This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From: Glen Eira Heritage Management Plan (1996) by Andrew Ward and Associates In 1905, the land was vacant in Balaclava Road, north side, from Kooyong Road east to the right of way, except for one house. A block of this land was acquired by the Presbyterian community and a timber church erected there in 1910. In time, a larger church was required. After several years of fund raising led by George Kinross, a new red brick St Stephen's church was built in 1926 to the design of architects Haddon and Henderson. George Currie was the builder and the cost of construction was £5,100.From: Glen Eira Heritage Management Plan (1996) by Andrew Ward and Associates: St Stephens has architectural importance as a noteworthy example of a Gothic Transitional design in the Arts and Crafts eclectic manner (see Stylistic Typology in National Trust's Historic Church's Study}. The facade treatment successfully combines Christian symbols with Gothic forms in the Arts and Crafts mode (comparable with Haddon's Presbyterian Church, Malvern (1906) and Haddon and Henderson's Oakleigh Church (1928). It is locally important as an example of Robert Haddon's work in Caulfield, where he also lived (4 Glenferrie St q.v.).Page 26 of Photograph Album including three black and white photographs of St Stephen's Presbyterian Church, with two photographs in portrait mode across the top showing 2 different stained glass windows from the inside; and one in landscape mode in the bottom section which appears to be a photograph of a framed photograph or drawing of the church.Hand written: St Stephen's Presbyterian Church Balaclava Road [top right] / 26 [bottom right]trevor hart, caulfield north, balaclava road, george kinross, haddon and henderson, george currie, st stephen's, 1900's, 1920's, gothic transitional, christian symbols, arts and crafts, robert haddon, stylistic typology, gothic, drawings, presbyterian church, architects, lead lights, stained glass windows

