"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Unframed painting with cardboard border.

Charles Wheeler biography link http://www.portrait.gov.au/people/charles-wheeler-1881 Painted by a prominent artist. Refer to Sir Ronald East's history of the Greenwood family pp. 336-371, noteably page 343 that mentions about Henrietta Carr, only daughter on George F. Carr, who married AV Greenwood in 1896. Also reference to The Wattle Club pp. 356-7. Thus giving the connection of the Greenwood and Carr families, the subjects of Charles Wheeler's painting.Painting in glass-fronted frame.Typewritten notation behind the frame - "Greenwood oral family history says that this unsigned painting was done by Charles Wheeler as a demonstration for Rose Greenwood, (A.V. Greenwood's sister). They shared a studio at the Wattle Club Hall at Box Hill circa 1890s. The subject matter was said to be Grandfather Carr's orchard in Wantirna Road (Ringwood - Still standing in 2003). Source: Mary Greenwood, youngest Granddaughter of A.V. Greenwood."

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Painting with cardboard border in glass-fronted frame.Handwritten notation on back of frame - "Lilypond at Quambee Nth Ringwood 1912, and sticker - "Ringwood Framing Gallery, 233 Whitehorse Road Ringwood, Phone 8704930"

In the 1930s, Hermann Busch constructed a concrete wall across Dandenong Creek, forming "Busch's Weir" on his Bayswater property, "Waldheim". The weir wall was demolished in the 1960s.One of two paintings of weir across Dandenong Creek, mounted in beveled edge wooden frame with ornate corner moldings. (See Reg #4856B for other of two paintings in the pair)Hof Busch 1953

In the 1930s, Hermann Busch constructed a concrete wall across Dandenong Creek, forming "Busch's Weir" on his Bayswater property, "Waldheim". The weir wall was demolished in the 1960s.One of two paintings of weir across Dandenong Creek, mounted in beveled edge wooden frame with ornate corner moldings. (See Reg #4856 for other of two paintings in the pair)Hof Busch 1953

These two works of art are by Dr Don Edgar, a sociologist, educator and author. He taught sociology at Stanford University, the University of Chicago, Monash University and La Trobe University and was the founding Director of the Australian Institute of Family Studies. In the 1950s Dr Edgar was a student at Warrnambool High School and these works of art were produced at that time. For a school project he researched the early history of the Warrnambool Art Gallery and some of its collection, dating from the 19th century. In 2019 he published a book, ‘Art For the Country’, the story of Victoria’s regional art galleries and the book includes information on the founding and the later history of the Warrnambool Art Gallery.These works of art are of interest as they were painted by Dr Don Edgar, a noted academic and author today and a former resident of Warrnambool. The two works of art also have historical interest as they depict Warrnambool scenes painted over 60 years ago. .1 An art work (oil on artboard) – the Warrnambool Botanical Gardens with bridge and reflections, a gum tree and a poplar tree, all in green and orange tonings. The wooden frame has a light varnish with gold and white trim .2 An art work (oil on artboard) – multi-coloured view of the mouth of Hopkins River with the Hopkins River bridge, Lyndoch bungalow and boathouse. The frame is wooden with a mottled varnish and a white insert edging. .1 Don Edgar 1953 Don Edgar 1953 (High School Student) .2 D.E. 53 Don Edgar 1953 (High School Student) dr don edgar, sociologist, author and educator, warrnambool art gallery, history of warrnambool

