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Bendigo Art Gallery
Photograph - Work on paper, Nicholas CAIRE, Scene Taken From St. Paul's Tower, Looking Eastward, 1875
(on mount) l.l; N.J.CAIREwork on paper, photograph, photographer, albumen, sandhurst, bendigo, central goldfields, street, town city, victoria, regional victoria -
Bendigo Art Gallery
Photograph - Work on paper, Nicholas CAIRE, View From The Big Hill, Showing The Line of Railway To Melbourne, 1875
l.l; N.J.CAIRErailway, trains, tracks, bendigo, regional victoria. countryside, travel, albumen, photograph -
Bendigo Art Gallery
Photograph - Work on paper, Nicholas CAIRE, View From St. Paul's Church, Looking North West, 1875
Inscribed on original mountcard, l.l., gold letterpress, "N.J. CAIRE"bendigo, sandhurst, photograph, work on paper -
Bendigo Art Gallery
Photograph - Work on paper, Nicholas CAIRE, View From St. Paul's Church Tower, Looking North Eastward, 1875
Inscribed on original mountcard, l.l., gold letterpress, "N.J. CAIRE". Not dated.alubumen, bendigo, sandhurst, town, buildings, architecture -
Bendigo Art Gallery
Photograph - Work on paper, Nicholas CAIRE, Township of Eaglehawk, 1875
Inscribed on original mountcard, l.l., gold letterpress, "N.J. CAIRE"eaglehawk, albumen, photograph, regional victorian. civic, roads, town, bendigo, sandhurst -
Bendigo Art Gallery
Photograph - Work on paper, Nicholas CAIRE, Botanical Gardens, Near The White Hills, 1875
Inscribed on original mountcard, l.l., gold letterpress, "N.J. CAIRE".bendigo, sandhurst, botanical gardens, house, photograph, work on paper -
Bendigo Art Gallery
Photograph - Work on paper, Nicholas CAIRE, View Point, Sandhurst, 1875
Inscribed on original mountcard, l.l., gold letterpress, "N.J. CAIRE".bendigo, sandhurst, carriage, fountain, photograph, work on paper -
Bendigo Art Gallery
Work on paper, Michael DOWNS, Urban Winter, 1990
l.r; DOWNS 90abstract, city, australian artist, collage, urban, winter, season, pathway, house -
Bendigo Art Gallery
Print - Work on paper, Brian SEIDEL, Elizabeth, 1977
l.l; 9/25, l.c; Elizabeth, l.r; Bran Seidel 77work on paper, print, printmaker, printmaking, australian artist, etching, portrait, woman -
Bendigo Art Gallery
Work on paper, Eugene VON GUERARD, Ballarat from the Fire Brigade Tower (Looking East) 1870, 1870
c.l; Limited Edition number PROOF of 150, c; Ballarat from the Fire Brigade Tower/ (Looking East) 1870/ by Eugene Von Guerard, c.r;; An engraving printed from/Eugene Von Guerards original woodblock/now in the possession of the Ballarat Historical Societywork on paper, print, printmaker, printmaking, australian artist, ballarat, wood engraving, city, town, regional victoria, goldfields -
Bendigo Art Gallery
Print - Work on paper, Andrew SOUTHALL, The Last Supper, 1979
LL: Proof; LC: "The Last Supper"; LR: Southall '79table, glass, etching, work on paper -
Bendigo Art Gallery
Photograph - Work on paper, Patricia PICCININI, Psychotourism, 1996
work on paper, photograph, digital print, c-type, female artist, australian artist -
Bendigo Art Gallery
Print - Work on paper, Jenny WATSON, The Bottled Memories (1-5) #2, 1988
lu.r; 38/40, u.c; #II , l.r; Jenny Watson 1988work on paper, print, printmaker, printmaking, australian artist, female artist, etching, personal, memory, abstract, bottle -
Bendigo Art Gallery
Photograph - Work on paper, Harold CAZNEAUX, Untitled (Architectural study of a wrought iron gate), c. 1930
Inscription verso "dr S". Cazneaux image but not signed by artist.photograph, silver gelatin, australian photographer, australian artist, lae iron work, gate, iron gate, garden gate, architecture -
Bendigo Art Gallery