The first school of Mines in Australia was established at Ballarat in 1870. At the time of its jubilee (1930) the following people were members of the School Council: W.H. Middleton (President), W.T. Humphreys (VP), J.S. Vickery (VP), F. Barrow, Col. W.K. Bolton, William Baragwanath, A.E. Cutter, J.N. Dunn, G. Fitches, W.H. Fleay, F. Herman. W.D. Hill, T. Hurley, K. Kean. J. Kelly, L. Lederman, Mayor of Ballarat, Mayour of Ballarat East, D. Maxwell, M. Martin, R. Maddern, D. Ronaldson, F. Saunders, R. Stephenson, A.O. Stubbs, R.E. Tunbridge. The School Staff in 1920 comprised: Herbert H. Smith, Walter Rowbotham, Reginald L. Cutter, M.C. Young, Hilda Wardle, M. Wiliamson, P.S. Richards, L.H. Archibald, J. Woods, Ken Moss, W. Kenneth, Mrs McIlvena. B. Robinson, S. Rowe, E. Hope-Jones, Miss Abrams, L.St.G.P. Austin, Alfred Mica Smith, J.R. Pound, Herbert R. Murphy, N.H. Junner, Maurice Copland, L.H. Archibald, E.J.A. McConnon, Newton King, D.m. Hull, T.R. Gordon, John M. Sutherland, T.K. Jebb, Dick Richards, C. Tonkin, A.W. Steane, J. Paterson, H.W. Malin, R.V. Maddison, S.M. Mayo, F.A. King, W.H. Steane, T.R. Gordon, T.A. Williams, H. Waldron, G. Black, E.J. McConnon, R.V. Duncan. R. Cutter, E.G. Vawdrey, Hilda WardleWhite stapled booklet - landscape format - 20pp + soft covers with blue writing. Includes an historical sketch of the Ballarat School of Mines. Contains images of the school from around 1920. The history outlined in the booklet follows: 'Ballarat has helped to influence the life and destinies of Australia in many ways, the recital of which would perhaps prove tedious to the citizens of less favoured localities! However, it can be said, without much fear of contradiction, that only less known thought Australia than its fame as a gold field is the reputation won for it by its school of Mines, ... Ballarat was still quite a new place when the School was founded, but a very propserous and popular place all the same, with a go-ahead lot of citizens brim full of the spirit of enterprise which seemsto animate mining populations generally. Money was plentiful, and they launched out into ventures, which later, were to develop and take the place of the gold mines, while what is more to the point, they understood the value of education. the old digging days were passing away. So far as Ballarat itself was concerned the day of the cradle and tin dish had already passed into an antiquity "as dead and distant as the age of the Tubal Caon," said dir redmond Barry on declaring the School open. Mining had become a serious business, and the mining engineer, the metallurgist, and the geologist had become a power in the land. In these circumstances the suggestions to found a School of Mines met with ready acceptance. The late Mr James M. Bickett had the honor of bringing forward the proposition at a meeting of the Ballarat Mining Board in October, 1869. it was agreed to, and the Government, having been approached for assistance, granted a lease of the old Supreme Court buildings at a nominal reantal. A modest sum, including 100 pounds from the Borough Council of Ballarat West, was subscribed by a number of sympathisers, and on the 26th October, 1870, the inaugural address was delivered by Sir Redmond Barry, the first President of the School. Classes were commenced on the 23rd January, 1871. The students at first were mostly adults. They were chiefly men emloyed at the mines, who had the wisdom and energy to devote their spare time to study, and, though their attendance was somewhat irregular, they made very good progress. Old prints which have been preserved show them at work at furnaces, big bearded men of the old-fashioned type of miner. It is interesting to note that among those who gave evidence and encouragement was Sir Roderick Murchison, who many years before had advised Cornish miners to emigrate to Australia to search for gold, and who in 1848 was in possession of gold ore sent from this country. Sir Roderick sent a parcel of books for the library, and gave useful advice as to the curriculum which should be adopted. The Museum, which now contains a most valuable collection of minerals, was one of the first things attended to, and the reports presented to the Council from time to time speak of additions being made from all parts of the world. New equipment was constantly being added to the School, a good deal of assay work was done, and some specimens were sent from the East Indies for examination as far back as 1873. By this time there was a difficulty in providing accomodation for the students who wished to enrol, and the number of instructors had grown from two to four. In 1882 the first building was being erected on what was then part of the gaol reserve. A little more than ten years afterwards a buildnig formerly serving as a Methodist Church was absorbed, while later on, the demand for accomodation increasing, the attack upon the gaol was renewed. The School continued to grow in reputation and size, and became the science centre of the district, and in 1889 a learge new building was opened by Sir Alexander Peacock. Students came from over seas as well as from all the States of Australia, and after going through their courses they took with them the name and fame of the old School to all parts of the globe. School of Mines boys have played a great part in developing the mining fields of Western Australia, South Australia, and africa, while old students who have made a name in their profession are constantly dropping in to see how the old place is getting along. It was not to be expected, however, that the Ballarat School would be left without rivals, its very success inspiring competition. Mining Schools were started in other parts of Australia, and, at the same time, Victoria ceased to hold first place as a mining state. On the other hand there was a great advance in manufacturing, and the demand for technicaly trained men became a great and as insistent as ever it had been for trained mining men. The Council was quick to adapt the school to the new conditions, and the result is seen in the institution, which is one of Ballarat's proudest possession. Instruction is given in all branches of technical work, and the classes are filled with students who are building up for Ballarat a reputation as an industrial centre, which promises to equal that which it formerly held as a mining town. Owing to its bracing climate, its abundant opportunities for recreations, and its accessibilty, Ballarat as a city is an ideal place for educational purposed, and is yearly becoming more and more appreciated throughout the State. The chairman of one of Ballarat's biggests industries claims that the workman can do twice the day's work here that he can do in Melbourne. he was a little enthusiastic over it, perhaps, but it is a well-known fact that the healthy and invigourating Ballarat climate is conducive to both physical and mental activity, and the records of the School provide ample proof of it. One of the most interesting and successful branches of the School of Mines and Industries - if the name be enlarged with the enlargement of its scope - is the Technical Art School. "The City of Statues" has from its earliest days been a stronghold of art. Art schools have flourised here, and in 1905 the Education Department came to the conclusion that the best thing to do with them was to place them under the management of the School of Mines Council. A magnificent new Technical Art School was built at a cost of some 12,000 pounds on the site of the old Supreme Court building, and was formally opened on the 23rd July, 1915. The results have not only been justified but surpassed all anticipations. The most comprehensive list of subjects is taught, and this list is constantly added to. Students have flocked to the art School, which may be said to occupy a unique position in Australia, and its record of success is really astonishing. Its students supply art teachers for the newer schools that are being built, and many occupy leading positinos in important business houses. So well is its reputation known that orders are constantly being received, not only from Victoria, but from other States, for honor boards and challenge shields to be designed and made. The most recent addition to the School of Mines and Industries is the Junior Technical School, for which a new building is now being erected on a portion of the gaol site, transferred to the School of Mines Counci by the Government. At the present moment temporary quarters are being occupied. Some students after passing through the Junior School go straight to employment, continuing perhaps to attend the evening trade classes, while others move on to the senior School. In a review of the work of the School of Mines mention must be made of a series of industrial research carried out under supervision of the Principal. One in particular, regarding the suitability of the local ores for the manufacture of pigments attracted much attention, while the experiemtns on the manufacture of white potery from Victorian clayes were considered of sufficient importance by the Federal Advisory Council of Science and Industry to warrant the appointment of a special investigator. The results of these have been most encouraging, and may have far-reaching consequences. The vocational training of returned soldiers also should not be overlooked. The work was taken in hand from the first, before the Repatriation Department gave assistance, and now with the help of the department of the School has become one of the largest vocational training centres in Victoria outside of Melbourne. The soldiers, trained in a variety of occupations, have made remarkable progress, and already considerable numbers have found employment in local workshops and factories. To sum up, the School is divided into the following departments, each well staffed and equipped: - The School of Mines, science, and Engineering; the Techncial Art School, the Boys' Junior Technical School, the Girl's Preparatory Technical Classes, Trade Classes, and the Commercial School. The school of Mines, science and Engineering, comprises the following branches: - Mining, Metallurgy, Geology, Electrical Engineering, Civil Engineering, Mechanical Engineering, Applied Chemistry, and Pharmacy. Battery treatments, Cyanide Testing, Smelting, Assays, and Clay Testing from a regular part of the School's work. Students gaining qualifications obtain concession in their courses at the university, should they proceed there to continue their studies. The technical Art school curriculum includes training in all branches of pictorial and applied art, an Architectural Diploma Course, a Draughtman's Course, technical Art teachers' Course, Photography,Ticket Writing, Art Metal Work, Woodcarving, Needlework, and Leather work. The Trade Classes give instruction in Telephone Mechanics, telegraphy, Carpentry, Cabinet Making, Plumbing, Blacksmithing, Fitting, Electric Wiring, and Printing. Numerous Scholarships are offered every year, and altogether students will find few places to equal the Ballarat School of Mines and Industries as a training place for their life's work. One of the first in the continent to be established, its Jubilee finds it still in the front rank, keeping pace with the times, and offering to the youths of this country the means of taking advantage of Australia's teeming opportunities. william, battery, smith, herbert, drawing from the antique, ballarat school of mines botanical gardens, ballarat school of mines, redmond barry, alfred mica smith, james bickett, museum, dick richards, ballarat junior technical school, s m b, ballarat school of mines and industries, ballarat technical art school, model mine, james m bickett, j m bickett, roderick murchison, vocational training rooms, wesley church, methodist church, alexander peacock, lathes, repatriation, repatriatin department, war service, school council, baragwanath, gold mining, mining laboratory, plaster cast, r.w. richards, anniversary, jubilee

