Gift of Doug and Evelyn McColl, 2005

Anisa Sharif is a Melbourne based artist who specialises in glass mosaic. Much of her art is utilised in art-activated initiatives working with marginalised and underprivileged communities. Anisa draws her influence from Moroccan, Indian, Persian and the Art Nouveau​ genres.Mosaic art glass mosaic featuring twin peacocks. The peacock is a repeating theme in Anisa's work and is the artist's way of acknowledging and appreciating the great diversity of wonder and humour in creation. Visitors are encouraged to touch this piece — facilitating a tactile experience of the picture and the mosaic surface.mosaic, peacock, glass, gems

Alfred Felton (8 November 1831 – 8 January 1904) lived at the Esplanade Hotel, St Kilda, from 1892 and died there in 1904. He was born in England and came to Australia in 1853 intending to search for gold. In 1867, having worked as a commission agent and dealer in merchandise, an importer and general dealer and a wholesale druggist, he went into partnership with Frederick Sheppard Grimwade and founded Felton Grimwade and Company, "wholesale druggists and manufacturing chemists". He was a keen collector of books and art. He never married, had no direct descendants and gave away considerable amounts to charity. When Felton died, he left the bulk of his fortune to the creation of a charitable foundation known as the Felton Bequest to support culture and the community, with half the funding benefiting Victorian charities (particularly those that support women and children) and the other half used to acquire and donate art works to the National Gallery of Victoria. The Felton Bequest has been responsible for 15,000 artworks in the National Gallery of Victoria and they are the core of the collection. colour photograph unmountedCity of St Kilda. Alfred Felton (1831-1904) Philanthropist, Industrialist, lived here 1892 - 1904, sponsored by ACI International Ltdfelton, alfred felton, the esplanade, hotel esplanade, espy, st kilda, plaques

Picture of late 19th century double storey, double fronted mansion with wrought iron pillars and balcony lace work on upper ballistrade. Built for Moritz Michaelis in 1870. Part of Donald McDonald collection of images.Alfred Kursteiner, Moritz Michaelis. Backed but unmounted black and white copy in good condition.Linden, 26 Acland Street, for Moritz Michaelis, merchant and founder of Jewish Synagogue Charnwood Cres, now used as art and culture centre by COPP'

Honour Board listing the 52 names of North Wangaratta State School students who enlisted to serve their country during the First World War and commemorates those who lost their lives. North Wangaratta State School 2391 was opened in May 1881 and closed October 26 1969. Today a plaque commemorates the site of the old school in Eldorado Road North Wangaratta. The Honour Board preserves the names of past students who enlisted to serve their country during the First World War and commemorates those who lost their lives.The North Wangaratta School Trust Committee donated the Honour Board to the Wangaratta RSL for safe keeping and display to the publicOrnate carved wooden frame containing black and white photograph of the North Wangaratta State School Honour BoardFront: North Wangaratta State School Roll of Honour, The Great War 1914 to 1919, followed by 52 names. Back: Written in ink; J.L. Bell East Wangaratta. Sticker; Courtney's Thelma Studio, photographers & picture frame makers. We specialise in enlargements and guarantee our work to be the best that art can produce. Appointments in Town or Country attended to. We carry a complete stock of stationery and fancy goods, Christmas cards and novelties etc, and all school requisites. T. Courtney Proprietor, Phone 55honour board, north wangaratta, world war 1, school, state school

These Lithographs were made for the printing and Publishing of the Book entitled "The History of Winchelsea Shire" by Cr. W.L Koenig who was commissioned by the Shire of Winchelsea to collate, Document and present the Pre-Colonial and Colonial History of the Barwon District and in particular the Winchelsea Shire for posterity and public education. The Book was published including the photographs represented by these lithographs as illustrations, and remains the foundation of the historical narrative of the area, and the context of this collection. This Lithograph is one of four depicting indigenous artefacts collected and displayed by Cr. Koenig.Koenigs collection of indigenous artefacts remain as unique in the Surf Coast Shire as a relic of material culture from the district in Pre-Colonial times. These lithographs remain as significant in themselves being the master copy remaining from the publication of Koenig's work. They are aesthetically beautiful as a work of art, and historically (technologically) important in the narrative of printing.Lithograph for printing a Photograph of a collection of indigenous artefacts for publication in the book "History of the Winchelsea Shire" By Cr. W.L. Koenig.NILkoenig, lithograph, illustration, printing blocks, picture, book, indigenous, artefact, image, stone tools, bone, winchelsea, wadda wurrung, witharong, wathaurong, wito wurrung, aboriginal

