The first weekly number of The Girl's Own Paper appeared on 3 January 1880. As with its male counterpart The Boy's Own Paper, the magazine was published by the Religious Tract Society (which subsequently became Lutterworth Press). In October 1929, the title became The Girl's Own Paper and Woman's Magazine but in 1930 the Woman's Magazine became a separate publication. In December 1947 the name was changed to The Girl's Own Paper and Heiress. By 1951 it was called Heiress incorporating the Girl's Own Paper. In 1956 Heiress closed down, and the name "Girl's Own Paper" ceased to exist. J. Hossack was probably James Hossack. The Hossacks were staunch Presbyterians.The Girl's Own Paper was an important and positive influence on generations of girls and women, and a vital outlet for women's writing and ideas, for more than three-quarters of a century.A black/white magazine with a masthead at the top of the front cover. The masthead is based on the sculpture The Spirit of Love and Truth by Joseph Edwards. There are black / white illustrations of young ladies and dogs on the cover. It contains, stories, educational articles, poetry, music and a serial.on front - "J. Hossack, Orbost"magazine literature-children's girl's-own-paper

Colour photograph of five children and one adult standing in front of an athletics sculpture at an unknown location. The centre child has a collection of medals on ribbons around her neck. Written on the back of the photo: State Sprint 2003 Melissa Murphyrecreations, sports, swimming

Two identical trophies, each featuring a stylised, surrealist tennis racquet sculpture, mounted onto a heavy black metallic plinth, with an engraved inscription. One trophy is for the boys (.1), the other for girls (.2). Materials: Metal, Rubber, Gluetennis

Final touches are being carved on wartime wooden sculptures that will be prominently displayed at Greensborough War Memorial Park ahead of Anzac Day.News article 1 page, black text and colour image .greensborough war memorial park, anzac day, chainsaw sculptures, hikaru kodama, homefront project

The (logging) truck carries a representation of John Glover’s painted landscapes, which Cox has painted on a solid block of wood. John Glover is one of Australia’s most celebrated colonial landscape painters. Born in England, he was a highly successful water-colourist and painter of landscapes in the tradition of French artist Claude Lorrain. Arriving in Australia in 1831, Glover adapted his picturesque style and luminous technique to his new surrounds, creating naturalistic and atmospheric paintings of Australian nature, settler life, and Aboriginal culture. Working out of doors, Glover developed an understanding of the unfamiliar Australian landscape, especially the twisting forms of native eucalyptus trees. His direct experience of nature, as both pioneer settler and painter, resulted in a new approach using a subtle palette of olive greens, ochres, misty greys and intense blues, and layered glazes of mauve, grey and gold, to portray Australian light and atmosphere. Dale Cox continues the ongoing preoccupation and tradition of landscape painting in the Nillumbik area and our impact on the environment in a contemporary way. The truck creates a playful nexus between painting (representational landscape) and sculpture, purposely bluring boundaries across these traditionally distinct disciplines. ‘Ghost’ seeks to convey the idea that when we remove something significant from a location, like the landscape itself, the remaining ‘place’ changes to become a new ‘place’. This may seem self-evident until we think more deeply about location and landscape. The white truck is a ghost, an ethereal, transient being that spirits away an entire place, forever removed from itself, and forever changed. Logging wild trees can never be like harvesting a ‘crop’. Logging removes a landscape, and changes a place forever. The ‘packaging’ of this painted landscape highlights the anomaly between commodity and our environment. Dale Cox was a local artist and this work was highly commended at the 2012 Nillumbik Prize. White plastic toy (logging) truck with a landscape painting on a wooden block. The landscape painting is reminiscent of paintings by colonial artist John Glover. N/Alandscape, truck, sculpture, environment, john glover, colonial, painting, ghost, nillumbik prize

An Underwood & Underwood stereoscope viewer with aluminium covered hood with etched design & Sun Sculpture Trade Mark U&U. A folding wooden handle & moveable card holder, felt trim around hood with 2 magnifier glass eye pieces.Man'f'd by Underwood & Underwood New York. Patented June 11 1901 Foreign Patents applied for.photography, viewers, stereographic

Official opening of Long Neck Turtle Project, a collaborative community sculpture project at the Lower Plenty Shopping Centre, 21 November 2019.Colour leaflet, printed both sideslower plenty shopping centre, long neck turtle project

