Watsonia artist Marcello D'Amico's volunteer work was recognised with an award from the Victorian Multiculturalism Commission. D'Amico has been a volunteer for the Italian Pensioners Federation of Victoria, and affiliated social clubs for the last 30 years.News clipping, black text, colour image.watsonia artist, marcello damico, victorian multiculturalism commission award

Four colour photographs; two showing site works at the corner of Brougham Street and Main Road, one showing Michael Wilson Jeweller at 725 Main Road and one showing Victorian Artists Supplies at 715 Main Road, Elthameltham, brougham street, main road, michael wislon jeweler, victorian artists supplies

Four colour photographs; two showing site works at the corner of Brougham Street and Main Road, one showing Michael Wilson Jeweller at 725 Main Road and one showing Victorian Artists Supplies at 715 Main Road, Elthameltham, brougham street, main road, michael wislon jeweler, victorian artists supplies

Four colour photographs; two showing site works at the corner of Brougham Street and Main Road, one showing Michael Wilson Jeweller at 725 Main Road and one showing Victorian Artists Supplies at 715 Main Road, Elthameltham, brougham street, main road, michael wislon jeweler, victorian artists supplies

The Robins (1913). 13 Kangaroo Ground-Warrandyte Road, North Warrandyte built of reinforced concrete for artist Theodore Penleigh Boyd, father of Robin Boyd. The Robins - Penleigh Boyd House Victorian Heritage Database (Shire of Nillumbik) https://vhd.heritagecouncil.vic.gov.au/places/63466Copy of black and white photographthe robins, houses, kangaroo ground-warrandyte road, north warrandyte, penleigh boyd, robin boyd

Photograph of stables at Montsalvat, Eltham. Montsalvat is an artist colony, established by Justus Jorgensen in 1934. It is home to over a dozen buildings, houses and halls set amongst richly established gardens on 48,562 m2 (12 acres) of land (Wikpedia). "Many of the buildings (including.. the stable near the animal yard) were designed by Justus Jorgensen in Gothic and/or vernacular styles using mud brick and recycled materials" - Victorian Heritage Database Photo possibly taken by Peter Bassett-Smith. No date. Montsalvat is historically, technically, architecturally, aesthetically, socially and spiritually significant to the State of Victoria.The Montsalvat complex is historically significant because it was established in 1934 by the noted artist and architect Justus Jorgensen. (Victorian Heritage Register)1 photographeltham, montsalvat, stables

The Bogong High Plains have many Alpine wild flowers unique to the area.The SECV appointed artists to draw the wild flowers in the Victorian Alps where they were constructing the Kiewa Hydro Electric Scheme.32 illustrated wild flowers each mounted on blue/grey particle board with Botanical and Family name and common name printed underneathalpine wildflowers, alison m. ashby, flora illustrations

"Southernwood" is the former home of Heidelberg School artist, Walter Withers and is listed on the Victorian Heritage Database VHR H2235 Black and white photograph of Southernwood, former home of Walter Withers, corner of Brougham and Bolton Streets, Eltham 1980.southernwood, bolton street, eltham, houses, walter withers, artists, brougham street