Black and white photograph of student's work mounted on card.williamstown high school, 1970s, westgate bridge, student art

Hard Cover Book slightly larger than A5. Almost black cover with gold bee embossed on the front. Title is imprinted & very hard to read 472 pages + index Comes with a CD of the background on the copy of the bookTo the throngs of eager, questioning brothers & sisters in the art of bee culture In our own & other countries This work is respecfully dedicated by the author

The well known sculpture of English playwright William Shakespeare takes an elaborate bow before the Civic Hall, a performance and community center for Ballarat. The unique abstract and elongated mannerist style used in this cast bronze sculpture hints at the art deco style of the Hall behind. The sculptor, Andor Mészáros, was from Budapest but created much of his work in Melbourne. He also created works for Canterbury Cathedral in the UK and several carved stone sculptures for Sydney Hospital. The artwork was commissioned in 1959 through a widely publicised competition and installed in 1960. In addition to making sculptures, Mészáros was also renown as a creator of medallions. In 1951 he received 'the highest award' at the International Medallion Exhibition, Madrid and in 1964 he won the 'purchase prize' at the International Medallion Competition, Arezzo, Italy. From 1970 Mészáros worked with his younger son Michael, also a sculptor. In 2002, the City of Ballarat granted permission for Michael Mészáros to make a cast of the Ballarat Shakespeare artwork to create replica installed in Budapest. The Budapest installation commemorates Shakespeare's connection to the City and the achievements of Andor Mészáros. The artwork was unveiled by Mayor Arthur W. Nicholson. The statue was presented by L.F. North, general Manager of the Fidelity Trustee Company Limited, representing the late H.P. Stevens as one of the benefactors whose generosity enabled the Statue to be erected.The artwork is of aesthetic significance to the people of BallaratLarge bronze statue of William Shakespeare mounted on a stone plinthWilliam Shakespeare 1564-1616. Erected by benefactions from Harry Pearson Stevens who settled here 1855 and other Citizens unveiled by Arthur W. Nicholson J.P. Mayor.17.11.1960shakespeare, andor mészáros, civic hall, ballarat

Home is a collection of birdhouses on floating islands using the iconic form of the human house - a pitched roof, square walls, windows and doors. This minimal form is often drawn by children; a dolls house, a cubby house, a letter-box or a chook house. Home creates a safe refuge for birds with the plants acting as a water filtration system. The exposed roots draw out pollutants, such as nitrogen, phosphorous and toxic metals, which have entered the waterway through urban run-off. The result is a beautiful sculptural experience and a healthier water system for all to enjoy. The artwork was funded by The City of Ballarat and The Victorian State Government.The work is of aesthetic significance to the people of BallaratHome is a collection of birdhouses on floating islands home, chris mether, studio mether, public art, ballarat, delecombe, wetlands

This whimsical sculpture high on the wall in a narrow lane uses woven wire patterns to lift the view beyond and to the sky. The artwork is of aesthetic significance to the people of BallaratWire sculpture attached to wallOUTROSPECTIVE/ Artist: Bridget Hellier/ This work is inspired by it's setting. Walking through a shopping mall it is easy to become immersed in consumerism and material things. I have tried to create a link between the urban and the natural world. Walking through the area I couldn't find many references to nature. The organic shapes that "grow" out of the wall to attempt to serve as a reference - reminding us of what once was./ Officially opened by Cr Des Hudson 7 December 2011./ Commissioned by the Public Art Advisory Committee on behalf of the City of Ballarat./ City of Ballarat logooutrospective, bridget hellier

Buninyong Bivium (2016) by Cliff Burtt engages with the geography and history of the Buninyong region in both pre and post settlement. The town of Buninyong is dominated by the profiles of Mt Helen and the extinct volcano Mt. Buninyong. Traditional land of the Wadawurrung people, today the area remains a significant site for the culture of indigenous people and their connection to the land. The profile of this sculpture is based on topographical mapping of the area, depicting sections of the landscape. The gaps between the elements of the work can be viewed as representations of the shafts sunk into the earth by the early gold miners and compound curves on the upper surfaces are mirroring the topography of the area, while cut-aways in the sides are suggestive of rock strata.The artwork is of aesthetic and social significance to the people of BallaratCorten steel sculpture made of five unique sculptural pieces secured to at concreate base at pavement levelbuninyong, cliff burtt, sculpture, public art, mining, ballarat