Poor video quality (noise and interference), edited raw footage with music and some commentary by Merv Hanna. A video documenting the demolition of the Shire of Eltham offices at 895 Main Road Eltham under the direction of the Commissioners appointed for the new Shire of Nillumbik and some of the communities activities surrounding the event. The building was demolished exactly 25 years after the southern wing housing Engineering and Planning on the upper level and the Eltham Library on the ground level was opened in celebration of the Shire of Eltham's centenary. Video has lots of distortion and noise, and sections of clips dubbed over. Immediate initial footage of Jenni Mitchell talking about asbestos claims in the Shire Offices (Sigmund Jorgensen standing behind her) advising Council did a review of the building several years previously and had been cleared of health problems. Cuts to group of people standing outside front door of offices but possibly voice dub over not related ? Then the date 27 Jul 1996 on a scene flashes on screen immediately followed by an edited clip intro of title and credits with classical music track. It then opens with Jenni Mitchell driving to the Shire Offices on Saturday 27 July 1996 at 11.00am. Footage of Main Road past Pitt Street, Alistair Knox Park then entering Shire Office driveway which is fenced off and contractor signs hanging up. Scenes at rear of building showing some internal demolition has commenced. View of the Administration wing. More clips of road driving, Alistair Knox Park, Eltham Library and visitor car park for Shire Offices. Cuts to a group of people standing in access to visitor carpark with new Eltham Library in background, one being immediate former Shire of Eltham President, John Graves. Scenes of people looking through chain link fence and security guard checking front door. John Graves being filmed that someone informed him the Shire was offering the building to the Community Health Centre for $2.3 million and that if they had been offered a price of $1.1 for what it apparently was sold for they would have snapped it up. View of truck loaded with brick rubble literally struggling to ascend the hill of Library Place to exit into Main Road. Cuts to a scene looking at Eltham War memorial Hall through the Memorial Gate, then the Shillinglaw trees and large banner sign ‘Delta Demolitions’ hanging on office façade. Views of front door, old library and bluestone wall. Scene (31 Jul 1996) filmed at night of several white crosses with “RIP Community” and “RIP Democracy”. Scene (1 August 1996) again driving along Main Road towards the Shire Offices then scenes of the offices showing substantially more demolition to exterior, groups of people standing on footpath outside watching, Delta heavy demolition machines, woman holding sign “Democracy where have you gone …”, the odd person in full protection gear and breathing apparatus hand carrying materials out to place on rubbish pile in front of people standing on footpath watching (with no protection) and then stamping on it to break it creating dust, security person in hard hat (no other protection) wandering around, many groups standing around watching, news film crew, person standing on roadside edge holding signs facing traffic stating “Pirate Planning” and “ Grant us your ears” also sign on back of parked car “Elthams High Jacks”, another sign “Community Democracy”, views of crosses in Main Road median strip “RIP Community”, groups of people on footpaths and reporters conducting interviews, footage of unknown person standing with Jenni Mitchell and Sigmund Jorgensen advising people have the right to protest, Jenni Mitchell urging people to ask questions of local MP and Council and Sigmund Jorgensen referring to the three historic Shillinglaw trees with demolition machinery operating in background, Jenni Mitchell and others installing more crosses in median strip; demolition machines operating inside and outside the building, more views of onlookers including Sigmund Jorgensen then Police approaching on footpath, workers and machinery continuing to operate, views of the old library being demolished, the former Community Services department, security personnel. Scene (2 August 1996) more heavy demolition machinery in operation smashing building up, people standing around southern wing watching, view overlooking Eltham Library of train pulling in to Eltham station. Scene (7 August 