Roll of 35mm colour negative film, 10 stripsKodak Gold 100-6gayle blackwood collection, houses, mudbrick, st andrews

A BEBO Arch pre-cast concrete construction bridge, the first in VictoriaA BEBO Arch pre-cast concrete construction bridge, the first in VictoriaThree colour photographic printsbebo arch, bridge construction, charlber lane, diamond creek, st andrews

Roll of 35mm colour negative film, 10 stripsKodak Gold 100-6gayle blackwood collection, houses, mudbrick, st andrews

Roll of 35mm colour negative film, 10 stripsKodak Gold 100-6gayle blackwood collection, houses, mudbrick, st andrews

Roll of 35mm colour negative film, 10 stripsKodak Gold 100-6gayle blackwood collection, houses, mudbrick, st andrews

Roll of 35mm colour negative film, 10 stripsKodak Gold 100-6gayle blackwood collection, houses, mudbrick, st andrews

Roll of 35mm colour negative film, 10 stripsKodak Gold 100-6gayle blackwood collection, houses, mudbrick, st andrews

Roll of 35mm colour negative film, 10 stripsKodak Gold 100-6gayle blackwood collection, houses, mudbrick, st andrews

Roll of 35mm colour negative film, 10 stripsKodak Gold 100-6gayle blackwood collection, houses, mudbrick, st andrews

Roll of 35mm colour negative film, 10 stripsKodak Gold 100-6gayle blackwood collection, houses, mudbrick, st andrews

Roll of 35mm colour negative film, 10 stripsKodak Gold 100-6gayle blackwood collection, houses, mudbrick, st andrews

Roll of 35mm colour negative film, 10 stripsKodak Gold 100-6gayle blackwood collection, houses, mudbrick, st andrews

Roll of 35mm colour negative film, 10 stripsKodak Gold 100-6gayle blackwood collection, houses, mudbrick, st andrews

Roll of 35mm colour negative film, 10 stripsKodak Gold 100-6gayle blackwood collection, houses, mudbrick, st andrews

Roll of 35mm colour negative film, 10 stripsKodak Gold 100-6gayle blackwood collection, houses, mudbrick, st andrews

Roll of 35mm colour negative film, 10 strips Kodak Gold 100-6 Cross Ref: 02061 (print) and 03183 (negative)gayle blackwood collection, houses, mudbrick, st andrews

Roll of 35mm colour negative film, 10 strips Kodak Gold 100-6 Cross Ref: 02061 (print) and 03183 (negative)gayle blackwood collection, houses, mudbrick, st andrews

Roll of 35mm colour negative film, 10 strips Kodak Gold 100-6 Cross Ref: 02061 (print) and 03183 (negative)gayle blackwood collection, houses, mudbrick, st andrews

Produced by St Andrews Primary School, covering the area's history from early settlement, discovery of gold, the Caledonia Diggings, social and community history, fruitgrowing and development through the latter half of the 1900's into and covering the 20th century.A concise history of the origins of St Andrews, Victoria, Australia from gold mining to the diverse community it is todaySoftcover book with orange brown tones and black and white lettering and highlights, with historic photographs on front and back cover and 149 pages.#gold, #goldmining, #caledoniadiggings

The 'Black Saturday' bushfires were a series of bushfires that ignited across the Australian state of Victoria on and around Saturday, 7 February 2009. It was Australia's worst ever natural disaster. The fires occurred during extreme bushfire-weather conditions and resulted in Australia's highest ever loss of life from a bushfire: 173 people died and 414 were injured as a result of the fires. For most women being part of the Lasting Memories Mosaic Group was a way of reconnecting to the area, friends and neighbours. As the months went by, the idea of creating a gift to the community together was born. The women wanted to artistically express their memories of what they had experienced. Creating a mosaic seat in the heart of St Andrews allowed the group to be 'in control' of building something from the ground up - a symbol of hope, recovery and renewal. All of their experiences and memories have been included into the seat design, which makes it so special. This mosaic seat is proudly positioned outside the St Andrews Hall, which is also the site for the St Andrews market held every Saturday throughout the year.The Lasting Memories Mosaic group began this piece just after the Black Saturday fires in 2009. After the horrific fires ravaged through St Andrews and the surrounding areas, a group of bushfire affected ladies bravely came back to St Andrews to begin their healing in an artistic way. Each woman created something beautiful and meaningful, using remnants of crockery, glass, tiles and bricks salvaged from their own properties. This artworks identifies who they are and tells their personal 'life journey' and family heritage and memories of what they had experienced before, during and beyond Black Saturday. It is also an expression of their love for the St. Andrews area and the nature and people within it. A large concrete seat in the style of an organic chaise lounge covered in mosaic (broken tiles, glass, crockery and ceramics of all shapes and colour). The pieces have been placed to form pictures, words and patterns that tell and recount stories and memories of reflection, hope and love of a group of people who experienced the Black Saturday bushfires. (Click on links to view details of the seat) black saturday, mosaic, art, lasting memories, st andrews, tiles, glass, fire, concrete, cement, chris reade, ekphrasis2017

