This trophy was awarded to William Kermode of Mona Vale for the best pair of Merino ewes exhibited at the Southern Tasmanian Agricultural and Pastoral Society in October, 1879. William Kermode formed the Mona Vale flock in 1829 with VDL C. Saxons. In the early 1870s under Kermode, Ercildoun rams were tried, as was a St Johnstone ram. It is well documented that the famous Steiger-blood ram, Sir Robert (out of a Mona Vale ewe), had considerable impact on a number of Tasmania's influential studs. At its height in the late nineteenth century, Mona Vale was regarded as "... one of Tasmania's leading and parent studs, producing robust fine-wool sheep with quality, long-stapled and dense wool." (Massy 1990: p.406). The first agricultural society in Australia was formed in Hobart on 1 Jan. 1822. The trophy was retailed by Walsh Brothers, Melbourne in c.1875. The cup has no makers marks, but has been attributed by Christie's to Edward Fischer, a local Geelong silversmith. This attribution is based upon stylistic criteria. However, Ms Veronica Filmer of the Geelong Art Gallery (curator of "Geelong's Colonial Silversmiths", Geelong Art Gallery, 1988), has suggested that the lack of stamps is unusual (most of Fishcher's work was stamped) and also that it is somewhat heavy for Fischer's work. The trophy originated from the collection of Edward Clark, an antique dealer. Prior ownership of the trophy is uncertain, but it is believed that Clark purchased it in the mid 1990s from descendants of the original prize recipients.Trophy, sterling silver. Circular, stepped base and tapering stem decorated with cartouches of leaves on a matt background. The bowl of the trophy has an applied belt cartouche with an inscription. Within the belt cartouche is an engraved and embossed panel of two sheep with a cottage in the background. There are ribbon tied floral swags on either side of the cartouche, and a presentation inscription with a beaded border on the reverse of the bowl.SOUTHERN TASMANIAN AGRICULTURAL & PASTORAL SOCIETY Presented / to / Joseph Clarke Esq / and awarded to / W.A. Kermode Esq / of Mona Vale / for Best Pair Merino Ewes, / October 1879southern tasmanian agricultural and pastoral society, logo merino: sheep in australian art and design - exhibition (29/07/2000 - 04/02/2001), fischer, mr edward - silversmiths and jewellers kermode, mr william - mona vale stud clarke, mr joseph, mona vale stud, tasmania

Part of collection of handcraft and needle work donated by Anne BarryCross stitch embroidery practiced during the 30's, 40's and 50's; very popular and became an art.Blue and white check, trimmed around hem, sides, waistband and pocket. White Ric Rac braid, blue cross stitch block embroidered on waist band and top of pocket. Red cross stitch with yellow centre flowers across front of apron, divided by blue cross stitch block.costume, female working

Embroidered pieces donated by Adele Grey from the collection of Jenny Lang who was a member of the Embroiderers Guild of Victoria and held exhibitions of her work at the Art & Crafts SocietyWhite oval shaped dressing table centrepiece. White embroidered flower design. 6cm crochet lace around edgemanchester, table linen

Information from the notes of Nancy Leach re Emma Elizabeth Weston who sailed for Melbourne on the 'Charlotte Gladstone' on 9/9/1869. She subsequently ran a bakery in Swanston street and later married Thomas Scott, Tinner and Galvanizer. They lived in Victoria street (now rooks Road) and had several children, one daughter being named Emma. Emma married Mr. Ottenbach who jumped ship from the German navy and they had a daughter, Christina who was a member of the Nunawading Historical society. Emma (Junior) worked at the Australian tesselated tile Co. in Mitcham and learnt art in order to design tiles.Information from the notes of Nancy Leach re Emma Elizabeth Weston who sailed for Melbourne on the 'Charlotte Gladstone' on 9/9/1869. weston, emma elizabeth;, scott, thomas, emma elizabeth, otterbach mr, otterbach, christina emma, australian tesselated tile co pty ltd, leach, nancy, pioneers