The Queen Victoria Monument by Australian Sculptor Sir Bertam MacKennal has a granite plinth with 4 bronze picture plates and granite bowl. The work was once a drinking fountain with decorative bronze spouts and taps set into the columned granite base. Queen Victoria died 22 January 1901, this work was commissioned and gifted to the City of Ballarat by the Woman’s Christian Temperance Union. This work marked the end of her long reign on the English throne and as Empress of the British Empire including Australia. This magnificent statue commemorates the reign of Queen Victoria (1837 - 1901), and is located in Sturt Street, Ballarat, just outside the Town Hall. Listed on the Victorian Heritage Database (B7272), the Queen Victoria Monument is significant to the people of Victoria. The Queen Victoria Monument, Ballarat, is a key component of Sturt Street in Ballarat, a notable streetscape of the late Victorian era. It represents a pivotal element in the extensive series of public art forms erected during the late nineteenth century in the heyday of Ballarat and added to during the twentieth century. The Queen Victoria Monument is an over life size statue mounted on a freestone pedestal containing four bronze relief interpretive plaques. It is situated in front of the Ballarat Town Hall, a prominent position on the wide notable picturesque boulevard of Sturt Street. The presence of the monument in the notable Sturt Street gardens precinct together with other significant statues is of importance. The Queen Victoria Monument at Ballarat is historically significant as a fine example of a tribute to the reigning monarch, initiated by citizens, on the occasion of her Diamond Jubilee, prior to her death. It reflects the fervour of the citizens of the town that played an important role in the development of the State of Victoria during the latter half of the nineteenth century. The Monument is important for its aesthetic characteristics in that it displays a combination of excellent examples of the artistry and technical skills of the sculptor E.B. MacKennal. These elements are evident in design, carving, and in casting of relief modelling.Sicilian marble statue of Queen Victoria with hand outstretched holding the Sovereign's Orb with small gold angel figure. Includes granite plinth with 4 bronze elements and granite bowl. Victoria Dei Gratia Britt Regina Fid. Def. Ind. Imp. 1900. Incorporates four fine bronze scenes from her life; Accession to the Throne (1837), Coronation (1838), Diamond Jubilee (1897) and Signing of the Constitution of the Australian Commonwealth (1900).queen victoria

Irish poet and balladeer Thomas Moore, best-known for penning The Minstrel Boy and The Last Rose of Summer, is honored in this statue prominently located in Sturt Street created by sculptor George Grant from white Carrara marble. George Grant was trained at the School of Art associated with the National Gallery of Victoria, apparently in the 1880s, and then worked as an artist, specialist house painter, and banner artist. Several of his paintings are held by the Ballarat Art Gallery. Moore`s writings range from lyric to satire, from prose romance to history and biography. His popular "Irish Melodies" appeared in ten parts between 1807 and 1835. Moore was a good musician and skillful writer of songs, which he set to Irish tunes, mainly of the 18th century. This statue is of historic and aesthetic significance to the people of Ballarat.Marble statue of Thomas Moore above a large sandstone pillar West: Presented to the City Council of Ballaarat by the following citizens: H.F. Elliot, The Honorable E. Morey M.L.C., Cr C.R. Retallick, Cr J. Heinz. South: R.S. Mitchell, P. Papenhagen, T. Elliot, J. Snow, G.K. Coutts, C. Bailey, J.J. Goller & Co, W.E. Ballhausen, G. Thompson, W.H. Figgis. North: S. Seward, F.G. Haymes, Craig Williamson, R. Giddings, G. Berry, R. Inge, J.A. Pittard, L. Lederman, H. Bremer, D. Jones. thomas moore

