Robin Boyd was invited to be a judge on the AIA-Sunset Western Home Awards Program (see correspondence item D416). Robin and Patricia Boyd travelled to California in July 1965. They also visited Japan.Colour slide in a mount. Ahmanson Gallery, Los Angeles County Museum of Art, Beverley Hills, Los Angeles, California, USA (1965). (Architect: William Pereira.)Made in Australia / 21 / JUL 65Mcalifornia, slide, robin boyd

Robin Boyd was invited to be a judge on the AIA-Sunset Western Home Awards Program (see correspondence item D416). Robin and Patricia Boyd travelled to California in July 1965. They also visited Japan.Colour slide in a mount. The Los Angeles County Museum of Art, Los Angeles, California, USA, 1965. (Architect: William Pereira.)Made in Australia / 20 / JUL 65Mcalifornia, slide, robin boyd

Robin Boyd was invited to be a judge on the AIA-Sunset Western Home Awards Program (see correspondence item D416). Robin and Patricia Boyd travelled to California in July 1965. They also visited Japan.Colour slide in a mount. The Los Angeles County Museum of Art, Los Angeles, California, USA, 1965. (Architect: William Pereira.)Made in Australia / 23 / JUL 65Mcalifornia, slide, robin boyd

Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Old Court of Appeal for Western Sweden 1948, Gothenburg, Sweden. (Architect: Hakon Ahlberg.)Gothenburg / Court / Law Courts Building for West Sweden / Arch. Hakon Ahlberg / 1948 (All Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Western facade, Versaille, FranceVersailles / W.Facade (All Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

A play about front-line warfare on the Western Front written by a soldier who served in the front line in France for over a year. Sherriff became an insurance agent who wrote plays to raise money for his rowing club. He wrote a novel and the he turned to the new art form, the talking film, becoming Hollywood's highest-paid script-writer. His credits include screenplays for: The Invisible Man; Lady Hamilton; Goodbye Mr Chips; The Dam Busters; Odd Man Out; Quartet and Mrs Miniver. The play was directed by Mick Rodger; The Director of the MTC was John Sumner with Assistant Director Ray Lawler.Paper program; coloured cover; 16 p. includes articles about the play and the actors.the university of melbourne, melbourne theatre company, journey's end, r c sherriff, athenaeum theatre, john stanton, mick rodger, ray lawler

The painting was purchased from the Eltham Outdoor Art Show. Smith endeavours to capture mood, atmosphere and light in this work by heightening and intensifying the imagery where possible. Smith is concerned with expressing a 'sense of place' inherent in the subject matter. Painting of a landscape at dusk with dirt walking track and trees somewhere in Eltham. Oil on composition board. Moulded frame. Painted in the 'Western Realist Tradition'. Signed 'HARRIS SMITH/84' Hand painted in capitals in red paint; bottom right. eltham, painting, landscape, smith, evening

'Skin, Surfaces and Shadows' was created by Tommaso Durante in 2004 during his stay in Bundanon (gifted to the Australian people by Arthur & Yvonne Boyd - South East Australia) as international artist in residence and it was enriched during the artist’s stay in Broome (Western Australia) in 2005. On that occasion he collected the raw materials that were subsequently wrought to develop the actual bookwork.On the edge of artistic practice and philosophical inspiration, 'Skin, Surfaces and Shadows' pushes the boundaries of art, craft and design by combining digital technologies with traditional techniques and materials. Durante visually explores the surfaces of organic things (trees, surface textures, etc.) and the figurative dividing line of the shadow. The poet Wallace-Crabbe responds to these images in words. The poet and the artist flit in and out of shadows, skin and the surfaces of paper and life.(a) prints, artist's book (80 pages), ink; Somerset Book White paper (175gsm), digital images, printed in eight inkjet colour pigments, from digital files. Set in digital typefaces Utopia STD Display, Italic and Bold, Frutiger 57 Condensed, 67 Bold Condensed, and 56 Italic. Section sewn around 3 tapes. Full paper binding with blind blocking on front cover handmade head and tail bands. (b) CD of slide presentation to accompany bookwork on display Primary Insc: In black biro, signed and editioned by Tommaso Durante and Chris Wallace-Crabbe (last page '8/25 T DURANTE CWallace-Crabbe')prints, artist book, skin, surface, shadow, poetry, durante, wallace-crabbe

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'

The first Battle of Ypres (French: Premiere Bataille de Flandres . German: Erste Flandernsschlacht,19th October - 22 November 1914) was Battle of the First World War fought on the Western Front around Ypres in West Flanders Belgium.WW 1 Brass Trench Art Souvenir Letter Opener. Configured from a bullet on which is mounted a German Crown Button.and a piece of sheet brass from a shell casing.Inscribed on blade of letter opener is Souvenirs Ypres.

