Centred on present day Diosma Rd, Stokes Pl, Nyora Rd and Eucalyptus Rd Historic Aerial Imagery Source: Landata.vic.gov.au Aerial Photo Details: Project No :1148 Project : MELBOURNE 1974 Run : 27 Frame : 152 Date : 03/1975 Film Type : B/W Camera : RC8 Flying Height : 5200 Scale : 10000 Film Number : 2935 GDA2020 : 37°42'52"S, 145°10'06"E MGA2020 : 338553, 5824293 (55) Melways : 22 D5 (ed. 42) A History of the Development of Crown Allotment 15, Section 5, Parish of Nillumbik – Stokes Orchard Crown Allotment 15, Section 5, Parish of Nillumbik (CA15) is a square allotment of 158 acres or approximately a quarter of a square mile. It lies just beyond the eastern end of Pitt Street, south of Nyora Road to the northern end of Eucalyptus Road and extends east from Eucalyptus Road to Reynolds Road. The topography of CA15 is generally steep, sloping up to a hill near the centre of the land, the ridgeline passing through the properties along the southern side of Diosma Road. Eucalyptus Road is a straight north-south road with its northern end at the north west corner of CA15. Until the end of the 1970s this road was an un-named Government Road and was largely not open to traffic. With residential development in the 1970s the road was constructed, and the council allocated the name obviously in recognition of the predominant species of the local bushland. CA15 was purchased from the Crown by George D’Arley Boursiquot, a prominent Melbourne printer, on 28th October 1852. On November 23, 1922, former Member for Gippsland and Melbourne Real Estate Agent, Hubert Patrick Keogh purchased the allotment then sold it March 13, 1925, to local farmer, Robert David Taylor, a former Shire of Eltham Councillor (1911-1920) and Shire President (1919). Taylor had extensive land holdings stretching west towards Bible Street and Main Road. The Taylor home was situated at the top of the hill in Bible Street at present day 82 Bible Street. At the time of Taylor’s purchase in 1925, CA15 was subdivided into 48 lots that could be described as small rural properties or large residential lots. A typical lot size was one hectare or 2.5 acres. The subdivision created two roads, Nyora Road, and Diosma Road, each following an irregular alignment between Eucalyptus and Reynolds Roads. However, the lots were not sold off separately nor were the roads constructed. The land effectively remained as one parcel for many further years. Robert David Taylor died November 30, 1934, and probate was granted to his son of the same name, Robert David Taylor of Bible Street, Salesman and William McLelland Vance Taylor of 73 Emmeline Street, Northcote, Clerk, with the transfer of the land into their names on July 8, 1935. Frank Stokes worked as a qualified accountant at Kennons leather factory in Burnley, while living at 1 Thomas Street, Mitcham. He suffered from migraines and wanted to return to working the land (he had previously worked on farms and orchards since coming to Australia from England in 1926, both in WA and Vic.). He first travelled to the district by train in July 1942 to find land with the intention to establish an orchard. By chance he met Arthur Bird of Bird Orchard (bounded by Pitt Street, Eucalyptus Road, and Wattle Grove) and they got talking over their common interest. Arthur put Frank up for the night and pointed out the land, 158 acres- part of the Taylor Estate- £900, Crown Allotment 15, Section 5, Parish of Nillumbik (CA15) somewhat diagonally opposite Bird Orchard. Stokes applied through the Riverina Agency to purchase the land who in turn applied for permission from Canberra to sell as there was a new government regulation introduced during the Second World War banning land sales except for immediate production. Stokes obtained a loan on his Mitcham house of £600 @ 5% and paid £450 deposit with quarterly payments of £15 spread over 5 years. Stokes was assisted and advised by Arthur Bird who farmed the neighbouring orchard. In early 1943 Stokes took possession and would catch the train out to Eltham on Fridays after work and began building a hut on the corner of Nyora Road and the Government Road (Eucalyptus Road) for shelter and to lock up tools. He established an orchard on the central western part of the land through the centre of which ran a natural waterway (part of the present-day linear park) and was able to pay a neighbour (Hawkins) to help with clearing and fencing 25 acres, and with a horse and single furrowed plough, planted approximately 2,500 fruit trees - cherries, peaches, plums, almonds, pears, apricots and lemons as well as a few apples and oranges; a massive task. Aerial photographs from the 1940s through to the 1990s clearly show the orchard with most of the larger CA15 site remaining as natural bushland. A huge problem was hares and rabbits eating all the new buds off the tiny trees. As well as laying poison he painted the trees with a mixture of cow manure and lime, often working by moonlight. Procurement of wire and wire netting was difficult because of the war but after much effort he obtained a permit from the Agricultural Department for supplies in March 1944. In February 1945 Stokes applied for a permit to build a “packing shed” as no house building was allowed. It was to be 33 feet x 21 feet and cost £312. It was constructed mostly from second-hand materials, which were hard to obtain, especially iron for roofing. Stokes finished work at Kennons on October 31, 1945, and in March 1946 he sold the family home at Mitcham for £1,230 plus £170 for furniture. On May 15, 1946, title to the CA15 property was issued to Frank Howard Alfred Stokes, Orchardist and Gladys Ethel Stokes, Married Woman, both of Pitt Street, Eltham. The family of five then moved into the very unfinished “packing shed” at Eltham, which was a struggle to weatherproof. Eventually rooms were divided off and lined with hessian bags and whitewashed. Their income was firewood (cut and sold), selling rockery stones and cut Sweet Bursaria. (It was discovered during the 1940s that Sweet Bursaria contained the sunscreen compound Aesculin. The RAAF utilised this compound from Sweet Bursaria during WW2 for pilots and gunners.) The orchard’s first fruit sale was a half-case of Le Vanq peaches in December 1947 for the price of 8 shillings. In 1956 plans for house were drawn and Glen Iris bricks purchased (1956 Olympic Rings variant). The building of the house commenced in 1957 - 12 feet of original packing shed was removed – and was completed in 1959. Water was connected from newly built pressure storage on the property at the end of 1959 and the electricity connection for the first time at 3pm on April 29, 1960. The house remains to present day (somewhat modified) at 1 Nyora Road, home to Nyora Studio Gallery. On occasions, spare remnants of the 1956 bricks have been known to be unearthed in gardens on the estate as they were utilised by Frank Stokes to fill in rabbit holes. On May 26, 1950, a parcel of land was compulsorily acquired by the Melbourne and Metropolitan Board of Works on the hilltop to establish an easement for a high-level service reservoir to augment Eltham’s water supply. The project also included pipe tracks for the necessary water mains. The reservoir has now been superseded by higher level water tanks east of Reynolds Road and its former site is now a public reserve. On November 27, 1964, the State Electricity Commission served notice to compulsorily acquire a further parcel through the eastern part of the land for a major electricity transmission line that augmented supply from the La Trobe Valley to Melbourne. The easement was registered February 11, 1966. The easement was widened July 18, 1969 for a second transmission line to be constructed. In 1971 Melbourne Metropolitan Planning Scheme amendments adopted Nyora Road as the boundary between a residential zone to the north and a rural zone to the south. This determined the future development of the land. In the mid-1970s the Shire of Eltham divided the orchard into numerous rate-able parcel lots, the 48 lots having been established in 1925 and the subsequent rates assessment proved unsustainable for Stokes. He commenced selling lots outside the boundary of the orchard, north of Diosma and South of Nyora. However shortly later the land between Nyora and Diosma Roads and west of the electricity easement was sold and subdivided into residential lots, a housing development by Macquarie Builders and marketed as the Stokes Orchard Estate. New streets were created, and most were named after trees, although one, Stokes Place, commemorates the former owners. The development was undertaken in two stages; Stage 1 (1975) encompassing Scarlet Ash Court, Ironbark Close and Peppermint Grove bounded by Nyora and Eucalyptus roads and Stage 2 (1978) encompassing Stokes Place, Orchard Way, The Crest and The Lookout bound by Nyora and Diosma roads. The developer, Macquarie Builders went bankrupt shortly after the release of Stage 2 leaving many purchasers to fend for themselves and arrange for their own independent builders. There were also difficulties with sewerage for the land immediately south of Diosma Road and so the conventional residential lots were abandoned in favour of larger lots. The development of Orchard Way, The Crest and The Lookout did not proceed as planned and the proposed lots were incorporated into five-acre parcels instead. These included a low-density group housing development by the Graves family and the award winning Choong House (1983) with Gordon Ford developed garden immediately next door situated on the ridge of the hill nestled amongst the original bush, Eucalypt trees and Sweet Bursaria. In 1994, Nillumbik Shire Council applied Significant Environment and Significant Landscape overlays upon the properties on the south side of Diosma Road to ensure protection of this natural bush garden environment. With the arrival of the sewer along Diosma Road in the 1990s, most of these five-acre parcels have since been subdivided multiple times. The Choong house presently sits on a 2.7-acre property, which in 2022 Nillumbik Council nominated for Cultural Significance Heritage protection and is considered potentially significant at State level. The Stokes family were also associated with the Eltham Christian Church. In the 1970s this church had met in temporary premises in Eltham. Lots of the original 1925 subdivision remained south of Nyora Road and a number of these lots were utilized for the Eltham Christian School, which was established by the Eltham Christian Church in 1981. The school operated on this site until 2000. The premises are now used by The Vine Baptist Church. By the mid-1980s the whole of CA15 had been developed for residential and school purposes, except for the sections north of Diosma Road and between the transmission lines and Reynolds Road. Sewerage issues had been resolved for the section north of Diosma Road and in 1987 it was in the process of being subdivided into residential lots. The development coincided with the discovery of colonies of the rare and endangered Eltham Copper Butterfly on the site. This resulted in a community and political campaign to save the butterfly habitat. With the co-operation of the land developer the subdivision was altered to create two bushland reserves in the critical butterfly habitat areas. In the late 1980s the State Government was investigating options for establishing a metropolitan ring road link between Diamond Creek and Ringwood. The chosen route was adjacent to Reynolds Road and so this created a freeze on development of CA15 between Reynolds Road and the electricity easement. The ring road proposal was eventually abandoned, and this part of the land was subdivided into low density residential lots. Diosma Road has been discontinued at the electricity easement and the eastern part incorporated into View Mount Court with access from Reynolds Road. The whole of CA15 has now been developed for residential or associated purposes, ranging from conventional density to quite low density south of Nyora Road. Some remnants of the orchard remain, a few cherry trees on the Graves property and a lone apple tree in Stokes Place. The butterfly reserves comprise significant areas of remnant bushland. Linear reserves through the estate link with central Eltham via the Woodridge linear reserve and with Research along the electricity easement. CA15 as it exists today has a complicated history of rural use, Government acquisition, urban development, and community action. References: • “Stokes Orchard, an incomplete history”; Russell Yeoman with Doug Orford • Correspondence, Beryl Bradbury (nee Stokes) • Aerial Photographs, 1931-1991, Landata (landata.vic.gov.au) • Certificate of Title, Vol. 4930 Fol. 985900 • Plan Number LP 10859 aerial photo, diosma road, eltham copper butterfly, eucalyptus road, ironbark close, nyora road, peppermint grove, peter & elizabeth pidgeon collection, power transmission lines, reynolds road, scarlet ash court, stokes orchard estate, stokes place, woodridge estate, frank stokes

Centred on present day Diosma Rd, Stokes Pl, Nyora Rd and Eucalyptus Rd Historic Aerial Imagery Source: Landata.vic.gov.au Aerial Photo Details: Project No :1243 Project : (ALSO A.P. 1227) Run : 23 Frame : 86 Date : 11/1975 Film Type : B/W Camera : RC8 Flying Height : 5000 Scale : 10000 Film Number : 3058 GDA2020 : 37°42'46"S, 145°10'06"E MGA2020 : 338546, 5824486 (55) Melways : 22 D4 (ed. 42) A History of the Development of Crown Allotment 15, Section 5, Parish of Nillumbik – Stokes Orchard Crown Allotment 15, Section 5, Parish of Nillumbik (CA15) is a square allotment of 158 acres or approximately a quarter of a square mile. It lies just beyond the eastern end of Pitt Street, south of Nyora Road to the northern end of Eucalyptus Road and extends east from Eucalyptus Road to Reynolds Road. The topography of CA15 is generally steep, sloping up to a hill near the centre of the land, the ridgeline passing through the properties along the southern side of Diosma Road. Eucalyptus Road is a straight north-south road with its northern end at the north west corner of CA15. Until the end of the 1970s this road was an un-named Government Road and was largely not open to traffic. With residential development in the 1970s the road was constructed, and the council allocated the name obviously in recognition of the predominant species of the local bushland. CA15 was purchased from the Crown by George D’Arley Boursiquot, a prominent Melbourne printer, on 28th October 1852. On November 23, 1922, former Member for Gippsland and Melbourne Real Estate Agent, Hubert Patrick Keogh purchased the allotment then sold it March 13, 1925, to local farmer, Robert David Taylor, a former Shire of Eltham Councillor (1911-1920) and Shire President (1919). Taylor had extensive land holdings stretching west towards Bible Street and Main Road. The Taylor home was situated at the top of the hill in Bible Street at present day 82 Bible Street. At the time of Taylor’s purchase in 1925, CA15 was subdivided into 48 lots that could be described as small rural properties or large residential lots. A typical lot size was one hectare or 2.5 acres. The subdivision created two roads, Nyora Road, and Diosma Road, each following an irregular alignment between Eucalyptus and Reynolds Roads. However, the lots were not sold off separately nor were the roads constructed. The land effectively remained as one parcel for many further years. Robert David Taylor died November 30, 1934, and probate was granted to his son of the same name, Robert David Taylor of Bible Street, Salesman and William McLelland Vance Taylor of 73 Emmeline Street, Northcote, Clerk, with the transfer of the land into their names on July 8, 1935. Frank Stokes worked as a qualified accountant at Kennons leather factory in Burnley, while living at 1 Thomas Street, Mitcham. He suffered from migraines and wanted to return to working the land (he had previously worked on farms and orchards since coming to Australia from England in 1926, both in WA and Vic.). He first travelled to the district by train in July 1942 to find land with the intention to establish an orchard. By chance he met Arthur Bird of Bird Orchard (bounded by Pitt Street, Eucalyptus Road, and Wattle Grove) and they got talking over their common interest. Arthur put Frank up for the night and pointed out the land, 158 acres- part of the Taylor Estate- £900, Crown Allotment 15, Section 5, Parish of Nillumbik (CA15) somewhat diagonally opposite Bird Orchard. Stokes applied through the Riverina Agency to purchase the land who in turn applied for permission from Canberra to sell as there was a new government regulation introduced during the Second World War banning land sales except for immediate production. Stokes obtained a loan on his Mitcham house of £600 @ 5% and paid £450 deposit with quarterly payments of £15 spread over 5 years. Stokes was assisted and advised by Arthur Bird who farmed the neighbouring orchard. In early 1943 Stokes took possession and would catch the train out to Eltham on Fridays after work and began building a hut on the corner of Nyora Road and the Government Road (Eucalyptus Road) for shelter and to lock up tools. He established an orchard on the central western part of the land through the centre of which ran a natural waterway (part of the present-day linear park) and was able to pay a neighbour (Hawkins) to help with clearing and fencing 25 acres, and with a horse and single furrowed plough, planted approximately 2,500 fruit trees - cherries, peaches, plums, almonds, pears, apricots and lemons as well as a few apples and oranges; a massive task. Aerial photographs from the 1940s through to the 1990s clearly show the orchard with most of the larger CA15 site remaining as natural bushland. A huge problem was hares and rabbits eating all the new buds off the tiny trees. As well as laying poison he painted the trees with a mixture of cow manure and lime, often working by moonlight. Procurement of wire and wire netting was difficult because of the war but after much effort he obtained a permit from the Agricultural Department for supplies in March 1944. In February 1945 Stokes applied for a permit to build a “packing shed” as no house building was allowed. It was to be 33 feet x 21 feet and cost £312. It was constructed mostly from second-hand materials, which were hard to obtain, especially iron for roofing. Stokes finished work at Kennons on October 31, 1945, and in March 1946 he sold the family home at Mitcham for £1,230 plus £170 for furniture. On May 15, 1946, title to the CA15 property was issued to Frank Howard Alfred Stokes, Orchardist and Gladys Ethel Stokes, Married Woman, both of Pitt Street, Eltham. The family of five then moved into the very unfinished “packing shed” at Eltham, which was a struggle to weatherproof. Eventually rooms were divided off and lined with hessian bags and whitewashed. Their income was firewood (cut and sold), selling rockery stones and cut Sweet Bursaria. (It was discovered during the 1940s that Sweet Bursaria contained the sunscreen compound Aesculin. The RAAF utilised this compound from Sweet Bursaria during WW2 for pilots and gunners.) The orchard’s first fruit sale was a half-case of Le Vanq peaches in December 1947 for the price of 8 shillings. In 1956 plans for house were drawn and Glen Iris bricks purchased (1956 Olympic Rings variant). The building of the house commenced in 1957 - 12 feet of original packing shed was removed – and was completed in 1959. Water was connected from newly built pressure storage on the property at the end of 1959 and the electricity connection for the first time at 3pm on April 29, 1960. The house remains to present day (somewhat modified) at 1 Nyora Road, home to Nyora Studio Gallery. On occasions, spare remnants of the 1956 bricks have been known to be unearthed in gardens on the estate as they were utilised by Frank Stokes to fill in rabbit holes. On May 26, 1950, a parcel of land was compulsorily acquired by the Melbourne and Metropolitan Board of Works on the hilltop to establish an easement for a high-level service reservoir to augment Eltham’s water supply. The project also included pipe tracks for the necessary water mains. The reservoir has now been superseded by higher level water tanks east of Reynolds Road and its former site is now a public reserve. On November 27, 1964, the State Electricity Commission served notice to compulsorily acquire a further parcel through the eastern part of the land for a major electricity transmission line that augmented supply from the La Trobe Valley to Melbourne. The easement was registered February 11, 1966. The easement was widened July 18, 1969 for a second transmission line to be constructed. In 1971 Melbourne Metropolitan Planning Scheme amendments adopted Nyora Road as the boundary between a residential zone to the north and a rural zone to the south. This determined the future development of the land. In the mid-1970s the Shire of Eltham divided the orchard into numerous rate-able parcel lots, the 48 lots having been established in 1925 and the subsequent rates assessment proved unsustainable for Stokes. He commenced selling lots outside the boundary of the orchard, north of Diosma and South of Nyora. However shortly later the land between Nyora and Diosma Roads and west of the electricity easement was sold and subdivided into residential lots, a housing development by Macquarie Builders and marketed as the Stokes Orchard Estate. New streets were created, and most were named after trees, although one, Stokes Place, commemorates the former owners. The development was undertaken in two stages; Stage 1 (1975) encompassing Scarlet Ash Court, Ironbark Close and Peppermint Grove bounded by Nyora and Eucalyptus roads and Stage 2 (1978) encompassing Stokes Place, Orchard Way, The Crest and The Lookout bound by Nyora and Diosma roads. The developer, Macquarie Builders went bankrupt shortly after the release of Stage 2 leaving many purchasers to fend for themselves and arrange for their own independent builders. There were also difficulties with sewerage for the land immediately south of Diosma Road and so the conventional residential lots were abandoned in favour of larger lots. The development of Orchard Way, The Crest and The Lookout did not proceed as planned and the proposed lots were incorporated into five-acre parcels instead. These included a low-density group housing development by the Graves family and the award winning Choong House (1983) with Gordon Ford developed garden immediately next door situated on the ridge of the hill nestled amongst the original bush, Eucalypt trees and Sweet Bursaria. In 1994, Nillumbik Shire Council applied Significant Environment and Significant Landscape overlays upon the properties on the south side of Diosma Road to ensure protection of this natural bush garden environment. With the arrival of the sewer along Diosma Road in the 1990s, most of these five-acre parcels have since been subdivided multiple times. The Choong house presently sits on a 2.7-acre property, which in 2022 Nillumbik Council nominated for Cultural Significance Heritage protection and is considered potentially significant at State level. The Stokes family were also associated with the Eltham Christian Church. In the 1970s this church had met in temporary premises in Eltham. Lots of the original 1925 subdivision remained south of Nyora Road and a number of these lots were utilized for the Eltham Christian School, which was established by the Eltham Christian Church in 1981. The school operated on this site until 2000. The premises are now used by The Vine Baptist Church. By the mid-1980s the whole of CA15 had been developed for residential and school purposes, except for the sections north of Diosma Road and between the transmission lines and Reynolds Road. Sewerage issues had been resolved for the section north of Diosma Road and in 1987 it was in the process of being subdivided into residential lots. The development coincided with the discovery of colonies of the rare and endangered Eltham Copper Butterfly on the site. This resulted in a community and political campaign to save the butterfly habitat. With the co-operation of the land developer the subdivision was altered to create two bushland reserves in the critical butterfly habitat areas. In the late 1980s the State Government was investigating options for establishing a metropolitan ring road link between Diamond Creek and Ringwood. The chosen route was adjacent to Reynolds Road and so this created a freeze on development of CA15 between Reynolds Road and the electricity easement. The ring road proposal was eventually abandoned, and this part of the land was subdivided into low density residential lots. Diosma Road has been discontinued at the electricity easement and the eastern part incorporated into View Mount Court with access from Reynolds Road. The whole of CA15 has now been developed for residential or associated purposes, ranging from conventional density to quite low density south of Nyora Road. Some remnants of the orchard remain, a few cherry trees on the Graves property and a lone apple tree in Stokes Place. The butterfly reserves comprise significant areas of remnant bushland. Linear reserves through the estate link with central Eltham via the Woodridge linear reserve and with Research along the electricity easement. CA15 as it exists today has a complicated history of rural use, Government acquisition, urban development, and community action. References: • “Stokes Orchard, an incomplete history”; Russell Yeoman with Doug Orford • Correspondence, Beryl Bradbury (nee Stokes) • Aerial Photographs, 1931-1991, Landata (landata.vic.gov.au) • Certificate of Title, Vol. 4930 Fol. 985900 • Plan Number LP 10859 aerial photo, diosma road, eltham copper butterfly, eucalyptus road, ironbark close, nyora road, peppermint grove, peter & elizabeth pidgeon collection, power transmission lines, reynolds road, scarlet ash court, stokes orchard estate, stokes place, woodridge estate, frank stokes