This honor board was made by Robert Prenzel (1866–1941) who was born and trained in Prussia, and migrated to Australia arriving in Melbourne on 24th November on the steamer Habsburg. In Melbourne Prenzel first worked for the German sculptor and modeller Otto Waschatz, decorating private homes and public buildings. From 1891-1901 Prenzel worked in partnership with another German, Johann Christian Treede, after which he continued in business on his own. He also participated in the activities of Melbourne’s Deutscher Turnverein. During the first quarter of the current century he became the major exponent in the field of furniture and woodwork of the cult of nationalism, and was renowned for his carvings, many of them in the art nouveau style, of Australian animals, birds, trees and flowers. The two most common types of Australian timber in his work are mountain ash and blackwood.Colour photographs of a beautifully carved World War One Honour Board carved by Robert Prenzel.lakes entrance, robert prenzel, world war one, lakes entrance honour board

This honor board was made by Robert Prenzel (1866–1941) who was born and trained in Prussia, and migrated to Australia arriving in Melbourne on 24th November on the steamer Habsburg. In Melbourne Prenzel first worked for the German sculptor and modeller Otto Waschatz, decorating private homes and public buildings. From 1891-1901 Prenzel worked in partnership with another German, Johann Christian Treede, after which he continued in business on his own. He also participated in the activities of Melbourne’s Deutscher Turnverein. During the first quarter of the current century he became the major exponent in the field of furniture and woodwork of the cult of nationalism, and was renowned for his carvings, many of them in the art nouveau style, of Australian animals, birds, trees and flowers. The two most common types of Australian timber in his work are mountain ash and blackwood.Colour photographs of a beautifully carved World War One Honour Board carved by Robert Prenzel.world war one, kalimna, kalimna honour board, h. clements, w.a. fish, d. mcdougall, j.a. rowe, c.c. sandford, c.d. somerville, l.j. cowlishaw, l.c. fish, t. hanson, c.a. innes, a.c. lester, j.a. lake, g.j. ward

Garry BISH (1950- ) Born Charlton, Victoria After training as a secondary school art teacher in Melbourne in 1968-69, Gary Bish moved to Bendigo, where he established the Potters Arms Studio in Epsom in 1972 while studying for a Diploma of Art and Design in ceramics at the Bendigo Institute of Technology, graduating in 1974. Establishing an independent studio in Epsom in 1972, Garry Bish has lectured in Ceramics for many years. Bish marks his work with his signature or an impressed 'B' with a stem like a feather.Black ceramic bottle with green dots. ceramics, gary bish

5 black and white photographs (a-e) of the set up of the Mitcham Art Show in either 1984 or '85. Both adult and children's work is on display. Art Show held outdoorsmitcham art show 1984 or 1985, art exhibitions

This ornate cross sits at the right hand side of View of Trajan's column, Cast Courts, Room 46a, The West Court, Victoria and Albert Museum, London. Cast Courts: "When the Architectural Courts – or Cast Courts as they are now known – opened in 1873, The Builder magazine compared the experience of seeing them to a first glimpse of Mont Blanc, creating one of those 'impressions that can scarcely be effaced'. Since then, these two enormous rooms and the reproductions they contain have continued to impress and inspire visitors to the Museum. For centuries, antiquarian interest in world architecture and sculpture led to reproductions – or copies – being made of outstanding national monuments and notable sculptures. When the Museum was founded, it collected and displayed reproductions of great art and architecture from across the world in order to offer objects for study and tell a complete story of the history of art and design. Casts are made by placing several plaster moulds upon the surface of the original structure. Once hardened and removed, the moulds are then enclosed in an outer casing, the interior coated with a separating agent and the wet plaster poured in. When set, the pieces are then assembled and the joints and surfaces finished off, to make a complete reproduction of the original work. The finished product – as well as being a formidable technical achievement in its own right – enables admirers to study faithful reproductions of important monuments and works of art." Ref: https://www.vam.ac.uk/articles/history-of-the-cast-courtslondon, victoria and albert museum, cast courts

non-fictionAnnemieke Mein creates sculptured textiles of insects and flowers and her work is displayed in Sale.mein annemieke, textle art

Arthur LINDSAY (1912-1990) Born Melbourne Arthur Lindsay studied informally under Rupert Bunny, and John Munro in 1933, and held his first Exhibition in 1938, with Peter Cox, at Riddell Galleries. In 1939, he left Australia to tour Japan, but stayed on, accepting a position with a publishing company in Hong Kong. He served with the Hong Kong Medical Corp during World War Two and was interned at Pootung Camp, Shanghai, from 1941 – 45. He held an exhibition of his internment paintings in Melbourne in 1946. Lindsay returned to Hong Kong after the War, and supervised an Advertising Agency in Singapore, Kuala Lumpar, and Bangkok. In the 1950’s he travelled to Europe, United Kingdom, Spain and France. Returning to Australia Lindsay moved to Castlemaine in 1969. A Retrospective of his Art was held at Castlemaine Art Gallery in 1991.Pencil landscapearthur lindsay, landscape, drawing

