MALCOLM BOYD Born Gippsland, Victoria In 1977 Malcolm Boyd graduated with a Diploma of Visual Arts from the Gippsland Institute of Advanced Education. It was at this time that he presented this work to the Jan Feder Memorial Ceramics Collection. Over thirty years later he still has a passion for ceramic history and design. Boyd operated the Black Cockatoo Pottery from around 1980-1995, starting in Essendon, then moving to Ascot Vale, Stratford, Bairnsdale and finally Fernbank in Gippsland. His handbuilt stoneware pots and clay sculptures are wood fired at his East Gippsland studio. He often uses ochre coloured dam banks on his property at Fernbank. The local clays are crushed, screened and blended with a white stoneware body to produce a number of shades and textures. All Malcolm Boyd's pot's are hand built using moulding, coiling, slabbing, and modelling techniques, and are high temperature fired (1300C) to allow some of the very ancient oriental glazes to mature. All works spend at least 20 hours in the wood fired kilns. This work is part of the Jan Feder Memorial Ceramics Collection which was amassed with funds raised by Jan Feder's student peers at the Gippsland Centre for Art and Design in the mid 1980s after Jan Feder passed away. Although many of the works are donated the intention of the collection was to purchase from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught at the Churchill Campus. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.malcolm boyd, ceramics, artist, artwork, jan feder memorial ceramics collection, gippsland campus, alumni

MALCOLM BOYD Born Gippsland, Victoria In 1977 Malcolm Boyd graduated with a Diploma of Visual Arts from the Gippsland Institute of Advanced Education. It was at this time that he presented this work to the Jan Feder Memorial Ceramics Collection. Over thirty years later he still has a passion for ceramic history and design. Boyd operated the Black Cockatoo Pottery from around 1980-1995, starting in Essendon, then moving to Ascot Vale, Stratford, Bairnsdale and finally Fernbank in Gippsland. His handbuilt stoneware pots and clay sculptures are wood fired at his East Gippsland studio. He often uses ochre coloured dam banks on his property at Fernbank. The local clays are crushed, screened and blended with a white stoneware body to produce a number of shades and textures. All Malcolm Boyd's pot's are hand built using moulding, coiling, slabbing, and modelling techniques, and are high temperature fired (1300C) to allow some of the very ancient oriental glazes to mature. All works spend at least 20 hours in the wood fired kilns. This work is part of the Jan Feder Memorial Ceramics Collection which was amassed with funds raised by Jan Feder's student peers at the Gippsland Centre for Art and Design in the mid 1980s after Jan Feder passed away. Although many of the works are donated the intention of the collection was to purchase from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught at the Churchill Campus. Jan Feder Memorial Collection Presented by the artist in 1977. malcolm boyd, ceramics, stoneware, artists, artwork, jan feder memorial ceramics collection, alumni, woodfire

Sybil CRAIG (18 November 1901-09 September 1989) Born London, England Arrived Australia 1902 The National Gallery School, Melbourne, gave Craig a sound training for her popular flower and portrait studies. However, her association with leading modernists between the wars led her to pursue her art in a deliberately experimental and spontaneous way. Sybil Craig was the third woman appointed by the Australian War Memorial as an official war artist. She was the first woman to paint women working in the munitions’ factories. The Castlemaine Art Gallery & Historical Museum, held the first retrospective exhibition of Sybil Craig's in 2006. The exhibition highlighted her wonderful use of colour and design in a diverse range of media, techniques and subject matter. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed life drawing by Sybil Craigart, artwork, sybil craig, craig, life drawing, life model, charcoal, drawing, available

Rudi Mineur was born in Holland and grew up in Tasmania. He came to live in Surrey Hills with his wife Betsie and their 3 sons in 1974. Rudi worked as a taxidermist. With a keen interest in natural science, he is also a talented watercolourist and model-maker. His work included model-making for the Melbourne Museum and creating special effects for films including 'Mad Max'. He is also renowned for his sculpting of netsuke. He illustrated the book 'Growing up in the Goldrush' by Michael Dugan (pubd. 1989), who also lived locally. A colour photo in portrait format taken on Surrey Hills Day. He has greying hair and beard and seated behind a table on which are an assortment of stuffed animals / birds, shells, bones and a microscope.Nilrudi mineur, taxidermy, artist, netsuke, surrey hills day