Centred on present day Diosma Rd, Stokes Pl, Nyora Rd and Eucalyptus Rd Historic Aerial Imagery Source: Landata.vic.gov.au Aerial Photo Details: Project No :1368 Project : DIAMOND CREEK Run : 5 Frame : 71 Date : 03/1975 Film Type : B/W Camera : RC8 Flying Height : 2200 Scale : 4000 Film Number : 3279 GDA2020 : 37°42'50"S, 145°09'36"E MGA2020 : 337821, 5824325 (55) Melways : 22 B5 (ed. 42) A History of the Development of Crown Allotment 15, Section 5, Parish of Nillumbik – Stokes Orchard Crown Allotment 15, Section 5, Parish of Nillumbik (CA15) is a square allotment of 158 acres or approximately a quarter of a square mile. It lies just beyond the eastern end of Pitt Street, south of Nyora Road to the northern end of Eucalyptus Road and extends east from Eucalyptus Road to Reynolds Road. The topography of CA15 is generally steep, sloping up to a hill near the centre of the land, the ridgeline passing through the properties along the southern side of Diosma Road. Eucalyptus Road is a straight north-south road with its northern end at the north west corner of CA15. Until the end of the 1970s this road was an un-named Government Road and was largely not open to traffic. With residential development in the 1970s the road was constructed, and the council allocated the name obviously in recognition of the predominant species of the local bushland. CA15 was purchased from the Crown by George D’Arley Boursiquot, a prominent Melbourne printer, on 28th October 1852. On November 23, 1922, former Member for Gippsland and Melbourne Real Estate Agent, Hubert Patrick Keogh purchased the allotment then sold it March 13, 1925, to local farmer, Robert David Taylor, a former Shire of Eltham Councillor (1911-1920) and Shire President (1919). Taylor had extensive land holdings stretching west towards Bible Street and Main Road. The Taylor home was situated at the top of the hill in Bible Street at present day 82 Bible Street. At the time of Taylor’s purchase in 1925, CA15 was subdivided into 48 lots that could be described as small rural properties or large residential lots. A typical lot size was one hectare or 2.5 acres. The subdivision created two roads, Nyora Road, and Diosma Road, each following an irregular alignment between Eucalyptus and Reynolds Roads. However, the lots were not sold off separately nor were the roads constructed. The land effectively remained as one parcel for many further years. Robert David Taylor died November 30, 1934, and probate was granted to his son of the same name, Robert David Taylor of Bible Street, Salesman and William McLelland Vance Taylor of 73 Emmeline Street, Northcote, Clerk, with the transfer of the land into their names on July 8, 1935. Frank Stokes worked as a qualified accountant at Kennons leather factory in Burnley, while living at 1 Thomas Street, Mitcham. He suffered from migraines and wanted to return to working the land (he had previously worked on farms and orchards since coming to Australia from England in 1926, both in WA and Vic.). He first travelled to the district by train in July 1942 to find land with the intention to establish an orchard. By chance he met Arthur Bird of Bird Orchard (bounded by Pitt Street, Eucalyptus Road, and Wattle Grove) and they got talking over their common interest. Arthur put Frank up for the night and pointed out the land, 158 acres- part of the Taylor Estate- £900, Crown Allotment 15, Section 5, Parish of Nillumbik (CA15) somewhat diagonally opposite Bird Orchard. Stokes applied through the Riverina Agency to purchase the land who in turn applied for permission from Canberra to sell as there was a new government regulation introduced during the Second World War banning land sales except for immediate production. Stokes obtained a loan on his Mitcham house of £600 @ 5% and paid £450 deposit with quarterly payments of £15 spread over 5 years. Stokes was assisted and advised by Arthur Bird who farmed the neighbouring orchard. In early 1943 Stokes took possession and would catch the train out to Eltham on Fridays after work and began building a hut on the corner of Nyora Road and the Government Road (Eucalyptus Road) for shelter and to lock up tools. He established an orchard on the central western part of the land through the centre of which ran a natural waterway (part of the present-day linear park) and was able to pay a neighbour (Hawkins) to help with clearing and fencing 25 acres, and with a horse and single furrowed plough, planted approximately 2,500 fruit trees - cherries, peaches, plums, almonds, pears, apricots and lemons as well as a few apples and oranges; a massive task. Aerial photographs from the 1940s through to the 1990s clearly show the orchard with most of the larger CA15 site remaining as natural bushland. A huge problem was hares and rabbits eating all the new buds off the tiny trees. As well as laying poison he painted the trees with a mixture of cow manure and lime, often working by moonlight. Procurement of wire and wire netting was difficult because of the war but after much effort he obtained a permit from the Agricultural Department for supplies in March 1944. In February 1945 Stokes applied for a permit to build a “packing shed” as no house building was allowed. It was to be 33 feet x 21 feet and cost £312. It was constructed mostly from second-hand materials, which were hard to obtain, especially iron for roofing. Stokes finished work at Kennons on October 31, 1945, and in March 1946 he sold the family home at Mitcham for £1,230 plus £170 for furniture. On May 15, 1946, title to the CA15 property was issued to Frank Howard Alfred Stokes, Orchardist and Gladys Ethel Stokes, Married Woman, both of Pitt Street, Eltham. The family of five then moved into the very unfinished “packing shed” at Eltham, which was a struggle to weatherproof. Eventually rooms were divided off and lined with hessian bags and whitewashed. Their income was firewood (cut and sold), selling rockery stones and cut Sweet Bursaria. (It was discovered during the 1940s that Sweet Bursaria contained the sunscreen compound Aesculin. The RAAF utilised this compound from Sweet Bursaria during WW2 for pilots and gunners.) The orchard’s first fruit sale was a half-case of Le Vanq peaches in December 1947 for the price of 8 shillings. In 1956 plans for house were drawn and Glen Iris bricks purchased (1956 Olympic Rings variant). The building of the house commenced in 1957 - 12 feet of original packing shed was removed – and was completed in 1959. Water was connected from newly built pressure storage on the property at the end of 1959 and the electricity connection for the first time at 3pm on April 29, 1960. The house remains to present day (somewhat modified) at 1 Nyora Road, home to Nyora Studio Gallery. On occasions, spare remnants of the 1956 bricks have been known to be unearthed in gardens on the estate as they were utilised by Frank Stokes to fill in rabbit holes. On May 26, 1950, a parcel of land was compulsorily acquired by the Melbourne and Metropolitan Board of Works on the hilltop to establish an easement for a high-level service reservoir to augment Eltham’s water supply. The project also included pipe tracks for the necessary water mains. The reservoir has now been superseded by higher level water tanks east of Reynolds Road and its former site is now a public reserve. On November 27, 1964, the State Electricity Commission served notice to compulsorily acquire a further parcel through the eastern part of the land for a major electricity transmission line that augmented supply from the La Trobe Valley to Melbourne. The easement was registered February 11, 1966. The easement was widened July 18, 1969 for a second transmission line to be constructed. In 1971 Melbourne Metropolitan Planning Scheme amendments adopted Nyora Road as the boundary between a residential zone to the north and a rural zone to the south. This determined the future development of the land. In the mid-1970s the Shire of Eltham divided the orchard into numerous rate-able parcel lots, the 48 lots having been established in 1925 and the subsequent rates assessment proved unsustainable for Stokes. He commenced selling lots outside the boundary of the orchard, north of Diosma and South of Nyora. However shortly later the land between Nyora and Diosma Roads and west of the electricity easement was sold and subdivided into residential lots, a housing development by Macquarie Builders and marketed as the Stokes Orchard Estate. New streets were created, and most were named after trees, although one, Stokes Place, commemorates the former owners. The development was undertaken in two stages; Stage 1 (1975) encompassing Scarlet Ash Court, Ironbark Close and Peppermint Grove bounded by Nyora and Eucalyptus roads and Stage 2 (1978) encompassing Stokes Place, Orchard Way, The Crest and The Lookout bound by Nyora and Diosma roads. The developer, Macquarie Builders went bankrupt shortly after the release of Stage 2 leaving many purchasers to fend for themselves and arrange for their own independent builders. There were also difficulties with sewerage for the land immediately south of Diosma Road and so the conventional residential lots were abandoned in favour of larger lots. The development of Orchard Way, The Crest and The Lookout did not proceed as planned and the proposed lots were incorporated into five-acre parcels instead. These included a low-density group housing development by the Graves family and the award winning Choong House (1983) with Gordon Ford developed garden immediately next door situated on the ridge of the hill nestled amongst the original bush, Eucalypt trees and Sweet Bursaria. In 1994, Nillumbik Shire Council applied Significant Environment and Significant Landscape overlays upon the properties on the south side of Diosma Road to ensure protection of this natural bush garden environment. With the arrival of the sewer along Diosma Road in the 1990s, most of these five-acre parcels have since been subdivided multiple times. The Choong house presently sits on a 2.7-acre property, which in 2022 Nillumbik Council nominated for Cultural Significance Heritage protection and is considered potentially significant at State level. The Stokes family were also associated with the Eltham Christian Church. In the 1970s this church had met in temporary premises in Eltham. Lots of the original 1925 subdivision remained south of Nyora Road and a number of these lots were utilized for the Eltham Christian School, which was established by the Eltham Christian Church in 1981. The school operated on this site until 2000. The premises are now used by The Vine Baptist Church. By the mid-1980s the whole of CA15 had been developed for residential and school purposes, except for the sections north of Diosma Road and between the transmission lines and Reynolds Road. Sewerage issues had been resolved for the section north of Diosma Road and in 1987 it was in the process of being subdivided into residential lots. The development coincided with the discovery of colonies of the rare and endangered Eltham Copper Butterfly on the site. This resulted in a community and political campaign to save the butterfly habitat. With the co-operation of the land developer the subdivision was altered to create two bushland reserves in the critical butterfly habitat areas. In the late 1980s the State Government was investigating options for establishing a metropolitan ring road link between Diamond Creek and Ringwood. The chosen route was adjacent to Reynolds Road and so this created a freeze on development of CA15 between Reynolds Road and the electricity easement. The ring road proposal was eventually abandoned, and this part of the land was subdivided into low density residential lots. Diosma Road has been discontinued at the electricity easement and the eastern part incorporated into View Mount Court with access from Reynolds Road. The whole of CA15 has now been developed for residential or associated purposes, ranging from conventional density to quite low density south of Nyora Road. Some remnants of the orchard remain, a few cherry trees on the Graves property and a lone apple tree in Stokes Place. The butterfly reserves comprise significant areas of remnant bushland. Linear reserves through the estate link with central Eltham via the Woodridge linear reserve and with Research along the electricity easement. CA15 as it exists today has a complicated history of rural use, Government acquisition, urban development, and community action. References: • “Stokes Orchard, an incomplete history”; Russell Yeoman with Doug Orford • Correspondence, Beryl Bradbury (nee Stokes) • Aerial Photographs, 1931-1991, Landata (landata.vic.gov.au) • Certificate of Title, Vol. 4930 Fol. 985900 • Plan Number LP 10859 aerial photo, diosma road, eltham copper butterfly, eucalyptus road, ironbark close, nyora road, peppermint grove, peter & elizabeth pidgeon collection, power transmission lines, reynolds road, scarlet ash court, stokes orchard estate, stokes place, woodridge estate, frank stokes

Centred on present day Diosma Rd, Stokes Pl, Nyora Rd and Eucalyptus Rd Historic Aerial Imagery Source: Landata.vic.gov.au Aerial Photo Details: Project No :1716 Project : WESTERN PORT FORESHORES Run : 15 Frame : 91 Date : 02/1979 Film Type : B/W Camera : RC8 Flying Height : 5500 Scale : 10000 Film Number : 3286 GDA2020 : 37°42'47"S, 145°09'57"E MGA2020 : 338339, 5824447 (55) Melways : 22 C4 (ed. 42) A History of the Development of Crown Allotment 15, Section 5, Parish of Nillumbik – Stokes Orchard Crown Allotment 15, Section 5, Parish of Nillumbik (CA15) is a square allotment of 158 acres or approximately a quarter of a square mile. It lies just beyond the eastern end of Pitt Street, south of Nyora Road to the northern end of Eucalyptus Road and extends east from Eucalyptus Road to Reynolds Road. The topography of CA15 is generally steep, sloping up to a hill near the centre of the land, the ridgeline passing through the properties along the southern side of Diosma Road. Eucalyptus Road is a straight north-south road with its northern end at the north west corner of CA15. Until the end of the 1970s this road was an un-named Government Road and was largely not open to traffic. With residential development in the 1970s the road was constructed, and the council allocated the name obviously in recognition of the predominant species of the local bushland. CA15 was purchased from the Crown by George D’Arley Boursiquot, a prominent Melbourne printer, on 28th October 1852. On November 23, 1922, former Member for Gippsland and Melbourne Real Estate Agent, Hubert Patrick Keogh purchased the allotment then sold it March 13, 1925, to local farmer, Robert David Taylor, a former Shire of Eltham Councillor (1911-1920) and Shire President (1919). Taylor had extensive land holdings stretching west towards Bible Street and Main Road. The Taylor home was situated at the top of the hill in Bible Street at present day 82 Bible Street. At the time of Taylor’s purchase in 1925, CA15 was subdivided into 48 lots that could be described as small rural properties or large residential lots. A typical lot size was one hectare or 2.5 acres. The subdivision created two roads, Nyora Road, and Diosma Road, each following an irregular alignment between Eucalyptus and Reynolds Roads. However, the lots were not sold off separately nor were the roads constructed. The land effectively remained as one parcel for many further years. Robert David Taylor died November 30, 1934, and probate was granted to his son of the same name, Robert David Taylor of Bible Street, Salesman and William McLelland Vance Taylor of 73 Emmeline Street, Northcote, Clerk, with the transfer of the land into their names on July 8, 1935. Frank Stokes worked as a qualified accountant at Kennons leather factory in Burnley, while living at 1 Thomas Street, Mitcham. He suffered from migraines and wanted to return to working the land (he had previously worked on farms and orchards since coming to Australia from England in 1926, both in WA and Vic.). He first travelled to the district by train in July 1942 to find land with the intention to establish an orchard. By chance he met Arthur Bird of Bird Orchard (bounded by Pitt Street, Eucalyptus Road, and Wattle Grove) and they got talking over their common interest. Arthur put Frank up for the night and pointed out the land, 158 acres- part of the Taylor Estate- £900, Crown Allotment 15, Section 5, Parish of Nillumbik (CA15) somewhat diagonally opposite Bird Orchard. Stokes applied through the Riverina Agency to purchase the land who in turn applied for permission from Canberra to sell as there was a new government regulation introduced during the Second World War banning land sales except for immediate production. Stokes obtained a loan on his Mitcham house of £600 @ 5% and paid £450 deposit with quarterly payments of £15 spread over 5 years. Stokes was assisted and advised by Arthur Bird who farmed the neighbouring orchard. In early 1943 Stokes took possession and would catch the train out to Eltham on Fridays after work and began building a hut on the corner of Nyora Road and the Government Road (Eucalyptus Road) for shelter and to lock up tools. He established an orchard on the central western part of the land through the centre of which ran a natural waterway (part of the present-day linear park) and was able to pay a neighbour (Hawkins) to help with clearing and fencing 25 acres, and with a horse and single furrowed plough, planted approximately 2,500 fruit trees - cherries, peaches, plums, almonds, pears, apricots and lemons as well as a few apples and oranges; a massive task. Aerial photographs from the 1940s through to the 1990s clearly show the orchard with most of the larger CA15 site remaining as natural bushland. A huge problem was hares and rabbits eating all the new buds off the tiny trees. As well as laying poison he painted the trees with a mixture of cow manure and lime, often working by moonlight. Procurement of wire and wire netting was difficult because of the war but after much effort he obtained a permit from the Agricultural Department for supplies in March 1944. In February 1945 Stokes applied for a permit to build a “packing shed” as no house building was allowed. It was to be 33 feet x 21 feet and cost £312. It was constructed mostly from second-hand materials, which were hard to obtain, especially iron for roofing. Stokes finished work at Kennons on October 31, 1945, and in March 1946 he sold the family home at Mitcham for £1,230 plus £170 for furniture. On May 15, 1946, title to the CA15 property was issued to Frank Howard Alfred Stokes, Orchardist and Gladys Ethel Stokes, Married Woman, both of Pitt Street, Eltham. The family of five then moved into the very unfinished “packing shed” at Eltham, which was a struggle to weatherproof. Eventually rooms were divided off and lined with hessian bags and whitewashed. Their income was firewood (cut and sold), selling rockery stones and cut Sweet Bursaria. (It was discovered during the 1940s that Sweet Bursaria contained the sunscreen compound Aesculin. The RAAF utilised this compound from Sweet Bursaria during WW2 for pilots and gunners.) The orchard’s first fruit sale was a half-case of Le Vanq peaches in December 1947 for the price of 8 shillings. In 1956 plans for house were drawn and Glen Iris bricks purchased (1956 Olympic Rings variant). The building of the house commenced in 1957 - 12 feet of original packing shed was removed – and was completed in 1959. Water was connected from newly built pressure storage on the property at the end of 1959 and the electricity connection for the first time at 3pm on April 29, 1960. The house remains to present day (somewhat modified) at 1 Nyora Road, home to Nyora Studio Gallery. On occasions, spare remnants of the 1956 bricks have been known to be unearthed in gardens on the estate as they were utilised by Frank Stokes to fill in rabbit holes. On May 26, 1950, a parcel of land was compulsorily acquired by the Melbourne and Metropolitan Board of Works on the hilltop to establish an easement for a high-level service reservoir to augment Eltham’s water supply. The project also included pipe tracks for the necessary water mains. The reservoir has now been superseded by higher level water tanks east of Reynolds Road and its former site is now a public reserve. On November 27, 1964, the State Electricity Commission served notice to compulsorily acquire a further parcel through the eastern part of the land for a major electricity transmission line that augmented supply from the La Trobe Valley to Melbourne. The easement was registered February 11, 1966. The easement was widened July 18, 1969 for a second transmission line to be constructed. In 1971 Melbourne Metropolitan Planning Scheme amendments adopted Nyora Road as the boundary between a residential zone to the north and a rural zone to the south. This determined the future development of the land. In the mid-1970s the Shire of Eltham divided the orchard into numerous rate-able parcel lots, the 48 lots having been established in 1925 and the subsequent rates assessment proved unsustainable for Stokes. He commenced selling lots outside the boundary of the orchard, north of Diosma and South of Nyora. However shortly later the land between Nyora and Diosma Roads and west of the electricity easement was sold and subdivided into residential lots, a housing development by Macquarie Builders and marketed as the Stokes Orchard Estate. New streets were created, and most were named after trees, although one, Stokes Place, commemorates the former owners. The development was undertaken in two stages; Stage 1 (1975) encompassing Scarlet Ash Court, Ironbark Close and Peppermint Grove bounded by Nyora and Eucalyptus roads and Stage 2 (1978) encompassing Stokes Place, Orchard Way, The Crest and The Lookout bound by Nyora and Diosma roads. The developer, Macquarie Builders went bankrupt shortly after the release of Stage 2 leaving many purchasers to fend for themselves and arrange for their own independent builders. There were also difficulties with sewerage for the land immediately south of Diosma Road and so the conventional residential lots were abandoned in favour of larger lots. The development of Orchard Way, The Crest and The Lookout did not proceed as planned and the proposed lots were incorporated into five-acre parcels instead. These included a low-density group housing development by the Graves family and the award winning Choong House (1983) with Gordon Ford developed garden immediately next door situated on the ridge of the hill nestled amongst the original bush, Eucalypt trees and Sweet Bursaria. In 1994, Nillumbik Shire Council applied Significant Environment and Significant Landscape overlays upon the properties on the south side of Diosma Road to ensure protection of this natural bush garden environment. With the arrival of the sewer along Diosma Road in the 1990s, most of these five-acre parcels have since been subdivided multiple times. The Choong house presently sits on a 2.7-acre property, which in 2022 Nillumbik Council nominated for Cultural Significance Heritage protection and is considered potentially significant at State level. The Stokes family were also associated with the Eltham Christian Church. In the 1970s this church had met in temporary premises in Eltham. Lots of the original 1925 subdivision remained south of Nyora Road and a number of these lots were utilized for the Eltham Christian School, which was established by the Eltham Christian Church in 1981. The school operated on this site until 2000. The premises are now used by The Vine Baptist Church. By the mid-1980s the whole of CA15 had been developed for residential and school purposes, except for the sections north of Diosma Road and between the transmission lines and Reynolds Road. Sewerage issues had been resolved for the section north of Diosma Road and in 1987 it was in the process of being subdivided into residential lots. The development coincided with the discovery of colonies of the rare and endangered Eltham Copper Butterfly on the site. This resulted in a community and political campaign to save the butterfly habitat. With the co-operation of the land developer the subdivision was altered to create two bushland reserves in the critical butterfly habitat areas. In the late 1980s the State Government was investigating options for establishing a metropolitan ring road link between Diamond Creek and Ringwood. The chosen route was adjacent to Reynolds Road and so this created a freeze on development of CA15 between Reynolds Road and the electricity easement. The ring road proposal was eventually abandoned, and this part of the land was subdivided into low density residential lots. Diosma Road has been discontinued at the electricity easement and the eastern part incorporated into View Mount Court with access from Reynolds Road. The whole of CA15 has now been developed for residential or associated purposes, ranging from conventional density to quite low density south of Nyora Road. Some remnants of the orchard remain, a few cherry trees on the Graves property and a lone apple tree in Stokes Place. The butterfly reserves comprise significant areas of remnant bushland. Linear reserves through the estate link with central Eltham via the Woodridge linear reserve and with Research along the electricity easement. CA15 as it exists today has a complicated history of rural use, Government acquisition, urban development, and community action. References: • “Stokes Orchard, an incomplete history”; Russell Yeoman with Doug Orford • Correspondence, Beryl Bradbury (nee Stokes) • Aerial Photographs, 1931-1991, Landata (landata.vic.gov.au) • Certificate of Title, Vol. 4930 Fol. 985900 • Plan Number LP 10859 aerial photo, diosma road, eltham copper butterfly, eucalyptus road, ironbark close, nyora road, peppermint grove, peter & elizabeth pidgeon collection, power transmission lines, reynolds road, scarlet ash court, stokes orchard estate, stokes place, woodridge estate, frank stokes

Centred on present day Diosma Rd, Stokes Pl, Nyora Rd and Eucalyptus Rd Historic Aerial Imagery Source: Landata.vic.gov.au Aerial Photo Details: Project No :1716 Project : WESTERN PORT FORESHORES Run : 15 Frame : 70 Date : 01/1984 Film Type : B/W Camera : RC8 Flying Height : 5300 Scale : 10000 Film Number : 3833 GDA2020 : 37°42'38"S, 145°10'09"E MGA2020 : 338612, 5824719 (55) Melways : 22 D4 (ed. 42) A History of the Development of Crown Allotment 15, Section 5, Parish of Nillumbik – Stokes Orchard Crown Allotment 15, Section 5, Parish of Nillumbik (CA15) is a square allotment of 158 acres or approximately a quarter of a square mile. It lies just beyond the eastern end of Pitt Street, south of Nyora Road to the northern end of Eucalyptus Road and extends east from Eucalyptus Road to Reynolds Road. The topography of CA15 is generally steep, sloping up to a hill near the centre of the land, the ridgeline passing through the properties along the southern side of Diosma Road. Eucalyptus Road is a straight north-south road with its northern end at the north west corner of CA15. Until the end of the 1970s this road was an un-named Government Road and was largely not open to traffic. With residential development in the 1970s the road was constructed, and the council allocated the name obviously in recognition of the predominant species of the local bushland. CA15 was purchased from the Crown by George D’Arley Boursiquot, a prominent Melbourne printer, on 28th October 1852. On November 23, 1922, former Member for Gippsland and Melbourne Real Estate Agent, Hubert Patrick Keogh purchased the allotment then sold it March 13, 1925, to local farmer, Robert David Taylor, a former Shire of Eltham Councillor (1911-1920) and Shire President (1919). Taylor had extensive land holdings stretching west towards Bible Street and Main Road. The Taylor home was situated at the top of the hill in Bible Street at present day 82 Bible Street. At the time of Taylor’s purchase in 1925, CA15 was subdivided into 48 lots that could be described as small rural properties or large residential lots. A typical lot size was one hectare or 2.5 acres. The subdivision created two roads, Nyora Road, and Diosma Road, each following an irregular alignment between Eucalyptus and Reynolds Roads. However, the lots were not sold off separately nor were the roads constructed. The land effectively remained as one parcel for many further years. Robert David Taylor died November 30, 1934, and probate was granted to his son of the same name, Robert David Taylor of Bible Street, Salesman and William McLelland Vance Taylor of 73 Emmeline Street, Northcote, Clerk, with the transfer of the land into their names on July 8, 1935. Frank Stokes worked as a qualified accountant at Kennons leather factory in Burnley, while living at 1 Thomas Street, Mitcham. He suffered from migraines and wanted to return to working the land (he had previously worked on farms and orchards since coming to Australia from England in 1926, both in WA and Vic.). He first travelled to the district by train in July 1942 to find land with the intention to establish an orchard. By chance he met Arthur Bird of Bird Orchard (bounded by Pitt Street, Eucalyptus Road, and Wattle Grove) and they got talking over their common interest. Arthur put Frank up for the night and pointed out the land, 158 acres- part of the Taylor Estate- £900, Crown Allotment 15, Section 5, Parish of Nillumbik (CA15) somewhat diagonally opposite Bird Orchard. Stokes applied through the Riverina Agency to purchase the land who in turn applied for permission from Canberra to sell as there was a new government regulation introduced during the Second World War banning land sales except for immediate production. Stokes obtained a loan on his Mitcham house of £600 @ 5% and paid £450 deposit with quarterly payments of £15 spread over 5 years. Stokes was assisted and advised by Arthur Bird who farmed the neighbouring orchard. In early 1943 Stokes took possession and would catch the train out to Eltham on Fridays after work and began building a hut on the corner of Nyora Road and the Government Road (Eucalyptus Road) for shelter and to lock up tools. He established an orchard on the central western part of the land through the centre of which ran a natural waterway (part of the present-day linear park) and was able to pay a neighbour (Hawkins) to help with clearing and fencing 25 acres, and with a horse and single furrowed plough, planted approximately 2,500 fruit trees - cherries, peaches, plums, almonds, pears, apricots and lemons as well as a few apples and oranges; a massive task. Aerial photographs from the 1940s through to the 1990s clearly show the orchard with most of the larger CA15 site remaining as natural bushland. A huge problem was hares and rabbits eating all the new buds off the tiny trees. As well as laying poison he painted the trees with a mixture of cow manure and lime, often working by moonlight. Procurement of wire and wire netting was difficult because of the war but after much effort he obtained a permit from the Agricultural Department for supplies in March 1944. In February 1945 Stokes applied for a permit to build a “packing shed” as no house building was allowed. It was to be 33 feet x 21 feet and cost £312. It was constructed mostly from second-hand materials, which were hard to obtain, especially iron for roofing. Stokes finished work at Kennons on October 31, 1945, and in March 1946 he sold the family home at Mitcham for £1,230 plus £170 for furniture. On May 15, 1946, title to the CA15 property was issued to Frank Howard Alfred Stokes, Orchardist and Gladys Ethel Stokes, Married Woman, both of Pitt Street, Eltham. The family of five then moved into the very unfinished “packing shed” at Eltham, which was a struggle to weatherproof. Eventually rooms were divided off and lined with hessian bags and whitewashed. Their income was firewood (cut and sold), selling rockery stones and cut Sweet Bursaria. (It was discovered during the 1940s that Sweet Bursaria contained the sunscreen compound Aesculin. The RAAF utilised this compound from Sweet Bursaria during WW2 for pilots and gunners.) The orchard’s first fruit sale was a half-case of Le Vanq peaches in December 1947 for the price of 8 shillings. In 1956 plans for house were drawn and Glen Iris bricks purchased (1956 Olympic Rings variant). The building of the house commenced in 1957 - 12 feet of original packing shed was removed – and was completed in 1959. Water was connected from newly built pressure storage on the property at the end of 1959 and the electricity connection for the first time at 3pm on April 29, 1960. The house remains to present day (somewhat modified) at 1 Nyora Road, home to Nyora Studio Gallery. On occasions, spare remnants of the 1956 bricks have been known to be unearthed in gardens on the estate as they were utilised by Frank Stokes to fill in rabbit holes. On May 26, 1950, a parcel of land was compulsorily acquired by the Melbourne and Metropolitan Board of Works on the hilltop to establish an easement for a high-level service reservoir to augment Eltham’s water supply. The project also included pipe tracks for the necessary water mains. The reservoir has now been superseded by higher level water tanks east of Reynolds Road and its former site is now a public reserve. On November 27, 1964, the State Electricity Commission served notice to compulsorily acquire a further parcel through the eastern part of the land for a major electricity transmission line that augmented supply from the La Trobe Valley to Melbourne. The easement was registered February 11, 1966. The easement was widened July 18, 1969 for a second transmission line to be constructed. In 1971 Melbourne Metropolitan Planning Scheme amendments adopted Nyora Road as the boundary between a residential zone to the north and a rural zone to the south. This determined the future development of the land. In the mid-1970s the Shire of Eltham divided the orchard into numerous rate-able parcel lots, the 48 lots having been established in 1925 and the subsequent rates assessment proved unsustainable for Stokes. He commenced selling lots outside the boundary of the orchard, north of Diosma and South of Nyora. However shortly later the land between Nyora and Diosma Roads and west of the electricity easement was sold and subdivided into residential lots, a housing development by Macquarie Builders and marketed as the Stokes Orchard Estate. New streets were created, and most were named after trees, although one, Stokes Place, commemorates the former owners. The development was undertaken in two stages; Stage 1 (1975) encompassing Scarlet Ash Court, Ironbark Close and Peppermint Grove bounded by Nyora and Eucalyptus roads and Stage 2 (1978) encompassing Stokes Place, Orchard Way, The Crest and The Lookout bound by Nyora and Diosma roads. The developer, Macquarie Builders went bankrupt shortly after the release of Stage 2 leaving many purchasers to fend for themselves and arrange for their own independent builders. There were also difficulties with sewerage for the land immediately south of Diosma Road and so the conventional residential lots were abandoned in favour of larger lots. The development of Orchard Way, The Crest and The Lookout did not proceed as planned and the proposed lots were incorporated into five-acre parcels instead. These included a low-density group housing development by the Graves family and the award winning Choong House (1983) with Gordon Ford developed garden immediately next door situated on the ridge of the hill nestled amongst the original bush, Eucalypt trees and Sweet Bursaria. In 1994, Nillumbik Shire Council applied Significant Environment and Significant Landscape overlays upon the properties on the south side of Diosma Road to ensure protection of this natural bush garden environment. With the arrival of the sewer along Diosma Road in the 1990s, most of these five-acre parcels have since been subdivided multiple times. The Choong house presently sits on a 2.7-acre property, which in 2022 Nillumbik Council nominated for Cultural Significance Heritage protection and is considered potentially significant at State level. The Stokes family were also associated with the Eltham Christian Church. In the 1970s this church had met in temporary premises in Eltham. Lots of the original 1925 subdivision remained south of Nyora Road and a number of these lots were utilized for the Eltham Christian School, which was established by the Eltham Christian Church in 1981. The school operated on this site until 2000. The premises are now used by The Vine Baptist Church. By the mid-1980s the whole of CA15 had been developed for residential and school purposes, except for the sections north of Diosma Road and between the transmission lines and Reynolds Road. Sewerage issues had been resolved for the section north of Diosma Road and in 1987 it was in the process of being subdivided into residential lots. The development coincided with the discovery of colonies of the rare and endangered Eltham Copper Butterfly on the site. This resulted in a community and political campaign to save the butterfly habitat. With the co-operation of the land developer the subdivision was altered to create two bushland reserves in the critical butterfly habitat areas. In the late 1980s the State Government was investigating options for establishing a metropolitan ring road link between Diamond Creek and Ringwood. The chosen route was adjacent to Reynolds Road and so this created a freeze on development of CA15 between Reynolds Road and the electricity easement. The ring road proposal was eventually abandoned, and this part of the land was subdivided into low density residential lots. Diosma Road has been discontinued at the electricity easement and the eastern part incorporated into View Mount Court with access from Reynolds Road. The whole of CA15 has now been developed for residential or associated purposes, ranging from conventional density to quite low density south of Nyora Road. Some remnants of the orchard remain, a few cherry trees on the Graves property and a lone apple tree in Stokes Place. The butterfly reserves comprise significant areas of remnant bushland. Linear reserves through the estate link with central Eltham via the Woodridge linear reserve and with Research along the electricity easement. CA15 as it exists today has a complicated history of rural use, Government acquisition, urban development, and community action. References: • “Stokes Orchard, an incomplete history”; Russell Yeoman with Doug Orford • Correspondence, Beryl Bradbury (nee Stokes) • Aerial Photographs, 1931-1991, Landata (landata.vic.gov.au) • Certificate of Title, Vol. 4930 Fol. 985900 • Plan Number LP 10859 aerial photo, diosma road, eltham copper butterfly, eucalyptus road, ironbark close, nyora road, peppermint grove, peter & elizabeth pidgeon collection, power transmission lines, reynolds road, scarlet ash court, stokes orchard estate, stokes place, woodridge estate, frank stokes