Folder of information on Percy Leason, Artist, Cartoonist, Historian, Anthropologist, Eltham, 1930s. 1. Photo: ANOTHER WIREGRASS PROBLEM: A well known artist who has gone to the bush to be alone with Nature, is discovered, By Percy Leason 2. Photo: SCENE DURING THE EIGHT HOURSS' DAY SPORTS AT WIREGRASS, By Percy Leason 3. Photo: "FIRE!": "An unfortunate occurrence. When the members of the Wiregrass Fire Brigade assembled at the Fire Station last evening for their weekly practice, they were horrified to discover that the building was on fire." - WIREGRASS WEEKLY CLARION, By Percy Leason 4. Photocopy: "Goliath and the Prodigal David" by Percy Leason 1931 5. Photocopy: "Yes you are improving the place. I'll have to increase your rent." by Percy Leason 1933 6. Photocopy: Cartoon by Percy Leason 1931 7. Photocopy: Cartoon by Percy Leason 8. LEASON, Percy Alexander, Painter and Illustrator; Who's Who in Australia, XIVth Edition 1950 9. LEASON, Percy Alexander, Painter and Illustrator; Who's Who in Australia, date unknown 10. Percy Leason 1889-1959 11. LEASON, Percy Alexander, 1889-1959, Painter and Illustrator 12. Percy Leason: Artist, cartoonist and Historian, by L.J. Blake, B.A., B.Ed., M.A.C.E. (President of the R.H.S.V.); An Address to the Society on Tuesday evening 27 August 1968; The Victorian Historical Magazine, pp 158-180 13. Catalogue: The Percy Leason Collection on view in The la Trobe Library 20 September - 29 October 1971 14. Invitation: Christmas Exhibition, The Wiregrass Gallery, 4 December 1977 15. Newspaper clipping: Artist's retreat, 1980 16. Newspaper clipping: Sharper than snapshots by Giles Auty; Arts, Review, The Weekend Australian, November 13-14, 1999 17. Works by Percy leason held by Castlemaine Art Museum, October 2018alan whitmore estate agents, biography, eltham*, exhibition catalogue, la trobe library, landscape, percy leason, rhsv, shire of eltham pioneers photograph collection, wiregrass gallery

Nillumbik Now and Then takes the reader on a journey from when the Aboriginal people were this area's sole inhabitnats, to the present day. Nillumbik's history - told in this collection of 96 stories, which are nearly all based on sites - mirrors those of the wider Australian community. It includes tales of the Wurundjeri people, a former convict, farmers, a bushranger, gold-mining, soldiers, artists, intellectuals, environmentalists and sportspeople. Each story is illustrated with a photograph. As a journalist with the former Diamond Valley News, Marguerite Marshall wrote a series of articles on local places of historic interest, later published as the small book "Eltham Shire - Historic Buildings and Places". Many years later an expanded version was published under the title "Nillumbik Now and Then". This is a much larger version of "Nillumbik Now and Then", including significant rewriting and many additional articles. The new publication was made possible by financial support from the Victorian Public Records Office, Bendigo Bank and Nillumbik Shire Council. EDHS and other historical societies in Nillumbik assisted with content for many of the stories. The book was launched at the Eltham Library on Wednesday 19th November 2008. Source: EDHS Newsletter No 183, November 2009 The front cover art depicts The former house of naturalist and artist Neil Douglas at Bend of Islands, photographer Marguerite Marshall. This collection of almost 130 photos and stories about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. Paperback; x, 198 p. : ill., ports. ; 30 cm.Signed by the authornillumbik shire, houses, buildings, weller's hotel, landmarks, bend of islands

Four colour photographs; two showing site works at the corner of Brougham Street and Main Road, one showing Michael Wilson Jeweller at 725 Main Road and one showing Victorian Artists Supplies at 715 Main Road, Elthameltham, brougham street, main road, michael wislon jeweler, victorian artists supplies

Dame Nellie Melba, born Helen Porter Mitchell (1861-1931), was the first Australian to gain international fame as an opera singer and one of the best-known singers in late Victorian times. She took the name ‘Melba’ from her home town, Melbourne. She sang in Warrnambool on at least two occasions, staying at local homes, including ‘Summer Hill’, belonging to the Murray family and ‘Lyndoch’ as the guest of Florence Lake. In 1927 she sang at the Warrnambool Town Hall with three other assisting artists and this programme records that event. The Warnambool and District Historical Society has an evening bag that was given by Nellie Melba to Miss O’Donnell, a maid at ‘Lyndoch’ at that time. This programme is of considerable significance as it is a memento of the occasion in 1927 when the famous Australian opera singer sang at the Warrnambool Town Hall during her farewell tour. This is a cream-coloured sheet of paper folded into two to make four pages. The front cover has a decorative border and blue printing and a Warrnambool & District Historical Society stamp and the back cover has an advertisement. The middle pages contain blue printing. The folds are torn in parts.Dame Nellie Melba's Farewell Tourdame nellie melba, history of warrnambool, lyndoch, melba farewell tour