Mohammed and the Origami Lightning" was a print I made in 1980, soon after my return from Mossman, north Queensland and a six month stint of studying the metaphysics of Shaik Ibn Arabi with Diane Cilento. The unspeakable omniscience of the prophet is conjured up in the left hand part of the image, and the playfull fantasy of a make believe world in the right hand part. These two realities spliced into the one printed image was what I found very attractive at the time. (March 2021)Jock CLUTTERBUCK (1945- ) Born Edenhope, Victoria Jock Clutterbuck is a sculptor and printmaker of national significance, his prints in colour etchings and aquatints are often from shaped plates and reflect themes found in his sculpture. Known for sophisticated and detailed abstract form, Clutterbuck studied sculpture and drawing at the Royal Melbourne Institute of Technology from 1965 – 1966, where he subsequently taught from 1969 – 1973 before taking up a role as the lecturer in Sculpture at the Victorian College of the Arts from 1974 – 2000. This work is an etching with aquatint and colour stencil on Torinoko An early supporter was Tate Adams, who established the Crossley Gallery to exhibit prints. He urged Jock Clutterbuck to create a series of etchings for Crossley Gallery, a gallery estabished by Tate to exhibit prints. Clutterbuck was awarded the National Gallery of Victoria Society Drawing Prize in 1966, the Australian Print Council Prize in 1969 and 1973, the Geelong Print Prize in 1972, the State Government Bicentenary award for sculpture in 1970, the PCA print prize in 1973, the Fremantle Arts Centre Print Prize in 1976 and the Caulfield Arts Centre Sculpture Award in 1979. 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. 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.art, artwork, jock clutterbuck, printmaking, etching, printmaking etching, available

The Traralgon War Memorial was originally erected in memory of the fallen soldiers of World War One. The Gippsland Times of 01 March 1923."On Sunday a memorial that has been erected in memory of the fallen soldiers of the district was unveiled. The ceremony was performed by Mr G. H.Wise, and addresses were delivered by Mr W West, M.LA. the president of the shire and local clergymen. The memorial, which cost £700, and contains 54 names of young men who made the supreme sacrifice is a lifesized figure of an Australian soldier and is made white Italian marble. It now commemorates Australian servicemen and women who have served in all wars and conflicts. It was re-dedicated on 11 November 1999.Colour photograph of the Traralgon War Memorial with surrounding townscape. The war memorial features a life sizes sculpture of an Australian world war soldier wearing a slouch hat. Loy Yang Power stations are evident in the background. Traralgon Post office on right foreground. traralgon, world war one, anzac day, loy yang, traralgon post office, anzac centenary

The Flock is a kinetic sculpture made up of 11 parts. It celebrates a local migratory bird, the ibis. The sculpture comprises tall steel poles with a steel ibis balanced on the top of each pole by its beak. Balanced on a spherical joint to allow fluid movement in all directions, each element of the Flock is designed to look like a bird in flight. The kinetic wind-powered elements of the artwork were inspired by the nearby Waubra Wind Farm.The artwork is of aesthetic and social significance to the people of BallaratEleven white and black birds on poles with moving partsibis, friends of learmonth, learmonth

Quadrangle at Mount Helen from the first floor of the E.J. Barker Library/quadrangle, overpass, sculpture

Letterhead from Paul Beadle Sculptor and Designer, and response from Dick Richards from the Ballarat School of Mines.paul beadle, sculpture, goldfields costume

black and white photo: statue female crouching nude with left arm resting on lefdt thigh. Right arm across chest, curled hair in front of curtain with portion of picture frame, showing at bottom left glass container at front right.Bartlett Bros, Bendigotopic, art, sculpture

Colour photo. Image shows statue of King George V, erected on plinth. Palm trees on LH side, Post office building in background. Date unknown.sculpture, stone, king george v

One of ten sculptural portraits of men with beards on the external of the Ballarat Town Hall..ballarat town hall, portraits, sculpture

Photograph of marble memorials in the Ballarat Town Hall.ballarat town hall, sculpture, queen victoria

One of ten sculptural portraits of men with beards on the external of the Ballarat Town Hall..ballarat town hall, portraits, sculpture

One of ten sculptural portraits of men with beards on the external of the Ballarat Town Hall..ballarat town hall, portraits, sculpture

One of ten sculptural portraits of men with beards on the external of the Ballarat Town Hall..ballarat town hall, portraits, sculpture

One of ten sculptural portraits of men with beards on the external of the Ballarat Town Hall..ballarat town hall, portraits, sculpture

One of ten sculptural portraits of men with beards on the external of the Ballarat Town Hall..ballarat town hall, portraits, sculpture

One of ten sculptural portraits of men with beards on the external of the Ballarat Town Hall..ballarat town hall, portraits, sculpture

One of ten sculptural portraits of men with beards on the external of the Ballarat Town Hall..ballarat town hall, portraits, sculpture

One of ten sculptural portraits of men with beards on the external of the Ballarat Town Hall..ballarat town hall, portraits, sculpture

Photographs of a state of Sir Henry Bolte situated at the Gold Museum, Ballarat.henry bolte, statue, sculpture

Blackware Formjan feder ceramics collection, blackware, sculpture

One of ten sculptural portraits of men with beards on the external of the Ballarat Town Hall..ballarat town hall, portraits, sculpture

Chainsaw carver Hikaru Kodama puts some finishing touches on wartime wooden sculptures that will be displayed at Greensborough War Memorial Park ahead of Anzac Day.News article 1 page, black text and colour image .hikaru kodama, wooden sculptures, greensborough war memorial park, chainsaw sculptures, homefront project