1996) more heavy demolition and people wandering around with only hard hat protection, no dust protection, comments from one operator dumping a bin of material stating “wait till there’s a Hungry Jack’s here, you’ll be laughing, fuel, videos, hamburgers. You’ll be up with the rest of the world soon, you’ll have electricity and everything here, ha ha ha ha”, more heavy machinery demolition and breaking up of materials, view of Hitachi train going by and Administration wing, view inside the front door opening of the staircase leading to upper level, person walking around operating heavy machinery with a hose spraying rubble (no protective gear other than hard hat interspersed with edit cuts of meeting of Commissioners and independent observers on panel as well as members of the community in public gallery. Nillumbik Shire CEO Barry Rochford addressing the meeting., Chief Commissioner Don Cordell directly addressing Jenni Mitchell with respect to permission to take photographs, Barry Rochford continues to address the question asked of Council about the valuation of the former Shire of Eltham Office building/site, public gallery calling out asking why was building demolished, what was the urgency. Scene (14 August 1996) views of southern wing, previous single demolition operator again mocking people filming, operators working in and around building, Shillinglaw trees and largely demolished front, heavy demolition equipment at work, piles of building rubble, hose spraying water over rubble, large trucks arriving for rubble removal and loading of truck. Scene (21 August) more of the same, building virtually down, Shillinglaw trees standing tall and alone, water spraying on rubble and wattle in bloom. Cuts to Council meeting with public onlookers. Barry Rochford walks out, Wayne Phillips addresses meeting explaining one or two people shouting, members of the community challenging Council (Commissioners) about why due process appear to have been subverted. Former Shire President Robert Marshall in public audience, cuts back to Shire office carpark entrance site and sign hung on fence in front of library “Think Again!” and people standing around observing awaiting a protest demonstration erecting a large sign on stilts stating “Shell No!”, people singing a revised version of God Save the Queen (God Save Us All), Sigmund Jorgensen in attendance, Jenni Mitchell, Sigmund Jorgenson and others address the protest crowd, followed by people mingling, music being played then people standing around the cleared site circumference all with arms linked (video very broken up with noise) then chants “Save the Gateway” and “No Shell for Eltham” and more music and singing “Put up a parking lot”. The crowd then proceeds to walk along the footpath of Main Road. Scene (15 Sep 1996) meeting at Montsalvat in Great Hall addressed by Sigmund Jorgensen discussing a recently published list of the Commissioner’s to senior Council Officers of banned Nillumbik people, others encouraging people to view proposed plans for the site and lodge objections. Specific issues regarding asbestos claims are also addressed. Harry Gilham addresses the meeting on the subject of the Eltham War Memorial and Memorial Gardens and how Council believe a roundabout in the vicinity is of greater importance. Views of various artworks on display (for auction) and music performance in the Barn Gallery. Meeting addressed by Sigmund Jorgensen discussing an appeal against Council granting a permit to Dallas Howgate to develop the site and that the Minister has called the matter in to be decided by the governing council. This is followed by an auction of paintings.Hi-Tech Ultra High Grade Video Cassette E-180 VHS dubbing of (poor quality) edited raw footage with some music from Star Wars and commentary by Merv Hannan Converted to MP4 file format 0:30:26, 2.6GBOn label " Merv's Demolition tape No. 2 Copy"video recording, 895 main road, alistair knox park, artworks, auction, barn gallery, barry rochford, community health centre, dallas howgate, delta demolitions, demolition, don cordell, eltham, eltham library, eltham shire office, eltham war memorial, eltham war memorial gate, eltham war memorial hall, great hall, harry gilham, jenni mitchell, john graves, library place, main road, memorial gardens, mervyn hannan, montsalvat, pitt street, protest, robert marshall, roundabout, shell oil, shillinglaw trees, sigmund jorgensen, sign, wayne phillips