In February 1913 the Ballarat Junior Technical School opened its doors to its 86 pupils. The old bluestone building in the grounds of the Dana Street Primary School became their temporary home for eight years. In its early years the school offered only a two-year course. The first year was of a general nature giving a thorough grounding in Mathematics and Instrumental Drawing, and introducing students to the various branches of trade work. The second-year students studied for the Junior Technical Certificate and specialized in a course of their choice - either a trade (Woodwork or Fitting and Turning) or a course leading to higher studies at the School of Mines. Increased enrolment - 86 to 110 in the second year. Some applicants were turned away due to lack of space. An abandoned single room school was brought in and this helped for a time. Plans were developed and a two-storied red brick building in the vacinity of the School of Mines was build. An acre of land was reclaimed from the north-east corner of the Ballarat Gaol. The school backed onto the wall of the gaol. The task of landscaping and terracing of the area was to cost a great deal and time. The boys did much of the heavy work. This kept them occupied as the official playground areas were still full of rubble.View from the south-east of the Junior Technical School with the slope from the gaol wall down to the area known as the Battery Paddock. The new school building was a two-storied red brick building along the Education Department style of the 1920s. On 9 September 1921, the Junior Technical School building was officially opened. Much work was needed to terrace and landscape the area. Students shown in various areas of the grounds.junior technical school, dana street primary school, bluestone, mathematics, instrumental drawing, junior technical certificate, woodwork, fitting and turning, school of mines, ballarat gaol, landscaping, terracing, gaol wall, cricket

