William Nichols Anderson (1873-1927) was an Australian painter, one of whose works from the 1906 series River + Rail is in the Kew Historical Society’s art collection (donated 1984). A separate archive file contains correspondence, biographical information (written by his niece), and locations in Kew where he lived. Much of the correspondence between the Society and the City of Kew relates to the painting and its location in the Mayor’s Room at the Kew Civic Offices, Charles Street, where it was on loan from the Society. Lucy M (Jean) Hornby, the artist’s niece and the donor of the painting was a resident of 5 and 20 Queens Street, Kew (Vic). Australian ImpressionismGift of Lucy Hornby, 1984Framed oil on canvas by W. Nicholls Anderson of Park Street, Kew (now Adeney Avenue) looking uphill in a southerly direction towards Cotham Road. The painting is dated to 1906. The two storey house at left was known as 'Eborensis'. The house is still extant on the corner of Adeney Avenue and Parkhill Road. On sticker on back of frame - Adeney Ave./1913/ £3.3.0/ 13th Annual/ Exhib. V.A.S [Victorian Artists Society]/1911 Aust Art Exhib/the Guidlhall/Swanston st Melb./ Adeney's Paddock/ Kew. £3.0.0.artists - kew - victoria - australia, victorian artists society, william nicholls anderson (1873-1927), adeney avenue kew, australian art exhibition 1911, victorian artists' society, w. nicholls anderson

Melbourne Art Trams On the rear is a photo of the SW5 731 Lesley Dumbrell Transporting Art Tram. Also notes that you can use TramTracker to find the Art Trams. Amanda Morgan - 2009 Kathy Temin - 136 Martine Corompt - 270 Louise Forthun - 209 Matthew Bird - 3509 Phillip Adams - 3509 Tom Vincent - 925 Stephen Banham - 3008 James Voller - 175 Lesley Dumbrell - 731 Two copies heldYields information about the 2015-2016 Melbourne Art TramsPamphlet, folded sheet to give a DL size, pink background titled "Melbourne Art Trams" - Oct. 2015 to April 2016, vote for your favourite tram in the People's choice awards! - part of the Melbourne festival. Notes the Transporting Art trams. Inside the pamphlet are images of the artwork on 8 different trams including the artist names and title of the work if any. Has Melbourne Festival, Yarra Trams, PTV, Arts Victoria and Victorian Govt. logos.trams, tramways, yarra trams, transporting art, decorated trams, exhibitions, tram 731, tram 925, tram 3509, tram 151, tram 252, tram 3008, tram 209, tram 259, tram 158

Melbourne Art Trams On the rear is a photo of the SW5 731 Lesley Dumbrell Transporting Art Tram. Also notes that you can use TramTracker to find the Art Trams. James Cattell - 925 Janine Daddo - 3509 Kristin Headlam - 151 Jeff Makin - 252 Gabriella Possum Nungurrayi - 3008 Rone - 209 Christian Thompson - 259 Callum Croker - 158Demonstrates a Melbourne Art Trams Pamphlet for 2014-2015Pamphlet, folded sheet to give a DL size, pink background titled "Melbourne Art Trams" - Oct. 2014 to April 2015, vote for your favourite tram in the People's choice awards! - part of the Melbourne festival. Notes the Transporting Art trams. Inside the pamphlet are images of the artwork on 8 different trams including the artist names and title of the work if any. Has Melbourne Festival, Yarra Trams, PTV, Arts Victoria and Victorian Govt. logos.trams, tramways, yarra trams, transporting art, decorated trams, exhibitions, tram 731, tram 925, tram 3509, tram 151, tram 252, tram 3008, tram 209, tram 259, tram 158

Newspaper Article, Australian Financial Review comprising cover, pages 40 and 41, titled "Track Stars" 29 September 2018. Written by Clare Morgan with assistance of Russell Jones. Tells the story of the Melbourne Art Trams, the arts festival and Transporting Art. Has photos trams 731, David Larwill and tram 722, Elizabeth Gower, tram 243 and 504. Artists noted: David Larwill, Clifton Pugh, Mirka Mora, Peter Corrigan and promotes the Transporting Art trams exhibition at the Hawthorn Museum.trams, tramways, transporting art, arts festival, decorated trams, melbourne tram museum, tram 722, tram 731, tram 504, tram 243

Set of five Metcard tickets, featuring Melbourne Art Fair 2000 - 4 to 8 Oct.. All have the Metcard and The Met logos, with ticket numbers etc. Gives public transport details for the event. Three copies of each held. .1 - yellow background - Exhibition building .2 - red / black background - Exhibition building - work by Ronnie Tjampitjinpa .3 - featuring a dancing couple - artist Robert Rooney .4 - featuring a cow - artist John Kelly .5 - featuring stripes - artist Melinda Harper .6 - brown background - artist Ildiko Kovacstrams, tramways, tickets, metlink, metcard