Presented to the Society by the artist Oil on canvasarthur bird, artwork, david armfield, eltham, pitt street, wattle grove

Notes by Jock Read who donated painting to the Society: “Site of present-day Eltham Mall The property was owned by a Mr David Harbison who was connected to one of the Melbourne daily newspapers who donated the property to the City Newsboys Society to be used as they required. The property consisted of two building blocks with one four roomed house known as the Cottage. The Secretary of the City Newsboys Society decided to use the property as a Rest Home for mothers of newsboys who needed a rest and could not afford a holiday. Miss Onians added another four roomed dwelling to the home which was known as the Bungalow. Another three roomed residence was erected at the rear of the cottage for the use of the Caretaker. The rear of the property was used as a camp area for the use of Troop of Boy Scouts known as the 13th Melbourne Troop which met at the Newsboys Society Hall in Little Collins Street. Later the name of the troop was changed to City Newsboys Troop who held their Christmas camps at Eltham and Hurstbridge alternating years. In 1930 the caretaker (Mr. Francis) became ill and resigned that position. I had been a member of the scout troop and offered the position as Honorary Caretaker which I held for eight years. The Homes were used regularly as such until the death of Miss Onians. It was sold later and used as private homes until the Eltham Mall was built.” Further research has determined that apparently, Harbison left £1,000 in his will for the City Newsboys Society and the Secretary, Miss Edith Onians built the rest home from these funds. It was opened on November 12, 1919. David Harbison Rest Home, Jock Read, City Newsboys Society, 13th Melbourne Troop, Boy Scouts, City Newsboys Troop, Miss Onions, Mr Francis, Arthur Street, Eltham, Eltham Mall, David HarbisonN.D. 16 x 36 cm Oil on Masonite board UnsignedInscribed on back "The David Harbison Rest Home
10 & 12 Arthur St. Eltham"

Arthur William Glass known as Peter was born August 28, 1917. During the 1930s, Peter Glass and a young Graeme Bell were studying painting under Max Meldrum. Graeme Bell at that time was undecided whether to devote his life to music or painting. In 1938, inspired by what they had seen at 'Montsalvat', Peter Glass along with Graeme and Roger Bell (whose names were to become internationally known as the leaders of Australia's most famous jazz band) agreed to purchase land at Eltham to build themselves a mud brick house. For some time, Eltham had been their chosen place for painting and sketching, but it was not until they visited the 'Jorgensen Colony', as it was then known, and saw the possibilities of building in earth, that they decided to establish a permanent base in Eltham. In July, the three of them bought a few acres of land at the top of John Street and started making mud bricks for a proposed sixty square sized house. Following the Second World War, Peter Glass returned in 1946 to live permanently in Eltham. He resumed work on building of the adobe house which he had commenced before the war. During some years spent in England and France he married a French girl and on returning to Eltham he built another adobe house in which he lived with his wife, Cecile Madeleine, and two children, Julian and Marie-Luce on land adjoining the original house. Peter Glass died in December 1997 aged 80, his wife Cecile in 2006, aged 79. They are memorialised in Eltham Cemetery. Much of the inspiration for his landscape painting comes from the Eltham bush and the Yarra flowing through it.oil on chipboard 33 x 40.5 x 1.0 cm Signed 'Peter Glass in red paint lower right of centre Evidence of some paint rub-off at edges from previous frame mounting (frame removed).Reverse side painted in pale yellow cream and inscribed: 'Summer Landscape - 1968 Kangaroo Ground' in black paint1968, arthur william glass, artwork, kangaroo ground, paintings, peter glass

Painting by C. Lillie Brown (Caroline) of house at 25 Beaconsfield Road, Briar Hill, formnerly owned by Miss Humphries who ran a lolly shop in the left hand sode of the building. Frequented by children from the Briar Hill school which was opposite. House now demolished.29.2 x 39.1 cm Oil on (Fredrix USA) linen mounted paper board 12" x 16 " (30.5 x 40.6 cm) in standard frame Signed in brown paint lower left C Lillie Brown25 beaconsfield road, briar hill, miss humphries, lolly shop, briar hill school