Wes WALTERS (06 August 1928 - 19 August 2014) Born Mildura, Victoria From 1940 t0 1945 Wes Walters attended the Ballarat High School. He then studied architecture at the Gordon Institute in Geelong, followed by art at the Ballarat School of Mines (a division of the Ballarat School of Mines). During his time at the Ballarat Technical Art School (later Federation University Australia) Walters studied under Neville Bunning and Taylor Kelloch, and was awarded the Ballarat Ladies Art Association Scholarship in 1948. He next moved to Melbourne to work as a commercial artist with the George Patterson advertising agency. Each evening Walters studied life drawing at the Victoria Artists’ Society and taught himself anatomy. Wes Walters excelled in both abstract and realist art. He won the Art Gallery of Ballarat’s Minnie Crouch Prize for watercolour art in 1953 and 1956. He won the prestigious Archibald Prize in 1879 for his portrait of Phillip Adams. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed etching showing a nude model lying on drapery.A/P Signed 'Walters,wes walters, printmaking, available, nude, lifedrawing

The collection of thirteen horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Hampden Buggy replicates the vehicle that enjoyed respect from the public from c.1800's. It came in various types.A model of a Hampden buggy, c1900. The body is low to the ground, making it easy for passengers to board and disembark as well as allowing for speed and is lightweight for one horse to pull, making the journey cheaper than using four horses. It has four spoked wheels, two large and two small which have gold painted mudguards. It has brown padded seating, gold painted armrests and two coach lamps. There are two long shafts on each side to surround the biscuit coloured horsel with a white tail and mane, which has the necessary horse tack for carriage use to help the driver communicate with the horse. The original Hampden buggy was the inspiration of K.Booth, an American coach maker. It was designed for the ladies to show off their finery. Keep Bros. and Wood of Melbourne built many variations of buggies for wet or dry conditions.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses

The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Rosa Buggy replicates the vehicle that enjoyed respect from the public during the 1880's. There were four horse drawn models as well.A model of a Rosa Buggy which is a lightweight two wheeled two passenger open horse drawn carriage where the driver sits behind. It has two large gold painted spoked wheels with black rims, brown padded seating and silver painted armrests. There are two long brown wooden shafts on each side to surround the horse. It has a model of a cream coloured horse with a white tail and mane, which has the necessary horse tack for carriage use to help the driver communicate with the horse. It was designed by Duncan & Fraser of Adelaide initiated by the wife of one of the company's directors who gave it her name. It was a hybrid of the Dog Cart and Ralli Trap, a fair weather vehicle favoured by ladies of refinement. It was mounted on Brewster Gear and was inclined to bounce, so was driven gently.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses

The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Cobb and Co coach replicates the vehicle that enjoyed respect from the public during the 1880's. There were four horse drawn models as well.A model of a red Cobb and Co enclosed coach which is a four wheeled passenger horse drawn vehicle where the driver sits at the front behind the two light brown and grey horses. The name ROYAL MAIL COBB.CO is painted in white lettering on both sides. It has four gold painted spoked wheels with black rims, two gold painted coach lamps, black padded seating and four open windows with blinds that are rolled up. There are 2 doors with a drop-down step for easy access into the coach. A long brown wooden shaft separates the horses which also have black leather shaft style straps on both sides as well as the necessary horse tack for carriage use to help the driver communicate with the horses. There is a black wooden slotted luggage rack at the back held on by gold chains. On top of the coach is a decorative gold painted luggage rack. Freeman Cobb established Cobb and Co in Australia in 1853 to operate horse drawn mail and passengers between Melbourne and the Victorian Goldfields. It expanded to Queensland in 1865. ROYAL MAIL COBB.COreplicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, postal services, road transport, goldfields, coaches

The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a three horse drawn enclosed coach replicates the vehicle that enjoyed respect from the public during the 1880's. There were four horse drawn models as well.A model of a black enclosed coach which is a four wheeled passenger horse drawn vehicle where the driver sits at the front behind the three brown horses. It has two large and two smaller gold painted spoked wheels with black rims, two gold painted coach lamps, black padded seating and four open windows with blinds that are rolled up. There are two doors with a step for easy access into the coach. A long brown wooden shaft separates the horses which also have black vinyl shaft style straps on both sides as well as the necessary horse tack for carriage use to help the driver communicate with the horses. A hand operated brake is next to the driver with the brake pads attached to the back wheels. There is a brown wooden slotted luggage rack at the back held on by two gold chains. On top of the coach is a decorative gold painted luggage rack. replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, road transport, coaches