Centred on present day Diosma Rd, Stokes Pl, Nyora Rd and Eucalyptus Rd Historic Aerial Imagery Source: Landata.vic.gov.au Aerial Photo Details: Project No :1716 Project : WESTERN PORT FORESHORES Run : 15 Frame : 108 Date : 03/1987 Film Type : B/W Camera : RC10 Flying Height : 5600 Scale : 10000 Film Number : 4102 GDA2020 : 37°43'00"S, 145°10'13"E MGA2020 : 338725, 5824036 (55) Melways : 22 D5 (ed. 42)719 (55) Melways : 22 D4 (ed. 42) A History of the Development of Crown Allotment 15, Section 5, Parish of Nillumbik – Stokes Orchard Crown Allotment 15, Section 5, Parish of Nillumbik (CA15) is a square allotment of 158 acres or approximately a quarter of a square mile. It lies just beyond the eastern end of Pitt Street, south of Nyora Road to the northern end of Eucalyptus Road and extends east from Eucalyptus Road to Reynolds Road. The topography of CA15 is generally steep, sloping up to a hill near the centre of the land, the ridgeline passing through the properties along the southern side of Diosma Road. Eucalyptus Road is a straight north-south road with its northern end at the north west corner of CA15. Until the end of the 1970s this road was an un-named Government Road and was largely not open to traffic. With residential development in the 1970s the road was constructed, and the council allocated the name obviously in recognition of the predominant species of the local bushland. CA15 was purchased from the Crown by George D’Arley Boursiquot, a prominent Melbourne printer, on 28th October 1852. On November 23, 1922, former Member for Gippsland and Melbourne Real Estate Agent, Hubert Patrick Keogh purchased the allotment then sold it March 13, 1925, to local farmer, Robert David Taylor, a former Shire of Eltham Councillor (1911-1920) and Shire President (1919). Taylor had extensive land holdings stretching west towards Bible Street and Main Road. The Taylor home was situated at the top of the hill in Bible Street at present day 82 Bible Street. At the time of Taylor’s purchase in 1925, CA15 was subdivided into 48 lots that could be described as small rural properties or large residential lots. A typical lot size was one hectare or 2.5 acres. The subdivision created two roads, Nyora Road, and Diosma Road, each following an irregular alignment between Eucalyptus and Reynolds Roads. However, the lots were not sold off separately nor were the roads constructed. The land effectively remained as one parcel for many further years. Robert David Taylor died November 30, 1934, and probate was granted to his son of the same name, Robert David Taylor of Bible Street, Salesman and William McLelland Vance Taylor of 73 Emmeline Street, Northcote, Clerk, with the transfer of the land into their names on July 8, 1935. Frank Stokes worked as a qualified accountant at Kennons leather factory in Burnley, while living at 1 Thomas Street, Mitcham. He suffered from migraines and wanted to return to working the land (he had previously worked on farms and orchards since coming to Australia from England in 1926, both in WA and Vic.). He first travelled to the district by train in July 1942 to find land with the intention to establish an orchard. By chance he met Arthur Bird of Bird Orchard (bounded by Pitt Street, Eucalyptus Road, and Wattle Grove) and they got talking over their common interest. Arthur put Frank up for the night and pointed out the land, 158 acres- part of the Taylor Estate- £900, Crown Allotment 15, Section 5, Parish of Nillumbik (CA15) somewhat diagonally opposite Bird Orchard. Stokes applied through the Riverina Agency to purchase the land who in turn applied for permission from Canberra to sell as there was a new government regulation introduced during the Second World War banning land sales except for immediate production. Stokes obtained a loan on his Mitcham house of £600 @ 5% and paid £450 deposit with quarterly payments of £15 spread over 5 years. Stokes was assisted and advised by Arthur Bird who farmed the neighbouring orchard. In early 1943 Stokes took possession and would catch the train out to Eltham on Fridays after work and began building a hut on the corner of Nyora Road and the Government Road (Eucalyptus Road) for shelter and to lock up tools. He established an orchard on the central western part of the land through the centre of which ran a natural waterway (part of the present-day linear park) and was able to pay a neighbour (Hawkins) to help with clearing and fencing 25 acres, and with a horse and single furrowed plough, planted approximately 2,500 fruit trees - cherries, peaches, plums, almonds, pears, apricots and lemons as well as a few apples and oranges; a massive task. Aerial photographs from the 1940s through to the 1990s clearly show the orchard with most of the larger CA15 site remaining as natural bushland. A huge problem was hares and rabbits eating all the new buds off the tiny trees. As well as laying poison he painted the trees with a mixture of cow manure and lime, often working by moonlight. Procurement of wire and wire netting was difficult because of the war but after much effort he obtained a permit from the Agricultural Department for supplies in March 1944. In February 1945 Stokes applied for a permit to build a “packing shed” as no house building was allowed. It was to be 33 feet x 21 feet and cost £312. It was constructed mostly from second-hand materials, which were hard to obtain, especially iron for roofing. Stokes finished work at Kennons on October 31, 1945, and in March 1946 he sold the family home at Mitcham for £1,230 plus £170 for furniture. On May 15, 1946, title to the CA15 property was issued to Frank Howard Alfred Stokes, Orchardist and Gladys Ethel Stokes, Married Woman, both of Pitt Street, Eltham. The family of five then moved into the very unfinished “packing shed” at Eltham, which was a struggle to weatherproof. Eventually rooms were divided off and lined with hessian bags and whitewashed. Their income was firewood (cut and sold), selling rockery stones and cut Sweet Bursaria. (It was discovered during the 1940s that Sweet Bursaria contained the sunscreen compound Aesculin. The RAAF utilised this compound from Sweet Bursaria during WW2 for pilots and gunners.) The orchard’s first fruit sale was a half-case of Le Vanq peaches in December 1947 for the price of 8 shillings. In 1956 plans for house were drawn and Glen Iris bricks purchased (1956 Olympic Rings variant). The building of the house commenced in 1957 - 12 feet of original packing shed was removed – and was completed in 1959. Water was connected from newly built pressure storage on the property at the end of 1959 and the electricity connection for the first time at 3pm on April 29, 1960. The house remains to present day (somewhat modified) at 1 Nyora Road, home to Nyora Studio Gallery. On occasions, spare remnants of the 1956 bricks have been known to be unearthed in gardens on the estate as they were utilised by Frank Stokes to fill in rabbit holes. On May 26, 1950, a parcel of land was compulsorily acquired by the Melbourne and Metropolitan Board of Works on the hilltop to establish an easement for a high-level service reservoir to augment Eltham’s water supply. The project also included pipe tracks for the necessary water mains. The reservoir has now been superseded by higher level water tanks east of Reynolds Road and its former site is now a public reserve. On November 27, 1964, the State Electricity Commission served notice to compulsorily acquire a further parcel through the eastern part of the land for a major electricity transmission line that augmented supply from the La Trobe Valley to Melbourne. The easement was registered February 11, 1966. The easement was widened July 18, 1969 for a second transmission line to be constructed. In 1971 Melbourne Metropolitan Planning Scheme amendments adopted Nyora Road as the boundary between a residential zone to the north and a rural zone to the south. This determined the future development of the land. In the mid-1970s the Shire of Eltham divided the orchard into numerous rate-able parcel lots, the 48 lots having been established in 1925 and the subsequent rates assessment proved unsustainable for Stokes. He commenced selling lots outside the boundary of the orchard, north of Diosma and South of Nyora. However shortly later the land between Nyora and Diosma Roads and west of the electricity easement was sold and subdivided into residential lots, a housing development by Macquarie Builders and marketed as the Stokes Orchard Estate. New streets were created, and most were named after trees, although one, Stokes Place, commemorates the former owners. The development was undertaken in two stages; Stage 1 (1975) encompassing Scarlet Ash Court, Ironbark Close and Peppermint Grove bounded by Nyora and Eucalyptus roads and Stage 2 (1978) encompassing Stokes Place, Orchard Way, The Crest and The Lookout bound by Nyora and Diosma roads. The developer, Macquarie Builders went bankrupt shortly after the release of Stage 2 leaving many purchasers to fend for themselves and arrange for their own independent builders. There were also difficulties with sewerage for the land immediately south of Diosma Road and so the conventional residential lots were abandoned in favour of larger lots. The development of Orchard Way, The Crest and The Lookout did not proceed as planned and the proposed lots were incorporated into five-acre parcels instead. These included a low-density group housing development by the Graves family and the award winning Choong House (1983) with Gordon Ford developed garden immediately next door situated on the ridge of the hill nestled amongst the original bush, Eucalypt trees and Sweet Bursaria. In 1994, Nillumbik Shire Council applied Significant Environment and Significant Landscape overlays upon the properties on the south side of Diosma Road to ensure protection of this natural bush garden environment. With the arrival of the sewer along Diosma Road in the 1990s, most of these five-acre parcels have since been subdivided multiple times. The Choong house presently sits on a 2.7-acre property, which in 2022 Nillumbik Council nominated for Cultural Significance Heritage protection and is considered potentially significant at State level. The Stokes family were also associated with the Eltham Christian Church. In the 1970s this church had met in temporary premises in Eltham. Lots of the original 1925 subdivision remained south of Nyora Road and a number of these lots were utilized for the Eltham Christian School, which was established by the Eltham Christian Church in 1981. The school operated on this site until 2000. The premises are now used by The Vine Baptist Church. By the mid-1980s the whole of CA15 had been developed for residential and school purposes, except for the sections north of Diosma Road and between the transmission lines and Reynolds Road. Sewerage issues had been resolved for the section north of Diosma Road and in 1987 it was in the process of being subdivided into residential lots. The development coincided with the discovery of colonies of the rare and endangered Eltham Copper Butterfly on the site. This resulted in a community and political campaign to save the butterfly habitat. With the co-operation of the land developer the subdivision was altered to create two bushland reserves in the critical butterfly habitat areas. In the late 1980s the State Government was investigating options for establishing a metropolitan ring road link between Diamond Creek and Ringwood. The chosen route was adjacent to Reynolds Road and so this created a freeze on development of CA15 between Reynolds Road and the electricity easement. The ring road proposal was eventually abandoned, and this part of the land was subdivided into low density residential lots. Diosma Road has been discontinued at the electricity easement and the eastern part incorporated into View Mount Court with access from Reynolds Road. The whole of CA15 has now been developed for residential or associated purposes, ranging from conventional density to quite low density south of Nyora Road. Some remnants of the orchard remain, a few cherry trees on the Graves property and a lone apple tree in Stokes Place. The butterfly reserves comprise significant areas of remnant bushland. Linear reserves through the estate link with central Eltham via the Woodridge linear reserve and with Research along the electricity easement. CA15 as it exists today has a complicated history of rural use, Government acquisition, urban development, and community action. References: • “Stokes Orchard, an incomplete history”; Russell Yeoman with Doug Orford • Correspondence, Beryl Bradbury (nee Stokes) • Aerial Photographs, 1931-1991, Landata (landata.vic.gov.au) • Certificate of Title, Vol. 4930 Fol. 985900 • Plan Number LP 10859 aerial photo, diosma road, eltham copper butterfly, eucalyptus road, ironbark close, nyora road, peppermint grove, peter & elizabeth pidgeon collection, power transmission lines, reynolds road, scarlet ash court, stokes orchard estate, stokes place, woodridge estate, frank stokes

Self guided heritage tour information produced by the Shire of Eltham Historical Society for 1978 Eltham Community Festival of 36 locations each numbered on accompanying map. Locations and detail provided current to 1978: 1. ELTHAM SHOPPING CENTRE Whilst very little remains in the centre of historical importance, this area has interest as the "village" which developed over many years following the opening of the railway from Melbourne in 1902. Previously the shopping centre had been spread out over a long length of Main Road to the south. Shops have been continuously demolished or remodelled and the majority of buildings date from the 1950's or later. The recently erected Post Office replaced the "old" Post Office opened on the same site only in 1958. 2. WOOLWORTHS ELTHAM VILLAGE Part of the site of this modern shopping development was occupied by the former Eltham Shire Offices and Hall. The hall was paid for by public subscription whilst the Council raised a loan for the offices. The combined building was opened in 1941. It served as office and Council meeting place until 1965 and as the hall until its demolition in 1970. 3. ELTHAM WAR MEMORIAL The complex of buildings adjoining the present Shire Offices were financed by public subscription as a Memorial following World War II. Their construction and for many years their operation was organised by the now disbanded Eltham War Memorial Committee. The original buildings were the; Infant Welfare Centre, Children’s Library (now War Memorial Hall and Dental Clinic) and Kindergarten. In later years the Elderly Citizens Club was built at the rear. 4. ELTHAM SHIRE OFFICES These offices were opened in 1965 and extended in 1971 to provide additional office accommodation and the Eltham Library. They represent the last of a long line of offices and meeting places of the Eltham Shire Council and its predecessor the Eltham District Road Board. The building occupies the former site of Shillinglaw Cottage. The three tall cypress trees which stood in front of the Cottage have been retained as a feature of the office surrounds. 5. OUR LADY'S CHURCH AND SCHOOL The Catholic Church and School complex opposite the Shires Offices shows a number of stages in the development of Eltham township. The recently constructed church adjoins its predecessor (now the parish centre). Many years ago the Catholic Church was located opposite Wingrove Park and the present central site follows the northerly drift of the township. 6. SHILLINGLAW COTTAGE The Cottage was built in 1859 by George Stebbing, a local builder who was responsible for a number of other prominent buildings in the area. Its removal from the site of the Shire Offices and re-erection on the present site was financed by public subscription. It is built of handmade bricks laid in Flemish Bond with an unusual design featuring burnt "leader" bricks over the whole facade. The Cottage is occupied by Eltham Fleececrafts and will be open during the Festival and at other times during weekends. It is classified by the National Trust. 7. RAILWAY BRIDGE The timber trestle bridge over the Diamond Creek was built in 1901. Whilst all of its timbers have been replaced at various times over the years the only change to its character has been the addition of pylons and wiring for electric trains in 1923. It is one of very few similar bridges remaining in the metropolitan area. In 1976 a proposal to replace the bridge with an earth embankment and large culvert pipes was abandoned following community protests. The bridge, however, remains under threat because of the necessity for future deuplication of the railway line. 8. ELTHAM CENTPAL PARK The area between the railway and the creek has for many years been used as a park which included Eltham' s main football oval. The access road, Panther Place is named after Eltham's team playing in the Diamond Valley League. In recent years a large area extending to Bridge Street and locally known as the Town Park has been landscaped and added to the area. The excellent blending of the park with the natural landscape of the creek valley has earned a National Trust Landscape Classification. 9. OLD BAKERY On the southern corner of York Street and Main Road is an old house with a shop front which was for many years the local baker's shop. The brick bakery at the rear is of somewhat later vintage than the house. 10. BRIDGE STREET CUTTING Before reconstruction of Main Road this intersection had deep cutting embankments on all four corners, forming a distinctive feature of the entrance to Eltham. Roadworks and private development have levelled the land on the low side of the road. A memorial to the Eltham soldiers of World War I which was located at the north-western corner is now situated at the Eltham R.S.L.   11. HILLTOP MILK BAR For many years this was the site of the Eltham Post Office under the control of the Hunniford family and later their descendants the Burgoynes. It was transferred to this site in 1855, although at that time the building apparently fronted Bridge Str e et. The site contained Eltham's first telephone exchange. The post office was relocated in 1954 but the shop was operated until recently by the Burgoyne family who still own the surrounding land. 12. UNITING CHURCH and former C.B.A. BANK The former Methodist Church was built in 1880 by George Stebbing. The Sunday School extension was built in 1929 and there have been more recent extensions. The adjoining opportunity shop was built as a bank in 1874 and purchased by the Methodist Church in 1954. 13. R.S.L. HALL, TELEPHONE EXCHANGE These relatively recent buildings occupy the site of a row of shops forming part of the early ribbon of business development along Main Road. In front of the R.S.L. building is the World War I Memorial relocated from the corner of Bridge Street and Main Road. 14. ELTHAM COMMUNITY CENTRE Australia's first mudbrick "community building" was opened in April this year. Part of the site of the building was purchased in 1856 by Henry Dendy (of Brighton fame). At the rear of the land near the creek was a steam flour mill whilst Dendy's house was at the Main Road frontage of the land. His purchase totalled about 2 Ha (5 acres) and included land on the opposite side of Maria Street (Main Road). Dendy became a prominent member of the Eltham community and served one term as President of the Eltham District Road Board. In 1867 Dendy sold his land and business to William Ford of Malmsbury and shifted to Walhalla. The avenue of trees leading past the Community Centre to the creek may well have bordered the track to the mill. 15. ELTHAM HOTEL The original part of this hotel was built in 1927 following the burning of the former Watson's Eltham Hotel on the same site. The car park on the opposite side of Main Road was also the site of a hotel variously known over the years as; the Fountain of Friendship, the Fountain and the Evelyn Arms. As the Fountain of Friendship it was the first meeting place of the Eltham District Road Board in 1856. 16. ST. MARGARET'S CHURCH, PITT STREET In 1860 Henry Dendy was appointed Chairman of a committee to establish a church of England in Eltham. He donated part of his land in Pitt Street and in 1861 the church was opened. It was built by George Stebbing and remains in a well preserved state today. Th adjoining old vicarage is now named Dendy Hou se. A new mudbrick church hall is under construction on the site. The church and Dendy House are now listed on the Register of Historic Buildings. 17. NO. 86 PITT STREET Cottage built by George Stebbing and believed to be his home for some years in the 1850s. 18. LIVING AND LEARNING CENTRE The house was built in the 1850s with the kitchen at the front being added about 40 years later. By the creek below the house a number of early Eltham industries were located. These included a tannery and a brewery. 19. ELTHAM COURT HOUSE A Court of Petty Sessions was established in Eltham in 1858 and the present building dates from 1860. It is the oldest public building remaining in Eltham. In its early days the building was used as the meeting place and office of the Eltham District Road Board and as an overflow classroom for the local school. The Court House has been classified by the National Trust. The citation states that it is an example of the simple form of early brick Court House with gabled roof and porch. 20. LANDS DEPARTMENT OFFICE This building is the former police station and is probably of about the same age as the Court House. The lockup at the rear has been demolished but the old stables remain as garages. A licence was first granted for a police station at Eltham in 1856. 21. JARROLD COTTAGE The old Cottage opposite Dalton Street was formerly owned by the Jarrold family. Early records indicate that this was the building leased from the Jarrolds as a temporary police station prior to construction of the building on the corner of Brougham Street. The small building on the corner of the property was used as a boot repairer's shop. The elevated studio at the rear is a more recent construction by the present owners. 22. STATE SCHOOL RESIDENCE Erected in 1891 23. WINGROVE COTTAGE This building fills an important place in the history of Eltham and is now used as a medical clinic. It was built in 1858 for Charles S. Wingrove who was Secretary to the Eltham District Road Board and Shire Council from 1858 to 1904. During part of this period he was also Shire Engineer and was Secretary to the Heidelberg Road Board. The house was used as the office of the Board and Council for many years. Wingrove is buried in the cemetery at St. Helena.   24. WINGROVE PARK The parkland opposite Wingrove Cottage has been named after Charles Wingrove. The old Manna Gums are an outstanding feature of the park. 25. ELTHAM FRI.MARY SCHOOL NO. 209 The school first opened in the slab building in 1855 and operated from the present site since 1857. The oldest part of the present school is the stone building erected in 1876. The first school teacher, David Clark remained at the school until 1888. This school is the government township and has always been known as the Eltham School. An earlier school (no.371) known as Little Eltham School operated in Swan Street from 1853 to 1872. 26. "SHOESTRING" This house was built for school teacher David Clark. It has been extensively extended in recent years but the extensions do not detract from the character of the older part of the building. 27. ELTHAM CEMETERY The cemetery contains the graves of many of the district's pioneers . 28. MONTSALVAT This unique complex of buildings was commenced in 1935 by the late Justus Jorgensen and its development has extended over many years. Montsalvat has exerted a significant impact on Eltham The earth and stone construction of many of the buildings has influenced local architecture to a great extent and it has served as a "nerve centre" of the local artistic community. Montsalvat is open to the public for a small charge. 29. MAIN ROAD BRIDGE This location has been the main crossing of Diamond Creek since the earliest days of settlement. The present concrete bridge was erected in 1925 .and was preceded by a number of timber bridges. 30. ELTHAM LOWER PARK This park, being an unusually large flat area for Eltham, was originally the local racecourse. Horse races were held here from 1855 and the area was gazetted as a reserve for a racecourse and recreation reserve in 1857. The park is well known as a venue for school "bird days" and more recently as the site of the Diamond Valley Railway. This miniature railway features scale models of modern and old locomotives and rolling stock and has operated on this site since 1961 . Before that the railway operated at Chelsworth Park, Ivanhoe.   31. FALKINER HOUSE Frederick Falkiner was one of the earliest settlers in the Eltham township area and occupied a substantial leasehold prior to the first land sales. Early records show that Falkiner was the subject of a number of complaints from his neighbours but he has nevertheless been considered a prominent enough citizen to have a street named for him. This house was the home of Evelyn (Ely) Falkiner a member of Frederick's family. 32. WEST HOUSE Behind the large house on the hill is an early house built by the West family. This was relocated from a site near the front of the land by the present owner Mr. Fabbro. 33. FALKINER HOUSE This very old house is believed to have been the home of Frederick and may have been Eltham's first post office. Falkiner was the first post master for a short period. in 1854/55. 34. WITHERS HOUSE This house was the home of famous artist Walter Withers who shifted here from Heidelberg in 1903. 35. ELTHAM HIGH SCHOOL This school celebrated its jubilee this year, having commenced as the Eltham Higher Elementary School 50 years ago. 36. DIAMOND CREEK FOOTWAY If returning from the High School to the town centre the footpath by the bank of the Diamond Creek provides a pleasant route to finish your walk. The creek is a major tributary of the Yarra River. Together with its own major tributaries Arthurs Creek and Running Creek it commences on the southern slopes of the Dividing Range at Kinglake. It gives the name Diamond Valley to an area extending well beyond its actual drainage catchment.Recognition of the significance of various landmarks to the history of the Eltham community as of 1978‘shoestring’, 1978, bridge street cutting, burgoyne store, c.b.a. bank, diamond creek trail, eltham cemetery, eltham central park, eltham community centre, eltham community festival, eltham court house, eltham festival, eltham high school, eltham hotel, eltham lower park, eltham primary school, eltham railway trestle bridge, eltham shire offices, eltham shopping centre, eltham state school no. 209, eltham village, eltham war memorial, falkiner house, heritage trail, hilltop milk bar, jarrold cottage, lands department office, living, living and learning centre, main road bridge, montsalvat, old bakery, our eltham artistic recollections, our lady help of christian’s church, our lady help of christian’s primary school, pitt street, post office, r.s.l. hall, shillinglaw cottage, st margaret’s church, state school residence, stebbing cottage, telephone exchange, uniting church, west house, wingrove cottage, wingrove park, withers house, woolworths