Thought to have been made in WW1, possibly on the Western Front.Brass cigarette lighter. Probably made in WW1 from a French Lebel Bullet.3/11. IART.DI. IVW MI

The Artist in Residence program enabled research of the Museum's collection of artefacts relating to 11th Battalion AIF. Access was provided to the behind the scenes storerooms of uniforms, banners, photographs, artefacts and diaries. Michele summarised her experience with the project as follows: "It was an interesting experience and a topic I would not probably have considered had I not been asked. The mixture of history and the people who lived through these times has been an absorbing and rewarding journey for my art practice."Mixed media / textile art from Department of Culture and the Arts, Artist in Residence program 2015 by Michele Eastwood. The hand knitted sleeveless jumper in the Museum, made by Sergeant John Ellwood Rudd of the 48th Battalion was the inspiration behind this work. With great ingenuity John Rudd unwound the knitted socks sent by the women back home. Creating knitting needles fashioned from the barbed wire surrounding the POW camp he was incarcerated in, he knitted a jumper to help him through the freezing winters of Germany in the First World War. Original artefact was inspiration for this artistic interpretation.

Hardcover book - titled "Timetable and Duty Schedule compilation [Road Passenger Transport]", written by J.F. Turner outline the underlying principles involved in the preparation of the Timetables and compilation of Duty Schedules necessary for the operation of Road (Bus) Passenger Transport Services. Has Title page, foreword, Preface, table of Contents, text covering timetables, duty schedules, the duty rota and schedule economics, index and inset facing page 46, tipped in and printed on art paper, a timetable chart in colour identifying scheduled times to intermediate points. Cover blue Rexene colour board with red block lettering on the front cover and spine full bound, sewn with end papers. J.F. Turner, Lecturer at the City of London College and the North Western Polytechnic (London). Published by Sir Isaac Pitman and Sons, London, 1946. On inside front cover "L.J. Denmead / Superintendent Tramways, S.E.C. Ballarat Nov. 1951" / "A.D. T. Supt. Flinders St. Feb. 1963" / D.T. Supt. / Monash House 1963" and top left hand corner of first page "L.J. Denmead M.M.T.B. 1947" and "p29" reference in ink. page 29 has an "X" in top left hand corner.trams, tramways, timetables, schedules, rosters, buses

Yields information about how the BTM promoted the tramway, with the assistance of McDonalds. Design by the printer and Stephen Butler.Printed single sheet pamphlet, advertising BTM Vintage Tramway, titled "Fares Please!" featuring Frank Puls, a 1/- ticket and tram 26 on one side, map, details and McDonalds Wendouree on reverse. Printed in green, orange and black and white on light art paper. Includes BTM web address and McDonald's logo on rear, giving five locations of McDonalds, including the Western Highway at Ballan, Tourism and Museum Accreditation logos Introduced late August 2008. See Reg Item 2443 for previous version and 6123 for next version.trams, tramways, mcdonalds, btm, ballarat vintage tramway, botanical gardens

Printed single sheet pamphlet, advertising BTM Vintage Tramway, titled "Fares Please!" featuring Frank Puls, a 1/- ticket and tram 26 on one side, map, details and McDonalds Wendouree on reverse. Printed in green, orange and black and white on light art paper. Includes BTM web address and McDonald's logo on rear, giving five locations of McDonalds, including the Western Highway at Ballan, Tourism and Museum Accreditation logos Introduced late June 2014. The 2014 version has the web address on the bottom edge of the front, Facebook logo and QR code on the rear. Map revised to include Wendouree Railway Station, Care, and the POW Memorial. See Reg Item 2443 and 4453 for previous versionstrams, tramways, mcdonalds, btm, ballarat vintage tramway, botanical gardens

flinders, pier, beach, coast, western port, mornington peninsula, adrian kennedy

Mount Arapiles, or ‘Djurite’ is part of the Mount Arapiles-Tooan State Park approximately 30km west of Horsham. Mark Radford was a former Mayor of Horsham Rural City Council and councillor for 12 years.Mark Radford, Mount Arapiles, Western Victoria 2009, photograph, 36 x 59.7 cm. Bayside City Council Art and Heritage Collection. Gift of Horsham Rural City Council, 2009.mount arapiles, djurite, mount arapiles-tooan state park, horsham, horsham rural city council, mark radford, wimmera, mountain

Bob Kelly paints landscapes of culturally significant sites along the Mornington Peninsula and depicts these locations as he imagines they originally were before colonisation. Using traditional Western painting techniques, Kelly records the underlying spirit of the Peninsula from a Wathaurong perspective. Chinaman’s Creek in Capel Sound (Rosebud West) was an important watercourse that originally ran from Wonga (Arthur’s Seat) down through Tootgarook Swamp into Port Phillip Bay. It was a great fresh water and food source and home for many Boonwurrung people. Since settlement over 170 years ago, the creek has been drained, blocked, reconstructed and damaged. Kelly depicts a lush green landscape in which the clean creek water winds through the surrounding vegetation of spinifex grasses and gum trees, the background hills are abundant with trees, untouched from man's intervention. Using painstaking detail, Kelly records each blade of grass and ripple on the surface of Chinaman’s Creek. His attention to detail serves to powerfully reimagine this important cultural site, returning it to its former pristine state, and reinvigorating its role as a key place of sustenance for the Indigenous populations of the Peninsula. Chinaman's Creek was a finalist in the 2017 Bayside Acquisitive Art Prize.oil and acrylic on canvaslandscape, creek, trees, chinaman's creek, painting, indigenous, robert kelly, bayside acquisitive art prize, bob kelly, wathaurong, rosebud, arthur's seat, tootgarook swamp, port phillip bay, boonwurrung

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.