Promoting the 1934 centennary celebrations, Portland, 1934.Colour lithographic print showing a man and a woman in stylised mid-nineteenth century dress, portrayed in an early 20th century style, overlooking Portland Harbour. Text states "Visit Portland/ The first Victorian Settlement/ during the Centenary Celebrations/ from 15th to 23rd November 1934. Framed under non-reflective glass in brown and gold wooden frame.Front: (no inscriptions) Back: (no inscriptions)lithograph, centenary, 1934, portland, portland bay

Colour lithograph of cover The American Magazine July 1932. Depicts woman in red jackt seated and holding 3 tennis racquets. Sealed in plastic wrap. In pale pink mount. Materials: Cardboard, Paper, Ink, Plastictennis

framed lithograph on paperunder image in ink 'Bronwen Jones 1/5'bronwen jones, bookplate, lithograph, available, keith wingrove memorial trust

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Print - lithographBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, garden, evening, lithograph

A colour lithograph issued by the Salon de la Mode, featuring two women wearing high fashion of the late 19th century, posing next to a tennis court net. The woman on the left is holding a racquet. Below is the image of a coat-of-arms, with the monogram 'HVP', which is that of the director of the Salon de la Mode, Henry Petit. One of the engravers is identified as 'Lefranco'. Materials: Paper, Ink, Cardboard, Metal, Paint, Wood, Glasstennis

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 lithograph by Marc Chagall.art, artwork, marc chagall, lithograph, printmaking

.1 LITHOGRAPH PRINT COPIED ONTO BUFF PAPER OF CLUNES LANDSCAPE VIEW LOOKING SOUTH EAST MOUNTED AND FRAMED IN BLACK WOOD UNDER GLASS .2 PRINT OF LITHOGRAPH BLACK AND WHITE MOUNTED ON BUFF COLOURED BOARD. COPY OF .1.1 & .2 BELOW PRINT ON BOTTOM IN BLACK INK: CLUNES .1 CERTIFICATE OF AUTHENTICITY FROM LECKIE GALLERY MALDONclunes landscape, lithograph

The Gippsland Art School collects examples of limited edition prints to use as a teaching collection. The collection is largely unframed and comprises works from the Print Council of Australia, staff members and former students.Framed colour Lithograph13/50printmaking, print council australia, gippsland campus, churchill, gippsland printmaking teaching collection, lithograph

Titled "The Viaduct and Pier - Warrnambool Breakwater". flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, lithograph, viaduct and pier, warrnambool breakwater

Copy of a Lithograph originally published in the 'Illustrated Australian News', February 1878A black and white copy of a lithograph printed on white paperAn Old-Time St Kilda Shark, a Voracious Shark at St Kilda Piercity of st kilda, st kilda pier, shark attack, illustrated australian news

Presented with "Pictorial Comedy" Christmas 1905Print of lithograph depicting a lady seated on a chair and slumped over table, arms extended. For He's a Jolly Good Fellowlithograph, christmas 1905, f w read

Early image of Buninyong c1852 showing evidence of land clearing, cultivation, residential and farm buildings and Mount Buninyong with tree coverBuninyong was one of the earliest settlements Victoria and became a very important place in the history of the goldrushColour reproduction of lithograph "Township of Buninyong" c1852 from the cover of "Three Times Blest"Henry Winkles Township of Buninyong c 1852 Lithograph, originally published in Montgomery Martin's "Australia" Reproduced "Three Times Blest"early settlement, henry winkles, mount buninyong, buninyong

Framed limited edition lithograph. gippsland campus, churchill, kaye green, printmaking, lithograph, tree, birds

It is likely this item was received from the estate of John 'Jack' Courier. Courier left a bequest to the College consisting of a significant number of artworks by himself and others, including Peter Jacobs.Stone coloured lithograph print of a figure in a bathtub. The head and shoulders of a figure are visible within a bathtub at the centre of the image. The top half of the face of the figure is obscured. There is a mirror visible in the background at the upper right of the image. Handwritten text below image reads " 'The Bathroom' 3/15 Jacobs 88". There is a large auction house sticker printed with the number '82' attached to upper right of reverse of the object. There are also two smaller auction house stickers attached to the upper section of the reverse of the object. Two D-ring fittings and a cord have been added to the reverse of the artwork for hanging. There is a sticker advertising the framer of the work at the bottom centre of reverse.The Bathroom' 3/15 Jacobs 88

