Christoher Watson's Eltham Hotel, cnr Maria Street (Main Road) and Pitt Street, Eltham. Christopher Watson in centre (bareheaded). Reproduced on p60 of 'Pioneers & Painters' The hotel was constructed in the 1850s immediately following the discovery of gold in Victoria. The original founder, a Mr Warren. engaged a builder named Wallace, to erect the hotel, and being unable to finance it, the story goes, handed it over to Mr Wallace, who finished the job, and received the first licence. The building was constructed of hard basaltic blue stone, quarried in the Eltham district, and partly of bricks made at Eltham. At that time the town owned not only an hotel, but a flour mill, a brewery, a brickworks, and other important industries. The hotel was carried on for the benefit of the first owners for over 30 years and was then purchased by Mr Chris Watson. The hotel was in the early days a well-known resting place for the gold diggers during the gold rush at Woods' Point. A new hotel was erected on the same site by Mr H. Watson in 1925.Early photo of Eltham Hotel which has been on site in various forms since mid 1800sSepia photograph mounted on cardInscribed on back: "Property of Mr Albert Watson, 53 Yarra St, Heidelberg. Christopher Watson (bare headed) Given to Marion Huggett December 1977 c.1900 son of Watson Snr behind cart"christopher watson, eltham, eltham hotel, main road, maria street, pioneers and painters, pitt street, shire of eltham pioneers photograph collection, watson's hotel

The bosun’s chair is a typical piece of equipment included on board a vessel in the late 19th and early 20th century. The nautical word 'bosun' is an abbreviation of the word 'boatswain' who is the person responsible for the repair and maintenance of the vessel. It could be used when rigging the sails and for rescue at sea, along with a thick rope anchored on shore or a rope between ships. It could also be used to move passengers to and from a ship as well as cargo on, to and from the vessel. A bosun's chair is a simple piece of equipment made from a short plank of wood and a sturdy piece of rope. It looks a little like a child's swing but usually has a pulley system that allows the user to adjust the length of the hanging piece of rope, and in so-doing adjusts the height above the floor or ground or sea. In modern times a harness would also be worn by the bosun’s chair user for safety reasons. Bosun's chairs are also used by window cleaners, construction workers and painters. The bosun’s chair is sometimes just a short plank, or even a canvas sling. The bosun's chair is significant for its association with maritime equipment carried on board a vessel in the late 19th and early 20th century for maintenance and safety purposes. It was occasionally used to save lives. The bosun's chair is also significant as an early version of equipment still used today. Since its invention there have been many safety features added in certain industries such as window cleaning and painting.Bosuns chair; flat smooth rectangular piece of wood, with rope passing through two holes at each end of plank and looped together above plank to form a suspended seat swing. Loops a are joined with knot work and ends are spliced together under the seat.flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, bosun's chair, bosuns chair, boatswains chair, rigging, maritime equipment, bosun's seat, life saving, marine technology, ship rigging

The bosun’s chair is a typical piece of equipment included on board a vessel in the late 19th and early 20th century. The nautical word 'bosun' is an abbreviation of the word 'boatswain' who is the person responsible for the repair and maintenance of the vessel. It could be used when rigging the sails and for rescue at sea, along with a thick rope anchored on shore or a rope between ships. It could also be used to move passengers to and from a ship as well as cargo on, to and from the vessel. A bosun's chair is a simple piece of equipment made from a short plank of wood and a sturdy piece of rope. It looks a little like a child's swing but usually has a pulley system that allows the user to adjust the length of the hanging piece of rope, and in so-doing adjusts the height above the floor or ground or sea. In modern times a harness would also be worn by the bosun’s chair user for safety reasons. Bosun's chairs are also used by window cleaners, construction workers and painters. The bosun’s chair is sometimes just a short plank, or even a canvas sling. The bosun's chair is significant for its association with maritime equipment carried on board a vessel in the late 19th and early 20th century for maintenance and safety purposes. It was occasionally used to save lives. The bosun's chair is also significant as an early version of equipment still used today. Since its invention there have been many safety features added in certain industries such as window cleaning and painting.Bosuns chair, rectangular slab of wood with two holes at both ends through which rope ends are threaded for support and the loops above the seat are tied with sailor's knotting to form a triangle. flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, bosun's chair, bosuns chair, boatswains chair, rigging, maritime equipment, bosun's seat, life saving, marine technology, ship rigging

