A series of photographs were taken when heavy snow fell in Sunbury in August 1986. The snow began falling overnight and remained on the ground for 24 hours. Snow fell across the metropolitan area during that 24 hour period in a very unusual event for the area.A coloured photograph of the Sunbury Municipal Tip after the snowfall.snow falls, weather patterns, winter, sunbury municipal tip, george evans collection

A series of photographs were taken when heavy snow fell in Sunbury in August 1986. The snow began falling overnight and remained on the ground for 24 hours. Snow fell across the metropolitan area during that 24 hour period in a very unusual event for the area.A coloured photograph taken in the early morning after snow had fallen. The surrounding countryside around Mt. Holden is snow covered.snow falls, weather patterns, winter, mt. holden (mt. lion), george evans collection

A series of photographs were taken when heavy snow fell in Sunbury in August 1986. The snow began falling overnight and remained on the ground for 24 hours. Snow fell across the metropolitan area during that 24 hour period in a very unusual event for the area.A snow scene taken in the Sunbury area.snow falls, weather patterns, winter, george evans collection

A series of photographs were taken when heavy snow fell in Sunbury in August 1986. The snow began falling overnight and remained on the ground for 24 hours. Snow fell across the metropolitan area during that 24 hour period in a very unusual event for the area.A coloured photograph of a snow scene taken near the bridge on the Konagaderra Road near Sunbury.snow falls, weather patterns, winter, konagaderra road, george evans collection

A series of photographs were taken when heavy snow fell in Sunbury in August 1986. The snow began falling overnight and remained on the ground for 24 hours. Snow fell across the metropolitan area during that 24 hour period in a very unusual event for the area.A coloured photograph of the valley overlooking the Sunbury Sewerage farm and Eadie Hill after snow had fallen.snow falls, weather patterns, winter, sunbury sewerage farm, george evans collection

Pre WW1 and WW1 1888 onwardsUsed before WW1 by the French Army and used continuously through the Boer War (African Campaign) and into WW1 1914-1918. 1 x 1888 issue Spitzer bullet 8 x 50mm R. Lebel Model Cupro Nickel lead core. Inscription on the bottom CAG V1 8 17. CAG V1 8 17. pre ww1, ww1 1914-1918, spitzer make, made in france, 1888 pattern m/88 r. lebel model.

Kate Hudson's highly patterned and decorative prints reflect her love of Australian birds and flowers from her immediate environment, as well as oriental art and her training in textile design. Her work is influenced by the Australian artist (printmaker) Margaret Preston and the vases depicted in her prints are based on the ceramic works of her husband Stephen Hudson. The wattle depicted is the Acacia Terminalis (Sunshine Wattle), a shrub or small tree that grows to six meters in height. It’s an Australian native commonly found in New South Wales, Victoria and Tasmania.A reduction coloured lino print. A ceramic vase with a black and white target print at its' centre holds a bunch of Acacia Terminalis (Sunshine Wattle). The vase rests on an orange table cloth decorated in white stylised flowers. The background is light pink. Hand written in pencil: low left '8/26'; bottom centre ' Wattle and Circle Vase'; low right 'Kate Hudson' hudson, linocut print, sunshine wattle, acacia terminalis, still life, margaret preston, ceramics, textiles, orient

Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'Life world of the Longicorn beetle' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media

Design book of Fred Murgatroyd whilst he was a weaving/textiles student at the University of Leeds.Design book of a weaving/textiles student at the University of Leeds. Design book of a weaving/textiles student at the University of Leeds.The University of Leeds Textile Industries Department Designing & Weaving C Scott F. Murgatroyd Stenhouse 1928textile industry - education textile design textile mills, university of leeds, beaumont, professor - university of leeds murgatroyd, mr fred, textile industry - education, textile design, textile mills

Multicoloured double bed crochet bedspread made of rose motifscombinations of many round and square crochet parts, sewn into the bedspreadcrochet bedspread, rose patterns, squares, slovenian association melbourne

Painting and ornaments were taught at the convent school at Tomaj where Marcela attended the school. She was taught by the NunsWatercolour painting presenting leaf ornamentJesenski ornament - Autumn leaf ornamentmarcela bole, autumn leah ornament, slovenian association melbourne

marcela bole, daffodils, pattern, slovenian association melbourne

marcela bole, daisies, ornament, pattern

marcela bole, daisies, ornament

floral pattern, primula, marcela bole

Linocut print. Printer's Proof'P/P' in bottom left below printed section, 'ULMAI' in centre, signed along bottom right edge of paper.culture, pattern, linocut

Linocut print on paper. Printer's Proof'P/P' in bottom left under printed section, 'DAWN RAID STRATEGY' in centre under printed area, signed on bottom right edge.linocut, line, pattern

Linocut print on paper. Printer's Proof.'P/P' below printed section bottom left, 'Iian Mask II' under printed section centre, signed along bottom right edge of print. linocut, symbolism, pattern, line

Linocut print on paper. Printer's Proof.'P/P' bottom left under printed area, 'HUNTING DHANGAL' centred under print, signed along bottom right edge.linocut, symbolism, pattern, cultural reference, astronomical, hunting

Linocut print on paper. Printer's Proof.'P/P' in bottom left under printed section, 'MARKS OF A PRINTMAKER (BODY PARTS I) centred under printed area, signed along bottom right edge. linocut, line, cultural reference, pattern, hands, making

Linocut print on paper. Printer's Proof.'P/P' bottom left under printed section, 'ILAN REGATTA' centred under printed area, signed along bottom right edge.linocut, line, pattern, cultural reference, symbolism, boats

Linocut print on paper. Printer's Proof.'P/P' under bottom left section of printed area, 'HANDLINE NGURUPAI WHARF' centred under printed section, signed along bottom right edge of print area.linocut, cultural reference, pattern, figure, fishing

Linocut print on paper. Printer's Proof.'P/P' under bottom left of printed area, 'GOI GOI' centred under printed section, signed on bottom right edge of print area. linocut, pattern, cultural reference

Linocut print on paper. Printer's Proof.'P/P' bottom left under printed area, '...AND THEY FLEW FROM THE AIRFIELD AT NGURUPAI II' centred under printed area, signed along bottom right edge of printlinocut, cultural reference, pattern, symbolism, aircraft

Part of the Till collection NA4003Advanced Modern Cutting to Measure of Exclusive Lingeriebooks, fashion