Victorian Artists Supplies was established in 1987 in this beautiful mud brick building.Colour photographmain road, victorian artists supplies, mud-brick

Norma Kett was a resident of Ringwood and a member of the local Artists Society. She regularly diplayed paintings in local exhibitions .Small oil painting of gum trees, creek and hills. Australian possibly Victorian. Framed in multilayered gold and buff coloured wood. The name ?Accacia Creek in pencil on back of painting.Signed Norma Kett

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 Victorian Heritage Database citation for Glernfern H0136 https://vhd.heritagecouncil.vic.gov.au/places/57 (as at 23/10/2020) Glenfern was built on spacious grounds at the corner of Inkerman and Hotham Streets, East St Kilda in two main stages in 1857 and 1876. From 1876 to 1984 Glenfern had only two owners, including the well known Melbourne family of artists, the Boyds. The property was bequeathed to the National Trust of Australia (Victoria) in 1984 and has remained in their ownership. The original Glenfern allotment was bought by John Bakewell in 1856 and sold the following year to Francis McDonnell, a prominent Melbourne investor. By 1858, the house, rated as the most valuable in Caulfield, had been built on the site. Due to financial difficulties, McDonnell offered a number of properties for sale in 1860, including Glenfern. It was not sold at this stage, but subsequently mortgaged in 1862. In 1866 Thomas Watson purchased the property and lived there until 1876 when it was sold to Captain John T. T. Boyd and his wife, Lucy, founders of the Boyd dynasty of artists, musicians, writers and architects. The Boyd family, including twelve children, lived there until 1907, with Lucy Boyd retaining ownership after her husband's death in 1891. In 1907 the property was subdivided and the greatly reduced Glenfern portion was purchased by the Ostberg family, who lived there from 1915. In the latter years of Boyd family ownership and the Ostberg ownership, Glenfern had several tenants and was run as a school on two occasions. The Ostberg family occupancy continued until the death of Miss Amy Ostberg in 1984. From 1929 the property was listed as Glenfern Flats, necessitating various internal alterations over a period of time. The original two storey house, attributed to architect Charles Laing, was extended for the Boyd family in 1876, by architect M. Hennessy. This comprised the addition of a two storey wing to the south of the existing building. Stables were built in 1884 by the architects Smith and Johnson and other outbuildings, since removed, were recorded on the site. The gardens were developed from the establishment of the estate and remnants of early plantings, exotic trees in particular, are evident. Various additions and alterations were made to the house in the twentieth century and a separate block of flats was built on the southern boundary in c1964. Glenfern is a two storey picturesque Gothic house of stuccoed brick with steep, gabled slate roofs, elaborate bargeboards and chimneys of conjoined stacks set diagonally. The original, asymmetrically planned L-shaped house, containing the principal rooms and a rear wing, was designed with two main facades facing north and west. The north facade contains an unusual recessed pointed arch bay formed between twin chimney flues. Internally cedar joinery includes an unusual set of double doors between the drawing room and parlour, the centre pair of which fold back and then slide into the walls. Detailing of the 1876 additions copied that of the original house, including the bargeboards, chimneys and western verandah. Ownership of Glenfern passed to the National Trust of Australia (Victoria) in 1984 and in 2002 transformation of the property into a Centre for the Arts and Culture commenced. This began with the establishment of an Artist-in-residence programme, followed by the Glenfern Writers Centre. Restoration and renovation of the building has been undertaken concurrently with the establishment of this centre. How is it significant? Glenfern, East St Kilda is of architectural and historical significance to the State of Victoria. Why is it significant? Glenfern is of architectural significance as an unusually intact and rare example of the picturesque domestic Gothic Revival house in Victoria. Of particular note are the clustered chimneys, bargeboards and twin arched chimney flues and the folding/sliding cedar doors between the principal rooms. It is significant as an important work of the prominent Melbourne architect, Charles Laing. Glenfern is of historical significance for its connection with the distinguished Victorian Boyd family. It has been recorded in a painting by Emma Boyd, wife of Arthur, in 1885 and in print by writer, Martin Boyd in 1952. Glenfern is of historical significance due to its ownership by only two families from 1876; firstly the Boyds until 1907 and the Ostbergs until 1984. Of note is the resistance to redevelopment in the latter half of the twentieth century and the subsequent survival of the 1907 Glenfern estate.Page 98 of Photograph Album with two photographs (one square and one landscape) of views of Glenfern.Handwritten: "Glenfern" 417 Inkerman Street [top right] / 98 [bottom right]trevor hart, east st kilda, garden, pitched roof, glenfern, hotham street, boyd family, 1850's, 1860's, 1870's, john bakewell, francis mcdonnell, thomas watson, lucy boyd, glenfern flats, charles laing, m. hennessy, smith and johnson, stables, gothic, stuccoed brick, gabled slate roofs, elaborate bargeboards, asymmetrical, cedar joinery, verandah, national trust of australia, centre for the arts and culture, artist-in-residence, glenfern writers centre, gothic revival, clustered chimneys, emma boyd, inkerman street, north caulfield, captain john boyd, artists, writers, st kilda east, national trust of australia (victoria), caulfield, amy ostberg, architects, m hennessy, doors, chimneys, martin boyd, arthur boyd, ostberg family