The Wesleyan Church, Denham Street in Lower Hawthorn, as the area was then called, was opened on 2 May 1886. The building was designed by Geelong architect William Henry Cleverdon and was built of brick in the Gothic style. Its dimensions were 55 x 33 ft and the façade incorporated a rose window and spire 50 ft high. A wooden vestry was placed to the rear. The building and the organ were seriously damaged by fire on 1 April 1970, started by a painter's blowtorch. The church was not rebuilt. The organ was built in 1900 by E. Cornwall Cook, of Barrington Place, Burwood Road, Hawthorn. It was opened on 8 August 1901 by George Peake. The Swell strings may have been added (or substituted for earlier material) by Frederick Taylor, whose workshop was nearby in Burwood Road. At some stage the colourfully decorated façade pipes were repainted in a gold finish. The organ was badly damaged in the 1970 fire and the metal pipes were sent to Hill, Norman & Beard who melted them down for scrap.B & W photograph of the interior of the Denham St. Methodist Church, Hawthorn. Mounted on card.denham street methodist church, organ, hall, e. cornwall cook, george peake, norman & bead, frederick taylor

Alma Shanahan (1924-2015) was a Victorian potter who came to live at Clifton Pugh's Dunmoochin art colony at Cottlesbridge, on Melbourne's outskirts in 1953. Unable to join the co-operative proper, as she was a potter, not a painter, she built her house at the top of the hill, 135 Barreenong Road, Cottles Bridge. The c.1953 house is historically, aesthetically and architecturally significant because it is a good example of the design and ethos of mud brick dwellings synonymous with Eltham and features the extensive use of recycled materials, which was characteristic of the 'Eltham style' of architecture. Like the others in the artist community, Alma Shanahan built her own residence in stages out of local materials. Shanahan was later joined by neighbours and Dunmoochin potters Peter and Helen Laycock. She trained for a term with Peter Laycock but was otherwise self-taught, basing her practice on the teachings of Bernard Leach. After Pugh's death in 1991 she became the longest standing Dunmoochin resident. Her works are incised with her full name. Alma Shanahan was a part of the Dunmoochin Artist's community whose (other) members (Kevin Nolan, John Howley, John Olsen, Mirka Mora, Peter Laycock, Helen Laycock, Peter Wiseman and Chris Wiseman) made an important contribution to Victoria's cultural history. From the mid 1950s Pugh persuaded a number of other painters, as well as potters and other artists, to come and live at Dunmoochin and they formed one of Victoria's most important artist communities. She started potting around 1961 (aged 37). "Horse Power" was made using Chullora clay, which indicates it was made during her first seven years of production. Horse Power is about man's search for "energy" and how the "energy" can turn around. Made from Chullora (Sydney) clay. Glazed stoneware plates (x2) with brush decorations resting on hand made ceramic stands. Plate one: 2006.64.1VA (Horse Power + stand) shows a figure on horse back with blue foliage in background. Plate two: 2006.64.2VA (Flip Side + stand) shows a horse with figure under it's hooves. Hand painted signature in brown/black on back of both plates; "Alma Shanahan"shanahan, stoneware, glaze, plates, horse, dunmoochin

With a career spanning over 30 years as a painter, Stieg Persson is a well known figure within the Australian and international art world. Persson’s work is celebrated for his distinct (yet eclectic) style, which consists of elements associated with abstraction, figuration and decorative art, as well as the artist’s deeply intellectual interrogation of Australian culture and society. In this work titled, Duck and quail eggs, Italian herbs, Persson reflects on contemporary parallels in changes of taste and the desire for decadence as a political and social drive. Inspired by Brighton’s iconic Church and Bay Streets, the artist addresses the social currency of luxury and high-end cuisine by depicting rococo style blackboards which offer the latest in fine dining, alcohol, exercise classes, skin treatments and lavish linens. Persson is presenting a subtle critique of the contemporary obsession with food; as contemporary society places greater significance on the connoisseurship of eating, it does so in lieu of engagement with culture as it is traditionally conceived (music, theatre, literature and art).oil on linenstieg persson, brighton, signage, graffiti, food, chalkboard, bayside, painting

