Made for the Hastings seafarer centre which opened in the later half of the 20th Century Colour photograph of a contemporary Altar hanging behind a hand crafted altar in wood designed with a key design element resembling a circular lifebuoy or life belt inset into the front panel.hastings

After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a number of real estate agents in Melbourne between 1983 and 2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Contemporary, two storey residence, built in 1982 to a design by the architect Wayne Gillespie. Pen and ink architectural drawing on drafting film of 46 Mary Street, Kew by Margaret Picken.46 MARY ST., KEW / MARG. PICKEN '87 / WOODARDS KEWartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 46 mary street - kew (vic).

Donated by Mrs Brian Jasper.Coloured post cards in folder with views of Rutherglen and District. This one is the tasting room at Campbell's WineryOn message side of card: "Rutherglen, Victoria. Spacious contemporary tasting rooms forms part of the old established winery of Campbell's. | NCV.1053 Nucolorvue Productions Pty Ltd."campbells winery, winemaking

Soft-covered book by Valerie Polley, Warrandyte Historical Society, featuring photographs, sketches and text outlining early and contemporary development of Warrandyte township and community, first published in April 2014.Front cover - Peace Day celebrations in Warrandyte, July 1919. Acknowledgements: The book project Wonderful Warrandyte-A Portrait was made possible by a grant under the Australian Government's 2012-2013 Your Community Heritage Program (Your Community Heritage - Sharing Community Heritage Stories). Several members of the Warrandyte Historical Society were involved in this book project which evolved after several years of development ideas. Valerie Polley wrote the text and selected photographs. Special thanks go to the Steering Committee of Margaret Kelly, Andy Bevan-Jones, Richard Morton and Wayne Rankin for their knowledgeable input and beneficial editing advice, Murray Houghton for his specialised historical knowledge and advice on further references, and Diane Baird for editing. The book would not have been possible without all the dedicated work of the Society's members, past and present, who have contributed to the Society's substantial archive. All proceeds from the sale of this book go to the Warrandyde Historical Society. Photographs: Stephen Reynolds, Austin Polley, Valerie Polley, Wayne Rankin, Ron Harris, Merv Naughton. Flora and Fauna photography by Nth Warrandyte, Osborne Peninsula, Landcare, Inc. Maps: Jock Macneish

Reproduction of the 1835 journal of Andrew/William Todd, recorder and assistant to John Batman, with numerous contemporary illustrations of early settlements and landscapes. Notes on the customs and many incidents with Victorian and Tasmanian Aborigines.maps, b&w illustrations, b&w photographsjohn batman, victorian history, andrew todd, william todd

Balang [John MAWURNDJUL] (1952 - ) Born Mumeka, Northern Territory Country: Milmilngkan, West Arnham Land, Northern Territory Clan: Na-Kurulk Language Group: Kunwinjku Location: Milmilngkan John Mawurndjul is an Australian indigenous artist. He is a member of the Kuninjku people of West Arnhem Land, Northern Territory. Growing up John had only occasional contact with non-indigenous people and culture. He was tutored in rarrk, a traditional painting technique using fine cross hatching and infill, working on small barks. During the 1980s he started producing larger and more complex works. The artist has painted 'Wayarra', a generic term which can include both malevolent spirit beings which continually inhabit certain sites or objects but can also mean the Spirit of a recently deceased person. These spirits are one of two spirits of the dead, the other being the 'Kun-malng' soul. The 'Wayarra' is the shadow or 'shade' of the dead and may take on the form of the deceased and haunt areas where the deceased recently inhabited. In order to prevent Wayarra spirits from harassing relative of the recently deceased, a smoking ceremont is performed where Ironwood leaves are burnt around the camp of the recently deceased and ochre is rubbed on all objects belonging to the deceased. Ochre may also be rubbed on vehicles, houses and trees. Some Wayarra are a particular Dreaming totem for people of certain clans. This is why many artists depict Wayarra in their bark paintings and sculptures. They are depicting clan totems particular to their lineage and which are celebrated in major regional patrimoiety ceremonies. In 1989 the work of John Mawurndjul was included in the landmark exhibition "Magiciens de la Terra' at the Centre Pompidou and Grande Halle de la Vilette in Paris, France. His works have also been exhibited in numerous solo and group exhibitions in Australia, New York, Paris and Japan. Mawurndjul is one of eight artists whose work in part of the largest inernational commission of contemporary Indigenous art from Australia at the Musee du Quai Branly, Paris. The work was exhibited in the Australian survey "John Mawurndjul: I Am The Old And The New", at the Museum of Contemporary Art, one of the 160-odd works all chosen by Mawurndjul for inclusion in the exhibition. 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.This artwork was chosen by John Murwurndjul as on of around 160 works for exhibition in the 2018 Australian Survey of his work at the Museum of Contemporary Art. The artist is known for his rarrk work, which is evident in 'Female Wayarra Spirit'.Aboriginal bark painting featurung rarrk. The artwork is associated with Dilebang, a duwa moiety place that belongs to the Kurulk clan. This work is currently on loan for exhibition in 'John Mawurndjul: I am the old and the new'. The exhibition will be shown at the Museum of Contemporary Art Australia (Sydney) from 6 July – 23 September 2018, and the Art Gallery of South Australia, Adelaide from 26 October 2018 – 28 January 2019.art, artwork, john mawurndjul, aboriginal, bark painting, rarrk, wayarra, kuninjku, maningrida, loan