Post Card: Melton Railway Station 1909 Mattie to Fred My Dear Fred I received your letter and the L2 10/- I was very pleased to hear that I could write again. You say you will come home after the last shead. I should think so. I had a letter from E Jenkins so I am going down to see her next week we call the baby Fernie now I hope you will agree. Dear Fern has got the whooping cough. Written on the side: I suppose you will be away four weeks yet. Love from Mattie will write on Sunday. This letter appears to be connected with the post card Barwonleigh Saturday October 1908 handwriting My Dear Mattie I received your letter and was sorry to hear of our dear little babys misfortune how did it happen do you know what was the cause of it Mrs Watts must be a blind old fool not to have known what it was when you took him to her the first time poor dear you must be worried to death with all this trouble tell me what the doctor thinks of the rupture. I do hope dear he will get over this all right you must be nearly dead going without sleep for so long I had a bit of misfortune myself on Thursday the machine locked and jumped out of my hand and stuck in my bone I kept on working but it was very painful as all the holding is done with the..next page ..knee the boss also has been chipping a good deal this week he says the next time he has occasion to speak to me I will have to go he is very particular. I would like to go through if possible even if I do a lot less. I have about sixteen hundred done up to now and would get another nine hundred if I was let alone but I suppose we will live lovie even if I go do you know if they are full handed at Eynesbury if I thought I could get a week there I would cut myself out here quick. Well dear lovie I am sending you a couple of pounds as I suppose you will want it to get a truss. I don’t think they are very expensive and hope things will find this better with you. Well my dear love I must close with fond love for you and baby from your loving Husband Fred Post Card: 16 Aug 1909 - Mathoura The card depicts a small sailing boat laden with blue flowers. Well Dear Wife you see I have kept my promise. I rode all the way up here and also carried all my luggage with me it came in handy as I had to camp on the road last night between Rochester and Echuca surrounded by water. I had to walk all the way pretty well from Rochester to Echuca. I am now waiting for the train to Deniliquin. Love to you and my little son Fred. From you loving Husband Fred Written along the top and side of the card. what do you think if the card comes in all right as I have been wading through water all day yesterday and this might be …? will write when I get to the Station, don’t forget to look after the little Freddie and remember me to mother. Post Card: 1909 - view across the Flat from the Creek looking to the Presbyterian Church in the distance with some small dwellings in the foreground. To Mr Fred Myers Wandook Stn Denniliquin NSW Dear Fred, received your letter I am sorry to hear you are having such wet weather I will write a letter tomorrow baby is better With Love from M Post Card: 1910 Postmark Stamp 1d Aug 12 1910 Moama NSW Melton postmark stamped Aug 25? Hare Street, looking south Echuca Mrs F Myers, Melton P O Vic Dear Mattie, Just a line to let you know I got here all right I go to Pericotta tonight and to Cobran to morrow best love to all from yours Fred Letter Cobran Stn Via Deniliquin N.S.W. Sunday 21st Aug extract I am having a good time here, a good cook and the best of everything no fires to light or kettles to boil just get up and wire in… plenty hard work the sheep are pretty tough but much better than Wandook. I am well among them here we had a little rain on Friday but not enough to stop us so we have got one full week in .. the weather is lovely. I have been basking in the sunshine mainly in the morning and feel strong and fit a as fiddle, they are a grand lot of men here I only knew one out of the lots but know them all pretty well now, we have a bit of a concert here every nights almost there are a few good singers here and we also had a phonograph up from the station with all the latest records we have two dancers among ourselves very boisterous affairs indeed thy do make the dust fly. I have not ventured to take part in it and don’t think I will either. I get enough dancing all day long and besides I have to furnish the music you ought to see them going when I rattle up the concertina. Letter Cobran Stn via Deniliquin Thursday Sept 1st 1910 [abbreviated] My Dear Mattie, I received your welcome letter today. I though I was never going to get one as it was Sunday fortnight when I wrote to you but we only the mail here twice a week so it takes a long time to write and get an answer. I also got a reply from Eynesbury and a favourable reply it starts on the 13th Oct. …. I have 800 sheep shorn up to date and am fifth among about 30 men. I am sending two more [Ls] this time which I drew on Saturday. I don’t like sending too much more this time as there is a chance of it going astray and it is not very easily earned…. Things must be humming in Melton with all them babies coming and people getting married… I suppose we will be having new neighbours soon. If Mr Watts is selling out he was getting more property then he could keep. I hope you will soon have rain…. you will have to watch our little boy the dear little rascal he must be getting very cute opening the gates he will be tumbling into the tank …. I love to think of the happy times we have had together and hope that we will love one another to the end .. the mail will not leave here until Monday Love to you dear wife and baby Fred Post Card: – I Cling to you like Ivy Cobran September 18th 1910 Fred awaits a letter from Mattie I still have three weeks here yet.. I am sending L2 tell if you got the other 1L 1911 Letters Fred to Mattie October Spring Plains Oct 1911 Mia Mia Post Office I had a great job to catch the train at Diggers Rest as after I turned off the Keilor Rd it was very way and muddy and I had to walk a lot of the way and got there just in time. I came right into Redesdale by the train and stopped there last night… they had heavy rain on thursday up here and a tremendous fall of hail which covered the ground over a foot deep. There are only 4 shearers here yet.. I saw some of the sheep they look very rough and big so there will be no big tallies done, the men are saying he is giving 2s per hundred extra, so that will help a little. We are going to start Cobran via Deniliquin. Post Card: three scenes of Mathoura 10/9/1914 EB on a photo copy 10/9/12 ? Mathoura Thursday Dear Mattie, Just a line to let you know I got up here all right. I rode the seat out of my trousers. I have done 100 miles on the bike. I met none of the old hands this time so will go out on my own… Your loving husband Fred, did Marjie miss me at all. Post Card: Cobran 15th Sept 1912 Hearts and intertwined flowers and little envelope he has written Marjorie …just a line to let you know I will cut out here Friday next in find, we have had two falls of rain since I wrote and it has bean blowing a hurricane for couple of days and may blow up again however if we are delayed I will send you a card Wednesday I am longing to see you and the two little kiddies again…. Fred Copy only Golf Hill Sep 26th Cut out 31 Oct Total 2332 1913 Post Card: Scene View Street, Bendigo August 1913 Mathoura Tuesday My Dear Mattie Just a line to let you know I got up here all right. Teddy Ginger and another couple of chaps on the way ……. Letter Cobran Sunday Aug 7th 1913 My Dear Mattie Just a line to let you know that weather permitting we will cut out here about Thursday morning….I have not got any more shearing here. I have not heard from the other place…. Expect me about Friday …. I suppose Freddie and Marjie will be glad to see me, Marjie will climb all over me. I will be glad to se you all again you will have a fortnight before Golf Hill starts. I see in the Express you sent that Annie McPherson of (Dunvegan) is engaged to Len Farrell, she appears to be going to take no risks with him she wont let him slip through her hands like the banker did…… Fred Post Card: 1914 Garland of roses Warrambeen Stn Shelford PO October 14th 1914 Birthday wishes. Post Card: Love’s Golden Chain Golf Hill Tuesday Oct 17 1914 Birthday wishes [ this one might be a different year] Letter Cobran Wed 2nd Sept 1914 My Dear Mattie, I received your welcome letter today and also the papers which were very acceptable as we don’t get many papers here we only get see one at odd times as we get none for the hut this year.. I have not seen a bit of butter since I left home as it is too dear for us for sinners here. Poor Marjie had a cold.. so the little kid wants to go to the war, she must think it is good like a picnic. We had light rain on Monday as usual only half a day’s shearing in the shed so that is all we done this week, we took a vote 9 to 6 no shearing so nothing till to morrow morning Thursday so there is still a good fortnights shearing to do, will do nothing Saturday polling day as we have to go 13 miles is near Services where I was last year so we will want the full day 50 men to vote and some will probably have to walk to get there, all solid for Labour. I have just had an interval for lunch, pudding, yeast buns and rock cakes… We are doing nothing but eating and sleeping this week. Fred I am sending L1 in this which will do you till I come back if I keep drawing up I will have none when I finish so make the most of it. Post Card: Two doves with violets 1915 Cobran Wed 18th Sept [could be 1912] Sorry to tell you we are delayed with rain so will not be home till next week… only 3 days of shearing to do…. expect me about the middle of next week….I wish I was with you now and the dear little ones Fred Post Card: Iris Flowers Barwonleigh Stn Tuesday Oct 14th 1918 Happy birthday greetings from Fred Post Card: Irrigation channel Swan Hill 5 Year not shown Swan Hill Tuesday night Just a few lines to let you know I got this far all right. I had to walk nearly all the way to Gisborne and got there last night and took the train here today. It has been raining all the way between Gisborne and here. Moulamein tomorrow. I think it will be another case of walking as it is wet here no metal roads all mud. best love to yourself and the little ones and also mother. will write Sunday Post Card: The White Man’s Burden.The writing on the back rubbed out Mattie has written, I was weighed and I am 8 stone 10 pounds. 14 Post Cards, some have the original dates, others have the date added later by Martha. Two envelopes, one with addressed to Melton postmark Moule, stamp torn off, the other Cards from my dear Fred. The letters and the notebooks can be cross checked according the their contents. Italics show the dates added by Mattie local identities

Hutchings family 1. Wimmera River in flood below Whitehall running a banker c. 1920. Ted & Col Hutchings in foreground. 2. Wimmera River in flood looking downstream. No date but possibly same time as no. 1. from same place. 3. Looking over the Wimmera River to Island paddock towards Greens Creek 4. Wimmera River half a banker at Whitehall 5. Wimmera River in flood upstream from carpenter's shop looking towards engine house at Whitehall 5a. Wimmera River in flood. Left to right - blacksmith shop and carpenters' shop. 5b. Taken from the same spot with Emily & Ada Hole, E G (Ted) & Col Hutchings. Blacksmith shop & carpenters' shop, Whitehall. 5c. Wimmera River upstream from the carpenters' shop. Foreground is possibly Belladonna lilies which were all over the river bank in 1992. Whitehall. 5d. Looking downstream towards the loose boxes, Whitehall. 5e. Blacksmiths' shop and carpenters' shop from the pumping station. Wimmera River, Whitehall. 6. Wimmera River in flood at Whitehall. 7. Wimmera River half a banker in front of old hut at Whitehall. 8. Wimmera River Emily Hayes, Edward G (Ted) Hutchings & Colin J Hutchings. 9. Morrl-Morrl - Greens Creek Road opposite back paddock. Whitehall. Black Ford in distance. c. 1919 10. Whitehall woolshed north east aspect, Drive to the right of photo 11. Whitehall woolshed - north east aspect showing the drive to the right 11a. Whitehall woolshed - north aspect 11b. Same tree near woolshed 11c. Same tree again in centre, other trees came up after the 23 flood. Woolshed to the right out of photo. 12. Whitehall woolshed - south aspect, sheep entrance end 13. Whitehall. left to right, Stackyard, stables in the centre and the Wimmera River behind following the trees. 14. Whitehall horse paddock c. 1920. left to right, Machinery shed, stable in the centre. Homestead to the right in distance. There is no windmill. 15. Load of wool from Whitehall woolshed to right. 16. Whitehall c. 1920 before the windmill. left to right, garage and mens' hut. Wimmera river runs along the tree line. 16a. Stables, garage and mens' hut after the construction of the windmill. River behind. 17. Whitehall c. 1922. Note windmill addition. Garage to left, Mens' Hut to right. Jack Donnelly & Edward G (Ted) Hutchings with pet lambs. River behind trees. 18. Whitehall gardens. Summer house to the right, pine tree lined drive in the centre background. Ted & Col Hutchings on the lawn. C. 1920 19. Edward G. (Ted) & Colin J. Hutchings in Whitehall garden. Wimmera River in the background. The building behind the fence is the carpenters' shop which the family lived in while house was rebuilt after fire 15 Jan 1877 20. Whitehall c. 1920. left to right, cattle yard, killing house, Wimmera river behind the fence, and the loose box on the right. Black Orpington chooks in foreground. 21. Bay window (original blinds) in the master bedroom. Whitehall 20 Sep 1992 22. Master bedroom (original wallpaper) Joyce & Col Hutchings, Moyu, Ben & Rebecca Roe 20 Sep 1992 23. Col & Ted's bedroom (original) Marble mantlepiece had been removed. Whitehall. 20 Sep 1992 24. Whitehall kitchen. Large yellow meat oven to left of stove, bread oven far left, extreme right is oven where milk heated to skim cream. Chimney was a central one shared with meat oven. Bread oven chimney separate. 20 Sep 1992 25. Whitehall dairy, made of natural stone with dried brick corners. Entrance behind creeper which is over trellis. 20 Sep 1992. This building still remains in 1 Jun 2023 26. Inside charcoal lined meat cellar. Bottom right is concrete vat for pickling meat in brine. Top of brickwork slightly above ground level. Whitehall 20 Sep 1992 27. Fire foreground was stable flooring which was to left of photo. Machinery shed (thatch roof). 4 posts far left remains of cowshed. Large post in centre foreground is the gate post of corral. River to right. 20 Sep 1992 28. Whitehall machinery shed. Posts on far right are cow shed. Over the river is the island paddock. Wimmera river runs behind machinery shed. 20 Sep 1992 29. Posts of 10 sided corral. Killing house by side of gum tree in centre of photo on far side of corral. To left is one of the bales of the cowshed. Whitehall. 20 Sep 1992 29a. Similar photo in the 1920's. To the right is horsebreaking corral, then cow shed, loose box, haystacks and stable on left. Whitehall. 30. Dining room fire place put in the open fire of the mens' hut, only the chimney remains. To the left is the drive & river. Rebecca Roe, Col Hutchings granddaughter. 20 Sep 1992 30a. Looking down the Whitehall Drive. Mens' Hut (Jack Donnelly in doorway) and garage far left. 1920's 30b. The Drive, Whitehall taken from in front of the mens' hut. Wimmera River on the left. Gum tree on left still there 20 Sep 1992. 30c. Reverse from 30a. Whitehall drive from the front gate looking towards the mens' hut and garage. c. 1926 30d. Curly Donohue leaving for Warracknabeal. Ex mail contractor Omeo to Bright Victoria. C. 1926 30e. Looking down the drive towards front gate. Mens' hut on the right, river on the left. 31. Whitehall from the side. Building in centre behind David is separater room. 2 roomed hut to left of separater room and remains of mens' hut chimney. Photo 16 taken from similar spot. 20 Sep 1992 32. Benjamin Roe (Col Hutchings grandson) in the Carpenters' shop. The family lived in this building after the fire in the 1870's. Whitehall 20 Sep 1992 33. Ford across the Wimmera River at Whitehall (River abt. 5 feet higher than normal) 20 Sep 1992 33a. Wimmera River, Whitehall 34. Site of old bridge before Col Hutchings time. Tree in foreground to right still has bolt from bridge work protuding. A large post was in the centre of photo to make equal distance. 20 Sep 1992 35. Entrance to the old ford. Colin J Hutchings & his daughter, Moyu Roe. Wimmera River, Whitehall 20 Sep 1992 36. Summer house at Whitehall 20 Sep 1992 looking down to the orchard, dark green trees in distance old fruit trees. 36a. Edward & Colin Hutchings in front of the Summer house, Whitehall c. 1921 36b. Summer house looking towards front gate. Whitehall. 36c. Grey thrush in nest box which can be seen in previous photo with summer house in the background. Whitehall. 36d. Summer house from the orchard side. Whitehall. 37a. South side of Whitehall. First window Edith Sutherland's room, 2nd window, Ted & Col's room, bay window master bedroom 38. Taken in middle of front path looking towards front gate. Edith Sutherland in garden. Date palm in centre, cotton palm to left. Whitehall c. 1920's 38a. Garden at Whitehall taken from near the cotton palm. 39. Whitehall 20 Sep 1992 Bay window-master bed, small window to r. of bay-Colin Hutchings born in, front door, window to right-dining room, round the corner- drawing room, window on right, spare bed, verandah on left is spare bed. 39a. Whitehall c. 1920's Date palm on the right. 39b. Win, Colin T & Colin J Hutchings. Date palm in background. Whitehall 1943 39c. Edward George, Colin Thomas, Elizabeth Ambler & Colin James Hutchings wearing RAAF uniform. Date Palm in background. Whitehall c. 1943 39c. Front garden of Whitehall looking from the front right side of the house towards the drive & Wimmera River. Date palm on right, cotton palm on left 20 Sep 1992 40. Taken from bottom left corner of front garden looking towards the summer house. Cotton palm on right. River to the left. 41. Elizabeth A Hutchings beside master bedroom window. Whitehall c. 1920 42. Whitehall (photo of a painting by Wallace) owned by Colin T Hutchings 1982. 42a. Whitehall painting by Wallace after restoration now owned by Nick Hutchings 2021 42b. Whitehall c. 1923 42c. Taken from the side garden looking towards the right side of house. Front door is to the left out of photo. The cotton palm is to the left. c. 1923 43. Signpost showing Whitehall 20 Sep 1992, All ground up to the tree line behind the signpost was Whitehall property. 44. Colin T. Hutchings age 9 mths. Mar 1943 Whitehall 45. Colin James, Elizabeth Ambler & Edward George Hutchings. Front garden by the date palm, Whitehall c. 1939-40 45a. Colin James, Edward George, Edward Thomas Hutchings & E. Winifred May & Barney (dog) Whitehall. c. 1939-40. 45b. Colin James & Colin Thomas Hutchings during drought & World War ll c. 1944-45 in front of cotton palm, date palm to right. 46. Garden at Whitehall. Jack Donnelly on the hand mower. Cotton palm on left, date palm behind Jack and roof of carpenters shop to right. 47. Colin J Hutchings on tractor, E. Tom Hutchings behind. Whitehall, c. 1933 48. Jack Donnelly (Tad) & Colin J. Hutchings. Cotton palm to right. Whitehall c. 1917-18 49. Edward G (Ted) & Colin J Hutchings with cockatoo outside the dairy in rear garden. Whitehall c. 1923 50. Taken from the windmill looking across the roof of the mens' hut to the garden, orchard and drive in Winter time. House is behind the trees to right, Wimmera River to the left out of picture. Whitehall. 50a. Not labelled by Col Hutchings. It is an aerial shot looking towards the house in the trees & seems to be taken from the top of a tree...on the river side. 51. E. Tom Hutchings & George Chambers dam sinking. Whitehall. 51a. Tom Hutchings & George Chambers dam sinking. Whitehall. 51b. E. Tom Hutchings dam sinking. 52. Emily Hayes & Ada Hole (sisters) with Tom, Col & Ted Hutchings at the woolshed. 53. E T (Tom) Hutchings on reaper & binder. Whitehall. 54. Orchard looking towards the house. Carpenters' shop and river on the right. Whitehall. 54a. Orchard looking from the house, dark trees in background form part of the drive. 55. Grasshopper plague, Christmas Day 1933. Whitehall 56. Frost on the front lawn, Whitehall. 57. Little red hen & chicks with the river in the background 58. Edward (Ted) G. Hutchings muscovy ducks, hay shed and trees along the river in the background. 58a. Edward (Ted) G Hutchings muscovy ducks. 59. Swimming in the Wimmera River, either Ted or Col Hutchings in the foreground. 60. Looking towards the fowl house and pigsty, Whitehall. 61. Snake on the path, Whitehall. c. 1923 61a. E. Tom Hutchings killing a snake, Whitehall. c. 1923 61b. E. Tom Hutchings killing a snake, Whitehall. c. 1923 62. Notice of clearing sale, Stawell News & Pleasant Creek Chronicle on 5 Apr 1916 where the stock & whole of the household furniture was to be sold by James Hutchings widow. 63. Back to Greens Creek 7 Jun 1987 Colin J Hutchings left and Belle Kindred centre looking at photo 64. Back to Greens Creek 7 Jun 1987 Colin J Hutchings centre, Graham Stewart holding photograph on the right. 65. Colin J Hutchings & Bill Walker. Back to Greens Creek 7 Jun 1987 66. Colin J Hutchings delivering a speech before the plaque unveiling. Back to Greens Creek 7 Jun 1987 67. Graeme Williamson & Colin J Hutchings (2 'old boys') Greens Creek School Site 7 Jun 1987 68. Graeme Williamson talking to Moyu Roe (Hutchings) in background is May Williamson. Back to Greens Creek 7 Jun 1987 69. Greens Creek SS, Edward (Ted) & Colin J Hutchings attended. 70. Original students of first Greens Creek School 7 Jun 1987 Back row left 1. Kindred 3. Colin J Hutchings 4,5,6 not known 7. Graeme Williamson Sitting left 1. Not an original 2,3,4, not known 5. Belle Kindred 71. Terrier at Greens Creek State School 72. The new school students Back to Greens Creek 7 Jun 1987. Perry twins standing in centre and the teacher kneeling front left. 73. Will Rees water colour 1925 signature 74. Will Rees water colour 1925 75. Shearing at Kirkellar. Allen Simpson's 76. Back to Greens Creek 7 Jun 1987 Colin J Hutchings left and Belle Kindred centre looking at photo 77. Back to Greens Creek 7 Jun 1987 Colin J Hutchings centre, Graham Stewart holding photograph on the right. 78. Colin J Hutchings & Bill Walker. Back to Greens Creek 7 Jun 1987 79. Colin J Hutchings delivering a speech before the plaque unveiling. Back to Greens Creek 7 Jun 1987 80. Graeme Williamson & Colin J Hutchings (2 'old boys') Greens Creek School Site 7 Jun 1987 81. Graeme Williamson talking to Moyu Roe (Hutchings) in background is May Williamson. Back to Greens Creek 7 Jun 1987 82. Greens Creek SS, Edward (Ted) & Colin J Hutchings attended. 83. Original students of first Greens Creek School 7 Jun 1987 Back row left 1. Kindred 3. Colin J Hutchings 4,5,6 not known 7. Graeme Williamson Sitting left 1. Not an original 2,3,4, not known 5. Belle Kindred 84. Shearing at Kirkellar. Allen Simpson's 85. Terrier at Greens Creek State School 86. The new school students Back to Greens Creek 7 Jun 1987. Perry twins standing in centre and the teacher kneeling front left. Digital Copy of Parish Maps Kara Karahomestead