Photograph - Work on paper, Harold CAZNEAUX, Koala Bears' (from the Native Bear Book), 1930
(verso) C: Koala Bears, "Bear-Back-Riders (titled given by Leon Gilbert). See Native Bear Book 1930, Cazneaux Photographdaughter) on verso.koala, tree, photograph, work on paper -
Bendigo Art Gallery
Photograph - Work on paper, William MOFFITT, Landscape near Albury, 1943
LL: W M Moffitt 1943"W.H. MOFFIT. 1943", LC: Landscape near Alburylandscape, photograph, work on paper -
Bendigo Art Gallery
Photograph - Work on paper, Rosemary LAING, weather #4, 2006
work on paper, photograph, female artist, australian artist, flight, weather, falling, type-c -
Bendigo Art Gallery
Work on paper, John WOLSELEY, The Language of Lizards, 2007-2008
l.r; Murray Sunset Wilderness, 2008, John Wolseleyaustralian artist, landscape, lizards, murray river, tree, flower, flora, abstract -
Bendigo Art Gallery
Print - Work on paper, Brent HARRIS, On Becoming (Yellow) (No.1), 1998
l.l; 21/35 MOGGS CREEK EDITION, c; 'On Becoming' (Yellow) (No.1), l.r; Brent Harris 98print, printmaker, printmaking, australian artist, abstract, screenprint, yellow -
Bendigo Art Gallery
Photograph - Work on paper, Donna BAILEY, Generation Y Girl, 2004
photograph, photography, photographer, female artist, australian artist, teenager, child, girl youth -
Bendigo Art Gallery
Photograph - Work on paper, Hayley MILLAR BAKER, I Will Survive 1, 2020
work on paper, photograph, inkjet, first nations artist, female artist, self portrait, clones, binoculars, ocean, sea, rocks, shoreline -
Bendigo Art Gallery
Photograph - Work on paper, Hayley MILLAR BAKER, I Will Survive 2, 2020
work on paper, photograph, inkjet, first nations artist, female artist, self portrait, clones, rocks, hair -
Koorie Heritage Trust
Booklet, Albert, Trish, Stories through art, 2009
11 Indigenous artists discuss their work and motivation.32 P; plates; photographs; ill.11 Indigenous artists discuss their work and motivation.artists, aboriginal australian -- 21st century. | art, aboriginal australian -- 21st century. | australian -
Koorie Heritage Trust
Document - Printed Sheets, Barrett, Charles, Blackfellows of Australia, 1936
... and areas dealing with customs and art work beliefs and history ...Covers a wide range of aboriginal tribes and areas dealing with customs and art work beliefs and history. Some early plates curtesy of the Melbourne Museum.44p.; facsimiles; figs.; 30 cm.Covers a wide range of aboriginal tribes and areas dealing with customs and art work beliefs and history. Some early plates curtesy of the Melbourne Museum.aborigines-social life and customs., aborigines-victoria, murray river tribes-social life and customs. -
Koorie Heritage Trust
Literary Work - Catalogue, National Gallery et al, Primitive Art Exhibition. Melbourne, 1943 National Gallery & National Museum of Victoria, 1943
... Federation Square, Melbourne melbourne Catalogue Literary Work ...iii-vi; 26 P.; ports; ill.; 21 cm.indigenous art-exhibition -
Koorie Heritage Trust
Booklet, Barrett, Charles et al, Blackfellows of Australia, 1936
Contents: The Aboriginal Environment - Birds and Reptiles; Whence came the Blackfellow. The Natural Man - Tattooing: ornamental scars. The Tribes of the South - Down the Darling. Tribes of Central and Northern Australia - The Aruntas; Wilderness vanishing; Untamed Tribes.The Tasmanian Race - Doomed people.Tribal Organisation - Public opinion; The Council of Old Men; Tribal Classification; Tribal Naming; Dual Classes; Totemism.Daily life of the Blacks - Making fire; Cooking methods - the native oven; Vegetarian diet; Miscellaneous foods. Weapons and Implements - Classes of Stone; Quarries; Weapons of wood - spears; The Boomerang; Shields; Water vessels and Carriers; Baskets