Displayed in History House (in window recess).Black and white photograph of seventeen men standing and sitting around table. Framed in a mount with a description of scene. Framed under glass in wooden decorative frame with white paint. Frame decorations deteriorating.Front: Portland Identities/Card Club at Martin's Corner/Portland 1953. (black text, above and below image)

Built by the Buffalo Forge Company in New York, USA. It is of a typical hand operated design used in workshops. This item was probably used in an engineering shop locally.A cast iron workshop drill. It has two spanner holes.On wheel at top - BUFFALO FORGE Co. and on frame BUFFALO N.Y.drill press workshop hand-operated

Orthophoto mapping provided the Survey Corps with the capability to produce map products quickly in the event of a crisis. These are four photographs of equipment used by the Army Survey Regiment to produce orthophotomaps. The Wild GZ1 orthophoto projector shown in photo.1P was introduced in 1973 and was the first equipment used to orthorectify colour and monochrome film aerial photography. Height profiles were originally produced on a PEB8 Stereo profiler and later were software generated. Photos of the PEB8 are available in Victorian Collections item 6222.17P, photos .5P and .6P. In the same era the IBM 1130 computer; OMI/Nistri AP/C-3 analytical plotter with coordinatograph, OP/C orthophoto projector and Zeiss Planimat D2 stereoplotters were introduced. Orthorectification is the process of removing geometric distortions and scale errors/variations from images. Images have tilt and relief distortions that make it difficult to compare accurately a map and an image of the same geographic area. Once an image is orthorectified, features on the image are shown in their planimetric locations. The WILD OR1 orthophoto projector and workstation shown in photos .2P to.4P was introduced in the mid-1980s. It was the second-generation equipment used to orthorectify colour and monochrome film aerial photography, replacing the system introduced in 1973. See items 6124.5P and 6133.4P for more photographs of orthorectification equipment.These four photographs of orthorectification equipment were taken at the Army Survey Regiment at Fortuna, Bendigo, c1975 and c1988. The photos are on 35mm colour slides and scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) - Photo, colour, c1975, Wild GZ1 orthophoto projector. .2) - Photo, colour, c1988, WILD OR-1 unrectified colour photo in carrier, orthorectified and re-scaled colour image. .3) & .4) - Photo, colour, c1988, WILD OR-1 Orthorectification Workstation.1P to .4P – Some of the equipment is annotated on the frame of the 35mm slides.royal australian survey corps, rasvy, army survey regiment, asr, army svy regt, fortuna

This collection of five photos was most likely taken at Lithographic Squadron, Army Survey Regiment, Fortuna, Bendigo in c1970s. The main tasks undertaken by technicians in Photo Troop were most likely enlargements, reductions and duplication of map reproduction material, and processing of aerial photography.This is a set of five photographs of Photo Troop equipment was taken in Lithographic Squadron, at the Army Survey Regiment, Fortuna, Bendigo, c1970s. The photographs are on 35mm colour slides and were scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) - Photo, colour, c1970s, WILD U4A Diapositive Camera. .2) - Photo, colour, c1970s, Hass-Labortechnik Film and Paper Roller Transport Processor. .3) - Photo, colour, c1970s, Hass-Labortechnik Film and Paper Roller Transport Processor, SGT Christopher Wardley. .4) - Photo, colour, c1970s, Hass-Labortechnik Film and Paper Roller Transport Processor, unidentified technician. .5) - Photo, colour, c1970s, Pako Film Processor..1P to .5P – Some of the equipment is annotated on the frame of the 35mm slides.royal australian survey corps, rasvy, army survey regiment, army svy regt, asr, fortuna, litho