Point to Sky is one of Akio Makigawa’s final works, the commission was completed posthumously. It is the only public artwork by the celebrated Australian-Japanese sculptor of this scale located in regional Victoria. You will see two stainless steel forms, a smaller more rectangle form and the towering geometric form, with seed pod shapes at the peak. These forms represent the house, the artist is expressing that home is a shelter and also a place for gathering. The house form grows into a tower to symbolise the achievements of mankind and the action taken to protect the rights of the community during the Eureka Stockade. The top seed pod is gold, referencing Ballarat as the centre of the gold rush in Victoria, as well as representing the sun as the source of life. The paving of the forecourt was designed in bluestone, typical of the work of Makigawa. Stainless steel panelling and shaping on armature. Set into raised platform of bluestone pavers.Point to Sky, 1999 / Akio Makigawa (1948-1999)/ stainless steel/ Born in Japan, Akio Makigawa arrived in Australia in 1974. He worked as a sail maker in Perth before studying sculpture at the Claremont School of Art and WAIT (now known as Curtin University). He moved to Melbourne in 1981 to do post graduate studies in sculpture at the Victorian College of the Arts and set up his studio. From 1984 he was involved in many public commissions in Victoria and interstate and Japan. / Commissioned by the Victorian Government and the City of Ballarat in 1999. point to sky, akio makigawa, modern, australian sculpture

Old uncle is standing on the mountainside watching over the modern-day empires built on Aboriginal land shaking his head, saying: “they are doing it again, every empire has a rise and fall”. It’s something that has never been learnt over time. — Josh Muir Josh Muir’s work, Roots, was the first temporary artwork to be installed on the Gallery Annex Wall on the approach to Alfred Deakin Place, Police Lane in Ballarat Central. The space is an important site to host this work given that Alfred Deakin Place is commonly used as a place of discussion, engagement, protest and performance.Temporary artwork - printed vinyl application to concrete wallnoneelder, aboriginal and torres strait islander

“The painted works are very intricate to make as I work in various sized brush strokes to make the images appear hand-drawn" This artwork by artwork by Briony Galligan was installed from Friday 20th November 2020 to 1 November 2021. Open Every Door consists of two wall paintings, each will remain at the site for 6 months, and a website publication. In April 2021 Briony installed the second artwork A Lover not a Fighter. Each abstract wall painting references queer histories and art makers, as well as abstract drawings made by Deakin’s Spiritualist contemporaries, such as Georgiana Haughton (1814-1884). The work was part of a City of Ballarat annual commission program to create temporary public artworks in Alfred Deakin Place, Ballarat. The artwork featured on a prominent site near the Art Gallery of Ballarat Annex. Currently a destination for art lovers and students from Federation University’s Arts Academy, Alfred Deakin Place is actively programmed as a space for new and innovative, contemporary public art. painted wall

Hand drawn Coat of Arms for the soldiers known as the Rats of Tobruk with signatures of those involved in the engagement between 5th April to the 22nd of October 1941 The drawing is signed by artist John DOWIE AM, SX6087 who served with the 2/43rd Battalion Signatories are: VX42389 Eric Hamilton, 2/32 Battalion; VX30189 F.Baldwin, 2/23 Battalion; VX34544, F.J.Mc.Intosh 2/24 Battalion; VX34554 W.Harrison, 2/24 Battalion; WX7281 P.Bone 2/25 Battalion; VX33719 Duke Goldsmith, 2/24 Battalion; VX41179 Harry Frazer, 2/24 Battalion; VX29652 A.R.Stribley, 2/24 Battalion; SX6367 Jack Foley, 2/43 Battalion; VX48340 Harry Jones, 2/23 Battalion; VX42317 Aub Jarrott, 2/24Battalion; VX28869 Rod Deering 2/24Battalion; VX15719 Ian F. Joss 7th Division AASC; VX19723 Len Dauria, 2/12 Field Regiment; NX35852 R.E (Snowy) Cornelius 2/13 Battalion; VX32559 Jim Gray, 2/24Battalion - James Cyril GRAY Born 6/1/1916 in Orroroo South Australia. Enlisted 28/5/1940 at Mildura. Awarded Military Medal for remarkable coolness, bravery and leadership at Tobruk on 24/4 and 1/5/1941. He was promoted to Sergeant on 14/8/1941, Lieutenant in November 1942 then Captain on 9/4/1945. He was wounded in action on 11/9/1943 and discharged on 20/12/1945. He married and had three children. He died on 10/4/1992 aged 76 and buried at Wangaratta Cemetery.This original drawing is by John DOWIE SX6087 who served with the 2/43rd Battalion during the second world war and is signed by the artist and soldiers from the 2/24th Battalion known as "Wangaratta's Own". John Stuart Dowie AM (15 January 1915 – 19 March 2008) was an Australian painter, sculptor and teacher. He was born in the suburb of Prospect in Adelaide, South Australia, and studied architecture at the University of Adelaide. During World War II, Dowie worked in the Military History Unit of the Australian Imperial Force, and as an assistant to Australia's official war sculptor, Lyndon Dadswell. As a soldier, he was one of the Rats of Tobruk. After studying art in London and Florence, Dowie returned to Australia. His work includes over 50 public sculpture commissions, including the "Three Rivers" fountain in Victoria Square, "Alice" in Rymill Park, the "Victor Richardson Gates" at Adelaide Oval and the "Sir Ross & Sir Keith Smith Memorial" at Adelaide Airport. He was made a Member of the Order of Australia in 1981 in recognition of service to the arts as a sculptor and painter. Dowie died on 19 March 2008, aged 93. There is a similiar version of the drawing on page 32 of the book Desert Sand and Jungle Green by Geoffrey Boss-Walker which is an illustrated history of the 2/43rd Battalion.Timber frame containing hand drawn Coat of Arms consisting of "rats" as shield supporters, crest with a swastika in the centre and motto surrounded by signatures.Signatures of artist John Dowie and soldiers engaged at Tobruk. The crest depicts a latrine and the motto reads NON FASCES SED FAECES (Latin translation - "Do not move but the dregs") rats of tobruk, coat of arms, 1941, john dowie