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. https://vhd.heritagecouncil.vic.gov.au/places/43737 - re 26 Kambrook Road and 345 Balaclava Road corner building: A prominently situated two-storeyed complex of late Victorian buildings consisting of "Wybar's Buildings" occupying the Balaclava Road/ Kambrook Road corner and the "Caulfield Bakery" facing Kambrook Road, separated by a driveway from a single storeyed shop. The main building has a comer splay and balustraded parapet with curved pediments, the words "Wybar's Buildings 1887" having been obliterated but "Caulfield Bakery 1887" with the characteristic wheatsheaf surviving in raised cement work. The walls are stuccoed and richly ornamented with bracketed cornices and keystones with masks extending to the Bakery. The main building is further distinguished by the Masonic symbol of the mason's dividers in the pediment whilst the upper level of the bakery is in overpainted brickwork. The single storeyed shop incorporates the bracketed cornice and consoles characteristic of the main buildings and is in other respects a utilitarian structure. https://vhd.heritagecouncil.vic.gov.au/places/35413 - re 16 Kambrook Road A small late Victorian Italianate villa distinguished by its parapeted window bays either side of a small verandah with encaustic tiled floor. The parapets are balustraded with console enrichment and glazed tiles, the stuccoed surfaces being unpainted. Ornamentation is in other respects undistinguished. https://www.gleneira.vic.gov.au/services/planning-and-building/heritage/heritage-management-plan - re 9-11 Kambrook Road ... they demonstrate most of the commonly employed aesthetic devices characteristic of the Italianate Style including patterned brickwork, patterned slate roofs, cast iron lace verandahs, ornamental stucco work and ashlar boards...https://vhd.heritagecouncil.vic.gov.au/places/43737 - 345 Balaclava and 26 Kambrook Roads HO91 in City of Glen Eira "Wybar's Buildings" at the corner of Balaclava Road and Kambrook Road are important as a prominent late Victorian commercial development incorporating a variety of activities including a bakery and possibly a coffee palace, the latter understood to be unique within the municipality, but characteristic of the period. It is a rare complex of its type in Caulfield and is important also as evocative evidence of the late Victorian Land Boom and the creation of a small now defunct commercial centre at this location by the George Wybrow. https://vhd.heritagecouncil.vic.gov.au/places/35413 - 16 Kambrook Road HO121 in City of Glen Eira ''Hollywood'' at 16 Kambrook Road is of architectural interest for its pavilions which retain their unpainted parapets and ornamental tiles in the manner of other less imposing examples in the immediate locality possibly linked with the builder George Wybar and his son, who undertook substantial projects nearby. Its association with James Yorston, presumably is Yorston of Dickson and Yorston, important builders and estate developers at Caulfield during the Inter war period is of interest. https://www.gleneira.vic.gov.au/services/planning-and-building/heritage/heritage-management-plan - re 9-11 Kambrook Road HO152 Normanby Road/Kambrook Road, Caulfield North Statement of Significance: The Precinct is historically significant for its capacity to demonstrate standards of design and building construction in this part of the municipality during the late Land Boom years and especially just prior to the bank collapse of 1891. The housing stock is representative of the standards of amenity excepted by the middle classes of Melbourne society at the time, including artists, (horse) trainers, jockeys, managers, travellers, journalists and the like, also having a functional link with the activities of the Caulfield Racecourse which forms an important element in the history of the Municipality. The row of attached pairs at 5-11 Kambrook Road and 53-67 Kambrook Road is especially significant in this respect in that the narrow allotments are indicative of the owner/developer’s determination to maximise profits at the height of the Land Boom in 1891...Page 104 of Photograph Album with four photographs (landscape) of three different properties on Kambrook Road.Handwritten: Kambrook Road [top right] / WYBAR'S BUILDING 1887/ INC CAULFIELD BAKERY / [under top right photo] / 16 KAMBROOK ROAD / 1970 HIRST MRS J.N.[under bottom left photo] / 11-9 KAMBROOK ROAD / 1970 9-BUCKLAND MRS L.A / 11- ATKINS MRS N.E. [under bottom right photo] / 104 [bottom right]trevor hart, kambrook road, victorian, caulfield north, parapets, wybar's buildings 1887, caulfield bakery 1887, architectural features, painted bricks, balaclava road, victorian italianate style, houses, bay windows, verandahs, glazed tiles, shops, george wybar, builders, james yorston, dickson and yorston, j n hirst, l a buckland, n e atkins, patterned slate roofs, patterned bricks, cast iron work, attached houses