FRASER STREET 1869PHOTOCOPY OF LITHOGRAPH OF THE PORT PHILLIP GOLD MINING COMPANY'S CLAIM AND THE TOWNSHIP OF CLUNES TAKEN FROM THE ILLUSTRATED AUSTRALIAN NEWS. JUNE 19 1869. THIS PHOTOGRAPH WOULD HAVE BEEN TAKEN PRIOR TO THE FIRES WHICH DESTROYED THE ORIGINAL SHOPS IN FRASER STREET. ORIGINAL PHOTOGRAPH TAKEN FROM HILL BEHIND OLD LIBRARY IN TEMPLETON STREET, CLUNES. .1 BLACK AND WHITE PHOTOGRAPH MOUNTED ON CARDBOARD .2 BLACK AND WHITE PRINT WITH 'LAYING THE VICTORIAN END OF THE TASMANIAN CABLE ON REVERSE .3 PHOTOCOPY BACKED WITH NEWSPAPER AND PRINT FOR SUPPORT .4 PHOTOCOPY .5 PHOTOCOPY MOUNTED ON CARDBOARD .6 DOCUMENT GIVEN BY HENRY BASSETT, APPEARS TO BE PART OF BROWN ENVELOPE .7 PHOTOCOPY OF PRINT.4 COLAC, VIC AUGUST 8TH 1941. "THIS LITTLE PICTURE PRESENTED TO CLUNES F(REE) L(IBRARY) BY HENRY BASSETT WHO WAS BORN ON CLUNES IN THE SAME YEAR THAT THE ABOVE INSTITUTION WAS ESTABLISHED, AND IS A SON OF THE LATE AZARIAH BASSETT AND NEPHEW OF THE LATE CHRISTOPHER BASSETT WHO WERE BOTH OLD RESIDENTS" HANDED TO SHIRE BY MRS V MCACRAE 22/5/73shops- symons tsymons&co, b.cass maher grocer, pitcher bros., port phillip bakery, bristol mart, and coach office j.h. dalton.

Working across installation, video and painting, Quandamooka artist Megan Cope investigates issues relating to colonial histories, the environment and mapping practices. Black Napoleon (Eulope) is part of a series of lithographs that highlights what Cope sees as ‘just one of the many stories of powerful and clever people defying Empire’ at the turn of the 19th century in Australia. The Black Napoleon series was produced as part of the Australian Print Workshop’s French Connections project. The project aimed to produce new work responding to the National Archive in Paris, with a focus on cultural materials relating to early exploration of Australia and the Pacific. It was important to Cope that she did not simply repeat the material of the archive, which was collected and conserved within a colonial framework. Instead, Cope’s work addresses Eulope’s sovereignty and role in resisting invasion. Eulope was a Quandamooka man named after Napoleon Buonaparte because of his leadership in battles against British forces, which invaded Stradbroke Island in the early 1800s.

Dean BOWEN (1957- ) Born Maryborough, Victoria, AustraliaFramed limited edition lithograph, printed in colour from various stones.2/15artwork, artist, dean bowen, gippsland campus, lithograph

PORT PHILLIP & COLONIAL MINING COMPANY LIMITED AND CLUNES QUARTZ MINING COMPANY, THE MACHINE CONTAINED 5 BOILERS, 3 ENGINES 145 HP, 80 HEADS OF STAMPS, 7 BUDDLES, 2 CHILIAN MILLS & 2 STONE BREAKERS, STEAM VALVES. TONS OF QUARTZ RAISED BY THE PORT MINING & CLUNES COMPANIES TO MARCH 1880 1123365 TONS & GOLD 465,168 OUNCES, 7 DWTS, VALUE 1860, 925,54 POUNDS. EXHIBITED BY R.H. BLAND, CLUNES.LITHOGRAPH DEPICTING SURFACE WORKS OF THE PORT PHILLIP & COLONIAL MINING CO. LIMITED AND INTERIOR OF MACHINE HOUSE.local history, illustrations, lithograph, mining.

Framed five plate lithograph. Donated through the Australian Gifts Programme by Katherine Littlewood.Edition 21/30kenneth jack, printmaking, lithograph, omeo, available

Black timber framed lithograph of "Last Post". Lithographic poster illustration by Goethal A Van Reck commemorating the Fiftieth Anniversary of the opening of the Menin Gate in Belgium.Inscribed on front top of lithograph are the words "And to those of their dead who have no known grave." LAST POST. Goethals a Van Reck.