Petrus Spronk is an artist of national and international significance who lives in the Hepburn Shire. He is a well loved member of the Daylesford community and gifted this work to the community as thanks for the support he received during his cancer treatment in 2013. Installation work installed at the Hepburn Sound Shell in 2014. The work comprises ceramic tiles joined/cut into 67 full bird shapes and 3 partial bird shapes.petrus spronk, art, sculpture, hepburn shire, installation art, contemporary art, hepburn sound shell, hepburn, daylesford, public art

Mawul Rom Project: Openness, obligation and reconciliation Morgan Brigg (Universtiy of Queensland) and Anke Tonnaer (University of Aarhus, Denmark) Aboriginal Australian initiatives to restore balanced relationships with White Australians have recently become part of reconciliation efforts. This paper provides a contextualised report on one such initiative, the Mawul Rom crosscultural mediation project. Viewing Mawul Rom as a diplomatic venture in the lineage of adjustment and earlier Rom rituals raises questions about receptiveness, individual responsibility and the role of Indigenous ceremony in reconciliation efforts. Yolngu ceremonial leaders successfully draw participants into relationship and personally commit them to the tasks of cross-cultural advocacy and reconciliation. But Mawul Rom must also negotiate a paradox because emphasis on the cultural difference of ceremony risks increasing the very social distance that the ritual attempts to confront. Managing this tension will be a key challenge if Mawul Rom is to become an effective diplomatic mechanism for cross-cultural conflict resolution and reconciliation. Living in two camps: the strategies Goldfields Aboriginal people use to manage in the customary economy and the mainstream economy at the same time Howard Sercombe (Strathclyde University, Glasgow) The economic sustainability of Aboriginal households has been a matter of public concern across a range of contexts. This research, conducted in the Eastern Goldfields of Western Australia, shows how economically successful Aboriginal persons manage ?dual economic engagement?, or involvement in the customary economy and the mainstream economy at the same time. The two economies sometimes reinforce each other but are more often in conflict, and management of conflicting obligations requires high degrees of skill and innovation. As well as creating financially sustainable households, the participants contributed significantly to the health of their extended families and communities. The research also shows that many Aboriginal people, no matter what their material and personal resources, are conscious of how fragile and unpredictable their economic lives can be, and that involvement in the customary economy is a kind of mutual insurance to guarantee survival if times get tough. Indigenous population data for evaluation and performance measurement: A cautionary note Gaminiratne Wijesekere (Dept. of Families, Housing, Community Services and Indigenous Affairs, Canberra) I outline the status of population census counts for Indigenous peoples, identifying information on Indigenous births and deaths, and internal migration estimates. I comment on the ?experimental? Indigenous population projections and question the rationale for having two sets of projections. Program managers and evaluators need to be mindful of limitations of the data when using these projections for monitoring, evaluating and measuring Indigenous programs. Reaching out to a younger generation using a 3D computer game for storytelling: Vincent Serico?s legacy Theodor G Wyeld (Flinders University, Adeliade) and Brett Leavy (CyberDreaming Australia) Sadly, Vincent Serico (1949?2008), artist, activist and humanist, recently passed away. Born in southern Queensland in Wakka Wakka/Kabi Kabi Country (Carnarvon Gorge region) in 1949, Vincent was a member of the Stolen Generations. He was separated from his family by White administration at four years of age. He grew up on the Cherbourg Aboriginal Reserve in the 1950s, when the policies of segregation and assimilation were at their peak. Only returning to his Country in his early forties, Vincent started painting his stories and the stories that had been passed on to him about the region. These paintings manifest Vincent?s sanctity for tradition, storytelling, language, spirit and beliefs. A team of researchers was honoured and fortunate to have worked closely with Vincent to develop a 3D simulation of his