This set of 36 photographs were taken at a Corps Day Parade held at the Army Survey Regiment, Bendigo on the 1st of July 1987. The Parade Commander was CO LTCOL Don Swiney MBE, and the Reviewing Officer was the Colonel Commandant (honorary appointment) of the Survey Corps - COL Clem Sargent (Retd). The Corps Day Parade was held to commemorate the 72nd anniversary of the formation of the Royal Australian Survey Corps. It was an occasion for great celebration at the Regiment. After 45 years in Bendigo, its future was finally secure. At the traditional anniversary parade, the Colonel Commandant COL Clem Sargent praised the efforts of the Regiment and led the soldiers in three cheers for the record production of the previous 12 months. More information is provided in page 140 of Valerie Lovejoy’s book 'Mapmakers of Fortuna – A history of the Army Survey Regiment’ ISBN: 0-646-42120-4. This set of photos cover the start of the Corps Day Parade, drill movements of the four Squadrons forming up on the parade ground and the formal arrival of the Reviewing Officer. See Item 6376.18P for additional photographs taken at the Corps Day Parade, comprising inspections of the Regiment’s four squadrons, presentations of the Defence Force Service Medal in recognition of 15 years of efficient remunerated service to SSGT Phil Meagher and SGT Wayne Rothwell; and formal group photos of each of the four Squadrons, Officers, and Warrant Officers/Sergeants.This is a set of 36 photographs of a Corps Day Parade held at the Army Survey Regiment, Fortuna, Bendigo in July 1987. The black & white photographs are on 35mm negative film and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 96 dpi. .1) - Photo, black & white, July 1987. Unidentified personnel marching onto parade ground. .2) - Photo, black & white, July 1987. Squadrons marching on parade ground. 1st rank L to R: LCPL Ken Dempster, unidentified (x2), WO2 Neville Stone, remainder unidentified. .3) - Photo, black & white, July 1987. Right file L to R: WO2 George Graham, WO2 Dave Miles, remainder unidentified. .4) - Photo, black & white, July 1987. L to R: WO1 Stevo Hinic, 1st rank – unidentified, CPL Max Watson, unidentified, WO2 Peter Tangey. .5) - Photo, black & white, July 1987. L to R: WO2 Ralph Chant, CPL Gary Drummond, SGT Gary Kerr, unidentified, CPL Dale Hudson, unidentified, LCPL Daryl South, CPL Kerron South, CPL Peter Dillon, SGT Brian Fauth, SGT Graham Johnston, CPL Peter Swandale, CPL Jim Ash, unidentified, CPL Gary Tremain, unidentified, unidentified UK exchange, unidentified WO1 Ken Slater, WO1 Doug Arman. .6) - Photo, black & white, July 1987. L to R: WO2 Alan Bunn, CPL Bob Thrower, SGT Kevin Boehm, CPL Peter Coles, CPL John ‘JJ’ Smith, CPL Laurie Justin, LCPL Bob Sheppard, CPL Steve McGuiness, SGT Bob Garritty, SPR Jim Humphrey, unidentified (x2), SSGT Greg Gilbert, unidentified, WO2 George Graham. .7) - Photo, black & white, July 1987. L to R: CPL Rod Skidmore, SSGT Phil Meagher, WO1 Colin Cuskelly, unidentified, CPL Colin McInnes, unidentified, CPL Jeff Le Fe-Fevre, SPR Richard Arman, CPL Dan Cirsky, CPL Michelle Griffith, LCPL Tom Bloxham, SPR Ailsa (Sorby) Miller, CPL Peter Johnson, unidentified, LCPL Ken Dempster, unidentified (x2), WO2 Neville Stone. .8) - Photo, black & white, July 1987. L to R: CPL Bob Thrower, unidentified (x2), SGT Kevin Boehm, CPL Peter Coles, SGT John ‘Stormy’ Tempest, CPL John ‘JJ’ Smith, unidentified CPL Laurie Justin, unidentified, WO2 Alan Bunn, unidentified (x2), LCPL Bob Sheppard, unidentified, CPL Steve McGuiness, unidentified, SGT Bob Garritty, unidentified, SPR Jim Humphrey. .9) - Photo, black & white, July 1987. Foreground – Acting RSM WO1 Dave Thompson, background L to R: MAJ Daryl Hockings CSM, CAPT Bob Williams, CAPT Laurie Newton, ADJT CAPT Andrew McLoud, MAJ Bob McHenry, CAPT Peter ‘Blue’ Blaskett, MAJ Mick Byrne, MAJ Roger Rix. .10) - Photo, black & white, July 1987. Officers ready to take posts. Background L to R: MAJ Daryl Hockings CSM, CAPT Bob Williams, CAPT Laurie Newton, ADJT CAPT Andrew McLoud, MAJ Bob McHenry, CAPT Peter ‘Blue’ Blaskett, MAJ Mick Byrne, MAJ Roger Rix, LT Vicky Thompson, Foreground – 2IC MAJ Terry Edwards, Acting RSM WO1 Dave Thompson, WO2 Alan Bunn, CPL Bob Thrower, SGT Kevin Boehm, CPL Peter Coles, CPL John ‘JJ’ Smith, CPL Laurie Justin, LCPL Bob Sheppard. .11) to .13) - Photo, black & white, July 1987. Officers ready to take posts. L to R: MAJ Daryl Hockings CSM, CAPT Bob Williams, CAPT Laurie Newton, ADJT CAPT Andrew McLoud, MAJ Bob McHenry, CAPT Peter ‘Blue’ Blaskett, MAJ Mick Byrne, MAJ Roger Rix, LT Vicky Thompson, CAPT John South. .14) - Photo, black & white, July 1987. L to R: WO2 Alan Bunn, MAJ Roger Rix. .15) - Photo, black & white, July 1987. L to R: unidentified personnel, CAPT Laurie Newton, unidentified, CAPT Bob William, MAJ Mick Byrne, WO2 Dave Miles. .16) &.17) - Photo, black & white, July 1987. L to R: 2IC MAJ Terry Edwards handing Parade over to CO LTCOL Don Swiney MBE. .18) - Photo, black & white, July 1987. Arrival of Reviewing Officer- COL COMDT COL Clem Sargent. Saluted by CPL Kevin ‘Chuck’ Berry. .19) - Photo, black & white, July 1987. Arrival of Reviewing Officer- COL COMDT COL Clem Sargent. Saluted by CPL Kevin ‘Chuck’ Berry. MAJ Duncan Burns on right departing vehicle. .20) - Photo, black & white, July 1987, Reviewing Officer - COL COMDT COL Clem Sargent returning salute from CO LTCOL Don Swiney MBE. .21) - Photo, black & white, July 1987, Headquarters Squadron approaching the Dias. L to R: CAPT John South, unidentified, MAJ Roger Rix, unidentified, SPR Tracy (Parker) Ash, unidentified, T Vicky Thompson, CPL Bob Thrower, SGT Kevin Boehm, CPL Peter Coles, CPL John ‘JJ’ Smith, CPL Laurie Justin, LCPL Bob Sheppard, remainder partially obscured, CO LTCOL Don Swiney MBE, COL COMDT COL Clem Sargent. .22) - Photo, black & white, July 1987, Headquarters Squadron’s MAJ Roger Rix salutes the Reviewing Officer. L to R: CAPT John South, MAJ Roger Rix, unidentified, SPR Tracy (Parker) Ash, unidentified, Vicky Thompson, CPL Bob Thrower, SGT Kevin Boehm, CPL Peter Coles, CPL John ‘JJ’ Smith, CPL Laurie Justin, LCPL Bob Sheppard, CPL Steve McGuiness, SGT Bob Garritty, SPR Jim Humphrey, WO2 George Graham. .23) - Photo, black & white, July 1987, Headquarters Squadron’s MAJ Roger Rix salutes the Reviewing Officer. L to R: CAPT John South, MAJ Roger Rix, unidentified, SPR Tracy (Parker) Ash, unidentified, Vicky Thompson, CPL Bob Thrower, SGT Kevin Boehm, CPL Peter Coles, CPL John ‘JJ’ Smith, CPL Laurie Justin, LCPL Bob Sheppard, CPL Steve McGuiness, SGT Bob Garritty, SPR Jim Humphrey, WO2 George Graham, CO LTCOL Don Swiney MBE, COL COMDT COL Clem Sargent, .24) - Photo, black & white, July 1987, Headquarters Squadron continues past the Dias. L to R: unidentified (x3), Vicky Thompson, unidentified, CPL Bob Thrower, SGT Kevin Boehm, CPL Peter Coles, CPL John ‘JJ’ Smith, CPL Laurie Justin, LCPL Bob Sheppard, CPL Steve McGuiness, SGT Bob Garritty, SPR Jim Humphrey, WO2 George Graham. .25) - Photo, black & white, July 1987, Army Survey Regiment senior officers and Air Survey Squadron approaching the Dias. L to R: 2IC MAJ Terry Edwards, ADJT CAPT Andrew McLeod, OC MAJ Daryl Hockings CSM, acting RSM WO1 Dave Thompson, centre file marker CPL Max Watson, right marker CPL Perry Burt, CAPT Bob Williams, remainder unidentified, CO LTCOL Don Swiney MBE, COL COMDT COL Clem Sargent. .26) - Photo, black & white, July 1987, Army Survey Regiment senior officers and Air Survey Squadron salute the Reviewing Officer. L to R: 2IC MAJ Terry Edwards, ADJT CAPT Andrew McLeod, OC MAJ Daryl Hockings CSM, acting RSM WO1 Dave Thompson, centre file marker CPL Max Watson, right marker CPL Perry Burt, CAPT Bob Williams, remainder unidentified, CO LTCOL Don Swiney MBE, COL COMDT COL Clem Sargent. .27) - Photo, black & white, July 1987, Army Survey Regiment senior officers and Air Survey Squadron salute the Reviewing Officer. L to R: 2IC MAJ Terry Edwards, ADJT CAPT Andrew McLeod, unidentified, OC MAJ Daryl Hockings CSM, acting RSM WO1 Dave Thompson, unidentified, SGT Barrie Craymer, CAPT Bob Williams, centre file marker CPL Max Watson, right marker CPL Perry Burt, remainder unidentified, CO LTCOL Don Swiney MBE, COL COMDT COL Clem Sargent. .28) - Photo, black & white, July 1987, Air Survey Squadron salutes the Reviewing Officer. L to R: CPL Steve Hill OAM CSM, unidentified, SSGT Neil ‘Ned’ Kelly, WO2 Peter Tangey, WO1 Dennis Marshall. Followed by Lithographic Squadron L to R: SGT Graham Johnston, SGT Bryan Fauth, CPL Jim Ash, CPL Peter Swandale, CPL Roy Hicks, remainder unidentified. .29) - Photo, black & white, July 1987, Lithographic Squadron’s MAJ Mick Byrne salutes the Reviewing Officer. L to R: WO1 Dennis Marshall (Air Svy Sqn), SGT Graham Johnston, SGT Bryan Fauth, MAJ Mick Byrne, CPL Jim Ash, CPL Peter Swandale, unidentified (x2), CPL Lance Strudwick, CPL John ‘Flash’ Anderson, SGT Alan Virtue, CPL Greg Rowe, unidentified (x2), CPL Graham Hales, unidentified, CPL Paul Baker, SPR Colin Yeats, unidentified, WO1 Ken Slater, WO1 Doug Arman. .30) to .31) - Photo, black & white, July 1987, Lithographic Squadron’s MAJ Mick Byrne salutes the Reviewing Officer. L to R: SGT Graham Johnston, SGT Bryan Fauth, MAJ Mick Byrne, CPL Jim Ash, CPL Peter Swandale, unidentified (x2), CPL Lance Strudwick, CPL John ‘Flash’ Anderson, SGT Alan Virtue, CPL Greg Rowe, unidentified (x2), CPL Graham Hales, unidentified, CPL Paul Baker, SPR Colin Yeats, unidentified, WO1 Ken Slater, WO1 Doug Arman. .32) to .35) - Photo, black & white, July 1987, Cartographic Squadron’s MAJ Bob McHenry salutes the Reviewing Officer. L to R: MAJ Bob McHenry, CAPT Peter ‘Blue Blaskett, left file L to R: SPR Ross Collishaw, SPR Ben Lucas, centre file L to R: SGT Martin Evans, SSGT Ian ‘Rock’ Thistleton, SGT Eddy Jacobs, right file L to R: CPL Rod Skidmore, SSGT Phil Meagher, SPR Craig Kellet, unidentified, CPL Col McInnes, SPR Nick Cowan, unidentified, CPL Jeff Le-Fevre, SPR Richard Arman, CPL Dan Cirsky, SPR Tom Bloxham, CPL Peter Johnson, unidentified, LCPL Kenne Dempster. .36) - Photo, black & white, July 1987, Reviewing Officer - COL COMDT COL Clem Sargent returns salute..1P to .36P – There are no personnel identified.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

This set of 18 photographs were taken at a Corps Day Parade held at the Army Survey Regiment, Bendigo in July 1987. The Parade Commander was CO LTCOL Don Swiney MBE, and the Reviewing Officer was the Colonel Commandant (honorary appointment) of the Survey Corps - COL Clem Sargent (Retd). The Corps Day Parade was held to commemorate the 72nd anniversary of the formation of the Royal Australian Survey Corps. These photos comprise inspections of the Regiment’s four squadrons, presentations of the Defence Force Service Medal in recognition of 15 years of efficient remunerated service to SSGT Phil Meagher and SGT Wayne Rothwell; and formal group photos of each of the four Squadrons, Officers, and Warrant Officers/Sergeants. See Item 6375.36P for additional photographs taken at the start of the Corps Day Parade, drill movements of the four Squadrons forming up on the parade ground and the formal arrival of the Reviewing Officer.This is a set of 18 photographs of a Corps Day Parade held at the Army Survey Regiment, Fortuna, Bendigo in July 1987. The black & white photographs are on 35mm negative film and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 96 dpi. .1) - Photo, black & white, July 1987. Headquarters Squadron inspection. L to R: unidentified (x3), COL COMDT COL Clem Sargent, CO LTCOL Don Swiney MBE (obscured), OC MAJ Roger Rix. .2) - Photo, black & white, July 1987. Lithographic Squadron inspection. L to R: unidentified, CPL Brian Paul, CPL Gary Tremain, CPL Warren ‘Waldo’ Shirley, unidentified, CPL Stuart Ridge, SSGT Rob Bogumil, SSGT Steve Egan. CPL Roy Hicks, unidentified, COL COMDT COL Clem Sargent, CO LTCOL Don Swiney MBE, OC MAJ Mick Byrne, remainder unidentified. .3) - Photo, black & white, July 1987. Air Survey Squadron inspection. L to R: OC Daryl Hockings CSM, COL COMDT COL Clem Sargent, CO LTCOL Don Swiney MBE, SGT Graham Johnson, unidentified (x4), SGT Lyn Johnson, CPL Steve Rundle, SGT Wayne Rothwell, SGT Bruce Hammond, SGT Barrie Craymer, SPR Brett Parkin .4) - Photo, black & white, July 1987. Cartographic Squadron inspection. L to R: OC MAJ Bob McHenry, COL COMDT COL Clem Sargent, CO LTCOL Don Swiney MBE, CPL Rod Skidmore, SSGT Phil Meagher, SPR Craig Kellet, unidentified, CPL Col McInnes, SPR Nick Cowan, unidentified, CPL Jeff Le-Fevre, SPR Richard Arman, CPL Dan Cirsky, SPR Tom Bloxham, CPL Peter Johnson, unidentified. .5) - Photo, black & white, July 1987. Presentation of Defence Force Service Medal. L to R: WO2 Andy Wilson, COL COMDT COL Clem Sargent, MAJ Terry Edwards, SSGT Phil Meagher, CAPT John South (background). .6) - Photo, black & white, July 1987. Presentation of Defence Force Service Medal. L to R: COL COMDT COL Clem Sargent, SGT Wayne Rothwell, SSGT Phil Meagher, MAJ Roger Rix (background). .7) - Photo, black & white, July 1987. Corp Day Parade guests. L to R: MAJ Duncan Burns, SPR Dianne (Thomas) Soutar, unidentified guests, CPL Kevin ‘Chuck’ Berry, CPL Graeme Priestley, unidentified guests. .8) - Photo, black & white, July 1987. Corp Day Parade guests. L to R: unidentified guests, George Austen, SPR Dianne (Thomas) Soutar, Bob Mason, unidentified guests, CPL Graeme Priestley, unidentified guests, SGT Terry Danger, unidentified guests, CO LTCOL Don Swiney MBE (facing away), COL COMDT COL Clem Sargent. .9) & .10) - Photo, black & white, July 1987. L to R: unidentified guest, COL COMDT COL Clem Sargent, CO LTCOL Don Swiney MBE. .11) - Photo, black & white, July 1987. L to R: unidentified guests, 2IC MAJ Terry Edwards, ADJT CAPT Andrew McLeod. .12) - Photo, black & white, July 1987. WO1 Bob ‘Stretch’ Hayden. .13) - Photo, black & white, July 1987. Lithographic Squadron. Back Row L to R: CPL Paul Baker, CPL Greg Rowe, CPL Kerron South, CPL Stuart Ridge, SPR Rob Jones, CPL Laurie Justin, unidentified, SPR Geoff Webb, unidentified (x2) SPR Shona Hastie, SPR Trevor King, LCPL John Bateman, CPL Ken Peters, CPL Roy Hicks. Middle Row L to R: CPL Brian Paul, unidentified (x2), CPL Jim Ash, CPL Dale Hudson, CPL Gary Tremain, unidentified, LCPL Daryl South, CPL Graham Hales, SPR Bob Bousfield, CPL John ‘Flash’ Anderson, CPL Peter Dillon, CPL Peter Swandale, SPR Colin Yeats, CPL Lance Strudwick. Front Row L to R: CPL Warren ‘Waldo’ Shirley, SGT Gary Kerr, SGT Brian Fauth, SGT Graham Johnston, SSGT Steve Egan, WO2 Bill Jones, OC MAJ Mick Byrne, WO2 Ralph Chant, SSGT Rob Bogumil, unidentified UK exchange, SGT Alan Virtue, SGT Jeff Willey. .14) - Photo, black & white, July 1987. Headquarters Squadron. Back Row L to R: CPL Bob Thrower, PTE Mark Twiss, unidentified (x3), LCPL Bob Sheppard, unidentified, SGT Ian Belmont, SPR Peter Coles, SPR Tracy (Parker) Ash, CPL Steve McGuinness, SGT Bob Garritty, unidentified officer. Middle Row L to R: WO1 Doug Arman, WO2 Kevin Macquire, W01 Noel ‘Nesty’ Coulthard, WO1 Allan Adsett, WO2 Andy Wilson, CPL David Jobe, SGT Kevin Boehm, unidentified (x3), SSGT Greg Gilbert, WO2 George Graham, WO2 Dave Miles, WO2 Ted Burgess, WO1 Ken Slater. Front Row L to R: WO1 Bob ‘Stretch’ Hayden, CAPT Peter ‘Blue’ Blaskett, CAPT Bob Williams, ADJT CAPT Andrew McLeod, 2IC MAJ Terry Edwards, Acting RSM WO1 Dave Thompson, CO LTCOL Don Swiney MBE, OC MAJ Roger Rix, WO2 Alan Bunn, MAJ Duncan Burns, CAPT John South, LT Vicky Thompson, WO1 Peter Warwick. .15) - Photo, black & white, July 1987. Air Survey Squadron. Back Row L to R: SGT Lyn Johnson, CPL John ‘Toad’ Smith, SGT Roger Rees, SGT Wayne Rothwell, CPL Roger Pearson, SPR Leah (Hoffman) Peppler, unidentified, SPR Christine Gordon, SPR Jodi Bowman, SGT Paul Leskovec CSM, SPR Tony Jackson, CPL John Reid, unidentified, SPR Avril (Bray) Lloyd? SPR Diane (Thomas) Soutar, SSGT Brian Collings. Middle Row L to R: unidentified, SGT John ‘Stormy’ Tempest, CPL Perry Burt, SPR Rick Millar, CPL Graeme Priestley, SGT Bruce Hammond, CPL Max Watson, SPR Brett Parkin, SPR Peter Ball, CPL Dick Warsing, SPR Sue (Foote) Bourne, SPR Sandy Wynn, CPL Steve Hill OAM CSM, CPL Steve Rundle, CPL Andy Mallon, SPR Stafford Lester, SPR Steve Moss, CPL Rod Burton. Front Row L to R: SGT Ken Talbot-Smith, SSGT Phil Boyle, SSGT Max Coletti, WO2 Peter Tangey, LT Brian Sloan, WO1 Stevo Hinic, OC Maj Daryl Hockings CSM, CAPT Laurie Newton, WO1 Denis Marshall, SSGT Neil ‘Ned’ Kelly, SSGT Dennis McCarthy, SSGT Adrian ‘Charlie’ Creedy, SGT Barry Craymer, SSGT John ‘Shep’ Shephard. .16) - Photo, black & white, July 1987. Cartographic Squadron. Back Row L to R: unidentified, SPR Michelle Griffith, unidentified, SPR Raelene Munting, unidentified, SPR Ailsa (Sorby) Miller, SPR Kasey Northausen, CPL Lorraine (Daly) Talbot-Smith, SGT John Bettridge, SPR Richard Arman, CPL Colin McInnes, CPL Mick ‘Buddha’ Ellis, SPR Mark Donnelly, CPL Steve Coulson, LCPL Rick Millar, CPL Jeff Le-Fevre. 3rd Row L to R: CPL Paul Trent, unidentified, CPL Brian Johnson, CPL Peter Johnson, CPL Rod Skidmore, SPR Chad Hardwick, LCPL John Lane, LCPL Ken Dempster, unidentified CPL Dan Cirsky, SPR Ross Collishaw, SPR Craig Kellet, CPL Greg Sulman, SPR Tom Bloxham, SPR Ben Lucas. 2nd Row L to R: SPR Jim Humphrey, CPL Pat Drury-Lane, SPR Max Shaw, SPR Barry Hogan, unidentified, CPL David Murphy, SPR Ian Hill, SPR Bruce Graham, CPL Greg Honan, SPR Nick Cowan, CPL Steve Throssel, SPR Ben Tarasenko. Front Row L to R: SGT Eddy Jacobs, SGT Phil Smalley, SGT Rick Van der Bom, SSGT Phil Meagher, SSGT Allan Brown, WO1 Colin Cuskelly, WO2 Pat Lumsden, OC MAJ Bob McHenry, unidentified officer, WO2 Neville Stone, SSGT Ian ‘Rock’ Thistleton, SGT Martin Evans, SGT Terry Danger, SGT Bob Bright. .17) - Photo, black & white, July 1987. Sergeants Mess. Back Row L to R: SGT Graham Johnston, SGT Brian Fauth, SGT Gary Kerr, SGT Alan Virtue, SSGT Rob Bogumil, SSGT Brian Collings, SGT Roger Rees, SGT Phil Smalley, SGT Rick Van der Bom, SGT Martin Evans, SGT Bob Garritty, SSGT Phil Boyle, SGT John ‘Stormy’ Tempest, SSGT Allan Brown, SSGT Max Coletti, SSGT Neil ‘Ned’ Kelly, SSGT Dennis McCarthy. 3rd Row L to R: SGT Bruce Hammond, SGT Wayne Rothwell, SGT Eddy Jacobs, unidentified UK exchange, SSGT Steve Egan, SGT Bob Bright, SSGT Ian ‘Rock’ Thistleton, SGT Paul Leskovec CSM, SGT Barry Craymer, SSGT Greg Gilbert, SGT Kevin Boehm, Terry Danger, SGT Ken Talbot-Smith, WO2 Ted Burgess. 2nd Row L to R: WO2 Ralph Chant, WO2 Andy Wilson, WO2 Bill Jones, WO2 Alan Bunn, SGT John Bettridge, SSGT Adrian ‘Charlie’ Creedy, SGT Lyn Johnson, SSGT Phil Meagher, SSGT John ‘Shep’ Shephard, WO2 Kevin Macquire, WO2 Peter Tangey, WO2 Dave Miles, WO2 George Graham, WO2 Pat Lumsden, SGT Ian Belmont. Front Row L to R: WO1 Colin Cuskelly, Acting RSM WO1 Dave Thompson, WO1 Denis Marshall, 2IC MAJ Terry Edwards, WO1 Peter Warwick, CO LTCOL Don Swiney MBE, WO2 Neville Stone, WO1 Bob ‘Stretch’ Hayden, , W01 Noel ‘Nesty’ Coulthard, WO1 Stevo Hinic, WO1 Ken Slater, WO1 Allan Adsett. .18) - Photo, black & white, July 1987. Officers Mess. Back Row L to R: CAPT Laurie Newton, LT Brian Sloan, unidentified officer, CAPT John South, CAPT Peter ‘Blue’ Blaskett, CAPT Bob Williams, LT Vicky Thompson, unidentified officer, CAPT Andrew McLeod. Front Row L to R: MAJ Daryl Hockings CSM, MAJ Mick Byrne, MAJ Bob McHenry, COL COMDT COL Clem Sargent, CO LTCOL Don Swiney MBE, MAJ Terry Edwards, MAJ Roger Rix, MAJ Duncan Burns. .1P to .18P – There are no personnel identified.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