Ponsonby Carew Smyth, A.R.C.A. London, was Victorian Art Inspector of Technical Schools. "Ponsonby May Carew-Smyth (1860-1939), educationist, was born on 7 August 1860 at Cork, Ireland, son of Emmanuel Uniacke Smyth, gentleman, and his wife Catherine Giles, née Carew. Carew-Smyth's initial art training and teaching was at the Belfast Government School of Art and Design. In 1885 he entered the National Art Training School at South Kensington, London, where he remained as student and teacher for five years. He also taught at Rugby School, studied at the Royal School of Wood Carving and the Guild School of Handicrafts, London, and was sent by the Department of Science and Art to study art, art education and museum procedures in Paris. Testimonials to his career in England affirm his ability and dedication as an educationist and his integrity as a man. On 23 December 1890 Carew-Smyth married Marie Reynolds of Brixton; they migrated to Australia next January. In September Carew-Smyth applied from Melbourne for the position of master of the school of art and design, established under the auspices of the Ballarat Fine Art Gallery. Opening in November, the school offered day classes and a broad curriculum, and under Carew-Smyth's guidance, established a sound reputation. In November 1899 he was appointed inspector of drawing in the Department of Education. Carew-Smyth saw drawing as a crucial link between primary and technical education, insisting on it as a 'mental process quite as much as a manual'; he believed strongly in the utilitarian value of drawing to the artisan class and of art as 'craftmanship'. By his emphasis on teacher-training, by his role in the Teachers' Training College, and by his constant travels, writing and lecturing, he upgraded both the standard and importance of drawing early in the century. His meticulous mind formulated the Austral Drawing Books which provided the basis of instruction in the subject in Victoria until 1927. Although he gave his occupation as 'artist', Carew-Smyth was primarily an educationist. He was actively involved in the early years of Prahran and Swinburne Technical colleges, and especially the Working Men's College which held his interest even after his retirement. In 1906 he was appointed chairman of the Victorian State Schools' Equipment and Decoration Society, and he was important in the organization of the state schools' exhibition that year. He designed the commemorative wall plaques installed in state schools after World War I, and the art teachers' certificate. He was prominent in bringing about the 1922 Jubilee Exhibition, and the 1926 showing of work of overseas schools, and especially the 1934 Melbourne centenary 'Early Victorian Art' exhibition. In the 1930s he wrote wide-ranging, informative and sometimes humorous articles for the Argus on various aspects of the decorative arts. In mid-1936 he was acting director of the National Gallery of Victoria. To students his single-mindedness sometimes suggested sternness, but Carew-Smyth was always held in the highest regard both professionally and personally. His colleagues recalled a man of kindness, unstinting devotion to work, and humour; he was considered quite a raconteur. Survived by his wife, a son and a daughter, he died in his home at South Yarra on 9 October 1939, and was cremated." (Margot Lethlean, 'Carew-Smyth, Ponsonby May (1860–1939)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/carew-smyth-ponsonby-may-5501/text9359, accessed 4 June 2013.)Image of the face and shoulders of a bearded man - Ponsonby Carew Smyth. The image was originally published from the State Schools Exhibition Catalogue, 1906. (Cat. No. 401)carew smyth, inspector, technical schools, art.