Madagascar was a large British merchant ship built for the trade to India and China in 1837 that disappeared on a voyage from Melbourne to London in 1853. The disappearance of Madagascar was one of the great maritime mysteries of the 19th century and has probably been the subject of more speculation than any other 19th-century maritime puzzle, except for the Mary Celeste. Madagascar, the second Blackwall Frigate, was built for George and Henry Green at the Blackwall Yard, London, a shipyard that they co-owned with the Wigram family. A one-eighth share in the vessel was held throughout her 16-year career by her first master Captain William Harrison Walker Walker. Madagascar carried freight, passengers, and troops between England and India until the end of 1852. In addition to her normal crew, she also carried many boys being trained as officers for the merchant marine. Known as midshipmen from naval practice, their parents or guardians paid for their training, and they only received a nominal wage of usually a shilling a month. Due to the Victorian Gold Rush, Madagascar, under the command of Captain Fortescue William Harris, was sent to Melbourne with emigrants. She left Plymouth on 11 March 1853 and, after an uneventful passage of 87 days, reached Melbourne on 10 June. Fourteen of her 60 crew jumped ship for the diggings, and it is believed only about three replacements were signed on. She then loaded a cargo that included wool, rice, and about two tonnes of gold valued at £240,000, and took on board about 110 passengers for London. On Wednesday 10 August, just as she was preparing to sail, police went on board and arrested a bushranger John Francis, who was later found to have been one of those responsible for robbing on 20th July the Melbourne Private Escort between the McIvor goldfield at Heathcote, Victoria and Kyneton. On the following day, the police arrested two others, one on board the ship and the other as he was preparing to board. As a result of these arrests, Madagascar did not leave Melbourne until Friday 12 August 1853. After she left Port Phillip Heads Madagascar was never seen again. When the ship became overdue many theories were floated, including spontaneous combustion of the wool cargo, hitting an iceberg and, most controversially, being seized by criminal elements of the passengers and/or crew and scuttled, with the gold being stolen and the remaining passengers and crew murdered. There have been many rumors as to what happened to Madagascar over the years but what really happened is still a mystery. The lithograph was made around 1950 from an original painting of Madagascar a Vessel with a notorious past and is interesting and a significant item for the ships part in early Victorian history. The picture is it’s self not valuable or can be associated with a significant person in history. The interest lies in the events that are linked to the ship in the mid 19th century.Lithograph of the ship Madagascar, in a wooden frameThe Madagascar East Indiaman 1000 tonsflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, lithograph, the madagascar, east indiaman

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 black and white lithograph of a male and female circus performer. Lower edge " 60/200 John Brack"art, artwork, john brack, printmaking, circus, edition, lithograph, available

Framed 3 plate lithograph of the paddle steamer Canberra. Donated through the Australian Gifts Programme by Katherine Littlewood.kenneth jack, printmaking, lithograph, paddlesteamer, boat

A Map drawn in 1852 that shows the 5,120 acres that formed Dendy's Special Survey of 1841. In 1840 Henry Dendy, a farmer in Surrey, England acquired a "Special Survey" from the Commissioners for Land and Emigration which gave Dendy the right to choose land in Port Phillip for the "bargain basement" price of only £1 per acre for 5120 acres, (an area of 8 square miles). The Special Survey also included the right to "the shipment of a worker for every £20 spent on land, whose free passage was paid by the Crown, equalling a total of 100 workers ". Accordingly Dendy sold his English holdings and paid the required £5120 and arrived in Melbourne in February 1841. However by this time land in the new colony was selling for £5 - £40 per acre. Because Henry Dendy possessed the order from the Colonial Office in London he was able to successfully oppose Governor LaTrobe's attempts to alter the price of the land. Dendy appointed Jonathan Were, (an entrepreneur, who had arrived in 1839), as his Manager and who later became a partner. Together, Dendy and Were decided on an area 5 miles south from Melbourne, bounded by North Road, East Boundary Road, South Road and to the west by Port Phillip Bay. Were and Dendy pitched their tents in the area now known as ' Park St, Brighton' and sank a well near the corner of 'St Andrew's St and Wells St'. By 1845 J.B Were and Company had bought almost half of Dendy's land and Were built himself "Moorabbin House" in Were St Brighton made from stone, quarried from local cliffs. It was still standing in 1924. Legend records Moorabbin is named after the Aboriginal word for ' Mother's Milk ' The soil is very fertile and well supplied with water especially in the area called 'East Brighton' - now known as Bentleigh and East Bentleigh - By 1850 the area had developed with numerous market gardens, dairy farms, fruit gardens and vineyards supplying food for the growing population of Melbourne.This Map shows the birth of the Brighton and Moorabbin area. On 18th January1859 Brighton was proclaimed a Municipality and a Borough by October 1863. Meanwhile, following a Petition, the area of East and South Brighton, incorporating Mordialloc, Cheltenham, Mentone, Sandringham and Oakleigh separated from Brighton to form the Moorabbin District Roads Board becoming the first Local Government Authority. Col. William Mair was elected as the first Chairman of the Moorabbin Roads Board. Moorabbin Shire 1871 developed further and was declared a City in1934. The City of Moorabbin was the largest Municipality in Melbourne before the Amalgamation of Councils in 1994 when it was divided in the south to City of Kingston and in the north to City of Glen Eira A Photo-lithographed 1852 Map showing the 5,120 acres that formed Dendy's Special Survey of 1841. Henry Dendy & Jonathan Were chose an area 5 miles south from Melbourne, bounded by North Road, East Boundary Road, South Road and to the west by Port Phillip Bay. Moorabbin County of Bourke / Photo-Lithographed at the department of Lands and Survey. /Melbourne. / Price 1/- brighton, moorabbin, bentleigh, cheltenham, dendy henry, bent thomas, were jonathan, special survey