This set of 38 black and white photographs were taken at the Army Survey Regiment’s parade rehearsal held at Fortuna, Bendigo in 1980. The rehearsal was for the Freedom of Entry parade held 1-2 weeks later in 1980. The exact date for the Freedom of Entry parade is not known. The Freedom of Entry to the City of Bendigo was an honour first conferred by the Bendigo City Council to the Army Survey Regiment in 1970. The Freedom of Entry parade in 1980 was the fourth time the unit exercised its right of freedom of entry. The Regiment also exercised its Freedom of Entry with anniversary parades in 1977, 1980 and 1995. Refer to items 6020.8P, 6021.25P, 6248P, 6266, 6409.2, 6430.39P, 6490.53P and 6491.21P for more Army Survey Regiment Freedom of Entry photographs, documents and certificates. See item 6471.2P for photos of Lithographic Squadron taken on the same day of this parade rehearsal. This set of 38 black and white photographs of the Army Survey Regiment (Army Svy Regt) were taken in a rehearsal for the Freedom of Entry parade to the City of Bendigo, held 1-2 weeks later in 1980. The photographs are on 35mm negative film and were scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) - Photo, black & white, 1980. WO1 John McCulloch observes the rehearsal. .2) - Photo, black & white, 1980. RSM WO1 Aub Harvey, WO1 Dave Thomson and WO1 Roger Rix observe the rehearsal. .3) - Photo, black & white, 1980. Under command of SSM WO1 Bob Mason, Air Survey Squadron marches onto the parade ground - Front rank L to R: SPR Peter Jones, SPR Barry Miller, CPL Alan Hawkins. .4) - Photo, black & white, 1980. Air Survey Squadron marches on the parade ground - L to R: SPR Peter Jones, CPL Lyall Camp, SPR Barry Miller, SPR Geoff Havelberg, unidentified, CPL Alan Hawkins, CPL Peter Treble, unidentified (x2), SGT Mick Hogan, SGT Bruce Hammond, unidentified, SPR Steve Linane, SPR Jamie McRae, unidentified (x2). .5) - Photo, black & white, 1980. Air Survey Squadron formed up – CAPT Peter Ralston on far left. .6) - Photo, black & white, 1980. Air Survey Squadron inspection – L to R: CAPT Peter Ralston, CPL Alan Hawkins, CO LTCOL Bob Skitch, SGT Mick Hogan, SGT Bruce Hammond, SPR Jamie McRae. .7) - Photo, black & white, 1980. Air Survey Squadron inspection – L to R: SPR Peter Jones, unidentified, CPL Paul Hopes, unidentified, SGT Rick van der Bom, LTCOL Bob Skitch, SPR Steve Linane, CPL Mick Minchin, unidentified, SPR Gae (Robinson) Amato, unidentified, SPR Chris ‘CPL Peter Treble, Charlie’ Brown, SPR Ginny (Turner) Rowe. .8) - Photo, black & white, 1980. Lithographic Squadron marches onto the parade ground - Front rank L to R: SPR Brian Fauth, SPR Roy Hicks, SPR Per Andersen, commanded by LT Steve Cooper. .9) - Photo, black & white, 1980. Lithographic Squadron marches onto the parade ground - L to R: SSM WO1 Ken Slater, Front rank SPR Brian Fauth, SPR Roy Hicks, SPR Per Andersen, LT Steve Cooper. .10) - Photo, black & white, 1980. Lithographic Squadron inspection - L to R: CAPT Stan Vote, LT Steve Cooper, CO LTCOL Bob Skitch, SPR Neville Carr, SPR Laurie Justin, SPR Keith Quinton. .11) - Photo, black & white, 1980. Lithographic Squadron inspection - L to R: unidentified, LT Steve Cooper, CPL Frank Lenane, CPL Mick ‘Buddha’ Ellis, SPR Martin van de Maele, CO LTCOL Bob Skitch, unidentified (x2), SPR Garry Hudson, remainder unidentified. .12) - Photo, black & white, 1980. Lithographic Squadron inspection - L to R: LT Steve Cooper, CPL Rob Bogumil, unidentified, CO LTCOL Bob Skitch, CPL Bill Jones, CPL John ‘Flash’ Anderson, CPL Warren ‘Waldo’ Shirley, unidentified. .13) - Photo, black & white, 1980. Lithographic Squadron inspection - L to R: unidentified (x4), CO LTCOL Bob Skitch, unidentified, CPL Bill Jones, LT Steve Cooper, CPL Warren ‘Waldo’ Shirley. .14) - Photo, black & white, 1980. Lithographic Squadron performs form - right file L to R: SPR Brian Fauth, SPR Roy Hicks, SPR Per Andersen. .15) - Photo, black & white, 1980. Lithographic Squadron completes form at the halt. .16) - Photo, black & white, 1980. Lithographic Squadron marches in column of route – right file L to R: SPR Keith Quinton, SPR John Whaling, SPR Martin van de Maele, SPR John Whaling, SPR Garry Hudson, unidentified. Centre marker: CPL Warren ‘Waldo’ Shirley, remainder unidentified. .17) - Photo, black & white, 1980. Lithographic Squadron marches in column of route – right file L to R: SPR John Whaling, SPR Martin van de Maele, SPR John Whaling, SPR Garry Hudson, unidentified. Centre marker CPL Warren ‘Waldo’ Shirley, remainder unidentified. .18) - Photo, black & white, 1980. Lithographic Squadron marches in column of route – L to R: SPR Per Andersen, CPL Josh Degroot, SPR Neville Carr, SPR Laurie Justin, SPR Keith Quinton, SPR John Whaling, SPR Martin van de Maele, SPR John Whaling, SPR Garry Hudson, unidentified. .19) - Photo, black & white, 1980. Lithographic Squadron marches in column of route – L to R: SPR Per Andersen, CPL Josh Degroot, SPR Neville Carr, SPR Laurie Justin, SPR Keith Quinton, SPR Martin van de Maele, SPR John Whaling, SPR Garry Hudson, unidentified (x2), CPL Warren ‘Waldo’ Shirley, unidentified. .20) - Photo, black & white, 1980. Lithographic Squadron rehearses ‘rest on arms reverse.’ .21) - Photo, black & white, 1980. Cartographic Squadron marches onto the parade ground in column of route - L to R: SPR Cheryl Lofthouse, unidentified, SSM WO1 Gordon Lowery, unidentified, SPR Megan (McBurney) Reynolds, unidentified (x6), SPR Peter Main, CPL Stu Symonds, SPR Greg Else, SPR Rod Skidmore. .22) - Photo, black & white, 1980. Cartographic Squadron marches onto the parade ground in column of route - L to R: SPR Rod Skidmore, SPR Greg Else, CPL Phil McGuire, CPL Dennis Learmonth, CPL Brad Peppler, CPL Trevor Bottomley, SPR Gina (Coore) Neilson, SPR Carla Dell, CPL Lynn Johnson, commanded by CAPT Bob Williams. .23) - Photo, black & white, 1980. Cartographic Squadron inspection - L to R: unidentified officer, CAPT Bob Williams, SPR Greg Else, CO LTCOL Bob Skitch, CPL Phil McGuire, CPL Dennis Learmonth, CPL Brad Peppler, CPL Trevor Bottomley. .24) - Photo, black & white, 1980. Cartographic Squadron inspection - L to R: RSM WO1 Aub Harvey, unidentified officer, CAPT Bob Williams, CO LTCOL Bob Skitch. Front rank L to R: SPR Rod Skidmore, CPL Phil McGuire, CPL Dennis Learmonth, CPL Brad Peppler, CPL Trevor Bottomley, SPR Gina (Coore) Neilson, SPR Carla Dell, CPL Lynn Johnson. Centre rank L to R: CPL Terry Danger, SPR John Martin, SPR Bob Sheppard. SPR Megan (McBurney) Reynolds. .25) - Photo, black & white, 1980. Cartographic Squadron inspection - Front rank L to R: CPL Phil McGuire, CAPT Bob Williams, CPL Brad Peppler, CO LTCOL Bob Skitch, CPL Trevor Bottomley, SPR Gina (Coore) Neilson, SPR Carla Dell, CPL Lynn Johnson. .26) - Photo, black & white, 1980. Cartographic Squadron inspection - L to R: WO1 Roger Rix, RSM WO1 Aub Harvey, unidentified officer. Front rank L to R: SPR Rod Skidmore, SPR Greg Else, CPL Phil McGuire, CPL Brad Peppler, CPL Trevor Bottomley, SPR Gina (Coore) Neilson, SPR Carla Dell, CPL Lynn Johnson. Centre rank L to R: CPL Terry Danger, SPR John Martin, SPR Bob Sheppard. SPR Megan (McBurney) Reynolds. .27) - Photo, black & white, 1980. Cartographic Squadron inspection - L to R: CPL Dennis Learmonth, CPL Brad Peppler, CO LTCOL Bob Skitch, CPL Trevor Bottomley, SPR Gina (Coore) Neilson, SPR Carla Dell, CPL Lynn Johnson. .28) - Photo, black & white, 1980. Cartographic Squadron inspection - L to R: CAPT Bob Williams, unidentified, CO LTCOL Bob Skitch, SPR John Martin, SPR Bob Sheppard, SPR Megan (McBurney) Reynolds, rear rank L to R: SPR Peter Main, unidentified (x3). .29) - Photo, black & white, 1980. Cartographic Squadron rehearses ‘reverse arms’ - L to R: SPR Peter Main, CPL Stu Symonds, SPR Rod Skidmore, SPR Greg Else, remainder unidentified. .30) - Photo, black & white, 1980. Cartographic Squadron rehearses ‘rest on arms reverse.’ - Front rank L to R: SPR Rod Skidmore, SPR Greg Else, CPL Phil McGuire, CPL Dennis Learmonth, CPL Brad Peppler, CPL Trevor Bottomley. remainder unidentified. Centre rank L to R: unidentified (x2), SPR John Martin, SPR Bob Sheppard, SPR Megan (McBurney) Reynolds. Rear rank L to R: unidentified (x3), SPR Carla Dell on far right. .31) - Photo, black & white, 1980. Cartographic Squadron marches in column of route. .32) - Photo, black & white, 1980. Cartographic Squadron marches in column of route. Left file L to R: SPR Rod Skidmore, SPR Greg Else, CPL Phil McGuire, CPL Dennis Learmonth, CPL Brad Peppler, CPL Trevor Bottomley, SPR Gina (Coore) Neilson, SPR Carla Dell, CPL Lynn Johnson. Centre file L to R: unidentified (x2), SPR Dan Cirsky, SPR Bob Sheppard. Commanded by CAPT Bob Williams (foreground). .33) - Photo, black & white, 1980. Cartographic Squadron rehearses ‘order arms.’ Front rank L to R: SPR Rod Skidmore, SPR Greg Else, CPL Phil McGuire, CPL Dennis Learmonth, CPL Brad Peppler, CPL Trevor Bottomley, SPR Gina (Coore) Neilson, SPR Carla Dell, CPL Lynn Johnson. Centre rank L to R: unidentified (x2), SPR Dan Cirsky, SPR Megan (McBurney) Reynolds, SPR Ilen Isaac. Rear rank L to R: SPR Cathy Regan, unidentified, SPR Cheryl Lofthouse. .34) - Photo, black & white, 1980. Cartographic Squadron rehearses ‘right dress.’ Front rank L to R: SPR Rod Skidmore, SPR Greg Else, CPL Phil McGuire, CPL Dennis Learmonth, CPL Brad Peppler, CPL Trevor Bottomley, SPR Gina (Coore) Neilson, SPR Carla Dell, CPL Lynn Johnson. Centre rank L to R: SPR John Martin, SPR Bob Sheppard. SPR Megan (McBurney) Reynolds, SPR Ilen Isaac. Rear rank L to R: unidentified (x2), SPR Cathy Regan, unidentified, SPR Cheryl Lofthouse. Commanded by CAPT Bob Williams (far left). 35) - Photo, black & white, 1980. Air Survey Squadron section rehearses marching with reverse arms. L to R: SPR Bob Hopper, CPL Rick Downie, CPL Paul Hopes, unidentified (x2, SGT Rick van der Bom, SPR Steve Hilton, CPL Peter Treble, unidentified, SPR John Lane, remainder unidentified. .36) - Photo, black & white, 1980. Air Survey Squadron section rehearses marching with reverse arms. L to R: CPL Alan Hawkins, CPL John Smith, SPR Dave Jobe, unidentified (x2), SGT Mick Hogan, SPR Barry Miller, WO1 Dave Thomson. .37) - Photo, black & white, 1980. Cartographic Squadron sections practice drill. .38) - Photo, black & white, 1980. Air Survey Squadron rest break from drill practice. L to R: unidentified (x2), CPL Noel McNamara, SSGT Peter Warwick, SSGT Greg Buckingham (facing away), SGT Jim Beard, unidentified, SPR Sharon (Jones) Treble (foreground), unidentified, SGT Bruce Gordon, SPR Kristin (Isaac) Skidmore.There are no personnel identified. royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

This medal for bravery, for rescue of the crew from the shipwreck “Eric the Red” on 4th September 1880, was awarded to one of the crew of the steamer S.S. Dawn by the President of the United States in July 1881. The medal is engraved with the name “Nelson Johnson” (the anglicised version of his Swedish name Neils Frederick Yohnson). It was donated to Flagstaff Hill Maritime Village in 2013 by Nelson’s granddaughter. Nelson had migrated from Sweden to Sydney in 1879. The next year in 1880, aged 24, he was a seaman on the steamship Dawn and involved in the rescue of the survivors of the Eric the Red. Nelson Johnson was a crew member of the S.S. Dawn and was one of the rescue team in the dinghy in the early morning of September 4th 1880. Medals were awarded to the Captain and crew of the S.S. Dawn by the President of the United States, through the Consul-general (Mr Oliver M. Spencer), in July 1881 “ … in recognition of their humane efforts in rescuing the 23 survivors of the American built wooden sailing ship, the Eric the Red, on 4th September 1880.” The men were also presented with substantial monetary rewards and gifts. The city of Warrnambool’s care of the survivors was also mentioned by the President at the presentation, saying that “the city hosted and supported the crew ‘most graciously’. Previously, a week after the shipwreck, the Australian Government had also conveyed its thanks to the Captain and crew of the S.S. Dawn “Captain Griffith Jones, S.S. Dawn, The Hon. Mr Clark desires that the thanks of the Government should be conveyed to you for the prompt, persevering and seamanlike qualities displayed by you, your officers and crew in saving the number of lives you did on the occasion referred to. The hon. The Commissioner has also been pleased to award you a souvenir in commemoration of the occasion, and a sum of 65 pounds to be awarded to your officers and crew according to annexed scale. I am, &c, W Collins Rees, for and in the absence of the Chief Harbour Master.” The Awards are as follows: - Crew of DAWN'S lifeboat-Chief Officer, Mr G. Peat, 15 pounds; boat's crew-G. Sterge, A.B., 5 pounds; T. Hammond, A.B., 5 pounds; J. Black, A.B., 5 pounds; H. Edwards, A.B., 5 pounds. Dinghy's Crew-Second Officer, Mr Christie, 10 pounds; boat's crew -F. Lafer, A.B., 5 pounds; W. Johnstone, A.B., 5 pounds; Mr Lear, provedore, 5 pounds; Mr Dove, purser, 5 pounds. Captain Jones receives a piece of plate. (from “Wreck of the ship Eric the Red” by Jack Loney) The medal’s history, according to the Editor of ‘E-Sylum’ (the newsletter of The Numismatic Bibliomania Society “… appears to be an example of an 1880 State Department medal, catalogued as LS-3 (page 322 of R. W. Julian's book, Medals of the United States Mint: The First Century 1792-1892). The reverse is mostly blank for engraving, surrounded by a thin wreath. It was designed by George Morgan, chief engraver for the Philadelphia Mint, and struck in gold, silver and bronze. The one pictured here (in The Standard newspaper, 2nd July 2013) appears to be silver.” The following is an account of the events which led to the awarding of this medal. The American ship Eric the Red was a wooden, three-masted clipper ship. She had 1,580 tons register and was the largest full-rigged ship built at Bath, Maine, USA in 1871. She was built and registered by Arthur Sewall, later to become the partnership E. & A. Sewall, the 51st ship built by this company. The annually-published List of Merchant Vessels of the U.S. shows Bath was still the home port of Eric the Red in 1880. The vessel was named after the Viking discoverer, Eric ‘the Red-haired’ Thorvaldsson, who was the first European to reach the shores of North America (in 980AD). The ship Eric the Red at first traded in coal between America and Britain, and later traded in guano nitrates from South America. In 1879 she was re-metalled and was in first-class condition. On 10th June 1880 (some records say 12th June) Eric the Red departed New York for Melbourne and then Sydney. She had been commissioned by American trade representatives to carry a special cargo of 500 exhibits (1400 tons) – about a quarter to a third of America’s total exhibits - for the U.S.A. pavilion at Melbourne’s first International Exhibition. The exhibits included furniture, ironmongery, wines, chemicals, dental and surgical instruments, paper, cages, bronze lamp trimmings, axles, stamped ware, astronomical and time globes, samples of corn and the choicest of leaf tobacco. Other general cargo included merchandise such as cases of kerosene and turpentine, brooms, Bristol's Sarsaparilla, Wheeler and Wilson sewing machines, Wheeler’s thresher machine, axe handles and tools, cases of silver plate, toys, pianos and organs, carriages and Yankee notions. The Eric the Red left New York under the command of Captain Zaccheus Allen (or some records say Captain Jacques Allen) and 24 other crew including the owner’s son third mate Ned Sewall. There were also 2 saloon passengers on board. The ship had been sailing for an uneventful 85 days and the voyage was almost at its end. As Eric the Red approached Cape Otway there was a moderate north-west wind and a hazy and overcast atmosphere. On 4th September 1880 at about 1:30 am Captain Allen sighted the Cape Otway light and was keeping the ship 5-6 miles offshore to stay clear of the hazardous Otway Reef. However, he had badly misjudged his position. The ship hit the Otway Reef about 2 miles out to sea, southwest of the Cape Otway light station. Captain Allen ordered the wheel to be put ‘hard up’ thinking that she might float off the reef. The sea knocked the helmsman away from the wheel, broke the wheel ropes and carried away the rudder. The lifeboats were swamped, the mizzenmast fell, with all of its riggings, then the mainmast also fell and the ship broke in two. Some said that the passenger Vaughan, who was travelling for his health and not very strong, was washed overboard and never seen again. The ship started breaking up. The forward house came adrift with three of the crew on it as well as a longboat, which the men succeeded in launching and keeping afloat by continually bailing with their sea boots. The captain, the third mate (the owner’s son) and others clung to the mizzenmast in the sea. Then the owner’s son was washed away off the mast. Within 10 minutes the rest of the ship was in pieces, completely wrecked, with cargo and wreckage floating in the sea. The captain encouraged the second mate to swim with him to the deckhouse where there were other crew but the second mate wouldn’t go with him. Eventually, the Captain made it to the deckhouse and the men pulled him up. At about 4:30 am the group of men on the deckhouse saw the lights of a steamer and called for help. At the same time, they noticed the second mate and the other man had drifted nearby, still on the spur, and pulled them both onto the wreck. The coastal steamer SS Dawn was returning to Warrnambool from Melbourne, and its sailing time was different to its usual schedule. She was built in 1876 and bought by the Portland and Belfast Steam Navigation Co. in 1877. At the time of this journey, she was commanded by Captain Jones and was sailing between Melbourne and Portland via Warrnambool. The provedore the Dawn, Benjamin Lear, heard cries of distress coming through the portholes of the saloon. He gave the alarm and the engines were stopped. Cries could be heard clearly, coming from the land. Captain Jones sent out crew in two boats and fired off rockets and blue lights to illuminate the area. They picked up the three survivors who were in the long boat from Eric the Red. Two men were picked up out of the water, one being the owner’s son who was clinging to floating kerosene boxes. At daylight, the Dawn then rescued the 18 men from the floating portion of the deckhouse, which had drifted about 4 miles from where they’d struck the reef. Shortly after the rescue the deckhouse drifted onto breakers and was thrown onto rocks at Point Franklin, about 2 miles east of Cape Otway. Captain Jones had signalled to Cape Otway lighthouse the number of the Eric the Red and later signalled that there was a wreck at Otway Reef but there was no response from the lighthouse. The captain and crew of the Dawn spent several more hours searching unsuccessfully for more survivors, even going back as far as Apollo Bay. On board the Dawn the exhausted men received care and attention to their needs and wants, including much-needed clothing. Captain Allen was amongst the 23 battered and injured men who were rescued and later taken to Warrnambool for care. Warrnambool’s mayor and town clerk offered them all hospitality, the three badly injured men going to the hospital for care and others to the Olive Branch Hotel, then on to Melbourne. Captain Allen’s leg injury prevented him from going ashore so he and three other men travelled on the Dawn to Portland. They were met by the mayor who also treated them all with great kindness. Captain Allen took the train back to Melbourne then returned to America. Those saved were Captain Zaccheus Allen (or Jacques Allen), J. Darcy chief mate, James F. Lawrence second mate, Ned Sewall third mate and owner’s son, John French the cook, C. Nelson sail maker, Clarence W. New passenger, and able seamen Dickenson, J. Black, Denis White, C. Herbert, C. Thompson, A. Brooks, D. Wilson, J. Ellis, Q. Thompson, C. Newman, W. Paul, J. Davis, M. Horenleng, J. Ogduff, T. W. Drew, R. Richardson. Four men had lost their lives; three of them were crew (Gus Dahlgreen ship’s carpenter, H. Ackman steward, who drowned in his cabin, and George Silver seaman) and one a passenger (J. B. Vaughan). The body of one of them had been found washed up at Cape Otway and was later buried in the lighthouse cemetery; another body was seen on an inaccessible ledge. Twelve months later the second mate James F. Lawrence, from Nova Scotia passed away in the Warrnambool district; an obituary was displayed in the local paper. Neither the ship nor its cargo was insured. The ship was worth about £15,000 and the cargo was reportedly worth £40,000; only about £2,000 worth had been recovered. Cargo and wreckage washed up at Apollo Bay, Peterborough, Port Campbell, Western Port and according to some reports, even as far away as the beaches of New Zealand. The day after the wreck the government steamship Pharos was sent from Queenscliff to clear the shipping lanes of debris that could be a danger to ships. The large midship deckhouse of the ship was found floating in a calm sea near Henty Reef. Items such as an American chair, a ladder and a nest of boxes were all on top of the deckhouse. As it was so large and could cause danger to passing ships, Captain Payne had the deckhouse towed towards the shore just beyond Apollo Bay. Between Apollo Bay and Blanket Bay, the captain and crew of Pharos collected Wheeler and Wilson sewing machines, nests of boxes, bottles of Bristol’s sarsaparilla, pieces of common American chairs, axe handles, a Wheelers’ Patent thresher and a sailor’s trunk with the words “A. James” on the front. A ship’s flag-board bearing the words “Eric the Red” was found on the deckhouse; finally, those on board the Pharos had the name of the wrecked vessel. During this operation, Pharos came across the government steamer Victoria and also a steamer S.S. Otway, both of which were picking up flotsam and wreckage. A whole side of the hull and three large pieces of the other side of the hull, with some of the copper sheathing stripped off, had floated onto Point Franklin. Some of the vessels' yards and portions of her masts were on shore. The pieces of canvas attached to the yards and masts confirmed that the vessel had been under sail. The beach there was piled with debris several feet high. There were many cases of Diamond Oil kerosene, labelled R. W. Cameron and Company, New York. There were also many large planks of red pine, portions of a small white boat and a large, well-used oar. Other items found ashore included sewing machines (some consigned to ‘Long and Co.”) and notions, axe and scythe handles, hay forks, wooden pegs, rolls of wire (some branded “T.S” and Co, Melbourne”), kegs of nails branded “A.T. and Co.” from the factory of A. Field and Son, Taunton, Massachusetts, croquet balls and mallets, buggy fittings, rat traps, perfumery, cutlery and Douay Bibles, clocks, bicycles, chairs, a fly wheel, a cooking stove, timber, boxes, pianos, organs and a ladder. (Wooden clothes pegs drifted in for many years). There seemed to be no personal luggage or clothing. The Pharos encountered a long line, about one and a half miles, of f locating wreckage about 10 miles off land, southeast of Cape Otway, and in some places about 40 feet wide. It seemed that more than half of it was from Eric the Red. The ship’s crew rescued 3 cases that were for the Melbourne Exhibition and other items from amongst the debris. There were also chairs, doors, musical instruments, washing boards, nests of trunks and flycatchers floating in the sea. Most of the goods were saturated and smelt of kerosene. A section of the hull lies buried in the sand at Parker River Beach. An anchor with a chain is embedded in the rocks east of Point Franklin and a second anchor, thought to be from Eric the Red, is on display at the Cape Otway light station. (There is a photograph of a life belt on the verandah of Rivernook Guest House in Princetown with the words “ERIC THE RED / BOSTON”. This is rather a mystery as the ship was registered in Bath, Maine, USA.) Parts of the ship are on display at Bimbi Park Caravan Park and at Apollo Bay Museum. Flagstaff Hill Maritime Village also has part of the helm (steering wheel), a carved wooden sword (said to be the only remaining portion of the ship’s figurehead; further research is currently being carried out), a door, a metal rod, samples of wood and this medal awarded for the rescue of the crew. Much of the wreckage was recovered by the local residents before police and other authorities arrived at the scene. Looters went to great effort to salvage goods, being lowered down the high cliff faces to areas with little or no beach to collect items from the wreckage, their mates above watching out for dangerous waves. A Tasmanian newspaper reports on a court case in Stawell, Victoria, noting a man who was caught 2 months later selling tobacco from the wreckage of Eric the Red. Some of the silverware is still treasured by descendants of Mr Mackenzie who was given these items by officials for his help in securing the cargo. The gifts included silver coffee and teapots, half a dozen silver serviette rings and two sewing machines. A Mr G.W. Black has in his possession a medal and a purse that was awarded to his father, another Dawn crew member who was part of the rescue team. The medal is similarly inscribed and named “To John Black ….” (from “Shipwrecks” by Margaret E. Mackenzie, 3rd edition, published 1964). The wreck and cargo were sold to a Melbourne man who salvaged a quantity of high-quality tobacco and dental and surgical instruments. Timbers from the ship were salvaged and used in the construction of houses and shed around Apollo Bay, including a guest house, Milford House (since burnt down in bushfires), which had furniture, fittings and timber on the dining room floor from the ship. A 39.7-foot-long trading ketch, the Apollo, was also built from its timbers by Mr Burgess in 1883 and subsequently used in Tasmanian waters. It was the first attempt at shipbuilding in Apollo Bay. In 1881 a red light was installed about 300 feet above sea level at the base of the Cape Otway lighthouse to warn ships when they were too close to shore; It would not be visible unless a ship came within 3 miles from it. This has proved to be an effective warning. Nelson Johnson married Elizabeth Howard in 1881 and they had 10 children, the father of the medal’s donor being the youngest. They lived in 13 Tichbourne Place, South Melbourne, Victoria. Nelson died in 1922 in Fitzroy Victoria, age 66. In 1895 the owners of the S.S. Dawn, the Portland and Belfast Steam Navigation Co., wound up and sold out to the Belfast Company who took over the Dawn for one year before selling her to Howard Smith. She was condemned and sunk in Suva in 1928. The State Library of Victoria has a lithograph in its collection depicting the steamer Dawn and the shipwrecked men, titled. "Wreck of the ship Eric the Red, Cape Otway: rescue of the crew by the Dawn". The medal for bravery is associated with the ship the “The Eric the Red which is historically significant as one of Victoria's major 19th century shipwrecks. (Heritage Victoria Eric the Red; HV ID 239) The wreck led to the provision of an additional warning light placed below the Cape Otway lighthouse to alert mariners to the location of Otway Reef. The site is archaeologically significant for its remains of a large and varied cargo and ship's fittings being scattered over a wide area. The site is recreationally and aesthetically significant as it is one of the few sites along this coast where tourists can visit identifiable remains of a large wooden shipwreck, and for its location set against the background of Cape Otway, Bass Strait, and the Cape Otway lighthouse.“ (Victorian Heritage Database Registration Number S239, Official Number 8745 USA) This medal was awarded to Nelson Johnson by the U.S. President for bravery in the rescue of the Eric the Red crew. The obverse of the round, solid silver medal has an inscription around the rim. In the centre of the medal is the head of Liberty to the left, hair in a bun, with a sprig of leaves in the top left of a band around her head. There is a 6-pointed star below the portrait, between the start and end of the inscription. There are two raised areas on the rim, horizontally opposite each other, from the edge to just below the lettering and coinciding with the holes drilled in the edge. Slightly right of the top is a round indentation in the rim. The reverse has a wreath of leaves as a border, joined at the bottom by a ribbon bow. In the centre of the medal is an inscription, decorated with 3-pronged design and dots. The edge is plain with 2 small, rough and uneven holes horizontally opposite to each other, as though they had been used for mounting the medal at some stage. The medal has a matte finish on both sides and is slightly pitted and scratched.“PRESENTED BY THE PRESIDENT OF THE UNITED STATES” around the perimeter of the obverse of the medal. “TO / Nelson Johnson, / seaman of the British, / str “Dawn”, for bravery, / at risk of life, / in / rescuing the crew of / the American Ship / “Eric the Red.” “M” on obverse, truncation of the portraitwarrnambool, flagstaff hill, flagstaff hill maritime village, maritime museum, shipwreck coast, great ocean road, shipwreck artefact, eric the red, zaccheus allen, sewall, 1880, melbourne exhibition, cape otway, otway reef, victorian shipwreck, medal, nelson johnson, neils frederick yohnson, s.s. dawn, george morgan, hero