The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Dairy Cart replicates the vehicle that enjoyed respect from the public during the 1880 and early 1900's. A model of a horse drawn black open Davis Dairy Buggy or Cart which is a lightweight two wheeled one passenger open horse drawn carriage where the driver sits behind. It has two large gold painted spoked wheels with black rims and mudguards, blue painted seating and gold painted armrests, two gold coach lamps and gold patterned footrest in front of the driver. At the rear are three silver milk cans with two taps to dispense the milk. There are two long brown wooden shafts on each side to surround the horse. It has a model of a brown coloured horse with a black tail and mane, which has the necessary horse tack for carriage use to help the driver communicate with the horse. These carrier carts or vans were two wheeled medium weight Commercial Vehicles.DAVIS DAIRY painted in white lettering on each side of the cart.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, early commercial vehicles, milk cart

The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Baker's Cart replicates the vehicle that enjoyed respect from the public during the 1880 and early 1900's. A model of a single horse drawn red enclosed Capital Bakery Cart which is a lightweight four wheeled one passenger horse drawn carriage where the driver sits behind. It has two large and two smaller gold painted spoked wheels with brown rims, grey and black painted seating two gold coach lamps and a sloped red and tan footrest for the driver. There is a brake lever on the right side of the cart which activates the brake on the back wheel. At the rear are two ventilated gold doors and cupboards underneath the seat. There are two silver metal tubular shafts on each side to surround the brown horse which has a black tail and mane. It has the necessary horse tack for cart use to help the driver communicate with the horse. These carrier carts or vans were four wheeled medium weight Commercial Vehicles which were a very familiar sight in the horse drawn era. Every kid 'whipped behind' bread carts. The first models were imported from England around 1870 and later the local coachworks built many models. The biggest producer was Flood in St Kilda Road until 1926.CAPITAL BAKERY is painted in white lettering on each side of the cart.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, early commercial vehicles, bread cart

The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Piano Box Buggy replicates the vehicle that enjoyed respect from the public during the 1880 and early 1900's. A model of a red and black Piano Box Buggy c.1860 which was a lightweight two wheeled one passenger open horse drawn carriage with a black canopy roof where the driver sat behind. It has two large and two smaller gold painted spoked wheels with black rims, brown painted seating, two gold coach lamps and a black patterned footrest in front of the driver. The canopy has thin gold struts to open and close it depending on the weather. There are two long brown wooden shafts on each side to surround the horse. It has a model of a biscuit coloured horse with a white tail and mane with the necessary horse tack for carriage use to help the driver communicate with the horse. It was also known as the 'Bonner Buggy' and had many variations. Coach builders designed and made their own style, giving it their own name. There could have been scores of different Piano Box buggies.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses

The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Canestoga Wagon replicates the vehicle that enjoyed respect from the public during the 1880's. A model of a long covered Conestoga Wagon with two horses, brown and tan. The cream fabric covers curved shaped metal bands and is laced with string around the base to attach it to the wagon.It has a green base, green wooden seat and footrest. There are two wooden barrels attached by wire on one side and the other side has a luggage box. It has two small gold painted spoked wheels with painted black tyres at the front and two larger ones at the back. The forerunner of the Conestoga Wagon had its origin in Europe as a mobile home for shepherds and nomads in the early 1800's. The east coast of America became home to people from all over Western Europe so the old wagon designs were carried to the New World. The wagons were named after a river in Lancaster County Pennsylvania where the Stutz family built them for the western treks of history. Fondly known as the 'Prairie Schooner', the cost in 1840 was $48.00, unpainted spare wheels $8.00, Lawson axles $12.00. They came in 12 and 14 feet beds.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, drays

The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Small Wheel Lorry replicates the vehicle that enjoyed respect from the public during the 1880's and early 1900's. A model of a Small Wheel Lorry with a long four spoked wheeled wooden flay tray drawn by a brown horse. The wooden shafts are to control the horse whilst working. It has a grey wooden ice box with a metal lid with ICE painted in black letters inside a black lined outline on the side. On the side of they lorry or dray is painted WOOD - COAL - COKE - C. MEE LA1271 in black paint. These are long strong carts or drays without fixed sides for carrying heavy loads. They were the truck of the horse drawn era, from the large wool bale lorry to the suburban ice and wood lorry. It has been said they had their origins in the German farm wagon.ICE is painted in black capital letters on the side of the ice box. On the side of the lorry is painted - WOOD - COAL - COKE - C. MEE LA1271replicas, models, scale models, vehicles, horse drawn vehicles, toy horses, drays, carts

