Art Gallery with mural painted by Clifton Pugh (1924-1990) at his Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p153 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

Postcard. Theodore King Active 1855 Australian The First Parliamentary Election, Bendigo, 1855 Oil on paper on board, 32.4 x 47.8cm Bendigo Art Gallery. Gift of Mr. J. S. Dethbridge, 1894.

art gallery of ballarat, alexandria tea rooms, lydiard street north, george hotel, ballarat

This exhibition was curated by Lisa GervasoniColour photographs of an exhibition highlighting some greats from Warrnambool.warrnambool art gallery, exhibition, heritage week, now and then, lj gervasoni

lPhotographs of the Horsham Ar Gallery which is housed in the Horsham Town Hall.horsham art gallery, horsham town hall, horsham logo

The view is taken from the cnr of Lydiard & Sturt Street circa 1870-1880 from the Premier Album of Ballarat Views. The Academy of Music is now Her Majesty's Theatre.academy of music, ballarat art gallery, club hotel, streetscape, her majesty's, hotel, entertainment, premier album of ballarat views

Amy Huxtable was born at Cheltenham in 1918, to Robert Henry Huxtable and Violet A Dagg. Her father was an installer for an oil company and travelled the State. taking his family with him. She completed her education at the Bendigo High School and later attended the Bendigo Business College, becoming an expert shorthand writer. Her first position was as a copy writer with Radio 3BO, in the mid 1930s. She worked with an advertising agency in Melbourne and then with the Age,newspaper. In 1953, Miss Huxtable was appointed temporarily to succeed Miss E B Millane as social editress of the Bendigo Advertiser, during the latter's absence abroad. In 1956, Amy travelled abroad and on her return in 1957 was appointed permanently as Women's editor, a position she held for twenty-three ears. During her early years with The Advertiser she wrote under the name Toora, but in later years her own name became widely known. Miss Huxtable was well known both in her professional capacity and through a interest and involvement in community activites. She was life governor of the Bendigo Hospital, the Bendigo Home for the Aged, and Mirridong Home for the Blind, she was a member of Soroptimist International and the Business and Professional Women's Club. Amy was also a tireless worker for the spastic society and a strong supporter of the YWCA. When Amy Huxtable died at Mt AJvernia Hospital on 16 January 1980 Mayor Campbell ordered the city flag to be flown at half-mast. "Lowering the flag is the least we can do for such a lady" Cr Campbell said. Douglas Lockwood, editor of the Bendigo Advertiser said, "She was a devot d colleague who gave her craft and her newspaper the kind of service which identified a rare and generous spirit." She was a true professional who decided to make Bendigo her home. More than 300 people packed St Paul's Church for her funeral ervice the bell tolled as the casket was carried from the church. At a ceremony in the Conservatory Gardens on No ember 22 1981 The Amy Huxtable Memorial Committee presented to the City of Bendigo, a garden seat in memory of the late Miss Huxtable. This Bendigo manufactured seat was a fitting tribute to one ofBendigo's most loved and esteemed citizens. All Miss Huxtable's Advertiser articles were microfilmed and presented to the Library by the above committee. Amy Huxtable Memorial Committee - Newspaper Articles and letters to the Bendigo Art Gallery 2808.9a First Article: Bendigo Advertiser article 18/12/1985 on "two of Bendigo's noted daughters , Ola Cohn and Amy Huxtable" Describes the restoration of the Ola Cohn drinking fountain in Rosalind Park, and the installation of the Amy Huxtable Memorial Seat in the Conservatory Gardens. Second Article: Bendigo Advertiser Letters to the Editor Column 30/12/1988 paragraph entitled "Credit where it is due: "A special tricentennial council effort would be to restore the paths, kerbs and sculpture by Ola Cohn, J H Curnow Fountain, the Bob Brothers Memorial and the Chain of Ponds" (Rosalind Park) 2808.9b Seven Pages of letters: 1. To Mrs Thelma Dingle from Doug Hall, Bendigo Art Gallery Director 30/1/1986 regards the Amy Huxtable committee funding the restoration of the Ola Cohn Fountain by sculptor Mr Marc Clark. 2. From the Amy Huxtable Committee 24/3/1986 back to the Art Gallery explaining that the committee leftover funds be given to the art Gallery to go towards the restoration of the Oal Cohn Fountain. 3. From the Art Gallery to Miss N D young, Amy Huxtable Committee 3/4/1986 thanking the committee for the funds. 4. From the committee to the Mayor and Councillors, Bendigo City, 4/2/1987 asking for an update on the project. 5. Copy of above letter. 6. From the City of Bendigo to the Committee 17/2/1987, advising of progress on the restoration of the fountain. 7. From Norma Young to the Bendigo Advertiser Letters to the Editor, advising of progress on the Ola Cohn Sculpture and the J H Curnow Fountain restoration. history, amy huxtable, bendigo, amy huxtable memorial committee, bendigo conservatory gardens, ola cohn, j h curnow fountain