Tim Walker’s work is an eye-catching array of shipwreck artefacts and associated items. They help tell the story of the 19th century ships that travelled across the world full of people and cargo that are now part of our history. The work was commissioned especially for Flagstaff Hill and highlights the famous story of the 1878 ‘Loch Ard’ shipwreck. The images also include two small items from the 1981 ‘Fiji’ shipwreck. Timothy “Tim” Walker was born in Britain in 1970. He is a self-taught artist who began with a desire to use his talents for full-time work. He moved to Warrnambool in 1990 and became involved in the Warrnambool and District Artists’ Society, where he has served for a period as President. In 2010 Warrnambool Art Gallery hosted an exhibition “Nine Lives” with works from nine local artists including Tim Walker. The ‘LOCH ARD’ 1873-1878 - brief history The clipper ship ‘Loch Ard’ was a built in Scotland in 1873. In 1978 the ship was sailing to Melbourne with 54 people on board as well as a mixed cargo of items, some of which were bound for the 1880 International Exhibition in Melbourne. On June 1st 1878 it was very close to its destination when it crashed into Mutton Bird Island, east of Port Campbell. Only two people survived. The wreck was re-discovered in 1967, almost a century later, and the site continues to provide evidence of the range of goods imported into the Colony of Victoria in the post-Gold Rush era. Flagstaff Hill divers in the 1970s reported finds of “Bottles of champagne, window panes, rolls of zinc, barrels of cement, iron rails, clocks, lead shot, corrugated iron, lead, marble, salad oil bottles, ink bottles, copper wire, gin bottles, rolls of carpet, floor tiles, copper rivets, gas light fittings, pocket knives, toys, crystal chandeliers, beer mugs, cutlery, candles sticks, wick scissors, cow bells, and sauce bottles.” The famous Loch Ard Peacock was also on board. The ‘FIJI’ 1875-1891 – brief history The barque ‘Fiji’ was built in Ireland in 1875. The sailing ship left Hamburg in May 1891, bound for Melbourne with a crew of twenty-five plus the captain. The ‘Fiji’ had almost reached her destination after a trip of 100 days at sea when, on September 5th 1891, she struck rock 300 metres from the shore at Moonlight Head, near Cape Otway. Eleven men lost their lives but with the help of locals including members of the Rocket Rescue Crew, the rest of the men were saved. In anticipation of Christmas, the cargo had included a wide variety of children’s toys, amongst which were dolls with china limbs, wooden rocking horses, miniature ships, and red and white rubber balls. There were also cases of dynamite, pig iron, steel goods, spirits, sailcloth, tobacco, fencing wire, concrete, 400 German pianos, concertinas and other musical instruments, artists’ supplies, porcelain, furniture, china and candles. This artwork has historical significance as it shows a small sample of the variety of items on board the late 19th century ships bound for Australia in the Colonial and late God Rush period. The cargo contained personal luggage, items intended as gifts, and goods ordered for domestic, commercial or industrial use. The wreck sites of both vessels, ‘Loch Ard’ and ‘Fiji’ are classified on the Victorian Heritage Register as significant and are now protected by government law. The sites are popular with divers and provide interpretive material regarding social and maritime history. Framed poster of a watercolour painting by Tim Walker, gilt frame, behind glass. Subject is a group of objects, most of which are connected with the 1878 shipwreck Loch Ard, such as items recovered from the shipwreck and the famous ‘Loch Ard Peacock’. Two items are from the wreck of the ‘Fiji’. Inscriptions on ingot, a handwritten letter, bell, clear bottle, and small plaque.On ingot: “PONTIFEX & WOOD. LONDON”. On letter: “Presented to Mr. Thomas Pearce”. On small ingot: “TIM WALKER”. On bell: “LOCH ARD”. On clear bottle “THE SINGER MANUFACTURING COMPANY“. On plaque: TIM WALKER”.warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, flagstaff hill, loch ard, fiji, watercolour, timothy walker, tim walker, warrnambool & district artists’ society, warrnambool art gallery, poster, henna street picture framers, cargo, print