The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Small Wheel Lorry replicates the vehicle that enjoyed respect from the public during the 1880's and early 1900's. A model of a Small Wheel Lorry with a brown short two spoked wheeled wooden tray with low sides drawn by a cream coloured horse. The horse has reins and a simple noseband.There is a single seat and footrest at the front for the driver. The wooden shafts are to control the horse whilst working and they have a silver chain attached on each side. It has four replica brown wooden wine barrels with silver rims in the cart.replicas, models, scale models, vehicles, horse drawn vehicles, toy horses, drays, carts, lorries

The collection of thirteen horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a one horse drawn buggy replicates the vehicle that enjoyed respect from the public from 1833 until 1935. It came in four types.A model of a black enclosed buggy and horse, with two doors and two tinted windows. It is a two wheeled two passenger horse drawn carriage where the driver sits behind on the high seat with silver armrests. The body is low to the ground, making it easy for passengers to board and disembark as well as allowing for speed and is lightweight for one horse to pull, making the journey cheaper than using four horses. It has two black spoked wheels with silver rims, brown seating, silver handles on the doors and two black coach lamps at the back. There is a silver step on the side of the body near the footrest to aid alighting and disembarking.There are two long shafts on each side to surround the horse. It has a model of a brown coloured horse with a white tail and mane, which has the necessary horse tack for carriage use to help the driver communicate with the horse. replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses

The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a two horse drawn enclosed Hansom Cabriolet replicates the vehicle that enjoyed respect from the public from c.1833 until 1935. A model of a black enclosed coach which is a four wheeled passenger horse drawn vehicle where the driver sits at the front behind the two white horses. It has two large and two smaller gold painted spoked wheels with black rims and gold mudguards on the rear wheels, two gold painted coach lamps, red vinyl padded seating and four open windows with rolled up blinds. There are two doors with a step for easy access into the coach. A long brown wooden shaft separates the horses as well as the necessary horse tack for carriage use to help the driver communicate with the horses. A hand operated brake pad is on the rear wheels. The first Hansom Cabs were clumsy, dangerous awkward vehicles. The drivers were suspected of 'Rude Bohemia'. It took the refinement of Joseph Aloysius Hansom himself to clear airs and remodel the cab to a safe vehicle. It enjoyed respect from c.1833 until 1935. It came in four types.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, road transport, coaches

The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. These models are of single horse drawn military gun carriages and accessories.Three gun carriages: 1. A brown four wheeled wooden model of a gun carriage for military use with a white horse. The carriage wheels have black rims with grey painted spokes. There is a brown storage box at the front for the driver with a brown vinyl padded seat.Three wooden slats form the footrest. A gun cleaning rod and lighter rod are attached to the back of the narrow support tray towards the back wheels. The saddled horse is linked to the carriage by a wooden shaft. A gun carriage is a frame and mount that supports the gun barrel of an artillery piece allowing it to be maneuvered and fired. These platforms often had wheels so that the artillery pieces could be moved more easily. 2. A brown large two wheeled gun carriage with no horse. The wheels have grey painted spokes and black rims. There is a cleaning rod and a lighting rod attached to the carriage shaft near the wheels. An additional accessory is included of a black vinyl saddle with lambswool lining as well as clips for attaching to the horse tack. 3. A grey two large wheeled gun carriage with no horse. The wheels have grey painted spokes and black rims. There is a cleaning rod and a lighting rod attached to the carriage shaft near the wheels. There is a chain to attach the carriage to the horse tack.56 VIR (3rd VIR)military vehicles, military models, gun carriages, military equipment

The First Australian Exhibition of Women's Work was held at the Exhibition Building, Melbourne, from 23 October to 30 November 1907. It was opened by Lady Northcote (the wife of Australia’s Governor General) and Pattie Deakin (wife of the Prime Minister), who also ran a model creche during the exhibition. The five week exhibition showcased the work of women musicians, artists and craftswomen with over 16,000 exhibits in all fields of artistic endeavour. It was attended by approximately 250,000 people. Exhibits were divided into Classes, including Fine Arts; Applied Arts; Photography; Plain Needlework; Cookery, Preserves and Laundry Work; Horticulture; and Medical and Nursing. This item was owned by Mrs. Mary Burrowes, aunt of Mrs. Jean Raper.This item is from Raper Collection donated to the Wodonga Historical Society by Mrs. Jean Raper. A small ruby glass and crystal jug which was produced as a souvenir of the Australian Exhibition of Women's Work held at the Exhibition Building in Melbourne in 1907. It has been inscribed in gold coloured paint. "Mary Women's Exhibition 1907"vase, glassware, decorative items

