This sculpture is a bronze cast of Karl Duldig’s 1956 terracotta sculpture titled 'Moses'. The terracotta sculpture won the 1956 Victorian Sculptor of the Year award, an honor given by the Victorian Society of Sculptors. The National Gallery of Victoria purchased the original terracotta sculpture for the Gallery’s collection in 1956. In 1979 the NGV allowed Karl to cast the original terracotta sculpture in bronze (to a limited edition of 5). The National Gallery of Victoria holds one of these casts and one is in Duldig Studio collection. The original terracotta sculpture was exhibited in 1956 at the Olympic Arts Exhibition in Wilson Hall at the University of Melbourne. Two other works by Karl were also exhibited, a sandstone titled 'Adam and Eve' and a work titled 'Fountain'. The catalogue for the Olympic exhibition, which promoted modernism across a variety of disciplines, noted that Australia’s post war immigration program had given ‘further momentum to the modernist cause’. The identification of émigré artists, such as Karl Duldig, with the acceptance of modernism in Australia became a major theme in any discussion of art and design in the post war period. Ann Carew 2016The subject Moses and the tablets of law is an important theme in the history of art. For example the National Gallery of Victoria collection includes paintings on this topic by the Australian Aboriginal artist, Queenie McKenzie (1991), prints by the Russian-French modernist artist, Marc Chagall (1956), and a painting by 19th century British academic painter, John Rogers Herbert (1870s). Michelangelo’s sculpture of Moses is perhaps the most famous sculptural interpretation of the subject. In Karl’s hands we have a modern interpretation of the theme. His simplification and abstraction of form and attention to surface modeling is masterly. The figure has an emotional intensity and despite its relatively small scale, a ‘forceful monumentality’. The sculpture is aesthetically significant for its craftsmanship, expressive qualities and modernity. It is historically significant because of its associations with the 1956 Olympic Arts Festival. The Duldig Studio’s bronze cast of the sculpture was exhibited in the exhibition '1956: Melbourne, modernity and the XVI Olympiad, Museum of Modern Art at Heide.' Apart from the formal qualities of a work like Moses, its relevance as a motif in Judaism and Christian faiths ensures its place as a work of spiritual significance. Ann Carew 2016Bronze cast from terracotta sculpture. Depicts Moses as in Exodus 32 when he returns from Sinai with the tablets of the law to find his people worshipping the golden calf, in his fury he holds the tablets aloft above his head before crashing them down on the ground.

This bowl is part of a series completed in 1994 on the subject of the sin of 'Vanity' / A smug looking woman flirts coquettishly with a manservant who helps her to put on her shoes / The people depicted on the bowl are dressed in 18th century costumes / The court of Marie Antoinette of France is evoked / The blue and white drawing is in the style of 18th century woodblock prints and was drawn freehand / The bowl is signed and dated on the base / The technique is traditional tin glaze (majolica, maiolica or delft) / Coloured oxides were painted onto a clear glaze which had been opacified with tin oxide, and then fired at 900 degrees / The bowl was exhibited at Christine Abrahams Gallery, Melbourne in 1994 / A bowl from the 'Vanity' series is held in the Collection of the Queen Victoria Museum and Art Gallery in Launceston, Tasmania. Copeland's parents are John and Betty Hipwell, one of the founding members of Potters Cottage (an influential ceramic collective that grew out of Nillumbik) / Copeland grew up surrounded by this artform. Reg Preston (another founding member of Potter's Cottage) introduced her to the Majolica technique which has influenced her ceramic work to this day / This bowl is characteristic of Copeland's speciality and mastery of the Majolica technique. This bowl is hand painted with an image of a couple flirting (man-left side and woman-centre) in 18th century French dress / Decorative circle and polka dot pattern along the rim and underside of the bowl / The bowl is predominantly painted in cobalt blue and orange colour using the Majolica (maiolica or delft) technique; a traditional tinglaze method of application. Coloured oxides are painted onto a clear glaze which has been opacified with tin oxide / The bowl is then fired at 900 degrees.Underside has in colbalt blue artist signature and date / 'A. Copeland . 1.9.1994'.copeland, earthenware, majolica, potters cottage, vanity, bowl, eighteen century, french, marie antoinette