Jean APPLETON (1911-2003) Jean Appleton was a painter and craftworker who studied at East Sydney Technical College and at the Westminster School, London. After seeing French sculptor Maillol's work 'The Cyclist' she was inspired to try sculpture and consequently studied under Eric Schilsky in London. With the outbreak of war she returned to Australia, thereafter teaching at high schools in the ACT and NSW and at the Julian Ashton and National Art Schools in Sydney. The first of her thirteen solo exhibitions was held at Sydney’s Macquarie Galleries in 1940. Resident in England from 1969 to 1981, she continued to teach intermittently into the late 1970s. After a difficult first marriage to artist Eric Wilson, who died, she married painter Tom Green and they settled in Moss Vale. Though her work is now represented in major state and regional collections, Appleton was like many women artists of her generation in that recognition of her work came late in life: she was in her eighties when a public gallery first presented a retrospective exhibition of her art. (https://www.portrait.gov.au/portraits/2013.92/self-portrait, accessed 15 September 2019) Jean Appleton won the inaugural Portia Geach Memorial Award in 1965 with this work. She dies in 2003.A sketched portrait of a man's head by Jean Apppleton. It may be Jean Appleton's first husband, Eric Wilson. drawing, portrait, jean appleton

Susan PATERSON Born Melbourne Dr Susan Paterson is an artist, curator, writer and lecturer. Her research includes artistic practice and theory. Susan Peterson has worked as an art educator in many Australian States, China, England and New Guinea.Framed landscape.portrait, susan paterson, painting, landscape

Susan PATERSON Born Melbourne Dr Susan Paterson is an artist, curator, writer and lecturer. Her research includes artistic practice and theory. Susan Peterson has worked as an art educator in many Australian States, China, England and New Guinea.Framed landscape.susan paterson, landscape

The Polish born artist, designer and filmmaker, Stanislaus Ostoja-Kotkowski (1922-1944), who arrived in Melbourne in 1949 on the 'Fairsea', a ship carrying displaced persons from Europe and the Baltic States. He sought employment in architectural and design practices, and also enrolled in classes at the National Gallery School. From 1952 until 1953 Ostoja-Kotkowski had a brief, but productive, period working as a designer in the Prestige Fabric Design Studio in Melbourne. Ann Carew, 2017The textile design has aesthetic significance as an example of the early Australian work of noted emigre artist, designer and filmmaker, Stanislaus Ostoja-Kotkowski, and it has historical significance for its association with the Prestige's Textile Design Studio, and the studio's art director, Gerhard Herbst. Small sample of pale green rayon fabric with a bold, repeating geometric pattern printed in black and white.emigre, polish, design, textile design, rmit design archives

Richard Beck established a consultancy as an industrial designer in London in the 1930s, designing posters, booklets and advertisements for London Transport, Shell-Mex, Orient Line and the London GPO. His work was illustrated in Radio Times, Evening Standard and News Chronicle. His posters used montage and surrealist techniques, as in this example, reminiscent of E McKnight Kauffer who was prominent in commercial art in interwar England. The London Journal Art and Industry reproduced a number of Beck's posters for the Orient Line and London Transport and in 1938 Modern Publicity's annual round-up featured Beck's cover design and included a profile of his work.Brochure for London Transportgraphic design, mid-century modern, design

Max Robinson (1934-2018) designed this record sleeve for the World Record Club in 1961. Robinson studied for a year at the Melbourne Technical College (RMIT University), and in his early career worked for Peter Clemenger and the graphic designer, Max Forbes. He produced a number of striking record covers for the World Record Club in the late 1950s and early 1960s. Robinson’s work is familiar to many Australians – he designed the new $10 note in 1993, which featured Banjo Paterson and Dame Mary Gilmore. The World Record Club’s operated in Melbourne from 1957 until 1976; it was a mail order service, and its art director, Geoff Digby commissioned young designers and artist to design the record sleeves. It is regarded now as one of most representative collection of Australian designers’ work of its period, and highlights the years of transition from ‘commercial art’ to ‘graphic design’. The album cover was donated to the Archive by the World Record Club’s art director, Geoff Digby. Ann Carew, 2020This record sleeve is historically significant for its association with Max Robinson, who was inducted into the Australian Graphic Design Association’s (AGDA) Hall of Fame in recognition for his work as graphic artist, but also his tireless advocacy for graphic design in Australia. It is aesthetically significant as an early example of the design work of Max Robinson. It is historically significant for its association with the World Record Club, an organisation that produced a representative collection of Australian graphic designers’ work from 1957 until 1976. the Pines of Rome . Respighi / Roman Carnival overture . Berlioz / Herbert Von Karajan / the Philharmonia Orchestra / Les Preludes . Lisztworld record club, max robinson, rmit university, rmit design archives, geoff digby, record sleeve design, graphic design