The First Australian Exhibition of Women's Work was held at the Exhibition Building, Melbourne, from 23 October to 30 November 1907. It was opened by Lady Northcote (the wife of Australia’s Governor General) and Pattie Deakin (wife of the Prime Minister), who also ran a model creche during the exhibition. The five week exhibition showcased the work of women musicians, artists and craftswomen with over 16,000 exhibits in all fields of artistic endeavour. It was attended by approximately 250,000 people. Exhibits were divided into Classes, including Fine Arts; Applied Arts; Photography; Plain Needlework; Cookery, Preserves and Laundry Work; Horticulture; and Medical and Nursing. This item was owned by Mrs. Alice Yardy nee Dinsmore, grandmother of Mrs. Jean Raper.This item is from Raper Collection donated to the Wodonga Historical Society by Mrs. Jean Raper. A small green glass vase with gilt edge which was produced as a souvenir of the Australian Exhibition of Women's Work held at the Exhibition Building in Melbourne in 1907. It has been inscribed in gold lettering. "Alice Women's Exhibition 1907"vase, glassware, decorative items

An iconic image of a soldier, eyes raised to the sky, taken by photographer Jack Cato in 1932. He used the artist/entertainer Pat Hanna as a model in the photoshoot. Pat wrote down his experience in a moving two page document 'The Story Behind the Picture', it tells how he was moved to imagine the action in France when posing. The image is described as the portrait of a soldier, eyes raised to the sky. This portrait is a study which is called 'The spirit of Anzac' or 'The Digger'. Pat Hanna, said he tried to recreate the "look something between fear and defiance which we have all seen so often, and which will always remain in my memory as typical of our gallant old cobbers 'the Diggers'". A colour image is held in the AWM collection. The photo was stored with other items including a letter to Frank (possibly L/- Frank Doolan who was making an attempt to collect items relevant to Legacy's history for an official archive project - see items 01400 to 01404). Pat Hanna was an entertainer, comedian, artist and producer of reveues, plays and movies. One of his first revues was performed just after the armistice in France. His popular stage show was 'Diggers' that performed in many towns in Australia post-war and adapted into a film in 1931. He was born George Patrick Hanna, 18 March 1888 in Whitianga, New Zealand and served in the First World War, was a founding member of Melbourne Legacy and was involved with Legacy for many years.Pat Hanna was a founding member of Melbourne Legacy and an artist and producer. Legacy kept some of his works in the archive.Black and white photo of Pat Hanna as a 'Digger' and a two page recollection of the photoshoot with Jack Cato.Handwritten on photo 'Digger' in black ink in Pat Hanna's handwriting. Handwritten on reverse " 'The Digger', sometimes called 'The spirit of Anzac' / photo Jack Cato / model -Pat Hanna" in black ink. Typed on a paper note 'Spirit of Anzac / Pat Hanna'. Stamped with copyright of The Age in blue ink.hanna, solider, portrait

Built by noted artist Theodore Penleigh Boyd, father of architect Robin Boyd. Covered under National Estate, National Trust of Australia (Victoria) Local Significance and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p111 The Robins at Warrandyte,* was once home to a member of a famous family and is also one of the first reinforced concrete houses in Victoria. The builder, Theodore Penleigh Boyd, born in 1890, was a talented painter1 noted for his works of the Warrandyte bush. He was the father of architect Robin Boyd, author of the Australian Ugliness and the uncle of painter, Arthur Boyd. Penleigh Boyd’s great grandfather was Sir William A’Beckett, Victoria’s first Chief Justice. Penleigh Boyd is considered by some to be an ‘unsung hero’ overshadowed by more famous members of his family. Mornington Gallery Director Andrea May said many believed Boyd ‘had never received the national acclaim that he deserved’.2 Classified by the National Trust3 and part of the Australian National Heritage,4 The Robins is set well back near the end of Kangaroo Ground – Warrandyte Road, unobserved by passers-by. Built in 1913, The Robins has some Art Nouveau influences and is a descendant of the Queen Anne style. It is covered in stucco and has a prominent attic, which Boyd used as a studio. Some parts of the house are up to 33 centimetres thick and built in part with pisé (rammed earth) and in part with reinforced concrete. Amazingly, Boyd built The Robins without an accessible driveway, and only a narrow track along which he had to cart building materials. The journey was uphill and Boyd terraced the land with Warrandyte rock5 without the aid of machinery. At only 33 years, Boyd was killed in a car accident in 1923. He was buried in Brighton near the home of his parents. Several people have since owned the house, including political journalist, Owen Webster. Boyd was born at Penleigh House, Wiltshire, and studied at Haileybury College, Melbourne and The Hutchins School, Hobart. He attended the Melbourne National Gallery School and in his final year exhibited at the Victorian Artists’ Society. He arrived in London in 1911 and his painting Springtime was hung at the Royal Academy. He painted in several studios in England and then worked in Paris.6 There he met painter Phillips Fox through whom he met artists of the French modern school and also his wife-to-be, Edith Anderson, whom he married in Paris in 1912. After touring France and Italy, the couple returned to Melbourne. In 1913 Boyd held an exhibition and won second prize in the Federal Capital site competition, then the Wynne Prize for landscape in 1914. In 1915 Boyd joined the Australian Imperial Force, and became a sergeant in the Electrical and Mechanical Mining Company. However he was severely gassed at Ypres and invalided to England. In 1918 in London Boyd published Salvage, writing the text and illustrating it with 20 black-and-white ink-sketches of army scenes. Later that year he returned to Melbourne, and, despite suffering from the effects of gas, he held several successful one-man shows, quickly selling his water-colour and oil paintings. In his short career Penleigh Boyd was recognized as one of Australia’s finest landscape painters. He loved colour, having been influenced early by Turner and McCubbin. His works are in all Australian state galleries, the National Collection in Canberra as well as in regional galleries.7 His wife Edith was also an artist having studied at the Slade School, London, and in Paris with Phillips Fox. After her marriage she continued to paint and excelled in drawing. In later years she wrote several dramas, staged by repertory companies, and radio plays for the Australian Broadcasting Commission, in which she took part. She was the model for the beautiful red-haired woman in several of Phillips Fox’s paintings and the family hold three of his portraits of her. *Possibly named after the Aboriginal words warran, meaning ‘object’ and dyte, meaning ‘thrown at’.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, kangaroo ground-warrandyte road, north warrandyte, the robins