Newspaper report with colour images courtesy of the Public Records Office of Victoria, reporting on the PROV "Transporting Art" Exhibition. Gives details of the artists featured. Written by Katie Lapthorne.Yields information about the 2002 Transporting Art Exhibition held by the PROV.Newspaper - centre fold - full colour The Herald Sun 11/1/2002tramways, transporting art, tramcars, exhibitions, prov

Newspaper clipping, from possibly The Age, titled "Transporting art is like taking a tram", during 1983 as it notes the end of an Exhibition in the Ministry for the Arts foyer ending Friday 14/10. Item part of the "around the Galleries" written by Susan McCulloch, reporting on the Stewart Merritt tram 439, being the last of the Transporting Art trams. Review the other artists involved the story and that prints of the trams were on sale at the Ministry Has an image of Stewart's work which was themed around "Victoria State of the Arts".trams, tramways, transporting art, ministry for arts, w2 class, tram 439

Photograph shows the artists, Bob & Lorraine Jenyns and sons standing in front tram of SW5 class tram No. 723 at the time of its launch on 17/7/1989 (see item 560). The historical note gives a short bio of the artists.Has a close association with the artist Bob and Lorraine JenynsColour inkjet print on Fuji photo paper and a historical note that was with the photograph when on exhibition.transporting art, tramways, ministry for arts, sw5 class, tram 723

Walter Withers (1854-1914) was born in Handsworth, Warwickshire, England. He migrated to Australia in 1882 and in time was to become one of the country's most famous painters. In 1887/8 he spent a year in London and Paris during which time he married Fanny Flinn. When he returned to Melbourne he was engaged by publishers doing black and white illustrations. In the late 1880's he became associated with artists who formed the renowned "Heidelberg School" and in 1890 moved to "Charterisville" at Eaglemont. He lived in the Heidelberg area until 1903 when he purchased a house on two and a half acres (one hectare) at the corner of Brougham and Bolton Streets, Eltham. He had long been attracted to the Eltham area, but needed access to Melbourne for his painting classes. The extension of the railway in 1901 made the move possible. He remained in Eltham until his death and is buried at nearby St Helena. Many of his important paintings were painted during these later years. There are important collections at the National Gallery of Victoria and the Geelong Art Gallery. His Eltham house remains and his name is honoured by a small park at the corner of Bible and Arthur Streets. Source: Information panel produced for EDHS exhibition in 1990. john withers collection, artist, sepp, shire of eltham pioneers photo collection, walter herbert withers, walter withers

Poster features headlights from some of the Transporting Art program. Document acts as a catalogue for a 1983 Arts Exhibition. Gives a background to the project, lists the trams, notes on the artists, notes from the artists on their work, black and white images of the tram parts. Printed for the Victorian Ministry for the Arts Gallery, exhibition 12/9 to 14/10 1983Yields information about the first series of Transporting Art trams.Folded A2 (into A4 sheets) printed on gloss paper.Tram No. for 396 changed to "336" in ink.trams, tramways, transporting art, decorated trams, exhibitions, tram 234, tram 525, trtam 607, tram 345

Poster titled "Melbourne's Painted Trams" with subtitle "Transporting Art", printed on one side of a single sheet of art paper, then folded in half, then folded in concertina style (6 panels), featuring the 15 Melbourne W2 class tramcars that were painted in the years between 1978 and 1982. Provides notes on the artists, their thoughts on the projects and details of the project. Sponsored by the Victorian Ministry for the Arts and Ministry of Transport. Notes that 14 of 15 trams had reached the end of their working lives and were to be auctioned on 7/12/1986, that No. 504, Clifton Pugh was to be donated to Museum of Victoria and that a new series of 20 painted trams were being sponsored. Poster prepared by Malpass and Burrows of the Design group with photographs by Stephen Hall and Regina Grant. Decorated trams, artists. Features trams and artists 525 - Les Kossatz 243 - Mirka Mora 504 - Clifton Pugh 503 - John Nixon 497 - Erica McGilchrist 567 - Peter Corrigan in 1978 and repainted by Paul Mason in 1982. 345 - Gareth Sansom 384 - Howard Arkley 234 - Andrew Southall 336 - Mike Brown 444 - Trevor Nickolls 502 - Rosemary Ryan 340 - Don Laycock 607 - Craig Gough 439 - Stewart Merrett 2nd copy added 2/6/15. Electric Traction, August 1979, page 135 has noted on the removal of the Japanese flags on tram 567 by artist Peter Corrigan.trams, tramways, transporting art, decorated trams, exhibitions, melbourne