This is a set of 14 photographs of RA Svy technicians operating photogrammetric equipment in Air Survey Squadron, Army Survey Regiment, Fortuna, Bendigo; and the School of Military Survey Bonegilla c1960s to c1980s. The Wild B9 stereo plotter were introduced in 1962 and the Wild B8 stereo plotter was introduced in 1966. The Wild B9 and B8 stereo plotters were used for plotting topographic detail and contours. These analogue machines were manually controlled by adjusting the control knobs for the orientation of the 3D image. The B9s used a four and a half square, and the B8s used a nine-inch square photo image on a film or glass diapositive which allowed highly accurate extraction of map features. At first, plotting with B8 and B9 stereo plotters was undertaken at the aerial photography scale of 1:80,000 in pencil onto a controlled plotting sheet. Sheets were then inked up and reduced photographically to the 1: 100,000 publication scale for scribe impression production. In the early days topographic detail and contours were plotted with a pencil or ink pen mounted at the far end of the pantograph arm. The plotting procedure was upgraded to direct plotting in ink with photographic reduction to publication scale. In 1975 four B8s were upgraded with tri-axis locaters as part of the Input Sub-system to enable digital extraction to AUTOMAP 1’s topographic database. When AUTOMAP 2 was introduced in 1982 these B8s were upgraded, and additional machines added to expand the Army Survey Regiment’s digital capture capability. There are several more photos catalogued in the Victorian Collections database of RA Svy personnel operating Wild B9 and B8 stereo plotters.Photogrammetric Equipment – Army Survey Regiment, Fortuna, Bendigo c.1981. . .7) – Unidentified technician operating Wild B8 stereo plotter in AUTOMAP 1 at ASR. .8) - Wild B8 stereo plotter in AUTOMAP 1 at ASR. Photogrammetric Equipment – Army Survey Regiment, Fortuna, Bendigo. c1981. .9) – ASR’s CPL Dave Cook in AUTOMAP 1 operating a Wild B8 stereo plotter. This is a set of 14 photographs of RA Svy technicians operating photogrammetric equipment at the Army Survey Regiment (ASR), Bendigo and the School of Military Survey (SMS) Bonegilla. c1960s to c1980s. The photographs are on 35mm colour slides and were scanned at 96 dpi. .1) - Photo, colour, c1964. Unidentified ASR technicians operating analogue Wild B9 stereo plotters. .2) - Photo, colour, c1974. ASR’s SPR Mick Minchin operating an analogue Wild B8 stereo plotter. .3) to .6) - Photo, colour, c1980. Photogrammetry Instructor SGT Neil ‘Ned’ Kelly at the SMS operating an analogue Wild B8 stereo plotter. .7) - Photo, colour, c1981. Unidentified technician operating Wild B8 stereo plotter in AUTOMAP 1 at ASR. .8) - Photo, colour, c1981. Wild B8 stereo plotter in AUTOMAP 1 at ASR. .9) to .14) - Photo, colour, c1981. ASR’s CPL Dave Cook in AUTOMAP 1 operating a Wild B8 stereo plotter..1P to .14P - Some of the equipment is annotated on the frame of the 35mm slides.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, photogrammetry