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade, abstract figurative sculpture, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Hand modelled ceramic sculpture of a Madonna and Child figural group. The abstract figures are fully covered in an olive green overglaze, apart from the base which is overglazed in cream. The base has an incised spiral beneath the glaze, which was used to decorate the hidden surfaces of a number of pieces, The base is signed with the artist's name around the edge.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), sculptures, abstract art, madonnas and child, viola annie mcvicars, viola annie ayling

Newspaper clipping from Issue 92 of November 2013, Docklands News, titled "Tribute to a Melbourne icon", on the launch of a public art sculpture on the corner of Flinders and Spencer St, by artist David Bell. features a photo of the work and David. See also the December 2013 issue of Bellcord. Work known as "Raising the Rattler pole", tram 1040, full scale model, about 3/4 of the length. See also Reg Item 5666 for another newspaper cutting.trams, tramways, melbourne, sculpture, art works, flinders st, spencer st, tram 1040

Dubbed from original recording with introduction by Joh Ebeli 2002 General chit chat and banter between Joh Ebeli and Alan Marshall on various current affairs, matters of the past and artists and Joh's method of sculpture production. Topics include gold prospecting, Smith's Gully, Politician Jim Cairns, artists Neil Douglas and Pablo Picasso. See also EDHS_00666 colour photo of Alan taken by Joh Ebeli and EDHS_02441 photo of plaster cast modelCompact audio cassette TDK D60 IEC I/Type I Converted to MP3 file; 33.8MB, 0:32:19 Case labelled "Alan Marshall talks while Joh Ebeli is sculpting his face in #1977 - in his bungalow in Eltham"alan marshall, alan marshall bungalow, artists, audio cassette, audio recording, eltham, joh ebeli, sculptures, gold prospecting, smiths gully, sculpting

This work is from a series centred around the Chinese proverb “to hold a book in one’s hand is to hold a house of gold” in which the artist positions himself within sites of colonial power. Set within the National Wool Museum gallery, the artist references the pose of an exhausted shearer after a long day of arduous labour. However he is reclining while reading The Fire Stick by Wulla Merrii, a novel set against the 1891 Queensland Shearer’s Strike, questioning cultural stereotypes and how they pertain to concepts of work and leisure. Dressed in sub fusc, his official uniform as an Oxford scholar, Thompson is a defiant intellectual challenging past and continued misperceptions of First Nations people, while embracing both the intersections of his identity and his ancestral heritage. Dr Christian Thompson AO is a Bidjara man of the Kunja Nation with Irish and Chinese heritage. His practice spans across video, photography, sculpture, textiles, performance and sound, evolving through a process of auto – ethnography. While employing various modes of research, he connects his own experience to larger social, political, cultural meanings and understandings. His doctoral research and art practice has had a critical impact on International and Australian art, making global history as one of the first Australian Indigenous students at Oxford University. In 2018 he was made an Officer of the Order of Australia for distinguished services to the visual arts and as a role model to young indigenous artists in the Queen’s Birthday honours list.Framed photograph showing a man dressed in an academic gown, laying on their back holding a book. The setting is a reconstructed shearing shed, inside the galleries of the National Wool Museum.dr christian thompson, first nations, artwork, photography, oxford, heritage, national wool museum