Technical linguistic grammar based on historical and some contemporary sources of Yorta Yorta and the closely related Yabula Yabula language. Includes Yorta Yorta-English vocabulary and English-Yorta Yorta finder list.word listsyorta yorta, bangerang, yabula yabula, ngarimoro, murray goulburn, yeilima, grammar, luise hercus, sharon atkinson, e.m. curr, kinship relations, historiography

"Hedge Hopping" over Kew. About mid day on the 23rd of July, 1924 an A.R.27 (Avro 504 K) plane piloted by Arthur Affleck "buzzed" the house at 91 Wellington Street, Kew, so low that the pilot was easily recognised from the ground and returned our eager waves, he then flew north to "buz" his mother at 27 Kent Street, Kew, which is situated near the west gates of the Boroondara Cemetery and after several circuits around noticed that a horse drawn funeral had been disturbed while entering the Cemetery - the horses taking fright. On observing this the pilot then returned to Point Cook where he reported 'engine trouble' over Kew. Small black and white photographic positive showing Marion Isabel Dudley standing on the porch of her house which is believed to be at 91 Wellington Street, Kew. The photograph is attached to summary text and contemporary press reportsReverse: "KH-167 / Marion Isabel Dudley the girl Arthur "hedge hopped" to see in Kew 24th July 1924"dudley family, marion isabel dudley, arthur affleck, boroondara general cemetery

First day cover date stamped 15 Feb 2001 and titled Army 100 Years of Service. Two stamps depicting historical and contemporary images. The upper left image of the covers feature a female soldier

Robert Thomas Miller Born in Melbourne in 1916 Studied commercial art at RMIT and for many years worked as graphic designer and design director at ACI Ltd. Member of the Victorian Artists's Society (Council member since 1965), Australian Guild of Realist Artists, Old Water Colour Society Club (past president), Australian Watercolour Institute, Hughesdale Arts Group (past president), Burnie (Tas.) Coastal Art Group. His watercolours have won over 40 major awards, including Victorian Artists' Society, 1973 Artist of the Year Award, and the Rotary Club of Camberwell Watercolour Prize (twice). Represented in many Australian collections both public and private.Maritime ArtRobert T. Miller, Mission to Seafarers Victoria CollectionContemporary framed in limed wood, mounted and glazed watercolour painting by R.T. MILLER in portrait format. Mat mount is white. Image features freighter with black hull at mooring in dockland setting; wire hanging systemInterpretation label adhered to back, includes photographic portrait of the artist Value on label Signature M4 in black markermarine painting, port melbourne, artwork, docklands, tug boat, robert thomas miller, robert t. miller, r.t. miller, artwork-paintings, tugboat

This is a reprint of an original which was published in Melbourne by Butler &​ Brooke, Little Collins Street East. The original printer was W.H.Williams, 23 Little Bourke Street, Melbourne. On the spine was the title: Wood's Point and Gipps Land general directory, 1866.This is a copy of contemporary records of residents and businesses of Woods Point and Gippsland of 1866. It is a useful research tool.A soft covered 97pp book covered in clear plastic. The cover is blue with the title "Butlers Wood Point and Gippsland Directory" in black print with a black page border. It is a directory of residents, contemporary businesses (1866) and road guides. directory-gippsland-1866 butlers-directory

An oil painting of Professor Douglas Joseph seated in a contemporary setting with a large open book on his lap, surrounded by objects of art on the walls behind him and on coffee tables. The work is set in a simple gold coloured frame with no mount.oil painting, oil paint, portrait, reproduction