A typical Olsen painting combines an implied aerial view with an ambiguous and seemingly unpremeditated figuration. His characteristically quizzical line and irregular squiggles and dots deftly render countless organisms, large and minute. Their environment is conjured through loosely brushed and stained expanses of colour (on canvas or hardboard) and lines which sometimes read as geological mappings. In Olsen's work there is no foreground/ middle ground/ background, nor any sign of European landscape's concern with "human scale." Instead he employs simultaneously the contrary vantages of naturalist and geographer. 'Tropical Rain Shower' by John Olsen forms one of the eight artworks represented in the Bodford Terrace Suite. Eight of Australia's finest artists were brought together to create a folio of lithographic prints to celebrate the restoration of historic Bodford Terrace. Printed at the Druckma Press by John Robinson under the supervision of master printer Jock Abbott. The folio edition was limited to 300 signed and numbered folios. The lithographs were printed on special heavy weight french Arche's paper in accordance with the tradition of this artistic medium. Lithographic print on paper.Signed John Olsen '78, lower right hand corner. Edition 179/300bodfford terrace collection, john olsen, tropical rain shower

David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He has won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1903s on painting trips and used to camp on the banks of the Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires.Oil on canvas painting depicting a Panton Hill bush scape.Signed: D. Armfield in lower right hand corner. Not dated.david armfield, eltham art prize, panton hill

Signed on the night of the Graduation Dinner of Aquinas Girls College 1977.One signature reads "To Mandy" so this may have been originally intended for one person. Signature of John Mahon, former Principal of Aquinas College on front cover. Signatures make this item unique.Green A4 card folded to A5 size, printed both sides. Hand signed by attendees.Aquinas logo on front cover. Signatures of attendees on front and back cover, including signature of John Mahon former principal of Aquinas College.graduation dinner, aquinas girls college, john mahon

Diamond House Stawell. This unique house was built by John Hearne between 1866-1868 using white quartz stone gathered on Church Hill opposite. Mr. Hearne showed considerable skill and patience in construction as the stones had to be carefully cut & fitted into uniformity which has lasted 130 years. Its is said not a nail was used. It became the Diamond house restaurant in 1932. The photo was taken in 1903.Two Black & white photograph of Diamond House including neighboring houses. There is a light post on the left hand side and what appears to be a dirt road in front of the houses. Photo taken in 1903.stawell

This Journal written by Georgina Mc Crae Melbourne 1841 - 1865. The Painting on the cover is a self Portrait. A very Interesting account of Victoria's early History.A white coverd paperback - Top in white print in black background Imprint Classics. Georgina's Journal in Pink Print. In Central cover In an oval inset a Colored Portrait of Georgina Mc Crae. Below Portrait Melbourne 1841 - 1865. Edited By Hugh Mc Crae.Inscription on Fly Leaf: Hand written. To The Stawell Historical Society - To Honor the memory of John McClure. REfer Pages 87 - 154. 178. 192. 198.234. Note John Mc Clure is Intered Deep Lead Cemetery 1859.stawell education

From the Chapman family photograph albumPhoto on card backing. Studio portrait of couple, in front of photographers drape background. Gentleman has a moustache and is in a three piece suite with large tie, corsage. Woman is in white dress and collar with puff sleeves, waist with white tie. Woman is resting her hand on husband from behind. Her other arm is resting on table with fern. Uncle John and Auntie Clara Henderson. Stawell Photographic Co. Close Railway Station, C Herbert.

Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Salesman's Wool sample card containing samples of wool at different stages of processingJohn Taylor/With Compliments from Onkaparinga/Woollen Co.Ltd/Adelaide, Sth Aust. Mills Lobethal and Thebarton, S.A/Always insist on Onkaparinga Rugs.Blankets.Worsteds.Melanges.Woollens and Flannelswool, blanket fever, advertisement, onkaparinga, sample

Lid for shearing hand piece.Lid for shearing hand piece.WOLSELEY 3shearing machinery, wolseley sheep shearing machine co. ltd, de josselin, mr john

See Ref. No. 4362Tall trophy - reddish/brown wooden structure with two brass plaques on each side and a Lady Toastmaster at Rostrum also in brass colour plastic. The right hand side has 'Toastmasters emblem' and left side names of winners:1989 - John Story 1990 - Jo School 1991 - Elizabeth Cronin 1992 - Elizabeth YoungThe Toastmasters Trophy - Blackburn East Primary School Speech Contest winnertrophies & awards, education

Photo of Mary (Molly) Sprunt on marriage to John (Jack) Leith on 12 March 1938. Gown made by her aunt, Edith Brydon (NA3494) and veil by Madge Brydon (mother) NA3495Photo of bride - hand tinted on light brown paper background, covered in plastic attached to tin back and stand. Description of bride on paper stuck to top. See also NA3494, 3495, 3497, 3496photography, photographs / slides / film

Kate Wilcox, mother - in law to Francis Warren. Kate Migrated to Australia from Dorset , England.Green cloth bound covers. Hardback with gilt embossed cover design: bird in nest. Photographic illustrations (110). Coloured frontspiece of tawny owl. 250 pages, Hand written inscription.Kate Willcox A... as prize for collecting wildflowers from: John Saunders Dec 1904.books, school/educational