An early steel engraving print of Marysville in Victoria.An early steel engraving print of Marysville in Victoria by Nicholas Chevalier. Nicholas Chevalier, born in 1828, was a Russian-born artist who worked in Australia and New Zealand. In 1851 Chevalier moved to London and worked as an illustrator in lithography and watercolour. After further studies in painting in Rome he arrived in Australia in December 1854. In August 1855 he obtained work as a cartoonist on the newly established Melbourne Punch. Later he did illustrative work for the Illustrated Australian News and also worked in chromolithography. He accompanied explorer/meteorologist Georg von Neumayer on trips to remote areas of Victoria, and the material gathered on such journeys resulted in some of his most recognised pieces of this period, including his painting of Mount Arapiles in Western Victoria. In 1864, when the National Gallery of Victoria was founded, an exhibition of works by Victorian artists was held. The government agreed to buy the best picture exhibited for £200. Chevalier's oil painting The Buffalo Ranges was selected, and was the first picture painted in Australia to be included in the Melbourne collection. In 1865 Chevalier visited New Zealand, travelling widely and doing much work there which was exhibited at Melbourne on his return. In 1869 he joined HMS Galatea as an artist with the Duke of Edinburgh, on the voyage to the East and back to London with stops in Tahiti, Hawaii, Japan, China, Ceylon (Sri Lanka) and India. The pictures painted during the voyage were exhibited at South Kensington. In January 1874 Chevalier was commissioned by Queen Victoria to travel to St Petersburg and paint a picture of the marriage of the Duke of Edinburgh. Chevalier made London his base and was a continual exhibitor at the Academy from 1871 to 1887. He had one picture in the 1895 Academy but had practically given up painting by then. Chevalier died in London on 15 March 1902. N. Chevalier 1870 N. Chevalier/ W. Forrest MARYSVILLE, VICTORIA. LONDON, VIRTUE & CO.marysville, victoria, n. chevalier, w. forrest, steel engraving, print, mount arapiles, georg von neumayer, the buffalo ranges, national gallery of victoria, hms galatea

Gold coloured wooden frame, blue oil paint portrait of soldier C PERRY, in hat.Handwritten bottom left: “C PERRY”illustrations-oil, military history, portrait

Edith (Alice) Watson (1914–2010) studied at the Ballarat Technical Art School, at the School of Mines Ballarat, from 1930 until 1933. Watson was warmly regarded in her home town, Murtoa, easily winning local fundraiser, ‘Most Popular Girl’ in 1936. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths 1972 and 1988. Watson was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio. Alice's comprehensive folio of Ballarat Technical Art School work is held by the University's Geoffrey Blainey Research Centre.A cardboard box containing items used by Alice Watson to produce paintings. The items included are: tubes of oil colour; two paint palettes; paint brushes; imperial measure tape measure; pencils; an erasure; two pencil sharpeners; a roll of brown, gummed tape; small, round container of various pins; a State Savings Bank Victoria ruler; and a collection of scraps of artists paper held together with a metal clip which includes a list of paint colour names and a design tracing of a fuschia. There is a small, plywood, stretching board. alice watson, edith alice watson, ballarat school of mines, artists workbook, ballarat technical art school, paint, oil paint

MEDIUM: Oil on linen DESCRIPTION: Crimson linen background Crimson colored skulls in cloth mounted on background No frame Signed, titled and dated on reverse of paintingkuskoff, skulls, alizarin

Ian Parry (born 1947) is a Melbourne-born artist living in Tasmania, active since 1974 and collected by National and State Collections. He was winner of the 1990 ACTA Maritime art Prize. He also took part in 2006, to the ANL Art Prize organised each year at the Mission since 2003. In his biography on his website: Ian Parry was born into a family of seafaring descent. His extensive career as a respected practising artist and teacher, has uniquely included a fishing fleet apprenticeship and years as a single handed fisherman in Bass Strait. "In the early 70's when I first showed at the renowned Powell St gallery in Melbourne, the paintings were large, abstract, with allusion to the experience of the world of water, sky and land. My visual world has always been permeated with the wet parts of this place and continues to be so to this day. Maritime and geological charts and the daily necessity of plotting a course, appear in paintings where necessary, as a means of getting a schematic representation of the subject into play, trying to free the work from the tyranny of the horizon line but frequently returning. Now-a-days I am returning to abstraction, making paintings that allow me free rein with colour and composition, aiming for a sense of permanence and independence in each work." Maritime ArtLarge moulded gilt wood frame, non glazed painting of shipping, oil on canvasSignature and date bottom right corner: "Parry 89"p & o nedloyd, shipping, melbourne ports, docklands, wharfside, wharves, ian parry, maritime art, acta maritime art prize, artwork-paintings