A booklet titled ' Bill Coleman Retrospective Exhibition.' Bendigo Art Gallery 23 May-13 June, Ballarat Fine Art gallery, 27 June-27 July, Sale Regional Arts Centre 4 August-31 August. Organized by the Bendigo Art Gallery, 1986. Bottom left corner of front cover is number sticker 0126 HAL.person, individual, bill coleman, bill coleman, artist, male, person, individual, catalogue, bendigo art gallery, ballarat fine arts gallery, sale regional arts centre, art, artwork, victorian artist, australian art, exhibition. bottom left corner of front cover is asticker with the number 0126 hal

A book titled ' Louis Buvelot. The Father of Australian Landscape Painting.' Bendigo Art Gallery, 31 March - 30 May, 1988. This exhibition is assisted by the Ministry for the Arts under the Victorian Government Exhibitions Indemnification Scheme. Bottom left corner of the front cover has a number sticker, 0136 THO.artwork, landscape, book, books, louis buvelot, artist, person, male, landscapes, paintings, australian painters, australian art work, art, david thomas, jocelyn gray, exhibition, catalogue, colonial art.bottom left corner of the front cover has a number sticker, 0136 tho.

A book titled ' Artists of the Bendigo Goldfields 1852 - 1864 ' by David Thomas. Bendigo Art Gallery, 9 March - 9 April, 1989. Published by the Bendigo Art Gallery, 1989. 32 pgs. (ill.)David Thomasbendigo, gold mining, artists, books, artists, bendigo artists, person, male, female, person, bendigo goldfields, bendigo, goldfields, bendigo history, history, gold, artworks, place, victorian goldfields, victoria, paintings, book

A catalogue with a brown front cover and white pages. On the front cover are the words, 'Abram Louis BUVELOT exhibition Bendigo Art Gallery' and a photo of the artist.' On the inside of the catalogue is the acknowledgement 'This exhibition forms part of 'Arts Victoria 75' Festival.' The Bendigo Art Gallery also ' gratefully acknowledges the financial assistance given by the Victorian Ministry for the Arts, which has made the mounting of the exhibition and the production of this catalogue possible. There are also photos of Buvelot's work and an article about 'A Man and his Work.' The actual catalogue of the exhibition includes information about Buvelot's 18 oil paintings, 23 watercolours and 9 pencil drawings. There are also Supplementary exhibits - an oil by J.R. Ashton, a photograph by Louis Buvelot and a pencil drawing by Madame Buvelot. Printed by Cambridge Press, Bendigo.artwork, oil painting, bendigo art gallery, lydia chancellor, collection, art, bendigo art gallery, event, exhibitions, program, programmes, catalogue, abram louis buvelot