GEOFFREY RICARDO Born 1964, 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 limited edition print This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.art, artwork, geoffrey ricardo, printmaking, etching, aquatint

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

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 coloured aquatint on paper. Donated through the Australian Government's Cultural Gifts Programme by Katherine Littlewood.Under image in pencil ' T/P "Monkeyshine" Ricardo 2000'geoffrey ricardo, framed print

GEOFFREY RICARDO (1964- ) Born 1964, 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 coloured aquatint on paperUnder image in pencil '4/20 "Dummy Throw" Ricardo 2000' geoffrey ricardo, framed print, printmaking, available, available framed, sport

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 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 coloured aquatint on paperunder image in pencil 'G.P. Ricardo '97'geoffrey ricardo, framed print, printmaking

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 coloured etchingon paper. Donated through the Australian Government's Cultural Gifts Programme by Katherine Littlewood.Under image in pencil ' state proof ', "personal best" Ricardo 2000'. From Strange Games series. geoffrey ricardo, printmaking, framed print, available framed, available, sport

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 intaglio print from Geoffrey Ricardo's 'A Dark City, A Narrative' suite'. Donated through the Australian Government's Cultural Gifts Programme by Katherine Littlewood.Under image in pencil ' artists proof "The Urban Heart" Ricardo 99,geoffrey ricardo, printmaking, framed print, intaglio

GEOFFREY RICARDO Born 1964, 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 intaglio print from Geoffrey Ricardo's 'A Dark City, A Narrative' suite. Donated through the Australian Government's Cultural Gifts Programme by Katherine Littlewood.Under image in pencil '7/25 "Love street" Ricardo 99'geoffrey ricardo, printmaking, artworks, artist

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 2012Etching with aquatint on paper depicting a group of people pulling along a giant inflatable cow. Donated through the Australian Government's Cultural Gifts Programme by Katherine Littlewood.Lower left "State Proof" Lower right "Ricardo '97"geoffrey ricardo, printmaking, balloon, cow

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 coloured aquatint.geoffrey ricardo, printmaking

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 coloured etching.geoffrey ricardo, printmaking, available, lobster

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 2012 Framed limited edition coloured print showing two men in dinosaur masks, leaning over and heading butting each other. Edition is limited to 30, print is number four.On the left, between print and matting: 4/30 "Naturalists" On the right, between print and matting: signed Ricardo ' 92 On front upper right hand corner pale dark red stain on glass On back, left hand corner, red ink finger prints near where it appears that the backing board has been torn to remove the previous tape. On back, both vertical sides has a number of dents towards the outside of it near the tape. art, artwork, print, limited edition, geoffrey, ricardo, fantasy, colour, available, sport

Seems that Tom pays Ned's wages. Numerous bores were sunk , some were opened out and driven in the direction of the reef. Numerous Cross cuts were also made from the main tunnel.Unless otherwise stated the letters are from Dad (Richard Squire) to Tom, Hazel & Kiddies all. .1) Handwritten two page letter from Richard Squire to 'Tom & Hazel & little men' with information regarding the Leigh River Tunnel at Mount Mercer, dated 6/8/28. .2) Handwritten three page letter with information regarding mining operations dated 27.6.29. .3) Handwritten three page letter from Richard Squire to 'Tom & Hazel & Flock' with queries regarding the health of one of their children, other personal information and information regarding mining operations dated 18/7/29. .4) Handwritten one page letter from Richard Squire to 'Tom' dated 20/7/29, regarding the enclosed handwritten receipt with stamp for Call of two shares costing 8 pounds 7 shillings and 2 pence in Leigh River Tunnel Syndicate from Richard Squire dated 13th July 1927. .5) Handwritten two page letter from Richard Squire to 'Tom & Hazel & Pinchers' regarding his health, other personal information and information about the four page report of position of work at 'Leigh River Tunnel' enclosed. The letter is dated 29/11/29 and the report dated Nov 28th 29. .6) Handwritten two page letter with personal information and a suggestion that Tom learn to swim dated 13th Jan 30. .7) Handwritten two page report by Richard Squire regarding Leigh River Tunnel Syndicate plus a one page 'Rough Section' drawing of the tunnel dated 29th April 1930. .8) Typed one page report by Richard Squire regarding Leigh River Tunnel Syndicate and the findings of a new shaft dated 9th December 30. .9) Handwritten one page letter by Richard Squire to 'Tom' regarding mining operations and four handwritten receipts for payment of Calls from Richard Squire and Mr H McLeod and Mr E McLeod with stamps. .10) Handwritten two page letter regarding a meeting he had with the Secretary for Mines, Mr Whitehead dated 22 Feb 1931. .11) Handwritten two page letter regarding the difficulties in financing the mining operation occasioned by the interference of the government department dated 12th Mar 31. .12) Handwritten one page letter regarding the delay in the submission of his letter to the Gold Committee and with details of plans he had sent to Tom separately, dated 1st April 31. .13) Handwritten two page letter by Richard Squire to 'Tom' regarding personal matters including his health and also information regarding Tunnel work, dated May 11th 31. .14) Handwritten two page letter regarding the mine work, how his new employee, Ned, was going and also his health, dated Thur 21st May 31. .15) Handwritten two page letter regarding the Tunnel progress and financial matters dated Tue 26th May. .16) Handwritten three page letter regarding the Tunnel progress dated Thur June 11th. .17) Handwritten two page letter regarding the Tunnel progress, an issue relating to Ned's taxation assessment and his own health, dated 28th June 31. .18) Handwritten three page letter with detailed information on the Tunnel progress and information regarding his health, dated Thur July 23rd. .19) Handwritten two page letter regarding the Tunnel progress and some personal greetings, dated Thur July 30th 31. .20) Handwritten two page letter regarding the Tunnel progress, an agreement with Messrs Read & Peers? and a renaming of a Prospect as Lawaluk instead of Mount Mercer, dated Sun 2nd Aug 31. .21) Handwritten three page letter regarding the Tunnel progress, the lease agreement on Mr Read's property at Mount Mercer which he had been unable to pay and a parsley root remedy which a Ballarat Chinese herbalist had prescribed for his catarrh and had been effective, dated Thur 13th Aug 31. .22) Handwritten two page letter regarding the efficacy of the parsley (root) water in healing his catarrh and detailed progress report on the Tunnel which showed a little gold in the uncovered 'wash', dated Mon 24th Aug. .23) Handwritten three page letter regarding the progress of the Tunnel and one of the bores sunk also mentions his health, dated Mon Sept 7th. .24) Handwritten three page letter regarding the Tunnel progress in detail and an account of his illness, dated Thur 24th Sept. .25) Handwritten two page letter regarding the Tunnel progress in detail and his health which had been poor, dated Thur Oct 8th 31. .26) Handwritten four page letter regarding the Tunnel progress in detail, dated Thur Oct 22. .27) Handwritten four page letter regarding a detailed report of the Tunnel progress including the news of some show of gold and other personal matters including advising Tom not to drive there when he would have to drive home in the dark because of the accidents caused by 'Boosy Drivers', dated Thur Nov 19th 31. .28) Handwritten two page letter regarding the continued promising Tunnel progress, dated Thur Nov 26th. .29) Handwritten two page letter regarding Tunnel progress and personal matters relating to the coming Christmas visit, dated Thur Dec 3rd 1931. .30) Handwritten two page letter regarding Tunnel progress and personal matters regarding the impending visit by the family, dated Sun Dec 6th 31. .31) Handwritten two page letter regarding his health and the treatment proscribed by a Chinese herbalist and also some information about his expenses, dated Sunday 25/1/32. .32) Handwritten four page letter regarding Tunnel progress including a small diagram and further information on his health, dated Thur 25th Feb 32. .33) Handwritten three page letter regarding Tunnel progress and some personal and family information, dated Mon 21st 32. .34) Handwritten one page letter regarding some personal matters and information about the Tunnel progress, dated Thus 31st Mar. .35) Handwritten two page letter regarding detailed information about the Tunnel as well as a one page diagram of the Drives being excavated, dated Sun night 3rd April. .36). Handwritten three page letter from his home in Prahran regarding a mixture of personal matters and matters relating to the Tunnel, dated 18/4/32. .37) Handwritten one page letter regarding enclosed three shares which were to be placed as he was very short of funds, dated 19-4-32. .38) Handwritten two page letter from his home in Prahran regarding work carried out by Ned at the Tunnel and family matters, dated 6/5/32. .39) Handwritten one page letter from his home in Prahran regarding work carried out by Ned at the Tunnel, dated 10/5/32 plus an attached one page letter written by Ned (E. Woodlook) to 'Mr Squire' regarding regarding Tunnel progress, dated Saturday. .40) Handwritten two page letter from his home in Prahran regarding Tunnel progress and some personal matters, dated 27/5/32 plus an attached one page letter written by Ned to 'Mr Squire' regarding Tunnel progress and with the information that the rats were bad in Richard's hut, dated Friday. .41) Handwritten two page letter from his home in Prahran regarding Tunnel progress, dated 3/6/32 plus a two page letter written by E.Woodlock to 'Mr Squire' regarding Tunnel progress as well as person matters regarding his health, dated Friday (27th May 32 written in pencil by Richard). .42) Handwritten three page letter from his home in Prahran regarding tunnel progress and financial matters, also detailed information about the Madison's Tunnel, dated 8/6/32, plus a one page letter from E. Woodlock (Ned) to 'Mr Squire' regarding Tunnel progress dated Saturday (4 June, 32). .43) Handwritten three page letter from his home Prahran regarding a sketch he had made of Madison's Tunnel and the Mercer Shaft (not present) and the similarity of other mines with barely Payable gold, dated 13/6/32. plus a one page letter from E. Woodlock to 'Mr Squire' regarding Tunnel progress dated Saturday. .44) Handwritten one page letter by Richard Squire to 'Tom' from his home in Prahran with some personal information as well as the hope to return to Mt Mercer as he felt he was now well, not dated, plus a two page letter from E. Woodlock to 'Mr Squire' regarding duty stamps sent and Tunnel progress dated Saturday. .45) Handwritten two page letter from his home in Prahran regarding the progress of the Tunnel, dated 21/6/32, plus a one page letter from E. Woodlock regarding the progress of the Tunnel work, dated Monday (20/6/32). .46) Handwritten three page letter from his home in Prahran regarding the price of gold and the effect that mining Payable gold in the Madison Tunnel could have, dated 27/6/32. .47) Handwritten three page letter by Richard Squire to Tom, Hazel & Kiddies all' from his home in Prahran regarding his thoughts on the Madison Tunnel at Piggoreet, dated Mon 4th July 32, plus two one page letters by E Woodlock to 'Mr Squire' regarding the Tunnel work and more personal things, dated Wednesday (June 29th 32) and Saturday (July 2nd). .48) Handwritten two page letter from his home in Prahran regarding his intention to return to the diggings in a small car procured for his use and his intention to re-peg the Leigh River Lease in another name, dated Sun 17/7/32, plus a two page and a one page letter by E Woodlock to 'Mr Squire' regarding progress at the Tunnel dated Thursday (7th July) and Tuesday (12th July 32). .49) Handwritten one page letter by E Woodlock to Mr Squire detailing the tunnel work and other work related details dated Saturday (16th July 32), plus a one page letter by 'Dad' (Richard Squire) to 'Tom, Hazel & Kiddies all' regarding the letter sent by Ned (E Woodlock) and the ongoing work. He also talks about the health of Mam, his wife, dated 19th July 32. .50) Handwritten one page letter regarding the work at the tunnel and with the information that he was to finally return to the mine, dated 22/7/32, plus a one page letter by E Woodlock to Mr Squire about the ongoing work, dated Wednesday (20th July). .51) Handwritten two page letter written from Mt Mercer, regarding the works in the Mt Mercer Tunnel (mentioning South Cockloft). He also details that the drive from town (Melbourne) took 4 gallons of petrol, dated Thur 28th July 32. .52) Handwritten 3 page letter detailing the work carried on at the tunnels and with the information that underground gas had halted work temporarily. He was keen that Tom should visit one weekend soon, dated Sat 6th Aug 1932. .53) Handwritten four page letter detailing the work and new bore holes near Madisons Tunnel. The No 1 tunnel work had to be suspended due to continued gas filling the diggings every time the barometric pressure dropped. On the last page was a rough sketch of the area which was being worked, dated 19th Aug 32. .54) Handwritten two page letter regarding Tom's proposed visit to the site and some plans that he should bring with him. He also spoke of a pup that he was housing till Tom came, dated 21/8/32. .55) Handwritten one page letter encouraging Tom to bring skid chains for his vehicle as the road was muddy when he came on the weekend. He gave a brief account of the work and of the pup's progress, dated 25/8/32 .56) Handwritten three page letter regarding the weather and the relief he felt at knowing Tom and his companions had arrived safely home. He also thanked Tom for the cheques for Ned and detailed a little of the work at the tunnel and the need for more explosives as well as the fact that they had had to put a lock on the door of the hut to stop intruders, dated Sun Sept 4th 32. .57) Handwritten one page letter regarding the ongoing work at the tunnel, dated Thur Sept 8/32. .58) Handwritten two page letter written from Prahran, regarding his trip home, work at the tunnel and with information about the enclosed receipts, dated 16/9/32. Also included was a one page letter from E Woodlock to Mr Squire regarding the work at the tunnel, dated Wednesday. .59) Handwritten one page letter from Dad (Richard Squire) to 'Tom, Hazel & Kiddies all' written from Mt Mercer, regarding the work at the tunnel and the effect that 2 inches of rain had on the work, dated Wed Sept 20th 32. .60) Handwritten two page letter regarding the work at the tunnel and with the information that Mr Read who owned the property where the tunnel was located, had a serious accident in Melbourne, dated Thur 29th Sept 30 (this 1930 date is a mistake as the information contained in this letter follows on from his previous letter dated 20th Sept 32). .61) Handwritten one page letter regarding the work at the tunnel with the encouraging information that flecks of gold were found in about half a dish (mining pan), dated Thur Sept 22nd. .62) Handwritten two page letter regarding the progress at the tunnel and the difficulties of the work and thanks for Ned's cheque. Also mentioned was the information that Mr Read had a fractured pelvis and would be in hospital for two months, so Mrs Read with her father was looking after the shearing, dated Thur 6th Oct. .63) Handwritten two page letter with a third page of a diagram of a cross section of the Leigh River Tunnel, including the new tunnel and Madisons tunnel, with detailed description of the work in the tunnel, dated Sat 8th Oct. .64) Handwritten two page letter written from Prahran, giving detailed information of the tunnel and the expected outcome of the work. He also commented that he was to visit Mr Read in hospital, dated 14/10/32. .65) Handwritten two page letter written from Mt Mercer, giving information about the work in the tunnel and his visit to Mr Read, dated Wed 19th Oct. Enclosed also was a one page letter from E Woodlock to Mr Squire giving an account of his work in the tunnel, dated Thursday. .66) Handwritten one page letter regarding the work in the tunnel, dated Sun Oct 23/32. .67) Handwritten two page letter from Dad & Jim (Richard Squire) to 'Tom, Hazel & Kiddies all' regarding the receipt of Ned's wages cheque and the insurance of Ned's person as well as a detailed description of the tunnel and its relationship to Madisons Tunnel. He also gives some indication of his health, dated Tue Nov 1st 32. .68) Handwritten on page letter written from Prahran, giving a small amount of information about the tunnel work as well as his visit to see Mr Read and some personal information, undated. Enclosed also is a one page letter by E Woodlock to Mr Squire about the work in the tunnel, dated Thursday. .69) Handwritten one page letter with little information, dated 11/11/32. Also enclosed is a one page letter from E Woodlock to Mr Squire about the work in the tunnel, dated Thursday. .70) Handwritten three page letter with detailed information about the tunnel work and an aside about Jim's help and the he suffered from "Imaginitis imagines he sees a speck of gold in every bit of gravel met", dated 10/11/32. .71) Handwritten two page letter with detailed information on the work as their tunnel crossed with the old Madison Tunnel, dated Thur 17th Nov. .72) Handwritten three page letter detailing information on an application for a 500 acre lease which was posted at the Grenville Post Office and how it would impact on their lease. The upshot was that their leases would need to be re-pegged and the fee to publish a Notice of Application on their Leigh River claim was necessary to pay and he wondered if one of their investors would pay the 10 pounds necessary to secure the claim. He also spoke of perhaps forming a Company to put a plant on their Mt Mercer shaft as he felt that the gold would be of a payable quantity, dated Sunday 20th Nov, Also included was a note written by Ned (Edward Woodlock) who had copied the Notice of Application. .73) Handwritten two page letter detailing information found in Madison's Tunnel as it related to their own tunnels, particularly No 2 tunnel and how far he felt he would need to tunnel to reach an improvement in the 'wash', dated Thur 24th Nov. .74) Handwritten one page letter thanking him for the cheque the investor, Mr Wilkinson had provided for the Notice of Application for the Mt Mercer old Lease of 828 acres. He also gave some information about how it was originally farm labourers who only worked this lease and only when they had no other work. He also gave some personal information about Mam's birthday, dated Mon Nov 28th 32. .75) Handwritten two page letter by Dad (Richard Squire) to 'Tom, Hazel & Kiddies 3' written from Prahran, telling them that they had received Ned Cheque and that that Jim and He had come home. He also detailed an incident that Jim had had with a tyre blowout whilst on his way to get explosives and post the Notice of Application in the Warden's Office in Ballarat. The stub axle had bent and Jim had to ride a bike to get a new one and after changing the inner tube of the tyre they were able to drive back to Melbourne and were in the process on having the tyre re-treaded, dated 6/12/32. .76) Handwritten one page letter explaining how he and Mam had contracted colds and that his kidneys had some of their of trouble. He hoped to return to Mt Mercer on the weekend, dated 18th Jan 33. Also included was a handwritten two page letter by E Woodlock to Mr Squire giving information about the tunnel work, an injury to his hand and the fact that he had only 3 picks that were any good. He also asked for some vegetables, tomatoes and bacon when Richard returned, dated Saturday. .77) Handwritten one page letter written from Mt Mercer, giving information about the tunnel work, now 97'6" in and how he had expected to have already come upon the Madison's gold bearing gravel wash, dated Wed 25th Jan 33. .78) Handwritten two page letter with detailed information about how the tunnel had cut across a second Madison's tunnel and the prospects in this tunnel looked more promising. He also stated that he had not been well the last few days, dated Frid 27th 33 .79) Handwritten one page letter with information about the shotty gold found and the tunnel work and that he would test the value of the wash where the gold was found, dated Mon 30th Jan. .80) Handwritten short note of one page giving sketchy information about the tunnel work, dated Tue 31st Jan 33. .81) Handwritten two page letter giving information about his dealings with the Secretary for Mines relating to the fact that because the application for lease was identical to the old lease, they therefore should not need to pay for a full survey costing 7 pounds, just an inspection. He also detailed the workings and asks for more parsley roots to be sent to him, dated Thur Feb 9th 33. .82) Handwritten one page letter stating that he had received Ned's cheque and information about the workings, the coarse gold found and the fact they were going home for fresh food, dated Tue 14th 33. .83) Handwritten two page letter giving detailed information on the progress of the tunnelling as well as the information that Len and Max had come to visit the site and that Len had brought with him Keating, who he detested and pondered the reason for his bringing the man. As they were leaving Max "told Ned he thought they were going down to Ice Mam". Richard was worried about paying the 7 pounds ten shillings for the Department of Mines survey and was loath to put in another 20 pounds for another share of the mine to pay for it. He gave his thanks for a parcel of parsley he'd received , dated Tue 21st Feb 33. .84) Handwritten two page letter written saying that he had received Ned's cheque (for wages) and giving detailed information on the progress and for the need to timber the drive and have the bottom stoped up. He had no timber or laths left and was concerned about the cost necessary to satisfy the Mines Department. He mentions the possibility of insolvency. Fine gold had been found but not like the Madison's tunnel, dated Tue 28th Feb 33. .85) Handwritten two page letter written giving detailed information of the progress in the tunnel and with the expectation that they would soon meet the same wash which was in Madison's Tunnel. He also personal information about his health. the parsley roots received and the apples which Jim had "burgled", dated Sun 5th Mar 33. .86) Handwritten four page letter by with a very detailed account of the progress of the tunnelling and the reason why the expected intersection with the Madison wash did not occur, but with the hope that this intersection would soon occur, then they would be able to meet expenses. He also talked about not being able to pay for the lease but had the hope they they would not be too rigid in their case. He added some personal information about Jim not having the makings of a miner, catching rabbits "for the pot" and the fact that Mr Read was so much better that he was able to ride his horse, dated Sat 11th Mar 33. .87) Handwritten one page letter written from Prahran, acknowledging the receipt of Ned's cheque, a note about the work at the tunnel and some personal information, dated 21/3/33. .88) Handwritten one page letter written from Mt Mercer, saying that there was little change in the tunnel but that he was would open a cross cut north, dated Thur 23 March 33. .89) Handwritten note of a half page telling them that he had cross cut the tunnel, dated Sat 25th Mar. .90) Handwritten one page letter with progress of the tunnelling and where it is in relation to Madison's Tunnel, dated Thur 30th Mar 33. .91) Handwritten three page letter with the first part of the letter talking about the personal and financial worries he and his family had with travelling and mining expenses as well as Ned's wages which could not have been managed without Judy's little car, Jim's help and the payment of Ned's wages by Tom. He went on to give detailed information of the tunnelling and then talked about a letter received by the Department of Mines regarding the non payment of the lease and that a Notice of Abandonment would be published if not paid. Lastly he talked about the struggle he had had with this process and that it was only because of Tom's help that he had been able to continue this far, dated Sun 2/4/33. .92) A one page letter with information about the progress as well as the information that he had not heard from the Mines Department regarding the lease, and the the 1000 sq ft Miners Right Claim was secure, dated Thur 6th April. .93) A three page letter with detailed information about the work in the tunnel and also detailed explanation of the leases he has pegged and repegged. He also thanked Tom for paying the balance which was owed to the Department and informed Tom that he was going home, dated Tues 11th April 33. .94) A four page letter written from Prahran, thanking Tom for Ned's cheque and with information about the work still being carried on by Ned. He also talked about the pegging of the Mt Mercer claim and the cost of the advertisement and application and survey fees to secure the site as well as his opinion of the probable value of the gold from this site. He also stated that he really needed more investment from those who had initially invested with him or from new investors, dated 17/4/33. Included was a one page letter from Edward Woodlock (Ned) to Mr Squire regarding the work he was carrying out at the tunnel, dated Saturday. .95) A three page letterwritten from Mt Mercer, regarding the work in the tunnel and the quality of the gold found and the direction they will take. He also stated that he was posting letters to the original investors to see if they would contribute to the cost of the lease and also talked about another man who had a Notice of Application posted at Grenville for the water rights for a 25 miles long area and a dam. His Capital is 300 pounds and the supposition is that he wants to 'unwater' the leads, dated Frid 20th April. .96) A one page letter regarding the continued work in the tunnel and how his suppositions seemed to be correct, dated Thur 27th April 33. .97) A three page letter thanking Tom for Ned's cheque of 6 pounds 7 shillings and 6 pence. He also gave detailed information about the tunneling and the type of ground found and his next intentions. He also gave further information about the Notice of Application at Grenville which was posted by B Ryan, Agent for Western Deep Leads Coy Limited for 6000 acres, dated Sun 30th April 33. As well is a note detailing the information copied from the Notice. .98) A two page handwritten letter detailing the work being carried out as well as a complaint that he had not heard from the men he had written to, dated Thur 4th May 33. .99) A one page handwritten letter regarding the tunnel work and informing Tom that the gold found is shotty, dated Sat 6th May 33. .100) A four page handwritten letter written from Prahran, detailing the tunnel work and informing that the gold prospects were better in no.1 cross cut south and there was also payable fair gold where they were currently working, if worked in bulk. He also talked about the possibility of new investors as the old ones had not responded to his letter and the necessity of securing the leases, dated 11th May 1933. .101) A one page handwritten letter by E. Woodlock (Ned) to Mr Squire regarding the work going on, dated Thursday. .102) A six page handwritten letter written from Prahran historically detailing the acquisition of the two leases at Mt Mercer, 35 years earlier, with M C Donnely/Donney and Jas Clements, including Madisons. He goes on to clarify Tom's suggestion regarding the Leases and the Companies to be floated, then details the the shafts, bores, tunnels and Deep Leads held in the leases and then goes on to say what his next steps would be, dated 13th May 33. .103) A two page letter written from Mt Mercer detailing the continued work in the tunnel with the added information that because of the incline it was taking two men to push the truck up the tunnel. Richard also told of the need to take more parsley water for his condition, dated Thur 18th 33. .104) A three page letter with a very detailed description of the work in the tunnel. Richard also told that he had run out of metal rails and was having to use timber as a substitute. He was also to re-peg the North and South Leases in the morning, dated Sun 21st May 33. .105) A two page letter detailing the work in the tunnel and saying that there was a hundred feet of rail locked in by a fall in the No.2 Tunnel and he was hoping to get them out to replace the wooden rails as they made for heavy work on the inclines. He also said that he had a letter from the Department telling him to communicate with the Surveyor in Ballarat, dated Wed 24th May. .106) A three page letter acknowledging Ned's cheque as well as information about the work in the tunnel, including that he had been able to retrieve 45 feet of rail and would get more when needed. He said he was pleased that Tom and Mr Wilkinson were making a trip on Saturday to see him. He talked of the weather and the fact that the bread was a week old, so to bring enough to last till the Monday. Among other things he also spoke of Tom revising the Plans and also having a Share book printed and the name was to be the Ballarat Deep Leads Extension for which there could possibly be 3 Companies, dated Sun 28th May. .107) A one page letter with information about the work in the tunnel and also a weather update and the best way to come, dated Wed 31 May 33. .108) A two page letter written from Prahran, explaining a visit to the Leigh River Shaft to get whim rope, whip wheels and sundry items. He shifted some equipment and built a new forge and was to fix and mount a windlass and rope to enable Ned to get the truck up the incline of the tunnel. He also spoke of the work being undertake by Ned then when on to more personal correspondence about a birthday present for one of Tom's boys, dated 9/6/33. .109) A two page letter acknowledging receipt of the 'Prospectus of the Ballarat Deep Leads Extension Syndicate' and 'Share Certificate'. The No.1 Lease was in Ned's name and the No.2 Lease was in Jim's name to avoid inquisitive interest. Jim logged a Notice of Application and paid the fees. Richard acknowledged receipt of Ned's cheque and asked for 5 pounds as his finances were 'rather tight', dated 14/6/33. Included was a 1 page letter from Ned to Mr Squire regarding the work in the mine, dated Saturday. .110) A one page letter written from Mt Mercer giving information about what was happening in the new x cut N near the mouth of the tunnel, dated Friday 16/6/33. .111) A one page letter telling about the work and that he had fixed an old shed of Mr Reads for the forge. Mr Read and Mr Cameron visited and Richard was hopeful that Mr Cameron, the owner of the land in the North Lease would be easy as regards an agreement, dated June 22/33. .112) A two page letter which talked about his health, the mine, the local J.P. who had lost his eye in a shearing accident and the surveyors visit, He also spoke about contacting the Gold Mines Ltd and the Berry Leads Company, dated Tue 27th 33. Also included was a letter to the Mines Department and a receipt from the Mines Department for the sum of 7 pounds 10 shillings as well as the Lease Applications from the newspaper dated June 13th 1933. .113) A two page letter complaining of the charge made by the Mines Department for a Surveyors Inspection. He also wrote of trying to set up a float for the mine which he would do when he returned home.He also explained the current findings at the mine, dated Sun 2nd July 1933. .114) A one page note written from Prahran informing Tom that he had not yet heard from Gold Mines Ltd and also that there was a hitch with the lease on the house, but this was to hopefully be fixed the following day. He also spoke of Tom's trip home (completed in tow), dated 18/7/33. .115) A two page letter recounting some of the difficulties they were having with the new owners of the house they leased in Prahran. He also spoke of the fact that the Mines Department had requested another 10 pounds although they had not yet completed the survey on either mine, dated 21/7/1933. Also included was a one page letter from E. Woodlock (Ned) to Mr Squire about the workings, dated Tuesday and a letter from the Gold Mines of Australia Limited saying that the information he had supplied was now with their engineers, dated 20th July, 1933. .116) A three page letter written from Armidale saying that Mam (his wife) was fretting with the move to this house. He also told of the rejection by the Gold Mines of Australia Limited of his proposal to invest in his Mt Merser Mine, stating that he believed that Jim Clements who had been the manager when the mine had previously been opened, had most likely "thrown all the cold water he could" on the proposal. He spoke at length about how this man had run the mine into the ground and his own involvement with the winding up of the company. He went on to say that he would approach Ryall to see if he was interested in investing, dated 28/7/33. Included was the letter from Gold Mines of Australia Limited, dated 26th July, 1933. .117) A two page letter written from Prahran telling of the move to another house where Mam was quite settled. He also wrote of the work Ned was carrying out at the mine as well as personal and family news. He wrote that as he had not heard from Ryall, he would visit him the following day, dated 6/8/33. Also included was a two page letter from E Woodlock to Mr Squire giving detailed information of the progress at the tunnel, as well as asking for a new pair of boots as the ground was so wet his were letting in the water, dated Thursday. .118) A two page letter explaining about a letter he received from Mr Cameron who believed he had found gold as well as some personal information and his health, dated 8/8/33. Also included was a one page letter from Neil W Cameron to R B Squire telling about some specks of gold he'd found in a post hole, dated July 31st 33. Thirdly was a one page letter from Ned to Mr Squire explaining the work he was doing in the tunnel, dated Saturday. .119) A one page note saying that he did not like the enclosed 2 copies of the typed Agreement of the Leigh River Gold Mining Company with William Ryall, but asked Tom's advice. dated 9/8/33. .120) A two page letter dealing mainly about the work going on at the new house and the settling in process. He also wrote about the proposed Agreement with Ryall, dated 11/8/33. Also included was a one page letter from Mr Ryall to R B Squire from which part of the left hand side had been severed, dated 10th August 1933. .121) A one page note from R B Squire to W Ryall dated 14/8/33, with attached one page of information and figures. Also attached a one page letter from R B Squire to W Ryall asking if Ryall would be interested viewing the plans for an alluvial mining proposition, dated 27/7/33. .122) A three page letter mainly about the visit to Ryall and a Mr Cundy about the proposed agreement with his concerns about the language and terms of the agreement, dated Sun 21st 33. Also included was a letter from Ned to Mr Squire about the continued work in the tunnel and the fact that two of the pick heads had cracked and would have to be fixed, dated Thursday. .123) A two page letter dealing with a meeting had with Ryall and others in a private office regarding the interest in investing in the mining proposition, dated 23/8/33. .124) A four page letter dealing mainly with the work at the tunnel and exploratory diggings at the spot Mr Cameron had written about as well as the damage done to the car on the way to the workings, dated 29/8/33. .125) A one page letter telling of a proposed meeting with Mr Taylor and a Mr Bowler, who may turn out to be Alan Bowler who he knew, regarding the Mr Mercer Float scheduled for the following day, dated 30/8/33. .126) A five page letter explaining the content of the meeting held with Mr Bowler, who represented an English consortium which was interested in the Mt Mercer site. He explained the terms that the consortium would offer if they went ahead, This included 25 % shares in the mine but no money, which he bemoaned because of the shortness of their cash reserves. He went on to detail the 4 distinct deposits of wash in this field, which he believed were unique in the Ballarat district. He also stated that he had not heard from Mr Ryall. He closed by talking about the water levels in the mine, dated 1/9/33. .127) A two page letter saying that he had written an 11 page report on the Mt Mercer field for the English consortium as well as a private letter for the chairman.He also reported that he had been to see Ryall. Neither party knew that he was talking to the other. added was some personal information, dated 6/9/33. .128) A one page letter telling of a meeting with Mr Bowler and Mr Tayler who carefully went through his report. It was then being typed. He believed he had two strong supporters, dated 7/9/33. Also included was a 2 page note from A Bowler to R B Squire asking him to bring the report into the office the following day to be perused and typed, dated Sept 6th 33. .129) A two page letter with personal encouragement for one of the children. The letter then goes on with more information about the meeting with Mr Tayler and Bowler and his impressions of their interest. He also talked about the one of the experts who was to examine the site and also about the report which was now typed and a copy sent to Tom, dated 8/9/33. .130) A one page letter keeping him informed of progress. The expert was away but would be briefed on his return. He also thanked Tom for a cheque, which was used to get the car 'Liz' back in order for the trip to be made with the experts at a later date. He informed Tom of his intention to return to Mt Mercer, dated 13/9/33. .131) A one page letter written from Mt Mercer telling of the trip from Melbourne and the weather. He spoke of what was happening in the tunnel and that he had not yet heard from any of the interested parties, dated Tue 19th Sept. .132) A five page letter written from Prahran with detailed information about the tunnels, the washes and the shows. He also detailed his meeting with Bryant 38 years ago at the No 1 at Carisbrook and how he had given him assistance at that time and subsequently as well as giving his version of a potted history of Bryant, dated 29/9/33. .133) A two page letter with information about the arrival of the chairman of the English group and that Ned had shown Mr Kermode around the site, dated 6/10/33. Also included was a cutting from the Age about the arrival of Mr F W Baker, representing a large English financial group interested in Victorian deep lead propositions, dated Oct 6th. As well were two, one page letters from Ned (E Woodlock) to Tom, regarding the work in the tunnels, the bad air and the hopes of a successful float, dated Tuesday and Wednesday. .134) A one page letter thanking them for the gift of eggs and parsley. He also talked about a letter from Bowler regarding the business of the experts and that their leases would be seen in due course, dated 10/10/33. Included was a one page letter from A Bowler to P B Squires saying that Mt Mercer site was receiving attention but that no decision had as yet been made, dated Oct 9th 1933. .135) A three page letter written from Prahran giving information about Richards visit and conversation with Mr Ryall, who indicated that no decision had as yet been made regarding his proposal. He also included some personal information about members of the family, dated 18/10/33. Included was a one page letter from Ned (E Woodlock) to Tom with information about the tunnelling progress in no.2 tunnel and the bad air that drove them out for a time, dated Saturday. .136) A one page letter containing a brief update on the state of affairs , dated 20/10/33. Included was a one page letter from Ned to Mr Squire with an information on the progress at the tunnel and with the information that his hands were cracked so badly that he was wearing two socks on each hand, dated Saturday. .137) A one page letter which family news and a paragraph about the figures in his calculations, dated 21/10/33. On the back side was a letter from E Squire (his wife) to Tom, Hazel & boys again with family and personal information, dated 22nd 10/33. .138) A three page letter with the disappointing news that the English consortium would not take up the option on the Mt Mercer lease and gave his opinion that it was self interest that stopped it going ahead. He then gave two options as to the way forward, dated 24/10/33. Also included was a typed one page letter from W C Tayler to R B Squire informing him of a letter stating that the proposal had been turned down, dated 23rd October 1933. .139) A three page letter informing of further developments with Mr Tayler who asked for the plans to be left at the office till the following week as there was another company who may yet be interested to take up the option, dated 27/10/33. .140) A one page letter asking for 9 copies of the old agreement to be typed for the 3 Syndicate members, Rice, Cameron and McNaughton, dated 5/11/33. .141) A three page letter regarding the decision by the Syndicate to reopen the LRG shaft and the practical issues of timber acquisition and probable costs. He then went on to talk about Mam's indisposition and treatment by the herbalist, Goon, dated 8/11/33. Also included was a newspaper clipping from the Age entitled 'Inquiries for properties at Ballarat'. .142) A three page letter giving all the news regarding the agreements, the costs and the way forward. He also spoke of his wife's improvement and other personal information, dated 11/11/33. .143) A two page letter written from Mt Mercer regarding the difficulties in obtaining the timbers and tanks needed to reopen the shaft and the state of all the existing fittings and what would be needed to get the site operational again. His agreement with Mr Read had duly been signed, dated Thurs 16th 33. .144) A two page letter with further information about the progress with acquiring and repairing the shaft site, dated Mon Nov 20th 33. .145) A three page letter informing that the timber for the whim & shaft were being delivered and the area had been cleared out for the poppet heads. The top of the shaft had been cleared ready for re-framing and other work had been carried out. Liz, the car had broken down and Jim was in the process of fixing her. He concluded with information about his and his wife's health, dated Sun 26th Nov 33. .146) A four page letter with news of Mam's health, the problems associated with fixing the car and the floods which stopped Jim from going to Ballarat and washed away the Gary Bridge which affected the mail and had halted work at the shaft, as well as delaying the second delivery of timber, dated Sun Dec 3rd. .147) richard squire, william ryall, jim clements, gold mines of australia limited, e woodlock, ned woodlock, neil w cameron, alan bowler, mr cundy, don mcnaughton, mr rice