This is a set of 16 photograph of the Royal Australian Survey Corps’ Johnson Ground Elevation Meter (JGEM) Survey Vehicle taken at the Army Survey Regiment, Fortuna, Bendigo. The JGEM vehicle was extensively used by RA Svy within Australia from the late 1960s. A limited number of Ground Elevation Meter (GEM) station wagon type vehicles were manufactured by General Motors Corporation (GMC) in the USA for the United States Geological Survey, Canada’s mapping agencies, RA Svy and National Mapping (Natmap). The GEM was a four-wheel drive, four-wheel steer vehicle. Four-wheel steering was necessary to avoid systematic errors caused by non-tracking of front and rear wheels on conventionally steered vehicles. The manufacturer substituted the rear axle with a front axle and connected them to form the four-wheel steering mechanism. The two Australian GEM vehicles, referred to as Johnson GEMs (JGEMs) were converted into right-hand drive. After delivery in 1964, acceptance Natmap and RA Svy testing and operator training was undertaken at the Army's School of Military Survey located at Balcombe, Victoria. A small fifth wheel was mounted on a cantilever arm suspension midway between the front and rear wheels on the right side of the vehicle. It was lowered to and raised from its operating position by use of a constant pressure air cylinder. A telescopic bar, suspended between the front and rear axles, provided the reference datum for the angle measurement. The wheel provided the velocity or distance signal through a pulse generator system. A sensitive pendulum mounted on this bar provided the angle measurement for each minute distance traversed. The JGEM contained electromechanical instruments used to determine relative elevations, by trigonometric principles, along a traversed path. These relative elevations were obtained through apparatus which measures the instantaneous angle of inclination of the road and the instantaneous velocity of the meter along such a path. Road routes over which the JGEM operated were planned so that each started and ended as near as practicable to an existing point of known elevation (formally referred to as a level traverse bench mark). The difference in height from the bench mark and the road surface alongside the JGEM’s fifth wheel was measured with a level and staff. Along each route, mapping control photo reference points where new elevation values were required were identified on aerial photographs. Under favourable conditions it was possible to survey as much as 160km in an ordinary working day. The first of RA Svy’s JGEM operations was undertaken in 1:250,000 scale map areas of Queensland. CPL John Hook was the JGEM’s main operator in the early 1970s undertaking operations covering 1:250,000 scale map blocks over northern Victoria and central NSW, each requiring 36 points (9 runs of photography and 4 points across. SPR Lyn Thompson and SPR Bob McDonagh teamed with CPL Hook on some of these JGEM operations. When RA Svy was integrated into the Royal Australian Engineers in 1996, the JGEM vehicle with the Survey Corps collection was donated to its museum. It is believed to be the last of the original manufactured fleet in existence. The JGEM has undergone extensive refurbishment to achieve roadworthiness and is currently housed at The Australian Army Museum of Military Engineering, Hoslworthy Barracks, NSW. It can be viewed by making an appointment with the museum’s curator.This is a set of 16 photograph of the Royal Australian Survey Corps’ Johnson Ground Elevation Meter (JGEM) Survey Vehicle taken at the Army Survey Regiment, Fortuna, Bendigo. The photographs were on 35mm slide film and were scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) - Photo, colour, c1960s, Johnson Ground Elevation Meter (JGEM) Survey Vehicle .2) - Photo, colour, c1960s, JGEM instrumentation, on-board computer. .3) - Photo, colour, c1960s, JGEM instrumentation. .4) - Photo, colour, c1960s, JGEM instrumentation, on-board computer. .5) - Photo, colour, c1960s, JGEM tyre pressure controller .6) - Photo, colour, c1960s, JGEM rear doors, SGT Geoff Briggs. .7) - Photo, colour, c1960s, JGEM 5th wheel distance/angle measurement device in lowered position, SGT Geoff Briggs. .8) - Photo, colour, c1960s, JGEM 5th wheel distance/angle measurement device in lowered position. .9) & .10) - Photo, colour, c1960s, JGEM tyre pressure system, SGT Geoff Briggs. .11) - Photo, colour, c1960s, JGEM tyre pressure system. SGT Geoff Briggs. .12) - Photo, colour, c1960s, JGEM levelling scope, levelling staff, unidentified technicians. .13) & .14) - Photo, colour, c1960s, JGEM levelling scope, unidentified technician. .15) & .16) - Photo, colour, c1960s, probably survey operation adjusted height plotted on block base sheet. .1P to .16P - Some of the equipment is annotated on the frame of the 35mm slides.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, surveying

Card cases were common items used mainly by men in the 19th century. A silver card case indicated that the owner was a man of means. ‘W.Swinton’ is presumed to be William Swinton who came to Australia in 1854 and established a drapery and grocery store in Timor Street in 1865. William Swinton died in 1901 and his son, also William was Mayor of Warrnambool from 1917 to 1919. A Swinton business still exists in Timor Street today. ‘W.Wilkie’ was obviously a friend or a business acquaintance of William Swinton and may have been related to James Wilkie who came to Warrnambool in 1854 and opened a drapery shop in 1855 in Timor Street with James Butters as a partner. This is a most significant item as one that belonged to William Swinton, a prominent Warrnambool business man and a pioneer settler in the town. It also has social significance as an example of an item used by businessmen and others in the 19th centuryThis is a silver card case with a hinged lid. The silver is patterned in geometric shapes and the edges are highly ornamented with scrolls. Inside the case are five pieces of white paper which are obviously not original. The case has five hallmarks indicating it is a quality object. The silver is somewhat tarnished. Scroll frame on front of case: ‘From W.Wilkie to W. Swinton’butters and wilkie drapery store, william swinton, warrnambool