This majestic peacock embodies the technical achievement, skill and ingenuity of artisans during the 19th century. It is now known as the 'Loch Ard Peacock' and was designed and modelled in 1873 by Paul Comolera (1818-1897) and fired in one piece at the Minton factory at Stoke-on-Trent in the United Kingdom in 1875. The peacock has been portrayed in symbolic motifs and has figured heavily in folktales and fables since antiquity, and many cultures around the world see it as a symbol of beauty, rebirth and power. Wealthy Victorians loved majolica, and the large peacock would have been the ultimate home accessory as a conservatory ornament – combining their desire for nature, the exotic and vibrant colours. The peacock model was listed in catalogues by Minton & Co. for a retail price of 35 guineas or sold as a pair for 90 guineas. Minton & Co. was founded in 1793 by Thomas Minton (1765–1836) and became a famous pottery and porcelain manufacturer. Comolera was a French artist and sculptor, renowned for dramatic naturalistic forms and life-size renditions of birds and animals that won him admiration in public and artistic circles. He was employed by Minton & Co. from 1873 to 1880, and the life-sized peacock became his best-known work. Comolera kept a live peacock loaned from the nearby Duke of Sutherland's Trentham Hall Estate in his studio to create a life-size model of fine buff earthenware model, which was then hand painted in brilliantly coloured green and blue glazes to mimic the peafowl’s dazzling plumage. There are no surviving production records, but according to documents in the Minton Archive, nine peacocks were made by Comolera. However, today, some historians now believe that twelve were fired at the Minton factory; research is ongoing. These peacocks were so admired that Minton & Co. used them as exhibition showpieces at International Exhibitions in London, Paris, and the United States of America, ensuring the company had a worldwide reputation. So, when Melbourne hosted an International Exposition in 1880, Minton & Co. sent out ceramics and tiles, and in particular, this peacock was intended to be part of their exhibit in the British Court in the Exhibition Building, built in the Carlton Gardens. The early dispatch date (1878) indicates that the company may have intended to exhibit their wares, including the peacock, at the 1879 Sydney International Exhibition, but the company did not take up this option. The ship that Minton & Co. used to bring the peacock and their other wares to the Australian colonies was the ill-fated Loch Ard, which sunk after striking Mutton Bird Island near Port Campbell, Victoria, in calm foggy weather in June 1878 on the final leg of the ship's journey to Melbourne. The loss of 52 lives made it one of Victoria’s worst shipwrecks. Therefore, this peacock never made it to the grand exposition in Melbourne, as Minton & Co. had planned. Charles McGillivray dragged this peacock, still in its original packing case, onto the beach in the gorge just two days after the Loch Ard went down. The peacock was rescued unscathed apart from a chip on its beak (only repaired in 1988). After a disagreement with a Melbourne Customs Officer, Joseph Daish, McGillivray stopped his salvage operations, leaving the peacock on the beach. The second salvagers were James Miller and Thomas Keys. Miller was a member of the firm Howarth, Miller and Matthews, Geelong, who had brought the salvage rights to the Loch Ard wreck on 10 June. When Miller and Keys arrived at the wreck site, a storm had washed many of the salvaged goods, including this peacoc,k back into the sea. The two men found the peacock in its case ‘bobbing along in the water’ and pulled it back to the beach. To ensure the peacock wasn't washed out to sea again, Miller and Keys hauled the packing case containing the peacock up the gorge's cliff face to the top, ready to be transported. In an interview in 1928, Keys claimed that at the time of the rescue, the head had broken from the body. This account was proven to be true in 1988, following the birds' display in Brisbane. This peacock began its life in Australia, not in the grandeur of an International Exhibition as intended, but in the hallway of a simple domestic house in Geelong. It appears Minton & Co. did not attempt to buy this peacock back. Florence Miller, daughter of James Miller (Loch Ard salvage rights holder), later remarked that the only item of real value rescued from the wreck had been the peacock and that this had been kept by her father in the family home at Malvern for many years and became a treasured family possession. As such, this 'Loch Ard peacock' was almost forgotten and mistaken with other Minton peacocks around the world. Miss Florence Miller tried to sell the peacock due to financial difficulties in the 1930s but was unsuccessful. While attempting to sell her Loch Ard relic, it was displayed in the window of the old Argus newspaper office, which was at 76 Collins Street, Melbourne; the Argus had relocated to the corner of Elizabeth and La Trobe