Country using a 3D computer game toolkit. Embedded in this simulation of his Country, in the locations that their stories speak to, are some of Vincent?s important contemporary art works. They are accompanied by a narration of Vincent?s oral history about the places, people and events depicted. Vincent was deeply concerned about members of the younger generation around him ?losing their way? in modern times. In a similar vein, Brett Leavy (Kooma) sees the 3D game engine as an opportunity to engage the younger generation in its own cultural heritage in an activity that capitalises on a common pastime. Vincent was an enthusiastic advocate of this approach. Working in consultation with Vincent and the research team, CyberDreaming developed a simulation of Vincent?s Country for young Aboriginal and non-Aboriginal persons from the Carnarvon Gorge region to explore Vincent?s life stories of the region. The use of Vincent?s contemporary paintings as storyboards provides a traditional medium for the local people to interactively re-engage with traditional values. Called Serico?s World, it represents a legacy to his life?s works, joys and regrets. Here we discuss the background to this project and Vincent?s contribution. A singular beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land RG Gunn (La Trobe University) and RL Whear (Jawoyn Association) Samples from a beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land were analysed for radiocarbon and dated to be about 150 years old. An underlying beeswax figure was found to be approximately 1100 years old. The Dreaming Being Namarrkon is well known throughout Arnhem Land, although his sphere of activity is concentrated around the northern half of the Arnhem Land plateau. Namarrkon is well represented in rock-paintings in this area and continues to be well represented in contemporary canvas-paintings by artists from the broader plateau region. We conclude that representations of Namarrkon in both painted and beeswax forms appear to be parallel manifestations of the late Holocene regionalisation of Arnhem Land. ?Missing the point? or ?what to believe ? the theory or the data?: Rationales for the production of Kimberley points Kim Akerman (Moonah) In a recent article, Rodney Harrison presented an interesting view on the role glass Kimberley points played in the lives of the Aborigines who made and used them. Harrison employed ethnographic and historical data to argue that glass Kimberley points were not part of the normal suite of post-contact artefacts used primarily for hunting and fighting or Indigenous exchange purposes, but primarily were created to service a non-Indigenous market for aesthetically pleasing artefacts. Harrison asserted that this market determined the form that these points took. A critical analysis of the data does not substantiate either of these claims. Here I do not deal with Harrison?s theoretical material or arguments; I focus on the ethnographic and historical material that he has either omitted or failed to appreciate in developing his thesis and which, in turn, renders it invalid. The intensity of raw material utilisation as an indication of occupational history in surface stone artefact assemblages from the Strathbogie Ranges, central Victoria Justin Ian Shiner (La Trobe University, Bundoora) Stone artefact assemblages are a major source of information on past human?landscape relationships throughout much of Australia. These relationships are not well understood in the Strathbogie Ranges of central Victoria, where few detailed analyses of stone artefact assemblages have been undertaken. The purpose of this paper is to redress this situation through the analysis of two surface stone artefact assemblages recorded in early 2000 during a wider investigation of the region?s potential for postgraduate archaeological fieldwork. Analysis of raw material utilisation is used to assess the characteristics of the occupational histories of two locations with similar landscape settings. The analysis indicates variability in the intensity of raw material use between the assemblages, which suggests subtle differences in the occupational history of each location. The results of this work provide a direction for future stone artefact studies within this poorly understood region.document reproductions, maps, b&w photographs, colour photographskimberley, mawul rom project, 3d computer game, storytelling, vincent serico, beeswax, namarrkon, artefact assemblages, strathbogie ranges, groote eylandt, budd billy ii