In February 1913 the Ballarat Junior Technical School opened its doors to its 86 pupils. The old bluestone building in the grounds of the Dana Street Primary School became their temporary home for eight years. In its early years the school offered only a two-year course. The first year was of a general nature giving a thorough grounding in Mathematics and Instrumental Drawing, and introducing students to the various branches of trade work. The second-year students studied for the Junior Technical Certificate and specialized in a course of their choice - either a trade (Woodwork or Fitting and Turning) or a course leading to higher studies at the School of Mines. Increased enrolments - 86 to 110 in the second year. Some applicants were turned away due to lack of space. An abandoned single room school was brought in and this helped for a time. Plans were developed and a two-storied red brick building in the vacinity of the School of Mines was build. An acre of land was reclaimed from the north-east corner of the Ballarat Gaol. The school backed onto the wall of the gaol. The task of landscaping and terracing of the area was to cost a great deal and time. The boys did much of the heavy work. This kept them occupied as the official playground areas were still full of rubble. This photograph shows the work that has been done in terracing and landscaping the area.Junior Technical School with the slope from the gaol wall down to the area known as the Battery Paddock. New plantings and rock edging evident in the foreground.junior technical school, dana street primary school, bluestone, mathematics, instrumental drawing, junior technical certificate, woodwork, fitting and turning, school of mines, ballarat gaol, landscaping, terracing, gaol wall

A catalogue titled ' Arthur Boyd: seven persistent images. Regional Gallery Tour 1986-87. Published by the Australian National Gallery 1985. 16 pgs. Ill.person, individual, arthur boyd, aurthur boyd, person, individual, male, artwork, australian art, artist, australian national gallery, exhibition, regional gallery tour, arthur boyd gift, paintings, drawings, landscapes, painter, painting

