This glass door insert is one of a pair previously inserted into the entrance doors to the Shire of Diamond Valley offices in Greensborough. The Shire of Diamond Valley was a Local Government Area located about 20 kilometres northeast of Melbourne. The shire covered an area of 74.38 square kilometres and existed from 30/09/1964 until 1994. After the local government mergers of 1994, the Shire of Diamond Valley offices were used by the Nillumbik Council.This etched glass is a reminder of the Shire of Diamond Valley. As a large piece of glass it is fragile and could have easily been lost or broken when the Diamond Valley offices changed ownership.Clear glass door insert. Etched with insignia of Shire of Diamond Valley.Glass is etched with the coat of arms of the Shire of Diamond Valley surrounded by inscription 'Shire of Diamond Valley. Proclaimed 1964'.shire of diamond valley, emblems, glass etching, local government buildings, door panels

Paperback; 111 p. : ill. ; 28 cm.ISBN 0909674345 [written on flyleaf] To the members of the Shire of Eltham Historical Society, with my very best wishes, Andrew Mackenzie 8 July 1987.victor cobb, artists

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, print etching

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, print etching

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, print etching

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, print etching

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, print etching

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, print etching

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, print etching

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, print etching

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, print etching

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, print etching

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, print etching

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, print etching

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, print etching

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, print etching

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, print etching

Index, bib, ill, p.348.non-fictionWill Dyson (1880-1938) was a brilliant and versatile artist, and much more besides. His prodigious talents struggled to find a niche in Australia, but he burst into prominence with cartoons of extraordinary vigour and resource on the London Daily Herald. These whole-page cartoons with wordy, witty captions were revered by workers and intellectuals alike. Dyson was also a talented writer, a scintillating humourist and an arresting speaker. A stunning overnight success, he was described as the most famous Australian in the world. In 1916 Dyson became Australia's first official war artist. His drawings of profound empathy and sympathy remain a unique record of the Western Front experience. Once again he complemented his art with exquisite writing. Returning to Australia in 1925, he took up etching to international acclaim, confirming that whatever he did he did well. Absorbing, illuminating, and lavishly illustrated, this is a fascinating story of the life and times of a remarkable and under-recognised Australian.will dyson 1880-1938, cartoonists - australia

Rev. James Sugden was a Wesleyan minister in Yorkshire, U.K., and was the father of Rev. Edward Holdsworth Sugden, first Master of Queen's College, University of Melbourne.Waist length B & W printed engraving of the Rev. James Sugden."Revd. James Sugden. Engraved by J. Cochran from a photograph"james sugden, edward holdsworth sugden, wesleyan, minister, yorkshire, queen's college, university of melbourne

Geoff Davidson arrived at Dunmoochin around 1968 and began living and working as an apprentice to the potter Robert Main, who was working in a studio rented to him by Clifton Pugh on the Dunmoochin property. When Robert left, Geoff moved into the studio and began collaborating with Clifton Pugh on many projects for a period of 25 years whereby Clifton would decorate pots made by Geoff. Geoff produce the ceramic panels for Leda and the Emu. He mixed and identified the glazes for Clifton, then fired the panels once he had finished painting. Three or four murals were produced in this way, one of which was purchased by Don Dunston (ex-Premier of South Australia) as a gift to his dying wife.Dunmoochin derives its cultural and artistic heritage from the collaborative efforts of a group of artists who purchased land in Cottles Bridge in the early 1950’s. These artists (Pugh) pioneered one of the first artistic communes in Australia and created a lasting vision of how a community can gain knowledge and inspiration from living in a close relationship with nature. Pugh had explored the ‘Leda and the Swan’ mythological themes previously during the sixties in etchings and paintings, although he was more interested in referencing the original myth as allusions to other truths. Pugh was drawn to the Greek myth ‘Leda and the Swan’ in which Zeus transforms into a swan to seduce Leda. Pugh Australianised the myth so that Zeus transformed into an Emu rather than a Swan, and makes a gentle satirical comment on the sexual behaviour of the Australian male, whereby he sees a parallel between this and the proud yet awkward movements and naivety of our national bird. This particular theme was prevalent in Pugh's work right through the 60s and 70s. Leda and the Emu is a work by two prominent local artists (Clifton Pugh and Geoff Davidson) with a national and international reputation.Flat red background, black foliage. Leda is naked and sleeping with head resting in hand. Emu is to the left watching Leda. Drawing style is typical of Pugh’s work: linear, flat and gestural.Signed 'II Clifton'

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'