In the days before television advertising and the WWW, commercial artists such as John Whittenbury designed posters, railway billboards and trade exhibitions advertising products and services to the masses. Whittenbury’s series of quirky Christmas mail posters for the Post Masters General Office, now known as Australia Post, were displayed in post offices across Australia. He had a wealth of experience in the field, having worked as an illustrator, graphic designer, cartoonist, and mechanical draftsman for the RAAF in Laverton and then Victoria Barracks, and also taking out a qualification in Advertising Art from RMIT in 1961, prior to joining the PMG. Ann Carew, 2017 australia post, christmas, rmit design archives

Queen Victoria’s appreciation of German artist Franz Xaver Winterhalter (1805-1873) began after she saw portraits by him of other European monarchs. Accordingly, between 1842 and 1861 he made fifteen visits to England and painted over 100 portraits of Her Majesty, the royal family and other friends and dignitaries. In 1843 Winterhalter was commissioned to paint matching portraits of Queen Victoria and Albert, the Prince Consort. These originals hang in the Garter Throne Room at Windsor Castle and are part of the UK Royal Collection. Many legitimate copies of Winterhalter’s portrait were produced and presented to the Parliaments of the British Empire, including the Parliament of Victoria. Such copies are referred to as “After F. X. Winterhalter” and artists responsible include William Corden and John Prescott Knight. When creating copies, artists were not restricted by the size of the original portrait. Walterhalter’s original is 2.7m x 1.7m whereas copies can reach an impressive 4.5 metres in height. The portrait that hangs in Queens Hall at the Parliament of Victoria is not signed. Comparison with other copies of the work suggest that the Parliament’s painting may have been completed by William Corden. The Government Art Collection (United Kingdom), has a Queen Victoria copy in their collection and Parliament’s portrait has similar traits. A copy by John Prescott Knight which hangs in the Legislative Council in the Parliament of Tasmania is quite different, particularly with reference to the shape of the young Queen’s face, which is rounder in the Corden portraits.This portrait of Queen Victoria was presented as a gift by the British Government to the Parliament of Victoria in April 1860. Painted on fine linen supplied under Royal Warrant by the workshop Winsor and Newton, London, the frame has been embellished with elaborate wooden carvings. Framed portrait, oil on linen, of Queen Victoria. Victoria is posed in front of a curtain partially obscuring a building (possibly Buckingham Palace) in the background. Timber frame with a layer of gesso and decorative composition ornaments. There are rose, scotch thistle, clover leaf and Acanthus ornaments. A carved wood and composition element crown, resting on a tassled pillow sits on top of the frame.Canvas unsigned. Verso printed: ‘WINSOR AND NEWTON / Rathbone Place, London’. Embossed stamp into stretcher wood, stamped ‘Winsor and Newton’ in black ink.victoria queen of great britain, 1819-1901, winterhalter, franz xaver, 1805-1873, corden, william, queens hall, parliament of victoria

A4 page folded twice to create three column flyer. art exhibitions, historic site, women health professionals

Harold HERBERT (1891–1945) A well known watercolour painter who was principal of the Ballarat Technical Art School.A framed etching showing a farmer with a plough which is being pulled by a team of horses.Lower right corner - Harold Herbert for the Old Colonists' Club 1931harold herbert, old colonists' club ballarat, agriculture, farming, horses, animals, plough

Harold HERBERT (1891–1945) A well known watercolour painter who was principal of the Ballarat Technical Art School. It is also known as Lime Kiln Cottage. A framed etching showing cottage in Cornwall. A proof was exhibited in London at the Fine Art Society in 1923.Lower right corner - Harold Herbert for the Old Colonists' Club 1931harold herbert, old colonists' club ballarat, agriculture, farming, horses, animals, plough, lime kiln cottage