Donated by Jean Cornell. It was owned by her Grandmother, Eliza Waite, who was born in Gippsland in 1867 & married a Cornish man John Tredilock & had five children. Eliza died in 1942 & grandfather died in 1945. Jean & her husband have lived in Mitcham since 1956.Cover made to hold knitting books. One side is hard board & the front cover is ply wood, handpainted with red (cottage) & green (trees). Two sides are tied together with brown wool & are bound with green linen binding.handcrafts, knitting, hand painted

Black and white photo of Mitcham Football Club in 1928.weston, p., mcclare, john e, russell, s., henderson, g., stewart, 'sport', mcpherson, n., head, w., kleinert, a., kesslake, williams, e., meagher, hand -, hand, m., gilchrist, paynter, c., carey -, henderson -, treveston, wathen, j., brown, mitcham football club

Isobel Caldwell was born 3 August 1930. She married John McNamara in Numurkah on 4 April 1953. Isobel was skilled knitter and won many prizes in local shows. Her parents were Caroline(Carrie) May Tyack (24/5/1894 -23/5/1983) and Joseph Charles Caldwell. They were married at Bulkamaugh South on 27/2/1926Hand knitted gloves - rust coloured Wool Lace patterned back

Black and white wedding photograph, mounted on cardboard.On back of photo: "Wedding of Doris Williams of Brimin to John S.P. Stafford - circa 1920-1 | Attended by ___ Stafford (brother to Groom) and Grace Williams (sister to Doris) | Dress worn by Doris (silk)" Written in another hand: "Doris May Williams to John Sayers Percival Stafford 20-12-1921 Methodist Church, Wangaratta."wedding photographs, doris williams, john stafford, grace williams, doris stafford

Gold was discovered in Ballarat in 1851 when many people rushed to the diggings. A monument commemorates the centenary of the finding of gold at Poverty Point and is dedicated to the memory of pioneer miners of Ballarat. It records gold yields, nuggets and the richest recorded yields of both alluvial and quartz mines. The replica gold nugget on the monument is the `Welcome Nugget`, found in Ballarat in 1858, weighed 2,217 ounces and was sold for £10,500. The memorial, known as the Pioneer Miners’ Monument, was made to commemorate Ballarat's gold centenary. It was proposed that part of the Pioneers' Memorial Fund might be used. This fund was started with £1300 profit from the 1938 centenary celebrations. (Age (Melbourne), The monument was created by John Edward Skilbeck, a toolmaker with Ronaldson and Tippett. John Skilbeck had a deep interest in Ballarat History, and undertook much research with Bert Strange and Keith Stacpoole. Councilllor William Ernest Roff provided the copper for the memorial from scrap copper obtained during his plumbing business. The copper was reworked by John Skilbeck, and was soldered in the kitchen of his home at 14 Frank Street. Colour photograph of the gold monument on the corner of Sturt Street and Albert Street, Ballarat. It commemorates the discovery of gold at Poverty Point in August 1851, and was The monument was unveiled in 1951 and is mainly constructed of large piecesof quartz, with a miniature popper head on the top made of copper. Mounted on the side is a replica of the Welcome Nugget, which was unearthed on the corner of Humffray and Mair Streets, Ballarat on 09 June 1858.FRONT This monument was erected by the Ballarat Historical Society to commemorate the finding of gold at Poverty Point 21st August 1851 and is dedicated to the memory of/ pioneer miners of Ballarat LEFT SIDE Richest recorded yields alluvial mines Band of Hope 303269 Ozs Prince of Wales 168929 Koh I Noor 164157 Great Redan Ex 110111 Albion 107125 Bonshaw Fr 96520 Park 94699 St George 86702 Sir Wm Don 76830 Hand in Hand 76830 Sir Henry Loch 43562 Quartz Mines Star of the East 256758 Ozs Band of Hope 158299 Victoria United 152013 N Woah Hawp 129562 New Normanby 127562 Britannia 103225 Llanberris No 1 100533 Black Hill 91665 Last Chance U 83766 Llanberris 71364 Speedwell 66000 South Star 64444 Sulieman Pasha Companies 62666 RIGHT Recorded gold yield 20606000 ozs Nuggets Alluvial Welcome 2217 ozs Saraha Snads 1619 Lady Hotham 1177 Canadian 1 1117 Canadian 2 1011 Koh 1 Noor 834 Eureka 625 Lady Loch 617 Prince of Wales 606 Bakery Hill 571 Native Youth 540 Faboulous yields of earliest diggings not offically recorded Quartz Nuggets N Woah Hawp 5-- 300 200 Ozs White Horse 500 Woah Hawp 444 266 262 Canton 257 200 Q Victoria lease 410 U Black Hill Coy 315 Tinworths 250 Parade Coy 245gold monument, ballarat, skilbeck, poppet head, j.e. skilbeck, john skilbeck

