother or my grandfather. But my two aunts, Gladys and Margery, sometimes took me to stay with Gan Withers at Southernwood in Bolton Street . No cars in those days and it seemed a very long hot and dusty walk from the Station. Three memories remain with me of Southernwood. One is the well at the back which I found quite terrifying; the second is Gan killing a snake - even more terrifying. She was a formidable woman, my grandmother and a great ally and support to her husband. I think she was the business end of the partnership. The third memory of Southernwood is my grandfather's studio – down what seemed like a toy staircase inside the room. This and the big walk-in fireplace stayed in my mind from the age of about six until I saw them again about forty years later when the house was being used as a Sunday School. I just wish that money could be found to purchase this old house for the City of Eltham so that a permanent museum could be established in memory of a man who did so much to put Eltham on the map of art history. Recently I have become interested in family history and spent some time in England, Ireland and Wales looking for traces of my ancestors. I realized then how important it is to have records of people who have contributed to our society. We forget so soon and it is amazing how often, within two generations, names, dates and many details are forgotten. We are fortunate that so many of Walter Withers' works have been bought by galleries and that people like Andrew Mackenzie have taken the trouble to search out people who knew him and to write about him and his work. And I am very grateful to the Historical Society of Eltham for recognizing the importance of having a permanent tribute in Eltham to the contribution made by Walter Withers, who loved Eltham so much and who has assured this lovely district a place in the annals of history. I am indebted to Kathleen Mangan; the daughter of another famous Australian painter , Fred McCubbin, - featured in The Age this morning (thanks again to Andrew Mackenzie) for the most apt tribute to Walter Withers. Kathleen is not well and she rang me a couple of days ago, regretting that she could not be present today “to pay tribute” as she said, “to Walter Withers for I always think Walter Withers is the spirit of Eltham.” Thank you, Kathleen. And now I have much pleasure in unveiling the plaque commissioned by the Eltham Historical Society from Bob McLellan of Charmac Industries to commemorate the life and work of Walter Withers, the spirit of Eltham. Mary Owen, 13 October 1990.Two colour photographswalter withers rock, walter withers reserve, mary owen