This work was completed during Harper's Laughing Waters residency at Boomerang House, 2001. The Laughing Waters Artist in Residence Program was run by Nillumbik Shire Council (in partnership with Parks Victoria) 2001-2015. "My painting is about colour and form, and their relationship. I am interested in what one colour does to another colour, the weight of a colour and the feeling of a colour. Colour is very complex; I am looking and responding to what I see and what interests me." Melinda Harper in Artist Profile journal article by Melissa Pesa, 2015.The painting is representative of Harper's artistic practice and the vivid colours and abstraction particular to her work. Small-medium sized oil painting of vivid, bold, coloured shapes arranged in a kaleidoscope pattern. There is an array of colours each placed in proximity to each other to create a vibrant, lively atmosphere. Anna Schwartz sticker on back of canvas. harper, untitled, 2002, contemporary, laughing waters, boomerang, abstract

Twelve pages booklet: Lansell's Fortuna. On the front and back cover conceptual drawings for the development of Fortuna Villa by the contemporary architect W.O. Beebe. After an introduction by the Commanding Officer the book details the history of Fortuna and then it gives instruction on the best tour route.place, fortuna, fortuna villa

Contemporary ArtAcquired with funds raised by The Friends of Benalla Art Gallery, 2014Partial portrait depicting indigenous person with paint covering part of face. Unframed work. Recto: Not signed, not dated, not titledpainting, portrait, indigenous, paint

"Art is the vehicule for communications far Beyond the confines of a space, while design is the aesthetic cradle in which messages are nurtured and processed." "A 586 rework of the iconic building that has withstood the redevelopment of the Melbourne Docklands and defied the odds. On display a large format print 700mm x 1400mm print. Also a limited run of smaller prints on archival paper also available to support Melbourne's first non-profit charitible organisation that is still self funded, ie. not government funded." During the Open House Melbourne 30-31 July 2011, the artist nicknamed "586" participated in one of the Norla Dome Project Space events sponsored by Bendigo Wealth. Made in Melbourne, 586 is an urban digital experimentalist who blends social narrative with found image creating messages that inspire social consciousness and free thought. Cast in a local foundry back in 1991, 586 was a number, amid hundreds of men working between the ladie and the furnace in a clock on - clock off automated industrious landscape. Legend tells of a time when correspondance to workers was addressed to their number, not their name. Disapproval spread rapidly and a revoit soon followed, eventually the power of the masses won out, but the demoralizing treatment of the worker would go on to shape 586's perception and became the catalyst for a personal protest against social imbalance. This print was on display and smaller prints were also sold to raised funds for the Mission.DigitalLarge digital print of a design that overlays various symbols ( 4 flying angels ), the sails of a sailing ship and contemporary cityscapes and seascapes. centrally features a full photograph of the Mission to seafarers building at 717 Flinders St. Melbourne. Mounted in a large black frame and glazed with perspex .mission to seafarers, flinders street, melbourne, windvane, dome, flying angel, sea, norla dome, bendigo wealth, artist 586, 2011, artwork-paintings, open house, norla dome project space

Formal photograph of five rows of school children with centre bottom row child holding blackboard stating Golden Square State School Grade 2. Biro caption 'second row --Mum' is not contemporary with photograph exposure, and most probably refers to W G Dahl daughter.bendigo, education, golden square primary school

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.‘Heart of Gold’ buttons were produced for the Homeopathic (Prince Henry’s) Hospital’s Button Day Appeal in 1921. Contemporary newspaper accounts noted that the slogan was of American origin. A variety of buttons were produced costing from 1/ to £1. In the campaign, button selling in Kew raised £77."Heart of Gold: Homeopathic Hospital Appeal 1921"homeopathic hospital, badges, fundraising buttons, prince henry's hospital - st kilda road - melbourne (vic.)

This bust was commissioned and made in the years before Holroyd's retirement from the bench. It is not known precisely when the bust entered the Library collection or the circumstances of its execution and commission. Justice Holroyd (1828-1916) was a judge of the Supreme Court for 25 years, after a successful career at the bar. Charles Web Gilbert (1867-1925) was a largely self taught sculptor, only tackling the medium of marble in the years before World War One. After the war he made a number of War Memorials, but his best known work is his statue of Matthew Flinders, the explorer, in Swanston Street.The portrait of Justice Holroyd is of interest as an unusual depiction and commemoration of a Judge. It is notable as a work by the distinguished Australian sculptor Charles Web Gilbert.Marble portrait bust of Justice Edward Holroyd. The bust is made of white carrara marble. The pedestal is made of rouge marble. The bust is slightly larger than life size. The head is finely detailed, Holroyd is shown wearing contemporary clothing, but the detail is less fine, than for the head and beard.The bust is signed and dated 1901