"Asylum seekers in great desperation."This artwork was an entry for the Maritime Art Prize 2019. David Rowe, editorial Ccrtoonist of The Australian Financial Review, has won the Art Prize in 2010.Marine artOil on canvas depicting asylum seekers in great desperation as they are helping two men in the water to get on board.mission to seafarers victoria, artwork, mission to seafarers, seamen's mission, flinders street, artwork-paintings, maritime art prize, sea, ship, 2019, migrants, migration, diaspora, asylum, desperation, sinking, david rowe, cartoonist

CEMA Art Collection Winner of 1968 Portland Art Society Art Prize for the category Oil or similar medium.The painting depicts several tall, dead trees in the foreground with dense living trees in the background. The work has an interesting texture created through the use of clearly defined thick paint strokes. This technique is particularly evident in the foreground where it has been used to create the ground from which the dead trees stand. The work has a painted wooden frame with material mount and non-reflective glass.Front: R. ARENDSEN '67 (black, lower right) Back: RENNEE ARENDSEN "DEAD WOOD FOREST, MALLACOOTA" (1968) (typed) Stamp: KATRINA GALLERIES 485 CENTRE ROAD BENTLEIGH, VIC 97-6715 Yellow Sticker: 1967 Handwriting around back of frame.

This is a photo of a painting by Nicholas Chevalier (1828-1902). The painting is "Mt Abrupt, Grampians", circa 1864, oil on canvas, 46.0 x 61.0 cm (held in a private collection, London).This is a photo of a painting. It shows a stylised view of a mountain with a further peak behind it. The front of the peaks have high, rock cliffs. In the foreground there is an aboriginal camp, including a shelter with two people sitting in it, two people and two dogs sitting outside on the grass and a camp fire between them and the hut.painting, landscape

View of the old Burgoyne store looking south-east across Main Road, Eltham near the intersection with Bridge Street.Digital scan of painting c.1980 oil on board 44.5 x 59.5 cm signed lower rightburgoyne store, eltham, main road, ted dalton

Installed as part of a stage of renovations to the War Memorial Park in eary 2002. This sign establishes a connection with the First World War by way of the painting "Menin Gate at Midnight". (NL 144) Since this photograph was taken (date unknown) the information panel has been restored and re-erected by staff of the Shire of Nillumbik who replicated the wooden side frame pieces with the same wood-turn design as seen here in the original. Colour photographMENIN GATE AT MIDNIGHT Will Longstaff, 1927 Oil on canvas, Size 135cm high x 254cm wide Collection: Australian War Memorial The artist Will Longstaff was born in in Ballarat in 1879 and died at Littlehampton, Sussex, UK, 1953. Will Longstaff for many years lived in Eltham, his son Tommy, attending school at Kangaroo Ground. As an Official War Artist, will Longstaff depicted in his alegorical painting the Menin Gate Memorial, Ypres, Belgium. The Memorial unveiled on 24th July 1927 honours by name over 50, 000 allied soldiers who fell in the Great War and have no known graves. The names of 6,208 men of the first Australian Imperial Force (A.I.F.) are listed within the Memorial on stone tablets. The painting held huge emotional appeal to Australians when it arrived from England in 1928, attracting an estimated one million viewers, many of whom interpreted the field of red poppies in the foreground as the spirits of the dead rising from their unknown graves. The painting is to be found in the Australian War Memorial, Canberra.menin gate at midnight, william longstaff, kangaroo ground memorial, information panel, shire of eltham war memorial