black and white PHOTOGRAPH OF four males wearing Victorian style clothing - rear of card show two logos for Turbull & Sons Artists , 75 Jamaica St Glasgow - Licencees of Vander Weyde's Patent Process.photograph, person, male, turbull & sons artists , 75 jamaica st glasgow - licencees of vander weyde's patent process

a. CD 'Coo-ee Songs of the Anzac's,'Centenary Commemoration Bendigo Remembers, Lest We Forget' Produced by the Bendigo Historical Society Inc, with funding from The Anzac Centenary Community Grants Program, the Victorian Government and the Victorian Veterans Council. Document b. Document listing songs, artists and timing associated with CD.The Bendigo Historical Society Inc.,military, world war 1, anzac cd and script

Ballet Victoria, White Hills Technical School Assembly Hall. Tuesday, 20th at 8.15pm. Presented by the Victorian Ballet Guild, the Australian Elizabethan Theatre Trust and the Arts Council of Australia (Victoria Division) in association with the Australian Ballet Foundation. Guest Artist Elaine Fifield and Rex McNeill. Artist Director: Laurel Martyn on tour throughout Victoria, New South Wales and Queensland, June/July, 1972. Choreography: Laurel Martyn, Rex Reid, Arthur Turnbull. Music Grieg, Harold Badger, Laurence Rosenthal, Peter Sculthorpe, Tchaikowsky. Prices: $3.50, $2.50, $1.50 children & pensioners half-price all perfs. Bookings see local press for details.entertainment, dance, victorian ballet guild, ballet victoria, white hills technical school assembly hall.20 june 1972 victorian ballet guild, the australian elizabethan theatre trust and the arts council of australia (victoria division) australian ballet foundation. elaine fifield rex mcneill. artist director: laurel martyn, june/july, 1972. choreography: laurel martyn, rex reid, arthur turnbull. music grieg, harold badger, laurence rosenthal, peter sculthorpe, tchaikowsky. prices

S T Gill's Bendigo, Bendigo Art Gallery, 42 View Street, Bendigo. Until 17 October, 1993. Flyer of an exhibition of S T Gill's artwork on Bendigo and Eaglehawk gold rushes of the 1850's. The most popular artist of the Victorian goldfields. Sponsored by the Bendigo Advertiser. Indemnification for this exhibition is provided by Arts Victoria, a Division of the Department of the Arts, Sport and Tourism. Art work sketch included on brochure.Richard Cambridge Printers P/Lartwork, bendigo art gallery, s t gill's bendigo, bendigo art gallery. 17 october, 1993. flyer of exhibition artwork on bendigo and eaglehawk gold rushes of the 1850's. the most popular artist of the victorian goldfields. sponsored by the bendigo advertiser. indemnification provided by arts victoria, a division of department of the arts, sport and tourism.

Born in 1903, Norman Penrose studied at the Bendigo School of Mines. A painter and a teacher, he lived in Bendigo most of his life.Watercolour painting by Norman Penrose titled "Sand Pit Fortuna." It shows a mining sand pit and the Fortuna mine in the background. The painting is signed on the bottom right-hand side. The painting is under glass in a dark brown wooden frame. On the back: Penrose Norman William 14 Barkly Terrace east Bendigo. Price: - guineas. Title: Sand Pit Fortuna. For: drawing, watercolour and graphic art exhibition. Victorian Artista Society 430 Albert Street, East Melbourne bendigo, mining, norman penrose, artist, teacher, fortuna

Collection of various (probably) non-Bendigo based performances - preliminary information re artists but no confirmation that performances resulted in Bendigo. Flyers and printed information re: ''As We Are'' (Beverley Dunn0 1979; Mark Kruger, pianist 2000; ''Carboni'', Bruce Spence - with info re various Victorian performances (no printed date); 1979 correspondence re Terpodian Trio; correspondence and flyer re Odyssey Big Band 1979.