Bruce Hutton of Almond Glass Works designed the stained glass window and did the hand painting for the Chapel in St John of God, Ballarat. Almond Glassworks was responsible for the overall construction and installation of the window. The concept was developed with the then head of mission, Maureen Waddington. The window was installed on the 30th of October 2019. Almond Glassworks was founded by Bruce Hutton in 1994. He completed a Fine Arts Degree (Chisholm Institute of Technology) majoring in stained glass in 1988, he then went on to work in the industry both in Australia, England and South Africa. He completed a Postgraduate (Monash University) in 1996, focusing on the conservation and restoration techniques of stained glass. Stained Glass at the St John of God Hospital Chapel .ballarat, heritage, st john of god, hospital, stained glass

Bruce Hutton of Almond Glass Works designed the stained glass window and did the hand painting for the Chapel in St John of God, Ballarat. Almond Glassworks was responsible for the overall construction and installation of the window. The concept was developed with the then head of mission, Maureen Waddington. The window was installed on the 30th of October 2019. Almond Glassworks was founded by Bruce Hutton in 1994. He completed a Fine Arts Degree (Chisholm Institute of Technology) majoring in stained glass in 1988, he then went on to work in the industry both in Australia, England and South Africa. He completed a Postgraduate (Monash University) in 1996, focusing on the conservation and restoration techniques of stained glass. Colour photograph of stained glass feature wall at the chapel in St John of God Hospital, Ballarat.stained glass, st john of god hospital, ballarat, bruce hutton, almond glass works

Bruce Hutton of Almond Glass Works designed the stained glass window and did the hand painting for the Chapel in St John of God, Ballarat. Almond Glassworks was responsible for the overall construction and installation of the window. The concept was developed with the then head of mission, Maureen Waddington. The window was installed on the 30th of October 2019. Almond Glassworks was founded by Bruce Hutton in 1994. He completed a Fine Arts Degree (Chisholm Institute of Technology) majoring in stained glass in 1988, he then went on to work in the industry both in Australia, England and South Africa. He completed a Postgraduate (Monash University) in 1996, focusing on the conservation and restoration techniques of stained glass. stained glass, st john of god hospital, ballarat

Bruce Hutton of Almond Glass Works designed the stained glass window and did the hand painting for the Chapel in St John of God, Ballarat. Almond Glassworks was responsible for the overall construction and installation of the window. The concept was developed with the then head of mission, Maureen Waddington. The window was installed on the 30th of October 2019. Almond Glassworks was founded by Bruce Hutton in 1994. He completed a Fine Arts Degree (Chisholm Institute of Technology) majoring in stained glass in 1988, he then went on to work in the industry both in Australia, England and South Africa. He completed a Postgraduate (Monash University) in 1996, focusing on the conservation and restoration techniques of stained glass. stained glass, st john of god hospital, ballarat, bishop, pectoral cross

The five stained glass windows were made by Rosemary Spencer. to the design of Bruce Hutton. The stained glass depicts the story of St John of God in Ballarat. Bruce Hutton of Almond Glass Works designed the stained glass window and did the hand painting for the Chapel in St John of God, Ballarat. Almond Glassworks was responsible for the overall construction and installation of the window. The concept was developed with the then head of mission, Maureen Waddington. The window was installed on the 30th of October 2019. Almond Glassworks was founded by Bruce Hutton in 1994. He completed a Fine Arts Degree (Chisholm Institute of Technology) majoring in stained glass in 1988, he then went on to work in the industry both in Australia, England and South Africa. He completed a Postgraduate (Monash University) in 1996, focusing on the conservation and restoration techniques of stained glass. Colour photograph of a detail of stained glass windows at the Chapel of the Visitation at St John of God Hospital, Ballarat.stained glass, st john of god hospital, ballarat, ship, immigration

Bruce Hutton of Almond Glass Works designed the stained glass window and did the hand painting for the Chapel in St John of God, Ballarat. Almond Glassworks was responsible for the overall construction and installation of the window. The concept was developed with the then head of mission, Maureen Waddington. The window was installed on the 30th of October 2019. Almond Glassworks was founded by Bruce Hutton in 1994. He completed a Fine Arts Degree (Chisholm Institute of Technology) majoring in stained glass in 1988, he then went on to work in the industry both in Australia, England and South Africa. He completed a Postgraduate (Monash University) in 1996, focusing on the conservation and restoration techniques of stained glass. Stained glass panel of 'Weeping Bailey's' house, now part of St John Of God Hospitalstained glass, st john of god hospital, ballarat, bailey's mansion, weeping bailey, architecture