Artist Lindsay Edward and wife Jan built a house designed by Alistair Knox at 151 Old Eltham Road, Lower Plenty. See article on home designed by Alistair Knox for Lindsay Edward, teacher, at 151 Old Eltham Road, Lower Plenty. The home was originally featured on the cover of the January 1953 issue of Home Beautiful magazine and was revisited in the March 1969 issue. See registration record No. 01649. Lindsay Edward Biography: 1919: 26 August Lindsay Maurice Edward was born in Melbourne. 1937: 4 – 9 May Exhibition - Heidelberg art exhibition (SLV collection) 1939: Art student at the National Gallery of Victoria 1940: 7-14 October Exhibition Heidelberg art exhibition. (SLV collection) 1941: November - Exhibition Heidelberg Art Exhibition 1942: Lindsay was an art student living at this 14 Park Cres. Fairfield. Occupation Art student. He most likely painted this painting around this time. c.1942 – 1944: Enlistment for military service in World War 2 in Casino, NSW. 1944: Rank of Sergeant. 1944: Exhibition Seddon Galleries (Melbourne) 1945: Exhibition Seddon Galleries 1946: Exhibition Exhibition of Past Students of the National Gallery of Victoria 1947: Submitted “Self- portrait in the Archibald Prize, Art Gallery of NSW 1948: Lived in London for a year and married a fellow artist ? Knox. 1949: Returned from London 1949: Electoral Roll Residence– 16 Mount Street, Ivanhoe 1950: October Exhibition Stanley Coe Galleries, 435 Bourke Street, Melbourne 1951: 19 Nov. - 9 Dec. Exhibition An exhibition of present day art of Victoria Victorian 1951 Commemoration Committee in conjunction with the Victorian Artists' Society, 1951: (SLV Collection) 1953: October Exhibition Melbourne Contemporary Artists Exhibiton 1954: Exhibition Melbourne Contemporary Artists Exhibition 1958: Victorian artist and educator Lindsay Edward won the £500 prize for the wall decoration of the Queensland Library - . Edward was born in 1919 and had studied at the National Gallery of Victoria. In 1958 he was head of the painting section of the Royal Melbourne Technical College (now RMIT) and had only recently begun experimenting with mosaic. The Centennial mosaic covers a wall 68 feet (20.72 metres) in length and 14 feet (4.26 metres) high. In a Melbourne Age article in July 1958 Edward described the mural as ‘not a literal subject’ rather as ‘a basic formation of organic forms indicating growth and development’. 1960: Exhibition Eltham Art Show (SLV collection) 1963: Exhibition October 28-November 17 - Argus Gallery, 290 Latrobe Street, Melbourne and at Hassall's Roadside Gallery, Eltham and at Gallery A and at Russell Davis Art Gallery. (SLV Collection) 1963, 1967, 1977 and 1980: Electoral Rolls – Residence Old Eltham Road, Lower Plenty. Occupation Teacher 1966: Exhibition Art Show -Austin Hospital Appeal (Heidelberg) (SLV collection) 1970s: Head of Art Department RMIT where he established a fine art collection. 1982: Exhibition Bolitho Gallery Canberra http://nla.gov.au/nla.news-article116467780 1988: 28 July – Exhibition Recent Paintings Darwin Performing Arts Centre (SLV Collection) 1993: Exhibition Solander Gallery, Canberra 2007: January Died and is buried in Eltham Cemetery 2007: Obituary in Age Jun 2, 2007 - LINDSAY Edward's retirement as head of the fine art department at RMIT in August 1979 signalled the end of an important chapter in the art Sources: ART CONTEST. (1939, March 2). The Argus (Melbourne, Vic. : 1848 - 1957), p. 8. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article12103185 ART EXHIBITION AT HEIDELBERG (1941, November 25). The Argus (Melbourne, Vic. : 1848 - 1957), p. 6. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article8218682 ART EXHIBITIONS (1945, October 3). The Age (Melbourne, Vic. : 1854 - 1954), p. 7. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article205639922 EX-GALLERY STUDENTS' SHOW (1946, October 15). The Argus (Melbourne, Vic. : 1848 - 1957), p. 3. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article22386440 https://www.artgallery.nsw.gov.au/prizes/archibald/1947/ Art World Busy (1949, February 26). The Argus (Melbourne, Vic. : 1848 - 1957), p. 12. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article22706197 http://nla.gov.au/nla.news-article22781141 ART NOTES (1953, October 13). The Age (Melbourne, Vic. : 1854 - 1954), p. 2. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article206462733 Design, color in art show (1954, October 5). The Argus (Melbourne, Vic. : 1848 - 1957), p. 9. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article23453359 https://artcollection.its.rmit.edu.au/?p=rmit-gallery-about Cinema (1993, October 7). The Canberra Times (ACT : 1926 - 1995), p. 7 (Good Times). Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article127509819 Queensland Centenary Artwork (includes image) http://queenswharf.org/places/former-queensland-state-library-wall-decoration-and-sculpture/ Eltham Cemetery http://www.elthamcemetery.com/index.php/search oil on paper board 31.5 x 37.5 cm signed "Edward" lower rightInscribed on back "The Malt House Lindsay Edward 15 Park Cres Fairfield"fairfield, malt house, lindsay edward, home beautiful, home beautiful magazine, alistair knox