Painter, printmaker and sculptor Rick Amor is one of Australia's most distinguished senior artists. He was a good friend of the late George Baldessin and three times Archibald Prize winner Clifton Pugh, having lived and worked at Pugh's property, Dunmoochin in Cottles Bridge, Nillumbik during the 1980s and 90s. 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 with 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. 'The Ruin' 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 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. 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. Rick Amor has been an ardent supporter of the Baldessin Press & Studio and a great patron of living artists. In 2014 the Press partnered with Amor and the State Library of Victoria to create The Amor Residency at The Baldessin Press & Studio, which is part of the Library's annual fellowship program. 'The Ruin' was based on a plein air painting done by Rick Amor on a trip to Broken Hill in 2001 and reflects on death and the passing of time so eloquently portrayed by the industrial ruins of NSW. In the tradition of a Piranesi, the work emphasises the transience of life and the triumph of time. Black and white drypoint etching in which a small figure, a traveller; located bottom left, points to a large crumbling edifice (building), a stage like space in the background. Ed.14/25baldessin, print, drypoint, amor, 2018 ekphrasis, ruin, etching, ekphrasis2018

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 with 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. This work chosen for the folio is from an incomplete edition from 1966. It has been printed on Baldessin's original 1974 cast aluminium Enjay press (designed and made in collaboration with Neil Jeffreys) and restored specifically for this project by Dan Jones. In addition Deanna Hitti has used Baldessin's original Japanese Torinoko paper, stored safely in his studio for over forty years. ‘Portrait II’ 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 is a fine example of Baldessin's primary interest of the figure, which displays great sensitivity to and observation of the human condition. Distortion, exaggeration and fragmentation were employed by Baldessin as tools to animate and scrutinize the displaced, dispossessed and alienated figure, flattened against the picture plane. Black and white distorted and exaggerated figure (head and shoulders), with hands raised to the face and the figure's right eye. acquatint, etching, baldessin, ekphrasis2018, figure

Michael Leunig is an Australian cartoonist, poet and cultural commentator. His best known works include The Adventures of Vasco Pyjama and the Curly Flats series. Leunig was declared one of Australian Living Treasures by the National Trust of Australia in 1999. George Baldessin (1939-1978) was a printmaker and sculptor who built his bluestone studio at St Andrews (Nillumbik) in 1971 with 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.one colour (yellow) etching on Somerset paper. Thick lines weave in and out to produce a figure reminiscent of his 'curly flat' characters holding a long stem flower/vine. ekphrasis2018, pilgrim, baldessin, leunig

Imants Tillers has been identified as a quintessential postmodern artist in his use of appropriation and quotation. Since 1981 he has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora. Most recently, his paintings have been concerned with place, locality and evocations of the landscape. Imants Tillers and Baldessin met on their way to the Bienal de Sao Paulo in 1975 and in the following year worked on two collaborative etching plates in Paris that were printed by Pierre Giarudon. 'Unsaid + Nameless' harks back to his experiences with Baldessin in Paris forty years ago. It is a poignant image of absence that can be read in the tradition of the momento mori. 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 with 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.'Unsaid + Nameless' 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. In 1976 Baldessin and Tillers embarked on the collaborative work 'According to des Esseintes'; a post modern Surrealist game of consequences and sequences. In homage to his friendship and work, Tillers completed an unfinished Baldessin plate from 1976 inspired from their 'des Esseintes' collaboration. The addition of Odilon Redon's 'smiling spider' is indicative of Tiller's broader post-modern approach. Solar plate etching of Odilon Redon's 'Laraignee souriante' (The Smiling Spider) on an incomplete plate etched by George Baldessin in 1976 on Somerset paper. Other images include skewed perspectives of a wooden window frame, 'wooden' floor or table(?) folded sheet of paper and unknown apparatus. In pencil (handwritten): low plate: left '14/25' (edition); centre: 'Unsaid + Nameless' (title); right 'Imants Tillers' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)solar plate etching, george baldessin, somerset paper, spider, line, ekphrasis2018, odilon redon, appropriation, post modern, surrealism, collaboration, paris, folio