Melbourne Art Trams On the rear is a photo of the SW5 731 Lindsay Dumbrell Transporting Art Tram. Brook Andrew Jon Campbell Bindi Cole Rose Nolan David Wadelton Joining forces Luke Cornish Frey Pitt.1 - pamphlet, folded sheet to give a DL size, blue background titled "Melbourne Art Trams" - Oct. 2013 to April 2014, vote for your favourite tram in the People's choice awards! - part of the Melbourne festival. Notes the Transporting Art trams. Inside the pamphlet are images of the artwork on 8 different trams including the artist names and title of the work if any. Has Yarra Trams, PTV, Arts Victoria and Victorian Govt. logos. .2 - pamphlet, DL size on white paper, featuring W2 602, advertising the Old Treasury Building exhibition titled "Trams Moving Pictures" - 17/12/2012 to mid August 2013. Details the exhibition, has contact details logos.trams, tramways, yarra trams, transporting art, decorated trams, exhibitions

Neil Douglas artist painting a scene towards the entrance of Lakes Bunga Victoria. Marie Fish took the photograph after asking Neil Douglas to open the Lakes Entrance art Group ExhibitionColour photograph of Neil Douglas artist painting a scene towards the entrance of Lakes Bunga Victoria arts, events, beaches

Col Kleenhammer with Jenny Toye artist on the rocking horse made by Col and painted by Jenny at the Woodsedge Gallery Lakes Entrance VictoriaBlack and white photograph of Col Kleenhammer with Jenny Toye artist on the rocking horse made by Col and painted by Jenny at the Woodsedge Gallery Lakes Entrance Victoria exhibition, arts and crafts

merri-bek public art collection

RICHARD FORD, AUSTRALIAN ARTIST CONNECTED TO CLUNES, VICTORIA, AUSTRALIA FOR MUCH OF HIS LIFE.1 CHINA PLATE WITH IMAGE OF THE EXHIBITION BUILDING IN CARLTON, VICTORIA, AUSTRALIA. SKETCHED IN CANDLE SMOKE THEN VARNISHED .2 CHINA PLATE WITH IMAGE OF CAPTAIN COOK'S COTTAGE LOCATED IN THE FITZROY GARDENS, VICTORIA, AUSTRALIA. SKETCHED IN CANDLE SMOKE THEN VARNISHEDSIGNED: R FORDrichard ford, clunes artist, clunes teacher

Jenna Lee dissects and reconstructs colonial 'Indigenous dictionaries' and embeds the works with new cultural meaning. Long obsessed with the duality of the destructive and healing properties that fire can yield, this element has been applied to the paper in the forms of burning and mark-making. In Without Us, Lee uses charcoal to conceal the text on the page, viewing this process as a ritualistic act of reclaiming and honouring Indigenous heritage while challenging the oppressive legacies of colonialism. Lee explains in Art Guide (2022), ‘These books in particular [used to create the proposed works] are Aboriginal language dictionaries—but there’s no such thing as “Aboriginal language”. There are hundreds of languages. The dictionary just presents words, with no reference to where they came from. It was specifically published by collating compendiums from the 1920s, 30s and 40s, with the purpose to give [non-Indigenous] people pleasant sounding Aboriginal words to name children, houses and boats. And yet the first things that were taken from us was our language, children, land and water. And the reason our words were so widely written down was because [white Australians] were trying to eradicate us. They thought we were going extinct. The deeper you get into it, the darker it gets. But the purpose of my work is to take those horrible things and cast them as something beautiful.’Framed artwork

Western Aranda artist, Gerhard Inkamala. Born in 1917, Gerhard was the nephew of Albert Namatjira and grew up being inspired by his artwork and the surrounding landscapes. He became a skilled artist and during the 1940s was one of the founders of the famous Hermannsburg School of Art. In the 1950s Gerhard and his brother Adolf were included in a group exhibition in Alice Springs at the home of Rex Battarbee who was the Warrnambool-born art teacher of Albert Namatjira. He died in 1977.A landscape scene showing the Australian outback. Trees and shrubs in the foreground with rocky hills in the background. The foreground is an ochre/orange colour and the hills and rocks in the background are a blue/grey colour. The sky is clear and blue. Signed bottom right. The work is mounted on cream mountboard and framed in a white timber frame under glass.'Gerhard Inkamala' signed bottom right hand side of the painting.

non-fictionAnnemieke Mein will have her first solo exhibition in Melbourne in nine years at Artspace from 11/07/2025 - 30/08/2025mein annemieke, artspace, textile art