Bendigo Saleyards Relocation Study - Planning Report and Environment Effects Statement for the City of Bendigo by A E Huefner & Associates Pty Ltd in association with Meldrum Burrows & Partners. Book has a light brown cover with black plastic binder spine. Green and yellow pages separate some sections. The front cover has a sketch of a stock transport with a pig, sheep and cattle behind gates. Contents include: Introduction, Summary, Recapitulation on the Feasibility Report which includes The Need for Action, the Site and Existing Uses Adjacent to the Site, The Proposal which includes Concept, Project Description, Components, Siting of Facilities, Land Clearing, Earthworks, Darainage, Buildings and Structures, Roads and Pavements, Services, Landscaping, Soil Profile and Construction Programme. Invironmental Effects which include Visual Impact Dust, Odours, Effluent, Effluent Treatment System, Traffic, Artificial Lighting, Noise, Operational Failures and Nature Conservation Effects. Statutory Planning Considerations which includes Zoning Controls and Suggested Procedure for Initiating I.D.O. Amendment. Appendices are: A.- Copy of Tit;e, B - Soil Investigation, C - Acoustic Assessment and D - Suggested Draft Amendment to Shire of Marong I.D.O. Contains a photo of the area - View of the Site, looking South and a number of drawings. Copies of various Council Reports referring to the Saleyards Relocation Project. It has a bright yellow cover and a hard plastic type spine. Mentioned in the reports is the cost to bring the old saleyards up to standard and list of improvements. Reports are as at 16th July, 1984. Mustard coloured book with plastic spine titled Bendigo Saleyards Relocation Study Feasibility Report by Meldrum Burrows & Partners in association with A E Huefner & Associates Pty Ltd and Acil Australia Pty Ltd dated September, 1983. Items mentioned are: Introduction, Summary, Background, Role in Livestock Marketing for the Bendigo Saleyards (Acil Australia Pty. Ltd., Saleyard Relocation: Strategic Considerations, Financial Implications and Conclusion. Appendix 1: Estimation of Livestock Population in Catchment Area. Drawings in Fig 1 Existing Bendigo Saleyards and Surrounding Land Uses, Fig 2 Catchment Area for Bendigo Saleyards 1983, Fig 4.1 Estimated Sheep Populatiuon in Catchment Area 1976 - 77 to 1981 - 82, Fig 4.2 Estimated Cattle Population in Catchment area 1976 -77 to 1981 -82, Fig 3 Possible Saleyard Relocation Areas, Fig 4, Directions from which access to possible Saleyard Locations would be obtained - Estimated percentage of sheep to cattle stock, Fig 5 Possible Saleyard Locations - Northern Area, Fig 6 Possible Locations of Saleyards - Inner West, Fig 7 Possible Locations of Saleyards - Outer West. Considerations were made as to renovate the existing saleyards or to move them elsewhere. Effluent, transport and stock movement, and condition of the yards were a problem.bendigo, council, cattle markets, bendigo saleyards collection - bendigo saleyards relocation study - planning report and environment effects statement, a e huefner & associates pty ltd, meldrum burrows & partners, city of bendigo, state electricity commission, mal styles, bendigo college of advanced education, n j fieldew, pryce goodale & duncan pty ltd, p b swift, shire of marong

BHS CollectionGreen cover book of musical sheets titled "Rosie's 8th Dance Album" containing: Toy city barn dance, Holly Berries mazurka, Glen Rosa schottische, Coronation Day polka, Darby and Joan waltz, Babes in the wood polka, Little blue eyes waltz, Baby's birthday waltz. The London Music Publishing Stores. On the inside cover there is a black and white pencil drawing by George Harris of a landscape signed by the author and dated '19. Aileen and John Ellison Collection.music, dance music

'Drawing Book' - attached plate stating 'Student's Name' : Phoebe Lansell.; 'School Number': 161 Other ??. Pinky - fawn coloured cover - string- bound with cardboard pages and separating tissue paper .The front cover has a landscape scene sketch .An angel and cherub are holding back a curtain .A label shows School number 161 .The back cover shows a sketch of 'New Princes Bridge .Melbourne ' and St Patricks Cathedral-Post 1880's 90's .Inside are pencil sketchesperson, individual, phoebe lansell

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century to the present. This series of photos comes from an album entitled 'Aspects of Churchill Island'.Black and white photograph with white border showing the north west corner of Amess House with a view of the drawing room, the sundial, and trees.Catalogue number written on reverse in pen/pencilchurchill island, landscape

Artwork. Norman Penrose collection: 2 examples of using pen strokes for illustrating objects. Pasted onto brown cardboard. 1 example of using pen strokes for shading. 1 example of using pen strokes to draw and shade various objects. Mounted on white cardboard. 1 example of using pen strokes for drawing and shading landscapes. Mounted on white cardboard.drawing, print, norman penrose collection, pen drawing

Original postcard featuring black and white pen and ink sketch of a platypus. Landscape in background; water in foreground. Name of artist in right hand lower corner of card. Also Sanctuary identification printed on front and reverse of card.THE SIR COLIN MACKENZIE SANCTUARY, HEALESVILLE A. JORDAN/FROM A PHOTOGRAPHplatypus, sir-colin-mackenzie, healesville-sanctuary

