Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. Three etchings showing aspects of a room.graeme drendel, printmaking

Merve from Auntie Zillie and Uncle Henry. with love Xmas 1927Grey hardcover children's book The Boy Ranchers by Willard F Baker with brown and white illustration on front with two boys riding horses in the rocky country. Cover has title and author, spine has title, author, publisher and illustration of a cow.Merve from Auntie Zillie and Uncle Henry. with love Xmas 1927children's fiction, adventure stories, books

6 BN RVR SGTS Mess2 Large circular platters constructed of silver - Has ornate leaf design around edge. Inside has etchings around engraving.6 BN RVR SGTS Mess5-6 rvr, 6 rvr

Large presentation board consiting of 3 varnished horizontal timber panels with 28 presentation plaques affixed. The plaques affixed are (RMC MUR + 2 TG + 3 TG + 6 TG + PWLH + 1 CAV + VMR + 2/14 QMI + 7 RTR + 1 RVR + 1 RVR + 6 RVR + 3 RVR + 5/6 RVR + 22RVR + 8/7 RVR + 17 RNSWR + 58/32 CER + 1 RVR + 3 RAR + 5 RAR + 7 RAR + WO2 White + 5/7 RAR +6 RAR + 8/9 RAR + JTC)5/6 rvr, plaque, bhq

Collection of plaques presented to the unit over the years 1x Plaque made of 3 hoeizontal varnished timber beams with plaques affiixed and suspended from the wall via chains (Gordan Highlanders + Royal Fusiliers + 1 RRF + 2 Fusiliers + North Hampton Shire Regiment + The lake superior Scottish regiment + Royal Scots Dragon guards + Royal Warwickshire Fusiliers + King's Regiment + Light infantry + Royal Leicestershire regiment + RRF + 3 DIV + RAE + Villers Bretonneux + City of sunshine + City of Melbourne + Hauraki + 3 EME + Aitape Tread Warily + Victoria Police + AFP + KSEA FOR ASSN + 39 BN + 6 RMR + Swan Regiment + MPDRANR + 10 SQN + 36 SQN + MTU + London + [blank] 5/6 rvr, plaque

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

These records of two songs sung by John and Mary Kopke, has been made as a souvenir of Warrnambool during the time it won the Premier Town Award 1979-1982. This award was given to a town or city that showed excellence in official environmental practice. The promotion song, ‘City By the Sea’ celebrates Warrnambool and mentions the May Racing Carnival with its Grand Annual Steeple Race, the Melbourne to Warrnambool Cycle Race and Flagstaff Hill Maritime Museum. The other song is about the Mahogany Ship, a ship that was first found wrecked on the coast near Warrnambool in 1836. There were many sightings of the wreck until the 1890s when it disappeared. There has been speculation ever since about the ship’s origins – Spanish? Portuguese? Chinese? The search for the wreck continues. This record is an interesting one – a memento of the celebrations in Warrnambool during the time it won the Premier Town Award 1979-1982. These are two identical records. .1 This is a paper cover for a 45 R.P.M. record. It has black printing, the logo of Warrnambool Premier Town, a blue-coloured image of the harbour at Flagstaff Hill Maritime Museum Warrnambool with an inset black and white photograph on one side and a blue-coloured image of the Mahogany Ship and black printing on the other side. .2 This is 45 R.P.M. record with recordings on both sides and inset with black printing on an aqua background. ‘Warrnambool City By the Sea’ ‘The Ship Mahogany’ ‘John and Mary Kopke’ warrnambool premier town 1979-82, mahogany ship, john and mary kopke

Ill, p.48.non-fictionA photographic profile of the X class Clyde-E.M.D. diesel electric locomotive of the Victorian Railways.railroad operations - victoria, diesel locomotives - victoria - pictorial

Ill, p.48.non-fictionA photographic profile of the 2nd series of X class Clyde-E.M.D. diesel electric locomotive of the Victorian Railways X45-X54.railroad operations - victoria, diesel locomotives - victoria - pictorial

Mat making was an essential part of many workshops staffed by blind or vision impaired employees since the 19th century. In Australia, it was a skill taught in along the eastern seaboard until the supply of cheaper mats from Asian sources rendered it financially non-viable as a source of employment. These examples were made in the RVIB workshops and demonstrate the variety that could be made, with a plain mat, one printed 'RVIB' in black on one side and in in reverse in various colours on the other, and the other with 'Welcome' on the front and 'Made by the blind' on the reverse.3 coir mats made by RVIB workersRVIB Made by the blindemployment, royal victorian institute for the blind

Light blue card with blue print and handwriting. The warrant has both the Methodist Girls' Comradeship and Rays emblems on it."Miss Jan Woolhouse" "Chief Ray" Ringwood Junior Rays" "384" "20-4-64 B.L. 22.3.65 MT 28.3.66 MT 20.3.67 MT 4.3.68 MT" "Bruce R Rollins"methodist girls' comradeship rays' section, jan woolhouse, methodist girls' comradeship ringwood junior rays, bruce r rollins chief director