This majestic peacock embodies the technical achievement, skill and ingenuity of artisans during the 19th century. It is now known as the 'Loch Ard Peacock' and was designed and modelled in 1873 by Paul Comolera (1818-1897) and fired in one piece at the Minton factory at Stoke-on-Trent in the United Kingdom in 1875. The peacock has been portrayed in symbolic motifs and has figured heavily in folktales and fables since antiquity, and many cultures around the world see it as a symbol of beauty, rebirth and power. Wealthy Victorians loved majolica, and the large peacock would have been the ultimate home accessory as a conservatory ornament – combining their desire for nature, the exotic and vibrant colours. The peacock model was listed in catalogues by Minton & Co. for a retail price of 35 guineas or sold as a pair for 90 guineas. Minton & Co. was founded in 1793 by Thomas Minton (1765–1836) and became a famous pottery and porcelain manufacturer. Comolera was a French artist and sculptor, renowned for dramatic naturalistic forms and life-size renditions of birds and animals that won him admiration in public and artistic circles. He was employed by Minton & Co. from 1873 to 1880, and the life-sized peacock became his best-known work. Comolera kept a live peacock loaned from the nearby Duke of Sutherland's Trentham Hall Estate in his studio to create a life-size model of fine buff earthenware model, which was then hand painted in brilliantly coloured green and blue glazes to mimic the peafowl’s dazzling plumage. There are no surviving production records, but according to documents in the Minton Archive, nine peacocks were made by Comolera. However, today, some historians now believe that twelve were fired at the Minton factory; research is ongoing. These peacocks were so admired that Minton & Co. used them as exhibition showpieces at International Exhibitions in London, Paris, and the United States of America, ensuring the company had a worldwide reputation. So, when Melbourne hosted an International Exposition in 1880, Minton & Co. sent out ceramics and tiles, and in particular, this peacock was intended to be part of their exhibit in the British Court in the Exhibition Building, built in the Carlton Gardens. The early dispatch date (1878) indicates that the company may have intended to exhibit their wares, including the peacock, at the 1879 Sydney International Exhibition, but the company did not take up this option. The ship that Minton & Co. used to bring the peacock and their other wares to the Australian colonies was the ill-fated Loch Ard, which sunk after striking Mutton Bird Island near Port Campbell, Victoria, in calm foggy weather in June 1878 on the final leg of the ship's journey to Melbourne. The loss of 52 lives made it one of Victoria’s worst shipwrecks. Therefore, this peacock never made it to the grand exposition in Melbourne, as Minton & Co. had planned. Charles McGillivray dragged this peacock, still in its original packing case, onto the beach in the gorge just two days after the Loch Ard went down. The peacock was rescued unscathed apart from a chip on its beak (only repaired in 1988). After a disagreement with a Melbourne Customs Officer, Joseph Daish, McGillivray stopped his salvage operations, leaving the peacock on the beach. The second salvagers were James Miller and Thomas Keys. Miller was a member of the firm Howarth, Miller and Matthews, Geelong, who had brought the salvage rights to the Loch Ard wreck on 10 June. When Miller and Keys arrived at the wreck site, a storm had washed many of the salvaged goods, including this peacoc,k back into the sea. The two men found the peacock in its case ‘bobbing along in the water’ and pulled it back to the beach. To ensure the peacock wasn't washed out to sea again, Miller and Keys hauled the packing case containing the peacock up the gorge's cliff face to the top, ready to be transported. In an interview in 1928, Keys claimed that at the time of the rescue, the head had broken from the body. This account was proven to be true in 1988, following the birds' display in Brisbane. This peacock began its life in Australia, not in the grandeur of an International Exhibition as intended, but in the hallway of a simple domestic house in Geelong. It appears Minton & Co. did not attempt to buy this peacock back. Florence Miller, daughter of James Miller (Loch Ard salvage rights holder), later remarked that the only item of real value rescued from the wreck had been the peacock and that this had been kept by her father in the family home at Malvern for many years and became a treasured family possession. As such, this 'Loch Ard peacock' was almost forgotten and mistaken with other Minton peacocks around the world. Miss Florence Miller tried to sell the peacock due to financial difficulties in the 1930s but was unsuccessful. While attempting to sell her Loch Ard relic, it was displayed in the window of the old Argus newspaper office, which was at 76 Collins Street, Melbourne; the Argus had relocated to the corner of Elizabeth and La Trobe Streets in 1926. Between 1935 and 1939, the old Argus building was occupied by the Joshua N. McClelland Print Room, which sold not only paintings and prints but also antiques and authentic replicas, as