Gift of the Davidson family in memory of Jean Davidson, 2022ink and watercolour on paper

News Chronicle Newspaper. Coloured newspaper with a drawing of Hitler sitting in a landscape. Has written in red "The War Papers, Part 60"The War Papers, Part 60, Wednesday, January 31, 1945. Adolf Hitler, "We fight, no matter where, till victory. Whoever stabs us in the back will die".wwii, world war 2, the daily telegraph, 1945

Spiral A3 folio with purple cover. A cut out in the centre of the cover shows a concept drawing of the Tatura Town Square. non-fictionA proposal by the Tatura Revitalisation Committee for the development of the Tatura Town Square precinct. The initial design work for the pedestrian precinct, renovation of the existing fountain, landscaping and the installation of the Tatura Heritage Mosaics was done with the assistance of a Victorian Government Price of Place Grant. See L1059, L0764mural, tatura, mosaic, town square, 1998

Spiral A3 folio with purple cover. A cut out in the centre of the cover shows a concept drawing of the Tatura Town Squarenon-fictionA proposal by the Tatura Revitalisation Committee for the development of the Tatura Town Square precinct. The initial design work for the pedestrian precinct, renovation of the existing fountain, landscaping and the installation of the Tatura Heritage Mosaics was done with the assistance of a Victorian Government Price of Place Grant. See L1058, L0764tatura, town square, mural, mosaic

This is a model of the Robin Boyd-designed Tower Hill Natural History Centre, Tower Hill, near Warrnambool, Victoria (1963). It was opened shortly after Robin Boyd died in November 1971. The Archive also holds some of the original architectural drawings (item PL136-P145). This model was created for the House of Ideas exhibition, made by a University of Melbourne, Melbourne School of Design, Masters student.3D timber model of the Tower Hill landscaperobin boyd

GIFT OF PAYNE FAMILYWOOD FRAME PAINTED WHITE, OIL PAINTED LANDSCAPE OF CLUNESlocal history, illustration, oil, paintings, drawings

Reinis Zusters OAM was born 15 October 1918 in Odessa, Ukraine, of Latvian parents. Zusters’ father died before he was two years old and he was raised in an orphanage from an early age. He had one sister. He studied Art at the Riga Technical College, Latvia, from 1935 to 1940. He married Aldija Kapteinis, and they had a daughter, Rudite (born 1942 in Riga). After World War II the Zusters family were refugees. They reached Western Australia in 1950, where they stayed for 6 months before moving to Canberra, ACT. In 1952, Zusters moved from Canberra to Pennant Hills in Sydney with his second wife, Arija Biks. Their daughter Laura was born in Sydney in 1956. In 1966, Zusters met his future third wife, Venita Salnajs. In 1969, Zusters bought a house in Greenwich, Sydney. He married Venita on September 17, 1976, and they moved to Wentworth Falls in the Blue Mountains. Zusters died on 8 October, 1999 at Wentworth Falls, and was cremated at Rookwood Crematorium, Sydney. His ashes are buried in the Latvian section of Rookwood Cemetery. Zusters studied at the Technical College of Riga (Latvia), and at East Sydney Technical College, Australia. He was influenced by his Latvian cultural heritage, and admired the artist Voldemars Tone (1892-1958). Shortly after arrival in Australia, Zusters became a draughtsman with the Department of Works and Housing in Canberra. Later he was appointed chief designer with the Australian-American architectural firm Austin-Anderson, at St. Leonards, Sydney. Zusters practised as a full-time professional artist from 1968. Zusters was a prolific painter, predominantly in oils. He produced many large landscapes, including triptychs of the Blue Mountains. His landscapes were mountain scenes prepared in the manner of Jackson Pollock and completed with washes and pale glazes of colour. His cityscapes featured a rich paint surface and sharp-edged thickness of paint applied with a palette knife, layer upon layer. He painted urban scenes of Sydney, inland Australian scenes, and several major portraits including Sir Winston Churchill’s gardener (purchased by Art Gallery of NSW). He made many small informal portrait-drawings of friends. His usual signature was “Zusters”. His work is represented in numerous public and private collections in Australia and abroad. He won numerous prestigious awards in Australia, Japan and USA and was honoured with the Order of Australia Medal in 1994.