Harry Gorry bid for & purchased on internet auction site. The seller's mother was putting these & other items up for auction. Her father/ the seller's grandfather was Dr. Bruno Koening, a German surgeon detained by Allied forces while fleeing New Guinea in 1941. He was detained & sent to be interned in Camp 3, Tatura. There he met the painter Cesare Vagarini & they became friends, thus 4 years later upon the end of the war Vagarini gave the surgeon the two paintings in thanks & in memory of their friendship. Dr Koening then passed the paintings down to his daughter, where they remained in the family for 60 years. The seller's mother decided it was time to sell & was happy that the paintings went to a good home, as the family was until now unaware of the connection between Vagarini and the Tatura Museum. Harry Gorry just happened to notice a familiar name in an auction that he came across by accident & purchased them for our benefit. (Most information copied from Tatura Bulletin article, April 2014).Watercolour painting, depicting barracks at Camp 3. Picture showing fencing posts & bare ground in foreground, and row of huts in background, with 4 trees behind them. at bottom left of picture. writing not legable.tatura, camp 3, vagarini

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Rodney SCHERER (24/02/1951 - ) Born Campbelltown, NSW Rodney Scherer studied at the National Art School, East Sydney Technical College (1968 -1972); the Canberra School of Art (1973-75) Dip, Art Gippsland Institute of Advanced Education (1978); and a Grad, Dip, Art (Painting) at Gippsland Institute of Advanced Educaton (1985). He curated a number of significant exhibitions for the Gippsland region of Victoria, including the first national travelling exhibition of regional artist "Contemporary Gippsland Artists 1990-92". Rodney Scherer is a painter, printmaker, sculptor, Curator, retired Public Gallery Director, and fine art consultant. He was the founding chair of the Art Resource Colelction, arcYinnar. He was an Artist in Residence at teh Gippsland TRades and Labour Council, Yallourn Power Startion in 1991, and site manager of the Fifth Sculpture Triennial at the 1992 Melbourne International Arts Festival. In 2021 he curated "The Happy Wanderer. Victoria Cobb 1876-1945" at the Gippsland Art Gallery, Sale, Victoria.This work was purchased by the donor from Rodney Scherer's solo exhibition 'Ubiquitous Orange' at Sparc Gallery, Yinnar.rodney scherer, alumni, sculpture, available

Has a strong association with the ESCo shed staff and later tram crews, c1910? Shows the nature of the clothing worn by the depot staff, and one of the crew and the interior detail of the one of the tramcars at the time. Provides details of names of some of the men photographed.Black and White copy photograph of the ESCo power station and tramway staff outside the front of the ESCo Power Station, View Point, Wendouree Parade, Ballarat c1915. Standing on the ground are 26 men and on the tower truck a further 14 men. Shows details of the clothing the men were wearing at the time, depending on the age and company position, details of the horse drawn tower truck, and of the power station and office brickwork. Tower wagon drawn by one Clydesdale horse. See page 53 of The Golden City and its Tramways and for the photo itself. Gives some names of the people in the photograph. From the photo caption in the book: Extreme left Harry Foy, depot Foreman, second from left Mr Knox the accountant; third from left is Walter J.K. Dunstan, office manager, 7th from left Alan Todd, 3rd from right standing is Bob Tregaskis ("Rickety Bob), at left, kneeling is Albert Mitchell, at right kneeling is George Laurens - overhead wire maintenance, standing at base of the tower at right is Tom Richardson, painter, next to him on the left is Sy Barker and at the reins Teddy Hewitt and Harry Weston.tramways, trams, esco, staff, power station, tower wagon

The Melbourne artist Alma Agnes Marion Figuerola, the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969) was born in Carlton in 1902. Alam and her two sisters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - at 'Mount Edgecombe' 51 Studley Park Road, often with her mother, her sister Carmen, or both - from 1939 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Undated photograph of a boy, possibly the Figuerola sisters' cousin 'Bert', astride a tricycle in a trellised yard. The photo is from the personal photo album of the artist. alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)

Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sansom who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. 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. As a prolific user of sketchbooks Graeme Drendel records close observations, which often inform his paintings. Graeme Drendel is a regular 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. This work is one of a substantial body of limited edition prints donated by the artist to Federation University in 2022 covering work from Graeme Drendel's earliest years as a student, through to more recent etchings. A etching of a woman with hair braids.graeme drendel, printmaking

Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sanson who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. 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. As a prolific user of sketchbooks Graeme Drendel records close observations, which often inform his paintings. Graeme Drendel is a regular 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. This work is one of a substantial body of limited edition prints donated by the artist to Federation University in 2022 covering work from Graeme Drendel's earliest years as a student, through to more recent etchings. A etching of two men carrying a mattress.graeme drendel, printmaking, mattress

Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sanson who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. 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. As a prolific user of sketchbooks Graeme Drendel records close observations, which often inform his paintings. Graeme Drendel is a regular 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. This work is one of a substantial body of limited edition prints donated by the artist to Federation University in 2022 covering work from Graeme Drendel's earliest years as a student, through to more recent etchings. An etching of a pool and surrounding objects such as chairs and towels. This work was completed during Graeme Drendel's final year at Melbourne State College where he was studying Secondary Art and Craft Teaching and majoring in Printmaking.graeme drendel, printmaking

Isabel Huntington was a painter, craft officer and craft worker. She studied at Ballarat High School, Ballarat Technical Art School (a division of the School of Mines) and RMIT, and was a member of the Victorian Artists' Society and the Contemporary Art Society. In 1945 she was appointed Director of Handcrafts for the Victorian Division of the Red Cross Society. Isabel Huntington had previously held the position of Supervisor of Handcrafts at Heidelberg Military Hospital for three and a half years. She was a member of the Arts and Crafts Society. Isabel Huntington had five 'one-man" shows, three in Melbourne, one in Ballarat and one in Hamilton, Victoria. Ursula Hoff (from the National Gallery Victoria) judged the 1965 Albury awards for watercolour, and religious paintings in oils, awarding the prize to Isabel Huntington. In the same year Isabel Huntington travelled to Europe. After returning from overseas she taught at Rosanna High School, Victoria. Isabel Huntington lived at Montmorency, Victoria, and was there at the time of her death. Born Isabel McCausland, she married Robert Huntington in 1931. women of note, isabel huntington, ballarat school of mines, ballarat high school, ballarat technical art school, royal melbourne institute of technology, rmit, victorian division of red cross, director of handcrafts, rosanna high school, montmorency, heidelberg military hospital, supervisor of handcrafts, art shows, melbourne, ballarat, hamilton, mccausland, robert huntington

Sanders was a well-known local potter who worked for a time with David Boyd at the Martin Boyd Pottery, before returning to Melbourne where he had some association with Arthur Boyd, at the pottery in Murrumbeena. Sanders set up a studio in Eltham in the early 1950s and made the first of a series of architectural ceramic murals with painter and print maker Lawrence Daws in 1956. In 1957 he left for Europe and while there was inspired by the Spanish artist Joan Miro’s unconventional painting style and large scale murals, in particular Wall of the Moon (1957). After returning from his travels in Europe to Australia in 1964, he began to work solely on creating ceramic murals, some of which were commissioned for Southland Shopping Centre in Cheltenham, Melbourne, 1968 (now demolished), the National Mutual Centre, Melbourne,1964-5 (now demolished), Dee Why Library, Sydney 1966, Woden Valley High School, ACT, 1967, Tullamarine Airport Melbourne, 1969-70 (now demolished), Perth Concert Hall, 1971 and The University of Melbourne,1975 (with John Olsen). This mural is one of only three remaining in the public realm by Tom Sanders (the others are at the Perth Concert Hall (1971) and at the University of Melbourne (1975). Ceramic mural (earthenware tiles) consisting of a playful/organic abstract design similar in style to the Spanish artist Joan Miro. Shades of blue, yellow and black glazes are layered onto matte black and shiny bronze tiles. N/Amural, public art, earthernware, pottery, ceramics, glaze, eltham, ekphrasis2017, eltham town square, joan miro

This magazine has been collected for the article on page 2, "Pioneers and Painters" about the book published by the Shire of Eltham in celebration of its centenary, edited by Alan Marshall with a photo of Alan Marshall with the book. The article provides some background to Marshall's association with Eltham and Kangaroo Ground and includes notable mentions of Peter Glass, Cecile Glass, Clifton Pugh, Jon Olsen, Justus Jorgensen, Matcham Skipper, Montsalvat and Mudbrick houses. "The Australian Women's Weekly" has been digitised and is accessible via the National Library of Australia's Trove website. Digitised editions cover the period from its first issue in 1933 to 1982 only. The magazine published by Australian Consolidated Press out of Sydney, NSW was a national magazine and at times different issues were published for specific states. This particular issue is one such an example in that the August 4, 1971 edition available via Trove (https://trove.nla.gov.au/newspaper/page/4888729) has a different front cover and the Alan Marshall article on page 2 does not exist. The cover on this edition was originally published in NSW on the July 28 issue (https://trove.nla.gov.au/newspaper/page/4887489)alan marshall, cecile glass, clifton pugh, jon olsen, justus jorgensen, matcham skipper, montsalvat, mudbrick houses, peter glass, pioneers and painters