Bendigo Art Gallery Mid to Late 19th Century exhibition on display June 3 to July 4 2001, celebrating the transformation of a town into a city. The Bendigo Advertiser is a proud sponsor of exhibition printing a souvenir poster for the occasion depicting a water colour of Kangaroo Flat Sandhurst in 1857 by George Rowe on the cover, a chromolithograph of Sandhurst in 1887 by Francis Niven overleaf and on the back a water colour of the Bendigo Goldfields C.A. Ross & Co. Derwent Store in 1852 by John Cater of Northcote.George Rowebendigo, history, 19th century bendigo

Findlay Art Gallery. The house was brought from French Island where it was the home of the De La Haye family.White timber house single storey. Findlay Art Gallery.local history, photographs, buildings, historic, buildings - historical, coloured photograph, john cook, phillip island, findlay art gallery

Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Pool sculpture, opposite Zurch Art Gallery, Zurich, SwiterlandZurich / Pool Sculpture / Opposite Art Gallery (All Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

A booklet titled ' Victorian Victoria.' Relating to an exhibition showing the early development of public art collections in regional Victoria. The works are from the collections of the Ballarat Fine Art Gallery, Bendigo Art Gallery, Warrnambool Art Gallery and Geelong Art Gallery. Organized by the Bendigo Art Gallery as part of Victoria's 150th. Anniversary Celebration, Catalogue compiled by Doug Hall with research assistance by Sharyn Black.artwork, exhibition, catalogue, exhibition, bendigo art gallery, australian art, victorian art, ballarat art gallery, warnambool art gallery, geelong art gallery, public art, artwork, art, victoria, art galleries

Her Majesty's Territories, stereographic views of Australian sceneries, a Bendigo Art Gallery exhibition. 135 pages with sepia photographs.Bendigo Art Galleryphotography, viewers, stereographic, australia-victoria-history-photography

This brochure was used to accompany a display at the Warrnambool Art Gallery to celebrate the 150th Anniversary. It give a brief outline of the Brigade's history and also equipment used and competitions in which the Brigade took part. It links in with the Book Warrnambool Fire Brigade , Celebrating 150 years.Four pages folding out , with printing and photographs on both side. The information contains a brief outline of the history of the Brigade. The dominant colour of the brochure is red.CFA logo is on front cover RHS top. Warrnambool Art Gallery logo on back cover.warrnambool fire brigade, fire brigade competitions, fire brigade equipment, 150 years warrnambool fire brigade, warrnambool art gallery

COMMON WITNESS EXHIBITION, COMMEMORATING THE CENTENARY OF THE DEATH OF REV. DEAN BACKHAUS 4 pages with illustrations. Exhibition items are catalogued in the booklet. September 6 - October 3 1982Bendigo Art Galleryevent, exhibition, bendigo art gallery backhaus ex., bendigo, backhaus, bendigo art gallery, exhibitions