Streets in 1926. Between 1935 and 1939, the old Argus building was occupied by the Joshua N. McClelland Print Room, which sold not only paintings and prints but also antiques and authentic replicas, as well as hosting exhibitions. Miss Florence Miller loaned her peacock for display at the Victorian Historical Exhibition held in the National Gallery on 1st June 1935, the 57th anniversary of the Loch Ard wreck. As a result, the peacock attracted public attention in books, newspapers and magazine articles that told the story of its survival from a shipwreck. Miss Florence Miller was keen to sell the peacock, even writing overseas to Captain Blain on November 30th, 1938, about the possibility of a sale, but this became no longer possible due to the outbreak of war. Recent information points to the Loch Ard peacock being owned by John S R Heath before its sale to Frank Ridley-Lee in May 1941. Research is ongoing, but it seems likely that John Samuel Robert Heath, a leading Melbourne dentist with a practice in Collins Street, and his wife, a dental mechanic, had purchased Miss Miller’s Loch Ard peacock before its sale in 1941. They were lovers of fine arts, music, wine and food. The peacock in the window of the old Argus building could have attracted their attention as they had already purchased the old stone Presbyterian Church on Warrigal Road, Oakleigh, in 1933 and had converted its interior. The home, renamed The Studio, even included Melbourne’s first all-electric kitchen. The peacock was perfect for display in the Studio’s entrance. A magazine article published after the conversion was completed included photographs of the interior. The picture of the ‘portico’ had a caption below that stated, “Some of her [Mrs Heath’s] finest pottery was salvaged from the Loch Ard Wreck”. In 2025, Heath’s two remaining sons remember running around in the entrance with the peacock standing there, oblivious to its value. Heath was an accomplished artist, studying under Max Meldrum. He painted and exhibited his works at The Studio and in a public exhibition, and he was a finalist eight times in the coveted Archibald Prize portrait competition, including the submission of his self-portrait that is now part of his grandson’s collection. The next owner of the Loch Ard Peacock was Frank Ridley-Lee. He displayed it at his home in Ivanhoe after buying it at an auction in May 1941. The peacock remained in the hands of the Ridley-Lee family until it was offered for sale by auction in 1975 as part of an art collection belonging to Mrs Ridley-Lee's estate. The peacock was not sold at this time, as the reserve price of $4500 was not met. This news was passed on to the board of the newly created Flagstaff Hill Maritime Village. Urgent efforts were made to collect the necessary money through fundraising by the Warrnambool City Council and public donations. The Fletcher Jones Company and the Victorian Government contributed half the cost. On 9 September 1975, the Loch Ard peacock was purchased by Flagstaff Hill Maritime Village, and it found a new home at the maritime museum. Since then, it has only left Warrnambool twice. Firstly, in 1980, at the centenary celebrations of the Royal Exhibition Building in Melbourne, and secondly, in 1988, the peacock was given pride of place at the entrance to the Victorian Pavilion at the Brisbane World Expo, acknowledging that this Minton Majolica peacock is the most significant shipwreck object in Australia. The Minton majolica peacock is considered of historical social and aesthetic significance to Victoria and is one of only a few 'objects' registered on the Victorian Heritage Register (H 2132), as it is a most notable and rare object associated with the Minton factory of the 1870s and works by the celebrated sculptor Paul Comolera along with the wreck of the Loch Ard on the Victorian coastline. This Minton peacock is historically significant for its rarity; it was one of only 9-12 known to exist. The shipwreck of the Loch Ard is also of significance for Victoria and is registered on the Victorian Heritage Register Ref (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's early social and historical themes. The collection is historically significant is that it is associated, unfortunately with the worst and best-known shipwreck in Victoria's history. The peacock, resplendent in polychrome glaze, stands perched on a rocky plinth decorated with vines, leaves, flowers, blackberries and wild mushrooms. The peacock’s breast is cobalt blue; the wings and legs are in naturalistic colours. The tail is a mass of feathers coloured in green, ochre blue and brown — a fantastic display of artistry and Minton expertise. Inscribed at the base :P Comolera, and a Minton & Co. design number: 2045.flagstaff hill, warrnambool, maritime museum, shipwreck coast, loch ard, loch ard gorge, peacock, paul comolera, victorian heritage register, minton peacock, minton & co., stoke upon trent, bird figures, mintons, ceramics, international expositions, majolica, naturalistic, staffordshire, john samuel robert heath