Hardcover w/ clear plastic wrap"Ex Libris" sticker inside front coverwalsh st library

HardcoverEdith Susan Gerard Boyd's book stickerwalsh st library

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 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

Mick Wlash's Father on the binder taken during the 1930's.Copy of a B/W Photograph showing a Man and a Youg Girl on a machine being towed by horses'35" on a white sticker on the lower left conerfarming

The 'Black Saturday' bushfires were a series of bushfires that ignited across the Australian state of Victoria on and around Saturday, 7 February 2009. It was Australia's worst ever natural disaster. The fires occurred during extreme bushfire-weather conditions and resulted in Australia's highest ever loss of life from a bushfire: 173 people died and 414 were injured as a result of the fires.This work is by a local contemporary artist with a national and international reputation for figurative and portrait works. The 'Black Saturday' series is a powerful investigation of emotion and grief as experienced by many Nillumbik residents during the 2009 'Black Saturday' bushfires. A cluster of bronze figurines either stand alone or embrace in groups. Their expressions and gestures of despair are made more pertinent with the raw like application and surface treatment of the material used. The 'Black Saturday' series is a challenging work, but one that encourages healing, connection and empathy. Solitary male figure wrapped in a blanket, clutched to his chest and over his head. Surface treatment is textured. Metallic brown colour with base starting to turn a green patina. Sticker underside of sculpture 'WEGNER THE BLANKET AG205642'wegner, bronze, figurine, black saturday, sculpture

Marion POPPLEWELL (1912-1998) Born Yorkshire Marion Popplewell visited relatives in Ballarat in the early 1940s. She loved Ballarat so much she decided to stay. She worked at a bank in Lydiard Street, opposite the Art Gallery of Ballarat, and lived in rooms above the Lydiard Street Shops. Marion enrolled in some evening classes at the Ballarat Technical Art School (a predecessor institution of Federation University Australia) conducted by Neville Bunning. He was nor overly happy with her small colourful jugs and vases, wanting her to handbuild pots, rather than wheel throw them. Marion Popplewell continued making her small wheel thrown pots with fine handles, and made glazes herself from materials imported from England. Attending classes in Ceramics up until the mid 1970s, she also took some classes in Woodwork and Needlework. Her 'Pink Glazed Jug' 1945 won a prize at the Royal Melbourne Show in the late 1940s. She died in Melbourne on 26 September 1998. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Wheel thrown vessel with three slight bulges and turned foot. Deep blue glaze with rim banded in a second glaze, causing a eutectic reaction, causing the spontaneous syrupy runs down the outside of the vessel. Vessel has many small divots, suggesting the clay may have been reclaimed, or collected from nature, and not thoroughly prepared before throwing. Vessel has one small chip (13mm x 5mm) on inside of rim, but is not a threat to its overall integrity. Inscription on base: "MP 59" Sticker: "85"art, artwork, marion popplewell, ceramics, ceramics available, alumni

This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Wheel thrown urn vessel with turned foot.Runny blue-black glossy glaze with secondary glaze causing a eutectic reaction, appears syrupy. Mild crazing of glaze on inner surface. Chip on underside of foot(11mm x 5mm), likely caused at time of firing. Inscription on base: "MP 60" Sticker: "87"art, artwork, marrion popplewell, ceramics, alumni, ceramics available

Green leather-covered hardcover with brown leather spine and corners. Gold decoration to spine and corners. Worn at corners. Cover detached, front flyleaf missing,contents page loose, torn. Rear biographical index pages loose. 636 pp. plus index. Poor condition.Red dot sticker inside front cover.encyclopedia, victoria

wORN BY MEMBERS OF THE 6TH Battalion Royal Melbourne Regiment Worn by an anticedent unit of the battalion Black bearskin hat made from the skin of American Black Bears,with brown leather and metal chin strap, and black leather inside cap with drawstring. 12cm tear to top of bearskin. no inscriptions or markings, white sticker with 'swan club'. bearskin hat

History of Victoria & Melbourne settlement to 1888.Brown leather-bound hardcover book with decorative gilt border and ornate gilt title on front cover. Very worn, spine torn and very worn at edges. Cover separated from body, loose pages front and back. Foxing throughout. 258 illustrations. 588 pp. plus index. Poor condition.Small sticker inside front cover, '51'.mrs. dan fleming, victorian settlement

A twin pack of Gordon quality playing cards made in Australia in the 1930s.Sticker on bottom of case with M. Fogarty in ink.paper

Cardboard, punched out, folding model tram - Siemens 3 section Combino printed for the 100 years of Electric Trams in Melbourne, Yarra Trams. with the centenary logo in the top left hand corner. Has assembly notes. Printed as a postcard on the reverse with area for a stamp with 100years trams logo, Yarra tram and Siemens logos. A5 size. Two copies held. See Reg Item 109 for a A4 size.Has a $7 price sticker on the front of the card.trams, tramways, models, siemens, yarra trams, centenary

Leather clothing trunk used by travelers manufactured by Holden and FrostManufactured by Holden and Frost Ca1900Brown leather overland trunk Leather straps, bright metal clasps Sticker on front marked Cabin , Number and Berthleather, case, travel

used by nurses to assist with feeding patientsused by nurses to assist with feeding patients, likely paediatric with this itemwhite fine china with pink and gold detail, spouted feeding cup with handlesticker label to base, black ink, 184.05nursing care, alfred hospital nurses league, alfred hospital nursing archives, nutrition

This is one of a pair of paintings by artist Mike McCrea, created when he was in Warrnambool in 1985. The painting was framed and sold by Patana Galleries, Paton Place, Manly Vale, NSW. It was later purchased by athe company of Master Mariners of Australia and who donated the pair to Flagstaff Hill. The pair of paintings are significant for their association with steamships and the Master Mariners of Australia group. The paintings represent a time in local history when many steamships were sailing the coast and transporting passengers and goods.Painting; timber framed oil painting with the image of a cargo steamship off the coast of Warrnambool. Artist is Mike McCrea. Framed by Patana Galleries, Manly Vale, NSW. Hand written, "Red. No. 390 A" Sticker "61"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, painting, mic mccrea, patana galleries, master mariners of australia, steamship

Olympic Torch relay in Stawell AreaPhoto Album red cover with black spine, Photgraph of lighting the cauldron in stawell for the 2000 Olympic torch relay 10 - Colour Photographs of various people carrying Olympic Torch in the Torch relay. 7041 Male Standing on road with Olympic Torch. People in Background 7041-1 Male Running with Olypic Torch, accompanied by a girl in blue, followed by a red car with a light bar and campervan. 7041-2 Two males lighting a torch from another, both dressed in white with blue patten on one side and two blue stripes on shorts. Policeman on motorcycle to leftwith red car and campervan in background. 7041-3 Two People running carryong a torch with a policeman on motorcycle beside them, followed by a car and a campervan. 7041-4 Two men light a torch, with two girls one on each side. With red car and campervan in background ( Different angle to 7041-2) 7041--5 Man holding The Olympic torch dressed in torch bearers uniform, standing on road People and vehicle in backkground 7041-6 Stella Young carrrying the Olympic torch 7041-7 Stella Young carrying the Olympic torch for her streach of the relay. 7041-8 Lighting the cauldron at entral Park Stawell 7041-9 International flags awaiting the torch at Halls Gap 7041-10 Aboriginal dance in front of Olympic torch with watching crowd.On Spine Olympic Torch Relay Stawell Halls Gap 2000 Photo Album 9 on a blue sticker on a white sticker 9A