Neville Bunning was a staffmember at the Ballarat Technical Art School.Two page hand written letter relating to setting up a Ballarat Art Society. From Neville Bunning to the Ballarat Art Gallery.604 Dana Street Ballarat 20th Aug 46 The Secretary Ballarat Art Gallery Dear Sir, I submit the attached proposition for the formation of the Ballarat Art Society. I am convinced that it is needed as an outlet of expression for teh Art School and for the development of sculpture and Painting in Ballarat. I have taken the liberty of suggesting that your committee shld form the society because I imaginbe that a society formed withou your support would be unlikely to succeed. If it failed it would mean a set-back for many years. U trust that you will be interested in the proposition Yours faithfully Neville M. Bunning. neville bunning, ballarat art society, ballarat art gallery, art gallery of ballarat, ballarat fine art gallery

28 pages, illustrated.

Three photographs of the facade of the Art Gallery of Ballarat.art gallery of ballarat, lydiard street ballarat, ballarat fine art gallery

Lydia Chancellor (1889-Dec 1979) Her parents were George Pethard and Miriam Peatling. George founded Tarax soft drinks in Numurkah in 1898 before moving to Bendigo in 1902 and establishing a brewing factory there. He also built the home "Taraxville" in Panton St. The factory ceased operation in Bendigo during WW1. After the war, the firm was re-established by George jnr, brewing in Melbourne. Lydia married Norman George Chancellor in 1924 but he died 2 yrs later. Lydia returned to Bendigo to care for her mother and began an extensive collection of Toby jugs. She donated 100 jugs to the Bendigo Art Gallery in 1973. She broadcast weekly on 3BO under the name "Chance" and in this capacity, she delivered tennis results and notesA paper detailing the life of Lydia Pethard, Tarax Cola and her contributions to the Bendigo Art Gallery and Tennis/tarax, bendigo art gallery, lydia chancellor

A Program of public events held at the Bendigo Art Gallery. Monthly mini tours, Evening Viewings and Calligraphy Workshops. Light brown coloured paper - Top of the page has the words - A voice from the Golden City - BendigoBendigo Art Gallery

This oil painting is in a handmade, carved frame, dates back to the period of the old Warrnambool Museum and Art Gallery. The two-masted, sail-and-steam-powered ship has the sails and bow shape of a tall clipper ship plus the extra power of steam. It dates to the transition between the clipper ships with their billowing sails and the steam-powered ships, which happened in the late 19th to early 20th century. The flag flown from the stern is that of the British Merchant Navy that traded around the world to transport cargo, and later passengers, from one destination to another. The painting was originally catalogued as the "S.S. Warrnambool" although it has a different design. It was also attributed to the ship portrait painter, the renowned C.K.M. - Charles Keith Miller - but differs from his style. Further research is being carried out at this time. In 1966, between the closure of the old Warrnambool Museum and Art Gallery and the distribution of the painting to Flagstaff Hill, this painting was repaired by David Heysen, son of the German-born artist Hans Heysen OBE. David was born in Hahndorf (called Ambleside for a short period of time), South Australia, married Lyly Refshauge from Melbourne, and they raised a family on their property in Kalangadoo, near Penola, in South Australia.The painting's frame is an example of handmade carving and joinery created in the late 19th century. The artist has depicted the image of a historical sail-and-steam ship of the type in which cargo was traded across the world, including to and from Australia. Vessels such as this also brought migrants to Australia.Painting, oil on board, in hand carved wooden frame with floral and geometric pattern, inner border painted gold. Image of a two-masted sail and steam ship, sails raised, black funnel emitting smoke. Hull is black with white horizontal stripe and white trim around sides of deck. Three lifeboats are visible. Bow is ‘clipper shape’ with what appears to be a figurehead. A red ensign flag flies at the stern and a blue and red flag is attached to the mainmast. The frame has been assembled using Mortice and Tenon joints, one of which is exposed on the back, lower right corner. Chandelier chain has been attached for hanging. There is no visible signature, date or title on the front of the painting. The back board has empty holes spaced around the edge and is held in place by staples. The visible surface has remnants of adhesive from two rectangular attachment s. There are two small white stickers attached, one with a hand written inscription. There are pencil and pen inscriptions. The painting is protected by cardboard with inscriptions in marking pen.On back board, written in the style used by the Warrnambool Museum and Art Gallery: - On white sticker, in pen “A-P31/1-74” - Pencil “A27/1883 / Artist CKM 1883 / Title SS Warrnambool / oil on board” Written in pen by the repairer - “Repaired & re-drilled – cleaned etc. / David Heysen 11/66” Written by Flagstaff Hill’s Cataloguer - Pencil “3031” On cardboard wrapper, in marking pen: - “S.S. Warrnambool / by / C.K.M. 1883” - “A-P/31/1-74” - “3031”flagstaff hill, warrnambool, shipwrecked coast, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, s s warrnambool, charles keith miller, charles miller, steam and sail ship, british merchant navy, slipper shaped bow, 19th century sea trade, warrnambool museum and art gallery, old warrnambool art gallery, hand carved picture frame, mortice and tennon picture frame, migrants, c.k.m.