Material pertaining to the production of a history of the Shire of Eltham, "Pioneers & Painters: One Hundred Years of Eltham and its Shire" in recognition of the shire's centenary in 1971 Item Title Caption 04770-1 Preliminary proposal by Heidelberg Regional Library Service for the organisation of the Shire of Eltham Pioneers Photograph Collection to be held at Eltham Library, 6 April 1982 04770-2 Letter: Heidelberg Regional Library Service to Shire of Eltham Historical Society expressing thanks for housing Shire of Eltham Pioneers Photograph Collection at Eltham Library, 16 April 1984 04770-3 Shire of Eltham Pioneers Photograph Collection, Index of Content, Yarra Plenty Regional Library, c.2014 04770-4 Index to Eltham Local History Photograph Collection; Eltham Local History Photographs, Shire of Eltham Pioneers Photograph Collection; compiled by Helen Zibell, Eltham Branch Library, 1984 04770-5 Eltham Local History Digitisation Project Index to Eltham Local History Photograph Collection; Eltham Local History Photographs, Shire of Eltham Pioneers Photograph Collection; compiled by Helen Zibell, Eltham Branch Library, 1984 The idea to develop a book on the history of the Shire of Eltham to be edited by noted author, Alan Marshall in celebration of the shire's centenary was initiated in 1969. The Shire of Eltham Historical Society undertook significant research in conjunction with Alan Marshall locating material at various institutions and other societies; interviewing longer term residents and a public campaign through the local press to acquire photographic material for duplication and use in the book. The public campaign received generous response and the material collected became the genesis for the Shire of Eltham Pioneers Photograph collection now held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library). This material shows the initial proposal to hose the SEPP collection at Eltham Library on behalf of the Shire of Eltham Historical Society and the initial indexing system for the photograph collectionPaper documents A4 size; one item laminatedeltham library, heidelberg regional library service, index, shire of eltham historical society, shire of eltham pioneers photograph collection, yarra plenty regional library

David Fletcher Jones (1895-1977) was a travelling hawker who opened a business in Liebig Street, Warrnambool in 1924. In 1931 he opened The Man's Shop at the corner of Liebig Street and Koroit Street. He sold suits and overcoats tailored in the work rooms upstairs. In 1948 his factory known as Pleasant Hill was opened in Flaxman Street in Warrnambool, the site of an old quarry. In 1951 the company Fletcher Jones and Staff was formed with the staff owning 51% of the shares, By the 1970s Fletcher Jones and Staff had become one of the largest clothing companies in Australia with 55 shops and 3000 employees. In 1992 the Warrnambool City Council bought the factory and gardens with the site now a tourist attraction. Although the name is retained today for trading purposes the original Fletcher Jones company has been dissolved. The screen is a representation of the Fletcher Jones factory post 1967. It a wool tapestry by Martin Prider who was a painter and caretaker what the Fletcher Jones factory. He lived in one of the Fletcher Jones cottages on site. (Robin Boyd Age Small Homes Scheme, today Heritage listed.)This is an interesting memento of the Fletcher Jones company and the factory. It was done by a local resident and features the famous Fletcher Jones gardensTapestry fire screen in a rectangular light timber frame depicting the Fletcher Jones Factory Gardens. The screen has two timber feet, non relective glass and appears to be a wool tapestry. The image of the gardens is after 1967 as the silver ball is included and that was erected in 1967. Nilfletcher jones company and warrnambool factory, pleasant hill warrnambool, martin prider, fletcher jones, tapestry of fletcher jones factory

A slab hut situated in Research, Victoria. An elderly man and woman stand in front of their small bark slab home with bark chimney. It has a tin roof and tin water tank to the side. A small garden is situated at the front. Reproduced on pp 38-39 of 'Pioneers & Painters: One Hundred years of Eltham and it's Shire" (1971) Article in "Australian Family Tree Connections" February 2000 by B. J. Parkinson claims that the people in this photo are "Jonas and Christina Jane (Gregg) PRIOR in front of their home at Ferny Hill, near Eltham, Victoria, 1877". Photocopy of photo also attached to 14 online family trees for the Prior family on Ancestry.com without the words "A Bush Home". References found to Prior in historical newspapers and the property "Ferny Hill". Jonas was a convict from Kent, England. He arrived in Hobart in 1821 aged 19 years. He married Christina Gregg in Hobart about 1834 and had 11 children. They came to Victoria about 1846. He died at Ferny Hill, near Research, Eltham in 1878 aged 74 years and was buried at Melbourne General Cemetery. His occupation was gardener.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Neg Print 20 x 25 cmshire of eltham pioneers photograph collection, research (vic.), ferny hill, jonas prior, christina prior, hut, prior, convict, pioneers and painters