Textiles. Brown suede ladies handbag with silver fittings and clasp. Trapezium shape. Inside coin purse is lined with leather. The handbag is lined with dark brown taffeta. There are two inner pockets of pleated fabric. Single suede strap attached to metal loops. Contents:- 1. Two sided bevelled edge mirror (8.9 cms X 6.4 cms).2. Pocket diary and calendar (1938). 3. Yellow painted grey lead pencil with removable silver cap. Printed in silver on side of pencil ''R430 Silver Fern, Made in Germany''.Label inside frame, ''Guarenteed First Quality''. ''A CB Bag''.textiles, domestic, ladies brown suede handbag

For many years Legacy had a "Back to Caulfield Race Day" for Legatees, widows and their families. 1995 was the 50th anniversary of the end of World War 2 and the race day was part of the "Australia Remembers" commemorations. Also a Legacy 'Lone Pine' was planted. The article in the Answer says: "Over 800 members of the Legacy family (past and present) reunite at the "Australia Remembers" Back to Caulfield Commemorative Race Day held on August 12th. It was a special day which incorporated a wide range of activities, including a display of military vehicles, a flyover, a parachute jump by the Red Berets, military bands, and displays of memorabilia when the racecourse was used as an army camp. An official ceremony also included the presentation of a Legacy 'Lone Pine' (a descendant of the Gallipoli 'Lone Pine') by the President of the Melbourne Legacy, Legatee David Millie, which was very warmly received by the Chairman of the V.A.T.C., Mr Peter Lawrence. These photos show President David Millie and Legacy widow Rosie Ellis (Bell) and a close up of her Junior Legacy badge, perhaps she had originally been an Junior Legatee. He is shown pointing her badge out to other people gathered around. See also photos at 01003 and 01091, 01092 and 01093.This is a good image of a Junior Legacy badge. Legacy retains a tie with Caulfield racecourse as it was once an army camp and staging post of young men going overseas to war and now it is the site of a lone pine. The annual gathering at Caulfield racecourse was an event that gets the Legacy family together.Colour photo x 4 of a Junior Legacy badge and an event at Caulfield racecourse, and an article in The Answer.Printed on the back film number 788, various frame numbers.answer, events

Celebrations for the 80th Anniversary of Legacy were held in the grounds of Government House in 2003. The note with the photos says: "Legacy's 80th Anniversary Function Over 1200 people recently attended Legacy's 80th Anniversary Function. The sun streaming through the picturesque garden surroundings at Government House contributed to the success of the day. Many of the guests enjoyed catching to the success of the day. Many of the guests enjoyed catching up with friends and acquaintances that go back a long way. Some had not seen each other for decades and there was much excitement renewing old friendships. The guests were entertained by The Royal Australian Navy Jazz Ensemble and the MC was David Mann from Radio 3AW." See also 00990, 00991 and 00992. The Anniversary celebrations were held at Government house due to the close relationship with the Governor of Victoria as patron of Legacy.Colour photo x 2 of junior Legatees with 80th Anniversary cake.Printed on the back

The article in The Answer in April 1997 announced that Daryl Somers would be the personality of the year for the Badge Appeal for the second year. He was photographed speaking at Legacy House and with people including Hazel McKean. Hazel was the wife of a VC winner. Also in the photos are Elaine Ward and Lynne Scott who's family had been used to promote Legacy in a 1994. The article mentions the importance of widows helping raise funds by selling a "Card Pack" a small packet of badges which they sell to family and friends. A record of a way celebrities used their media profile to promote Legacy.Colour photo x 3 of an event with Daryl Somers and an article in The Answer.Printed on the back