An early steel engraving print of Marysville in Victoria.An early steel engraving print of Marysville in Victoria by Nicholas Chevalier. Nicholas Chevalier, born in 1828, was a Russian-born artist who worked in Australia and New Zealand. In 1851 Chevalier moved to London and worked as an illustrator in lithography and watercolour. After further studies in painting in Rome he arrived in Australia in December 1854. In August 1855 he obtained work as a cartoonist on the newly established Melbourne Punch. Later he did illustrative work for the Illustrated Australian News and also worked in chromolithography. He accompanied explorer/meteorologist Georg von Neumayer on trips to remote areas of Victoria, and the material gathered on such journeys resulted in some of his most recognised pieces of this period, including his painting of Mount Arapiles in Western Victoria. In 1864, when the National Gallery of Victoria was founded, an exhibition of works by Victorian artists was held. The government agreed to buy the best picture exhibited for £200. Chevalier's oil painting The Buffalo Ranges was selected, and was the first picture painted in Australia to be included in the Melbourne collection. In 1865 Chevalier visited New Zealand, travelling widely and doing much work there which was exhibited at Melbourne on his return. In 1869 he joined HMS Galatea as an artist with the Duke of Edinburgh, on the voyage to the East and back to London with stops in Tahiti, Hawaii, Japan, China, Ceylon (Sri Lanka) and India. The pictures painted during the voyage were exhibited at South Kensington. In January 1874 Chevalier was commissioned by Queen Victoria to travel to St Petersburg and paint a picture of the marriage of the Duke of Edinburgh. Chevalier made London his base and was a continual exhibitor at the Academy from 1871 to 1887. He had one picture in the 1895 Academy but had practically given up painting by then. Chevalier died in London on 15 March 1902. N. Chevalier 1870 N. Chevalier/ W. Forrest MARYSVILLE, VICTORIA. LONDON, VIRTUE & CO.marysville, victoria, n. chevalier, w. forrest, steel engraving, print, mount arapiles, georg von neumayer, the buffalo ranges, national gallery of victoria, hms galatea

A copy of a catalogue from an art show of paintings by Wykeham Perry that was held at the ANZ Bank in Melbourne in 1975.A copy of a catalogue from an art show of paintings by Wykeham Perry that was held at the ANZ Bank in Melbourne in 1975. Wykeham Lindley Perry grew up near Marysville in Victoria and painted local scenes from a very early age. wykeham lindley perry, marysville, victoria, anz bank

John Berrill & Sons pigment grinder was patented in NY c1860. It was used to grind down pigment to mix with linseed oil, to make paint, before commercial paints became availableCast Iron pigment mill. "J. Berrill, Mfg. Waterville, NY"pigment grinder, painting, painting and decorating, trades, tools, j. berrill, john berrill and sons

Coloured oil portrait on canvas of T.Langdon. MP. 1902. Prominent Bendigo MP. Gilt - embossed frame. Deframedunreadableperson, individual, bendigo mp. t. langdon.