Postcards scanned from the collection of Michael Aitken on loan to EDHS, 13 Feb 2018 Reproduced ‘Pioneers & Painters’ pp 52-53. Picnickers enjoying a Sunday outing in the fields opposite Eltham Railway Station. Looking north towards Research along Main Road near the intersection with Dudley Street. Luther Hayley’s Bakery and General Store on left promoting refreshments and summer drinks. With the opening of the railway to Eltham in 1902, Melbourne residents would regularly enjoy a Sunday excursion journey on the train to Eltham for a day’s outing to the countryside. Possibly the annual State schools picnic held by the Board of Advice at Haley's Paddock near Eltham railway station on 11 March, 1904. Haley’s Paddock (now occupied by Eltham shopping centre) was capable of accommodating 10,000 people, with ample shade and hilly surroundings, an ideal place for any gathering. The main foreground is the site of the present day Eltham Village and Coles Shopping Centre. 1904 'STATE SCHOOLS' PICNIC.', Record (Emerald Hill, Vic. : 1881 - 1954), 19 March, p. 3. http://nla.gov.au/nla.news-article165173087Digital file only Postcards scanned from the collection of Michael Aitken on loan to EDHS, 13 Feb 2018michael aitken collection, postcards, eltham, main road, bakery, eltham village reserve, general store, haley's paddock, luther haley, luther haley general store, picnic, pioneers and painters, railway store, shire of eltham pioneers photograph collection, summer drinks

This map is a reprint of Johann (Johannes) Walch’s “Australien (Sudland) auch Polynesien oder Inselwelt, insgemein der funfte Welltheil”, published in 1802. It shows Australia, New Zealand, South East Asia and the Pacific Islands shows a large number of places names, many of which have changed since the map was drawn. The map includes the routes and dates of the voyages of Tasman, Cook, Bougainville, Carteret, Byron, and others up to 1802. The shapes of the lands on this early map show that some of the areas had not yet been charted. The map was donated to Flagstaff Hill Maritime Village in April 1990 by the Group Study Exchange Team from Rotary District 233, Sweden. It was framed and presented by Rotary District 978 and presented by Barry Lange, the Governor of District 978 in 1989-90. (District 978, Geelong East, is now District 9780.) Johann (Johannes) Walch Johann Walch, painter and engraver, was born in 1757. He was well known for creating miniature portraits. He gained his training in Geneva, Venice and Rome. His publications include atlases and sheet maps, many of which were reprinted after his death in 1816. This reprint of an 1802 is significant for its historical and geographical contant, showing the voyages of many early explorers to the southern regions of the world including Australia. It also shows the early names used for countries and towns and is a valuable reference to historical interpretation. The map itself is a fine example of hand drawn and hand coloured maps of the early 19th century, the method of production, detail included, layout, symbols and so forth.Map, reprint of Johann (Johannes) Walch’s “Australien (Sudland) auch Polynesien oder Inselwelt, insgemein der funfte Welltheil “, first published by in Ausburg in 1802. The image on this Map No 5B, shows Australia and the south Pacific. The timber framed, glass covered, printed and coloured map was created in two sections and joined. Brass plaque at base of map states that the map was presented to Flagstaff Hill by Rotary International in April 1990. Feint lines used for aligning lettering can be seen on the map and there are large erased letters such as a “D” and “S” that are almost obscured.Plague “ROTARY INTERNATIONAL / THE MAP WAS DONATED BY THE GROUP STUDY EXCHANGE TEAM / FROM ROTARY DISTRICT 233 SWEDEN IN APRIL 1990 / AND WAS FRAMED AND PRESENTED BY ROTARY DISTRICT 978 / BARRY LANGE – GOVERNOR DISTRICT 978 1989/90” Stamped on back “ELLIMINOOK FRAMES / MRS. JILL FALKINER / ELLIMINOOK / BIRREGURRA, VIC. 3242 / PHONE: (052) 36 2080” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, australien (sudland) auch polynesien oder inselwelt, insgemein der funfte welltheil, johann (johannes) walch, cartographer johann (johannes) walch, ausburg publisher johann (johannes) walch, johann (johannes) walch map number 5b, 1802 map of australia and south pacific, rotary international group study exchange team, rotary district 233 sweden, elliminook frames, voyages of tasman, voyages of cook, voyages of bougainville, voyages of carteret, voyages of byron, barry lange, painter of miniature portraits johann (johannes) walch