Legacy widows selling handcrafts and items, outside Legacy House for the launch of Badge Week. For many years widows would run a craft stall for Badge Week launch. This is in 2002 as it is the same film as other photos (see 00736).A record of fundraising by the Widows' clubs.Colour photo of a craft stall outside Legacy House in 2002.Printing on the back "

Photo during Badge Week in September 2002. Some widows at their craft stall outside Legacy House. The widows clubs ran fundraising stalls during Badge Week for many years. Gwen Gunn was a very active Legacy widow and organised Operation Rosemay for many years where Rosemary trays were prepared to give to the public on Anzac days. This is 2002 as the same widows were on the stall as in 00626 although it's a different film number.A record of the fundraising for the Legacy Appeal in 2002.Colour photo of a stall outside Legacy House and Gwen Gunn with a badge tray.Printed on the back "

19th century iron and nickel plated brass bed formerly in the Catholic Bishop's Palace Ballarat. Originally purchased for the palace in the 1870s and bought at auction to replace similar bedstead that was broken at Hymettus.A recorded piece with history of only two owners, marketed from Ballarat manufacturer and retailer Tunbridge & Sons in the late 19th century.Nickel plated iron & brass three quarter bed. Base stretcher stencil label of Tunbridge & Sons manufacturer Ballarat.On timber matress base/frame stamped Tunbridge & Sons Ballarat.bishops' palace, ballarat, bed, iron furniture,

This collection of 17 photos was most likely taken in c1978-1980. The AUTOMAP 1 computer assisted cartography and mapping system was introduced in 1975. The components of AUTOMAP 1 were the Input Sub-System of four Wild B8s stereoplotters and three Gradicon digitising tables, the Optical Line Following Sub-System – Gerber OLF, the Verification Sub-System – Gerber 1442 drum plotter, the General Purpose Sub-system – HP21MX computer and the Output Sub-System – Gerber 1232 flatbed plotter). The first map was published in 1978 (Strickland 3665-3, 1:50,000). AUTOMAP 1 was the first computer assisted cartography and mapping system utilised by the Survey Corps and was the first system used by Australian mapping organisations. The history of the AUTOMAP 1 system is covered in more detail with additional historic photographs, in pages 116-118 of Valerie Lovejoy’s book 'Mapmakers of Fortuna – A history of the Army Survey Regiment’ ISBN: 0-646-42120-4. See items 6122.20P, 6410.24P, 6183.19P, 6184.20P, and 6200.5P for additional photographs of the AUTOMAP 1 system.This is a set of 17 photographs of Air Survey Squadron military and civilian personnel operating AUTOMAP 1 equipment at the Army Survey Regiment at Fortuna, Bendigo, c1978-1980. The photographs were on 35mm colour slides and were scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) - Photo, colour, c1978-1980, Gerber 1442 verification drum plotter. .2) - Photo, colour, c1978-1980, Gerber 1442 verification drum plotter, SPR Garry Ames. In background - Hewlett Packard (HP) 2100A Minicomputer Input Subsystem controlling Wild B8 Aviograph stereo plotters. .3) - Photo, colour, c1978-1980, Gerber 1442 verification drum plotter. .4) - Photo, colour, c1978-1980, digitising topographic features with a Wild B8 Aviograph stereo plotter, CPL Adrian Rynberk. .5) to .6) - Photo, colour, c1978-1980, Wild PEB8 stereo profiler. .7) - Photo, colour, c1980, HP 9640A Programming System. .8) - Photo, colour, c1980, HP 9640A Programming System, L to R: unidentified, SGT Alan Toogood. .9) - Photo, colour, c1978-1980, Gerber Optical Line Follow (OLF), CAPT Rob Bridge. .10) - Photo, colour, c1978-1980, Gerber OLF. .11.) to .12) - Photo, colour, c1978-1980, Gerber OLF, SPR Gerry Gunn. .13) - Photo, colour, c1978-1980, Gerber OLF. .14) - Photo, colour, c1979, Gradicon edit table. .15) to .16) - Photo, colour, c1981, Gradicon edit table, SPR Chris Gordon. .17) - Photo, colour, c1981, Gradicon edit table, L to R: SPR Chris Brown, unidentified..1P to .17P - Some of the equipment is annotated on the frame of the 35mm slides.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, automap 1