Beginning in Bendigo from humble origins to a captured market Post Office Gallery.An exhibition of a selection from the diverse industry which has emerged from Bendigo, 28 pages with colour & black and white photographs published by Bendigo Art Gallery.Bendigo Art Gallerybendigo, history, businesses, bendigo-history-businesses

Program of an exhibition by Abram Louis Buvelot at the Bendigo Art Gallerylllpainting, oil, abram louis buvelot, oil paintings, water colours, pencil drawings.

Chromolithograph Sandhurst in detail 1877 by Francis Williams Niven. View Point icons including George S. Bissett Draper, Clothing & Millinery, Manning & Co. Drapers, Milliners and Tailors; Pall Mall icons Bent Photographers, W. Lunn Painter and Decorator, J.B. Edwards Watchmakers, John Ingram Hatter and Lyceum Mutual Store & Co; High Street icons T.J. Connelly & Co. Ironmongers; McCrae Street icons Rea & Co Locksmiths and Gun Makers; Williamson Street icons Albert Bush Groicer and Tea Merchant; Bridge Street icons Cohn Brothers Soft Drink and Confectionery; Mitchell Street icons, MA Palk & Co Mourning Attire.Francis Williams Niven, Sandhurst.bendigo, history, mid to late 19th century bendigo

Bendigo Art Gallery, View Street, Bendigo.slide, bendigo, art gallery

Colour photograph of textpanels in the Warrnambool Art Gallery. warrnambool art gallery, exhibition, makers and shapers, innovation, invention, cultural heritage, heritage festival, text panel

A book titled ' Tower Hill and Other Volcanoes a survey ' by Shay Docking. Warrnambool Art Gallery February - March 1987. Bendigo Art Gallery April 1987. Swan Hill Regional Art Gallery May - June 1987. Supported by the Telecom Exhibition Development Fund. Photography by Gil Docking and Greg Weight. Publislhed by the Warrnambool Art Gallery, February, 1987.artwork, tower hill, book, books, artist, tower hill, volcanoes, shay docking, female, person, individual, warrnambool art gallery, artwork, sciences, photography, place, david hansen, gil docking, survey, exhibition

This is the program of the 2014-5 exhibition at the Warrnambool Art Gallery, ‘From the Sacred to the Profane – The Challenges and Possibilities of Renaissance Art’. This exhibition was a joint project between the National Gallery of Victoria and the Warrnambool Art Gallery and was officially opened in December 2014 by the Director of the National Gallery of Victoria, Tony Ellwood. This program is of interest as a souvenir of an exhibition in Warrnambool that was an important one as it featured historical and valuable works of art from the National Gallery of Victoria. This is a sheet of paper folded to make six sides. One side has a plasticized surface. The pages have a black background with white and red printing on five sides and a colour photograph of a painting on the front page. The back page has the logos of the Warrnambool Art Gallery Foundation, the Victorian State Government, Arts Victoria, Warrnambool City Council and Deakin Worldly.national gallery of victoria, warrnambool art gallery, art in victoria, renaissance art, warrnambool history