and Dilly-bags.Medicine-men and medicine - Faith cures; Rain-making. Mia-Mias, Whurlies and Gunyahs - Tripod fires; Two-storey huts. The Aboriginal as an Engineer - Weirs and fish traps; Wells and Rockholes. Wild White Men; Dances and Games - Children's toys. Black Police and Tracking - Tribal Mixture; The Blacktrackers; Trained from infancy. Navigation - The Bark Canoe - Calm-weather Craft. Aboriginal Art - Animal Tracks; Old Camp-fires. Blackfellow Music and Bards; Death and Burial - Wailing Women; Relics of Lost Tribes; Decorated skulls; Creation myth pole. Language - Letter-sticks. Myths and Legends; Mission work among the Blacks - Spheres of Service; The Mission Stations.43 p. : ill. ; 28 cm.Contents: The Aboriginal Environment - Birds and Reptiles; Whence came the Blackfellow. The Natural Man - Tattooing: ornamental scars. The Tribes of the South - Down the Darling. Tribes of Central and Northern Australia - The Aruntas; Wilderness vanishing; Untamed Tribes.The Tasmanian Race - Doomed people.Tribal Organisation - Public opinion; The Council of Old Men; Tribal Classification; Tribal Naming; Dual Classes; Totemism.Daily life of the Blacks - Making fire; Cooking methods - the native oven; Vegetarian diet; Miscellaneous foods. Weapons and Implements - Classes of Stone; Quarries; Weapons of wood - spears; The Boomerang; Shields; Water vessels and Carriers; Baskets and Dilly-bags.Medicine-men and medicine - Faith cures; Rain-making. Mia-Mias, Whurlies and Gunyahs - Tripod fires; Two-storey huts. The Aboriginal as an Engineer - Weirs and fish traps; Wells and Rockholes. Wild White Men; Dances and Games - Children's toys. Black Police and Tracking - Tribal Mixture; The Blacktrackers; Trained from infancy. Navigation - The Bark Canoe - Calm-weather Craft. Aboriginal Art - Animal Tracks; Old Camp-fires. Blackfellow Music and Bards; Death and Burial - Wailing Women; Relics of Lost Tribes; Decorated skulls; Creation myth pole. Language - Letter-sticks. Myths and Legends; Mission work among the Blacks - Spheres of Service; The Mission Stations.aboriginals, australian - social life and customs -
Horsham Regional Art Gallery
Work on paper, Jean HILL, Bush casualty, 1979
Gift of Doug and Evelyn McColl, 2005 -
Islamic Museum of Australia
Mosaic, Anisa Sharif, Twin Peacocks —the watchful guardians 2016, 2016
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 -
Nillumbik Shire Council
Print (woodcut and etching on chine-colle): John WOLSELEY (b.1938 Somerset, UK; arrived 1976 Melb., AUS), John Wolseley, 'Life world of the Longicorn beetle' from the 'Baldessin & Friends commemorative folio', 2016
Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'Life world of the Longicorn beetle' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media -
Nillumbik Shire Council
Print: (archival inkjet): Jessie IMAM, Jessie Imam, Ground Cover, 2017
Imam is represented in the Nillumbik Shire Art Collection and was the winner of the 2015 Nillumbik Prize for her work "Diagram of sentiment #1" (judged by Linden New Art Director Melinda Martin). She was also a finalist in the Nillumbik Prize 2016, 2015, 2013 and 2010. Imam completed a residency at Laughing Waters in 2011. Imam works within photography, the moving image and installation to create works centred on themes of embodiment and the female perspective. In this work she participates in a dialogue between her body and the Finnish Archipelagos in order to develop a relationship with the islands as both a place and an organic body [of land] where flux and change occurs. Photograph of the artist immersed from the waist down in green moss (landscape).N/Afinnish, archipelago, inkjet, print, photographic, body, island, moss