Aerial view of Portland and foreshore. Black and white photograph. Breakwater is on left, but part has only one domed building evident on far right.Front: (no inscriptions) Back: Twites Picture Framers, Carlton label.portland foreshore, harbour, coastal photography, aerial photo, portland

GEOFFREY RICARDO (1964- ) Born Melbourne, Australia 1984-86 Bachelor of Arts (Fine Art), Printmaking, Chisholm Institute of Technology, Melbourne 1987-89 Printing Assistant at Bill Young Studios, Editioning intaglio prints, King Valley, VIC 1988 Full-time Studio Technician at Printmaking Department, Chisholm Institute of Technology, Melbourne 1989-90 Graduate Diploma (Fine Art), Printmaking, Monash University, Melbourne 1991 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed bookplategeoffrey ricardo, bookplates, kangaroo

This is a framed photograph of a large group of people at a wedding reception in April 1910. The occasion was the marriage of Mary Lee of Wangoom and Patrick O'Keefe, also of Wangoom. The wedding took place at St. Joseph's Church, Warrnambool and the reception was held at the property of St. Mary's at Wangoom which had been held by the Lee family since the late 1850s.Two marquees were erected to cater for over 400 guests and the hospitality included midday dinner, afternoon tea, high tea and supper. The Temperance Band provided the afternoon music. This photograph is of considerable interest, firstly because it depicts a Warrnambool/Wangoom 1910 wedding and secondly because it is an unusual photograph for the time, showing a very large group (perhaps over 400).This is a black and white photograph in a brown wooden patterned frame. The photograph is set within a gilt metal edging and has a glass covering The back has a label and a screw but no hanging wire. The photograph is of a large group of people at a wedding reception and includes the bridal party and guests. Lee-O'Keefe Weddingst.mary's wangoom, lee-o'keefe wedding 1910

Print of Japanese Surrender WW2.Framed print - Dark wooden frame, glass front, coloured print.framed print, japanese surrender, ww2

Framed image of a Japanese temple in wooden frame with small silver plaque"IN COMMEMORATION OF THE MAIDEN VOYAGE/ M/V "TOYOFUJI NO.8"/ FEBRUARY 1983/ TOYPFUJI KAIUN KAISHA, LIMITED" On reverse: "WMA 20" "PMA 0322" Japanese writing on silver plaque

HMS Susan sailed from the Port of London on the 23rd September 1835. She carried 394 male convicts and a guard of officers and 30 rank and file of the 28th (North Gloucestershire) regiment, arriving in Sydney on 8th February 1836. Samuel Windridge, who was born in Warwickshire in 1817, was a Private in the Regiment on board the ‘Susan’. He served in various places: Sydney, Moreton Bay (Brisbane) and Port Phillip (Melbourne). He was discharged from the Regiment in 1842 with the rank of Sergeant. After his marriage he settled in Victoria and by 1852 he was often in charge of the gold escort from Bendigo. In 1854 he retired from the Gold Commission and settled in Kyneton. In 1860 the Kyneton Mounted Rifle Corps was formed with Samuel Windridge as one of its earliest members. In 1862 the ladies of Kyneton presented a standard to the Rifle Corps. In 1976 the Shire of Kyneton presented the Kyneton Colours to the 4th/19th Prince of Wales’s Light Horse Regiment Museum. In 1862 the whole of the Victorian Horse was amalgamated into one Regiment: The Prince of Wales Light Horse. Samuel Windridge rose to the rank of Lieutenant Colonel in the Kyneton Troop of the regiment. He died in 1896, aged 79 years, This painting is a gift from his Great Grand-daughters Mrs Mary Hopper and Miss Jean Baldwin. Framed reproduction of painting of HMS Susan. Wood frame, glass frontA V Gregory on proper left bottom corner of print On bottom right of print: H.M.S Susan 'Southward of the Cape' Arrived in Sydney Feby 1836paintings, kyneton, prints, hms susan, samuel windridge, a v gregory