This piece of functional Trench Art was made by Stewart Noble during World War 2 (circa 1940) while serving on a Mine Sweeper among the Pacific Islands. It is believed that the bullet spoon was chrome plated after the war, while he worked at the Government Aircraft Factory. Trench art is described as any decorative item made by soldiers, prisoners of war, or civilians where the manufacture is directly linked to a war. The making of trench art was a popular past time during leisure hours at the front, where skilled military personnel created the items. Common examples of trench art are decorated shell and bullet casings, and items carved from wood and bone. Trench art has been in existence since the Napoleonic wars however it was most common during World War 1, and to a lesser extent during World War 2. This bullet spoon has historic significance because it is an example of the type of functional or artistic small items, that were made from war scrap during spare time by soldiers or other personnel associated with a war. This particular item indicates that a reasonably high degree of skill was required to make the bullet spoon.Chrome plated teaspoon with a discharged .303 bullet for the handle.trench art, bullet spoon, .303 bullet, stewart noble, war souvenier, chrome teaspoon

This gum leaf painting is one of a pair displayed on foil in the same frame. It is typical of many paintings by the self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.An oil painting on gum leaf by the well-known Australian artist Alfred William Eustace. He was a self-taught artist during the 19th and early 20th century and a prominent resident of Chiltern. Oil painting on gum leaf by Alfred William Eustace. A scene of a log cabin on Black Dog Creek Road, Chiltern, with Skeleton Hill in the background. The canvas is a juvenile Red Box (Eucalyptus polyanthemos) leaf. It is one of a pair of Eustace gum leaf paintings mounted on gold foil, under glass in a brown frame. Inscription on back. Labels on back: Rehoused by The Centre for Cultural Materials/ Conservation, University of Melbourne "Oil on Gum Leaf"/ by Alfred William Eustace/ Donor:- Cam & Connie Boadle/ Wales U.K. Crescent/ MUSEUM/ GRADE/ 24 OCT 1998/ CONSERVATION BOARD ALBURY/ PICTURE FRAMERS/ Shop 15 & 16/ AMP Lane,/ Albury, 2640/ Ph: 02 6021 7088black dog creek, chiltern, alfred eustace, skeleton hill, gum leaf, painting, eustace

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. Miniature oil painting of a landscape, with creek in foreground and bush and hill behind, by A.W. Eustace, under glass, in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, chiltern, oil painting, landscape

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist and taxidermist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape, with creek and grassland in foreground surrounded by bushland and hill in distance, by A.W. Eustace, under glass in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, oil painting, landscape, chiltern

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape with creek and surrounding trees by A.W. Eustace, under glass, in original dark brown timber frame with beige matte and a twist wire stand. One of 3 miniatures. Sticker on back: 188 (original Registration number)alfred eustace, chiltern, oil, landscape

This is a colour photograph of a gum leaf painting that is one of many done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by A.W. Eustace. A man is panning for gold in a stream with a house and hills in the background. Under glass in a decorative gilt and cream coloured plastic frame.Hand writing on tape at back of frame: COPY OIL ON GUM LEAF 10" x 5" A W EUSTACE owned by Betty & Alf Brownlie 2260alfred eustace, gum leaf painting, chiltern, gold panning, gold

This colour photograph of a gum leaf painting shows one of the many landscapes done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist and taxidermist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by Alfred Eustace. Landscape featuring a deep creek surrounded by thick bushland displayed against dark brown backing paper which has a gilt oval surround to highlight the painting. Under glass, in a gold and dark brown metal frame.Sticker on back: 189. (the original registration number)alfred eustace, gum leaf painting, landscape

This black and white photograph of the grave of A.W. Eustace is believed to have been taken in September 1987 at the Chiltern New Cemetery. Alfred William Eustace, an Australian artist, was born in the small village of Ashbury, Berkshire, England, the son of John Eustace, Head Game-keeper to the Earl of Craven at the beautiful Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped next to the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was owned by the Withers family and was in excess of 55,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that are in the Beechworth Museum collection are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by his relatives from the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.A. W. Eustace, as well as being a well-known Australian artist, was a significant member of the Chiltern community.Black and white photograph of the grave of A.W. Eustace, under glass, in a metal frame.Sticker on back: 184 (original Registration number)a. w. eustace, grave, chiltern new cemetery