Dean Bowen is renowned for his charming, child-like aesthetic and unique thematic interplay between the urban and rural as well as humans and animals. Bowen has developed a distinctive and humorous symbolic language that filters through each work. His highly charismatic and whimsical renderings of animals, human characters and Australian environments celebrate the vicissitudes of life, evincing the simple pleasures of human habitation within the artificial and the natural world. The work and thoughts of Jean Dubuffet, particularly those which focus on the philosophy of 'Art Brut', give support to Dean's belief that untrained artists are more honest, that artists interested in emulating the art of children are trying to regain the pure expression they lost with childhood. 'The Offering' was a finalist in the Nillumbik Art Awards in 1997. The work refers to the act of giving back, rather than taking which Bowen sees as more prevalent in our Western society. While the image is childlike, the expression of the boy is a mixture of sadness and happiness, knowing and naivety, youth and age. The smile has a Mona Lisa quality and the earthy and sensuous colours suggest landscape. When realising the images he relies on memory rather than observation so that the struggle with drawing and representation sometimes doesn't work. The style of the drawing and the flat space relates to the graphic style of cartoons and caricature. The intuitive and the imaginative are essential elements in his work. lower right 'Dean Bowen '97'

Jan Senbergs was born in Riga, Latvia, in 1939 and came to Australia when he was ten. Senbergs’ work has been characterised by a simple and bold aesthetic. From lush landscapes to barren urban spaces, his body of work signifies an artist who has continually experimented with shape, form and motif, a fundamental humanist vision, a finely-honed sense of the absurd, and a rigorous studio practice spanning printmaking, drawing and painting. Senbergs is Baldessin's exact contemporary. He was also born in Europe and fled his homeland because of the war, arriving in Melbourne in 1950. Like George, Senbergs also worked at the RMIT and in 1973 represented Australia at the Bienal de Sao Paulo. Senbergs first met George when he was living in St. Kilda. George asked if he could screen print his 'Argus' catalogue for a show at the gallery in the Argus building. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'New Jersey - rust belt' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print finds its' origins in the time Senbergs spent at Harvard in America in 1989-90. In the context of Baldessin it explores an industrial urban surreal vision that was common to both artist. The image captures the life force of the city revealing the keen and observant eye of Jan Senbergs. Similar in sensibility to his large scale charcoal drawings of the 1990s, the artwork is not only a record of what the artist sees, but of what interest him. By following the movement of each line the viewer can witness the artist's eye travelling through, over and around each element of the urban landscape. The scale is deceptive with the image bled to the full-size of the sheet of paper like a microcosm of a much bigger whole. sugar lift etching of an urban (cityscape - New Jersey) scene - bridges, roads, buildings, in thick black brushstrokes. The image is busy; full of energy and movement. A bleed print in which the paper barely contains the city scape. In pencil (handwritten): top centre: left '14/25' (edition); centre 'New Jersey-Rustbelt' (title); right 'Jan Senbergs' (signature); print, sugarlift etching, urban landscape, ekphrasis2018, new jersey, line, rust belt

Pen and Ink Drawing on PaperSigned and dated recto l.l. ink "Victor Cobb. 1922" Titled l.r. ink "Harvesting Gippsland"landscape. gippsland.

Collection of Latrobe Regional GalleryCURTIS, J.W. Born England 1839 Died Australia 1901Signed l.r., ink "JCW". Not datedlandscape with horse and cart

RealismHENDERSON, John Black Born 1827 London, England Died 1918 AustraliaRecto: Titled l.c. ink"Bad Saddle, Wilsons Promontory" Verso: On mount board u.r., pencil "Wilsons/Prom"landscape.

Drawing of a figure in a boat in a landscape.

Pencil on paperlandscape

Colour pencil drawing on paperNot signed. Not dated.landscape, buildings, view, factory