Three newspaper ads for men's tailors, framed in a dark brown frame

Premier 23rd January 1893 – 27th September 1894. Born in Alnwick, England, Sir James Patterson (1833-1895) migrated to Victoria in 1852 to try his luck on the goldfields. After little success he turned his hand to farming, and later operated a slaughter yard at Chewton. Patterson served on the Chewton local council, being elected mayor four times before moving with his wife Anna and family to Melbourne in 1870. Patterson established a real estate business, and after two unsuccessful attempts to enter parliament in 1866 and 1868, he won the by election for Castlemaine in the Legislative Assembly in December 1870. He would hold this seat until his death 25 years later. Patterson served in Sir Graham Berry’s brief August to October 1875 government as Commissioner of Public Works and Vice-President of Board and Land Works. He repeated these roles two years later in Berry’s second government and additionally served as Postmaster-General, and in Berry’s third government was Commissioner of Railways and again Vice-President of the Board of Land and Works. In April 1889 after a time in Opposition, Patterson became Commissioner for Trade and Customs in Duncan Gillies’ Government. The following year he returned to the familiar positions of Public Works, Board of Land and Words and Postmaster-General. By 1891 Patterson was leader of the opposition, and when William Shiels’ government succumbed to a motion of no confidence, led by Patterson, he became premier on the 23rd of January 1893. During his premiership, James Patterson was also Chief Secretary and Minister for Railways. His term as premier coincided with a period of severe economic depression, and his enforced economies earned Patterson few public admirers. In May 1893 his government attempted to prevent a run on bank withdrawals and stabilise the sector, by declaring a 5 day 'bank holiday'. Patterson was awarded a knighthood in May 1894, however this did not increase public confidence in his government who were not returned to power in the August 1894 election. Again leader of the opposition, James Patterson died suddenly of influenza on the 30 of October 1895.This portrait was presented to Sir James Patterson by 'grateful citizens of Victoria' in appreciation of his services during the land boom depression. In 1929 the painting was donated to the Victorian Parliamentary Library by H. Lavinia Patterson, the wife of Sir James Patterson's nephew Colonel George Patterson.Oil on canvas, framed. Frame: ornate wood, gesso mouldings, unglazed. Signed on bottom right corner "G. Coutts" Stamped inscription along inner edge of canvas: "WINSOR AND NEWTON". Inscription on canvas, handwritten in ink: "13 1 92" from reverse.patterson, james brown (1833-1895)

Freemasons' Homes framed certificate (poster), wooden frame plus board

Framed Colour Photograph - 2010 School Pennant Premiers (golden frame)

Print of a hand coloured photograph, framed with green matting in a gold frame. Colarts Studios, Melbournesimpson, donkey, anzac, 1915, gallipoli

For many years this painting hung in the offices of the Belfast & Koroit Steam Navigation Company in Port Fairy. It was painted by Arthur Victor Gregory (1867-1957), a water colourist and marine artist. It depicts the Fisheries Investigation Ship Endeavour, a trawler built to the specifications of the Commonwealth Government in 1909 to assist in identifying new fishing grounds in the seas around Australia. The Endeavour was lost in December 1914 between Macquarie Island and Hobart with the loss of all twenty-one men on board, including Harald Dannevig, the Commonwealth Director of Fisheries.A Painting of a forgotten ship and crew that were forerunners of investigating the reserves of fish in our oceans.A painting of the F. I. Endeavour in a wooden frame. Scroll work on frame.Front - The F. I. Endeavour crossing Bass's Straits A. V. Gregory 10 Reverse - Regal Patronage ?.8.1854 Arthur V. Gregory Marine ? Arthur V. Gregoryship, fishing, scientific, belfast & koroit steam navigation company, endeavour, macquarie island, hobart, harald dannevig