Pru Sanderson, in her groundbreaking ‘City of Kew Urban Conservation Study : Volume 2 - Development History’ (1988), summarised the periods of urban development and subdivisions of land in Kew. The periods that she identified included 1845-1880, 1880-1893, 1893-1921, 1921-1933, 1933-1943, and Post-War Development. These periods were selected as they represented periods of rapid growth or decline in urban development. An obvious starting point for Sanderson’s groupings involved population growth and the associated economic cycles. These cycles also highlighted urban expansion onto land that was predominantly rural, although in other cases it represented the decline and breakup of large estates. A number of the plans in the Kew Historical Society’s collection can also be found in other collections, such as those of the State Library of Victoria and the Boroondara Library Service. A number are however unique to the collection.The Kew Historical Society collection includes almost 100 subdivision plans pertaining to suburbs of the City of Melbourne. Most of these are of Kew, Kew East or Studley Park, although a smaller number are plans of Camberwell, Deepdene, Balwyn and Hawthorn. It is believed that the majority of the plans were gifted to the Society by persons connected with the real estate firm - J. R. Mathers and McMillan, 136 Cotham Road, Kew. The Plans in the collection are rarely in pristine form, being working plans on which the agent would write notes and record lots sold and the prices of these. The subdivision plans are historically significant examples of the growth of urban Melbourne from the beginning of the 20th Century up until the 1980s. A number of the plans are double-sided and often include a photograph on the reverse. A number of the latter are by noted photographers such as J.E. Barnes.The subdivision, ‘Maxwelton’, included four lots in East Kew, at the northwest corner of Burke Road and Cotham Road. Lot 3 is identified as the location of an existing house. The site of the subdivision equates to that parcel of land where a contemporary block of three storey apartments at 1245 Burke Road is now located.subdivision plans - kew, mazwelton subdivision, burke road -- kew (vic.), cotham road -- kew (vic.)

Lou HUBBARD (1957 -) Born Brisbane, Queensland After a career in the film and television, Melbourne based artist Lou Hubbard completed a Master of Fine Art at RMIT University in 2001. She works primarily with video and installation, and has exhibited widely throughout Australia and internationally, Lou Hubbard is currently the Head of Photography at the Victorian College of the Arts. In announcing the award 2015 Guiguis New Art Award the judges applauded Lou Hubbard on her compelling installation, which comprised a deflated, disembowelled latex horse collapsed over a Coalbrookdale patio chair, table and bench seat situated over a skateboard and plastic dog. “Occupying a space between the traditions of equine, assemblage and unmonumental sculpture, Lou Hubbard’s Dead Still Standing confounds and compels viewers in its uncanny play of materials and movement,” senior curator, contemporary art, National Gallery of Victoria and judge Max Delany said. “In this elaborate yet concise work, Hubbard has created a form of surprising and unsettling effect that reflects our experience of a world in translation.” The win came as a surprise for Hubbard, who said she was overwhelmed at the talent of all 15 finalists. “I was so surprised, because I was in good company with the other artists, who were all quite extraordinary,” she said. “In the nature of the competition, I feel very lucky.” With multi-layer meanings to her piece, Hubbard said it was actually Ballarat’s rich history that inspired her work. She said it was the Ballarat goldfields and the idea of what horses might have gone through during those years that gave her a concept to work with. But that wasn’t the only source of ideals portrayed in the piece – Hubbard also explored the effect training had on horses. “The horse stands in a way that portrays (how) the human exhorts the way of training,” she said. “The horse is edging like it wants to move, which is impossible, and the furniture acts in lots of ways. The chair, for example, is like the horse’s ribs, which are being ripped out.” It was these multiple meanings that also had the curator of the Post Office Gallery, Shelley Hinton, impressed with the work. “The work challenges us ethically and culturally, in a way that pleads for analysis, as we do in our complex daily lives,” she said. Lou Hubbard's 'Dead Still Standing' won the was awarded the prestigious $20,000 Guirguis New Art Prize in 2015. The Federation University Guirguis New Art Prize was a national biennial and aquisitive contemporary art prize. The $20,000 biennial acquisitive prize was sponsored by Ballarat surgeon Mark Guirguis, administered by Federation University Australia and presented in partnership with the Art Gallery of Ballarat.The genesis of the prize was to raise the profile and encourage the Art School of what was then Ballarat University. lou hubbard, guirguis, guirguis new art prize, sculpture, horse, animal, installation artwork

When I first returned to our family plantations in Bảo Lộc Vietnam, I was given a handful of tea seeds by my late grandmother. Returning to Australia, my family managed to propagate a line of tea plants and seedlings which they still swap and trade with family friends and neighbours; maintaining a culture of storytelling, care and entrepreneurship that has helped them survive both war and political exile. Nillumbik Prize Contemporary Art 2021 winning open artworkMoving Image