We have three folders catalogued for the Grimshaw name and these will in due course be consolidated/corrected: 1. EDHS_01361 – A.H. Grimshaw of Research, Vic., 1927 2. EDHS_01362 – John Grimshaw of Greensborough, 1862 (Correct name is Josiah Grimshaw) 3. EDHS_01375 – Mr Grimshaw, miner of Kinglake and Caledonian Diggings. (This is believed to be Mr J.L. (Jack) Grimshaw who reportedly discovered the first gold in Kinglake. These folders are made up of copies of pages of research undertaken by Mr Keith Chappel in the 1970s, which is now catalogued as a separate item. EDHS_04448 - Eltham District History, Eltham Road Board, 1856-1871; Research by Keith Chappel https://victoriancollections.net.au/items/5e4a290521ea671e9ccf9661 There is further information from this research concerning a William Grimshaw. Also included as part of EDHS_01375 is a photocopy of page44 from the book "Caledonia Diggings (St Andrews)", Gold Discovery in Victoria, James Flett, 1970, which references No. 2 Creek at the Caledonian Diggings as also been known as Grimshaws. We have a photo of J.L.(Jack) Grimshaw who discovered gold at Kinglake, which is part of the Shire of Eltham Pioneers Photograph Collection (SEPP) SEPP_0056 - Mr. J.L. Grimshaw; the man who found the first gold at Kinglake https://victoriancollections.net.au/items/5a6c158721ea6906ac29bd3c We also have another record of interest involving Aaron Grimshaw, Farmer of Greensborough who was an indentured Trustee of the Wesleyan Chapel in Little Eltham in 1856: EDHS_04610-3-1 - Document, Conveyance of Lot 20 Henry Street, Little Eltham North to Trustees of Wesleyan Chapel, 1856 https://victoriancollections.net.au/items/60f6d644ac5d4de270b83615 The record of Joshia Grimshaw of Greensborough is grim. He was arrested and charged with the murder of John Mitchell at Greensborough, September 24, 1962. Grimshaw was ultimately convicted of manslaughter and sentenced for three years in prison. Newspaper reports of the day show his name as Josiah. Whether he was also known as John is not clear, and whether he is the same as J.L. (Jack) Grimshaw who discovered gold at Kinglake, again is unclear without undertaking further research into the matter. This murder trial was extensively reported in the newspapers and you can find those reports on the National Library of Australia’s Trove https://trove.nla.gov.au/ Some of the reports of interest: TRIAL OF GRIMSHAW FOR MURDER (1862, October 23). The Kyneton Observer (Vic. : 1856 - 1900), p. 3. Retrieved April 21, 2023, from http://nla.gov.au/nla.news-article240899299 THE GREENSBOROUGH MURDER. (1862, September 30). The Argus (Melbourne, Vic. : 1848 - 1957), p. 6. Retrieved April 21, 2023, from http://nla.gov.au/nla.news-article5722929 MELBOURNE CRIMINAL SESSIONS. (1862, October 18). The Age (Melbourne, Vic. : 1854 - 1954), p. 6. Retrieved April 21, 2023, from http://nla.gov.au/nla.news-article154967162 CRIMINAL SESSIONS. I (1862, October 18). The Argus (Melbourne, Vic. : 1848 - 1957), p. 6. Retrieved April 21, 2023, from http://nla.gov.au/nla.news-article6480408 Folder of information on Mr Grimshaw, Miner, Kinglake and Caledonian Diggingsgrimshaw