well as hosting exhibitions. Miss Florence Miller loaned her peacock for display at the Victorian Historical Exhibition held in the National Gallery on 1st June 1935, the 57th anniversary of the Loch Ard wreck. As a result, the peacock attracted public attention in books, newspapers and magazine articles that told the story of its survival from a shipwreck. Miss Florence Miller was keen to sell the peacock, even writing overseas to Captain Blain on November 30th, 1938, about the possibility of a sale, but this became no longer possible due to the outbreak of war. Recent information points to the Loch Ard peacock being owned by John S R Heath before its sale to Frank Ridley-Lee in May 1941. Research is ongoing, but it seems likely that John Samuel Robert Heath, a leading Melbourne dentist with a practice in Collins Street, and his wife, a dental mechanic, had purchased Miss Miller’s Loch Ard peacock before its sale in 1941. They were lovers of fine arts, music, wine and food. The peacock in the window of the old Argus building could have attracted their attention as they had already purchased the old stone Presbyterian Church on Warrigal Road, Oakleigh, in 1933 and had converted its interior. The home, renamed The Studio, even included Melbourne’s first all-electric kitchen. The peacock was perfect for display in the Studio’s entrance. A magazine article published after the conversion was completed included photographs of the interior. The picture of the ‘portico’ had a caption below that stated, “Some of her [Mrs Heath’s] finest pottery was salvaged from the Loch Ard Wreck”. In 2025, Heath’s two remaining sons remember running around in the entrance with the peacock standing there, oblivious to its value. Heath was an accomplished artist, studying under Max Meldrum. He painted and exhibited his works at The Studio and in a public exhibition, and he was a finalist eight times in the coveted Archibald Prize portrait competition, including the submission of his self-portrait that is now part of his grandson’s collection. The next owner of the Loch Ard Peacock was Frank Ridley-Lee. He displayed it at his home in Ivanhoe after buying it at an auction in May 1941. The peacock remained in the hands of the Ridley-Lee family until it was offered for sale by auction in 1975 as part of an art collection belonging to Mrs Ridley-Lee's estate. The peacock was not sold at this time, as the reserve price of $4500 was not met. This news was passed on to the board of the newly created Flagstaff Hill Maritime Village. Urgent efforts were made to collect the necessary money through fundraising by the Warrnambool City Council and public donations. The Fletcher Jones Company and the Victorian Government contributed half the cost. On 9 September 1975, the Loch Ard peacock was purchased by Flagstaff Hill Maritime Village, and it found a new home at the maritime museum. Since then, it has only left Warrnambool twice. Firstly, in 1980, at the centenary celebrations of the Royal Exhibition Building in Melbourne, and secondly, in 1988, the peacock was given pride of place at the entrance to the Victorian Pavilion at the Brisbane World Expo, acknowledging that this Minton Majolica peacock is the most significant shipwreck object in Australia. The Minton majolica peacock is considered of historical social and aesthetic significance to Victoria and is one of only a few 'objects' registered on the Victorian Heritage Register (H 2132), as it is a most notable and rare object associated with the Minton factory of the 1870s and works by the celebrated sculptor Paul Comolera along with the wreck of the Loch Ard on the Victorian coastline. This Minton peacock is historically significant for its rarity; it was one of only 9-12 known to exist. The shipwreck of the Loch Ard is also of significance for Victoria and is registered on the Victorian Heritage Register Ref (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's early social and historical themes. The collection is historically significant is that it is associated, unfortunately with the worst and best-known shipwreck in Victoria's history. The peacock, resplendent in polychrome glaze, stands perched on a rocky plinth decorated with vines, leaves, flowers, blackberries and wild mushrooms. The peacock’s breast is cobalt blue; the wings and legs are in naturalistic colours. The tail is a mass of feathers coloured in green, ochre blue and brown — a fantastic display of artistry and Minton expertise. Inscribed at the base :P Comolera, and a Minton & Co. design number: 2045.flagstaff hill, warrnambool, maritime museum, shipwreck coast, loch ard, loch ard gorge, peacock, paul comolera, victorian heritage register, minton peacock, minton & co., stoke upon trent, bird figures, mintons, ceramics, international expositions, majolica, naturalistic, staffordshire, john samuel robert heath

Various items of interest related to the work of Mr. Norman Penrose who held an exhibition of his watercolor work at the Hotel Shamrock, Bendigo on Monday, October 2nd. 1950. Included is a programme of his work at the exhibition and Bendigo Advertiser cuttings. See also Norman Penrose Collection catalogue number 2214artwork, water colour, norman penrose, lydia chancellor collection, painter, artist