This photograph was taken at a Commanding Officer Handover Parade at the Army Survey Regiment, Bendigo in 1980. LTCOL Bob Skitch was the CO from 1976 to 1980 and handed over LTCOL Frank Thorogood SB St J. LTCOL Thorogood’s appointment was from 1980 to 1981.This is a set of 45 photographs taken at a Commanding Officer Handover Parade at the Army Survey Regiment, Bendigo in 1980. The photographs are on 35mm negative film and were scanned at 96 dpi. Photograph .34P is an enlargement printed on photographic paper and scanned at 300 dpi. They are part of the Army Survey Regiment’s Collection. .1) - Photo, black & white, 1980. Led by HQ Squadron, Army Survey Regiment marches onto the parade ground. .2) - Photo, black & white, 1980. Army Survey Regiment marches onto the parade ground. Drummers L to R: SSGT George Austen, CPL Di Chalmer, CPL Tony Lawler. .3) - Photo, black & white, 1980. Air Survey Squadron formed up. SSM WO1 Bob Mason at front. L to R: unidentified (x9), SPR Kristin (Isaac) Skidmore, unidentified, SPR Scheryl Delforce, unidentified (x2), SSGT Russell ‘Rusty’ Williams, SSGT Peter Warwick, SSGT Greg Buckenham, SGT Cliff Webb, SSGT Alan Derby, SSGT John Bennett, SSGT Bruce Gordon. .4) - Photo, black & white, 1980. Officers formed up before taking posts. L to R: CAPT Peter Searle - UK Exchange, unidentified, LT Ozzy Slade, CAPT Peter ‘Blue’ Blaskett, unidentified (x4), CAPT Bob Williams, MAJ David Bowen - US Exchange officer, unidentified (x3), RSM WO1 Aub Harvey. .5) - Photo, black & white, 1980. Officers salute before taking posts. L to R: CAPT Peter Searle - UK Exchange, unidentified, LT Ozzy Slade, CAPT Peter ‘Blue’ Blaskett, unidentified (x4), CAPT Bob Williams, MAJ David Bowen - US Exchange officer, unidentified (x3). .6) - Photo, black & white, 1980. Officers march to their posts. L to R: CAPT Bob Cooper, CAPT Mick Byrne, MAJ Robin Blackburn, unidentified. .7) & .8) - Photo, black & white, 1980. L to R: 2IC MAJ Don Swiney MBE hands over parade to CO LTCOL Bob Skitch. Cartographic Squadron - Centre rank L to R: CPL Paul Richards, SPR Megan (McBurney) Reynolds, SPR Jan (Crighton) Minchin, SPR Ilen Isaac, CPL Lynn Johnson, remainder unidentified. Front rank L to R: CPL Dennis Learmonth, CPL Roger Pearson, SPR Rod Skidmore, SPR John Martin, SGT Bob Bright, CPL Trevor Bottomley, SPR Gerry Gates, remainder unidentified, OC CAPT Bob Williams, Officer in far right: CAPT Bob Cooper. .9) - Photo, black & white, 1980. L to R: CO LTCOL Bob Skitch salutes reviewing officer - Commander 3MD BRIG Geoffrey Cohen AM. Cartographic Squadron in background L to R: CPL Trevor Bottomley, SPR Gerry Gates, SPR Peter Main, CPL John ‘Stormy’ Tempest, unidentified, OC CAPT Bob Williams, SSGT Gary Warnest. .10) - Photo, black & white, 1980. HQ Squadron inspection - L to R: unidentified (x5), CAPT Paddy Strunks, SPR Chris Ebeling, CO LTCOL Bob Skitch, BRIG Geoffrey Cohen AM, unidentified (x7), in foreground MAJ David Bowen - US Exchange officer, unidentified, CPL Phil McGuire, WO2 Ted Burgess. .11) - Photo, black & white, 1980. HQ Squadron in foreground L to R: MAJ David Bowen - US Exchange officer, unidentified, CPL Phil McGuire, WO2 Ted Burgess. Lithographic Squadron inspection L to R: CPL Paul Davis, CPL Le-Anne (Smallshaw) Shirely, CO LTCOL Bob Skitch, unidentified, OC MAJ Robin Blackburn, BRIG Geoffrey Cohen AM, SPR Jim Ash, unidentified, unidentified UK Exchange SNCO, SSGT Greg Francis-Wright, WO1 Doug Malligan, drummers SSGT George Austen, CPL Di Chalmer, CPL Tony Lawler, unidentified (x2). .12) - Photo, black & white, 1980. Air Survey Squadron inspection - L to R: LT Ozzy Slade, CAPT Peter ‘Blue’ Blaskett, unidentified officer, front rank L to R: SGT Cliff Webb, CO LTCOL Bob Skitch, CAPT Peter Searle - UK Exchange, unidentified, centre rank L to R: unidentified, SSGT Greg Buckingham, SSGT John Bennett, rear rank L to R: unidentified (x4), SPR Sharon (Jones) Treble, CPL Marrianne (Van De Zee) De Groot, SPR Ginny (Turner) Rowe, SSGT Kevin Kennedy, unidentified, SSGT Alan Derby. .13) - Photo, black & white, 1980. Air Survey Squadron inspection - Centre rank: SSGT John Bennett, CO LTCOL Bob Skitch, CAPT Peter Searle - UK Exchange, BRIG Geoffrey Cohen AM, rear rank L to R: SPR Ginny (Turner) Rowe, SSGT Kevin Kennedy, unidentified, SSGT Alan Derby, SSGT Bruce Gordon, supernumerary rank L to R: SSM WO1 Bob Mason, WO1 Bob Hayden, WO2 Peter Colwell, WO1 Chris Parkinson. Unidentified. .14) - Photo, black & white, 1980. Air Survey Squadron inspection - Centre rank: SSGT John Bennett, CO LTCOL Bob Skitch, CAPT Peter Searle - UK Exchange, BRIG Geoffrey Cohen AM, rear rank L to R: SPR Ginny (Turner) Rowe, SSGT Kevin Kennedy, unidentified, SSGT Alan Derby, SSGT Bruce Gordon, supernumerary rank L to R: SSM WO1 Bob Mason, WO1 Bob Hayden, WO2 Peter Colwell. .15) - Photo, black & white, 1980. Cartographic Squadron inspection – L to R: OC CAPT Bob Williams, CO LTCOL Bob Skitch, BRIG Geoffrey Cohen AM. Front rank L to R: CPL John ‘Stormy’ Tempest, unidentified (x2), SSGT Allan Adsett, SSGT Gary Warnest. Centre rank L to R: SPR Ilen Isaac, CPL Sue (Fryer) Bottomley, SPR Gina (Coore) Neilson, SPR Carla Dell, CPL Lynn Johnson, SPR Cathy Regan, unidentified, SSGT John ‘JB’ Barrie, SSGT Bob Scaddan. Rear rank L to R: CPL Terry Danger, CPL Brad Peppler. .16) & .17) - Photo, black & white, 1980. Cartographic Squadron inspection – L to R: OC CAPT Bob Williams, CO LTCOL Bob Skitch, BRIG Geoffrey Cohen AM. Front rank L to R: CPL Dennis Learmonth, CPL Roger Pearson, SPR Rod Skidmore, SPR John Martin, SGT Bob Bright, CPL Trevor Bottomley, SPR Gerry Gates, CPL John ‘Stormy’ Tempest, unidentified (x2), SSGT Allan Adsett, SSGT Gary Warnest. CO LTCOL Bob Skitch, CAPT Bob Cooper, BRIG Geoffrey Cohen AM. Centre rank L to R: SPR Ilen Isaac, CPL Sue (Fryer) Bottomley, SPR Gina (Coore) Neilson, SPR Carla Dell, SPR Cathy Regan, SSGT John ‘JB’ Barrie, SSGT Bob Scaddan. Rear rank L to R: CPL Terry Danger, CPL Brad Peppler, SGT Stu Thaxter, SGT Colin Cuskelly, SGT Bill Friswell. Far right: CAPT Peter Searle - UK Exchange, WO1 Jim ‘JJJ’ Jefferies. .18) - Photo, black & white, 1980. Cartographic Squadron inspection – Front rank: SSGT Gary Warnest. L to R: CO LTCOL Bob Skitch, CAPT Bob Cooper, BRIG Geoffrey Cohen AM. Centre rank L to R: SPR Ilen Isaac, CPL Sue (Fryer) Bottomley, SPR Gina (Coore) Neilson, SPR Carla Dell, SPR Cathy Regan, SSGT John ‘JB’ Barrie, SSGT Bob Scaddan. Rear rank L to R: CPL Terry Danger, CPL Brad Peppler, SGT Stu Thaxter, SGT Colin Cuskelly, SGT Bill Friswell. SSM WO1 Gordon Lowery. Far right: WO1 Jim ‘JJJ’ Jefferies, CAPT Peter Searle - UK Exchange, CAPT Peter ‘Blue’ Blaskett, LT Ozzy Slade. .19) - Photo, black & white, 1980. Medal presentation - L to R: CO LTCOL Bob Skitch, CAPT Bob Cooper. Cartographic Squadron – Front rank L to R: CPL Dennis Learmonth, CPL Roger Pearson, SPR Rod Skidmore, SGT Bob Bright, CPL Trevor Bottomley, SPR Gerry Gates, SPR Peter Main, CPL John ‘Stormy’ Tempest. Centre rank L to R: CPL Paul Richards, SPR Jan (Crighton) Minchin, SPR Ilen Isaac, SPR Carla Dell, CPL Lynn Johnson, SPR Cathy Regan. .20) - Photo, black & white, 1980. Medal presentation - L to R: CAPT Bob Cooper, BRIG Geoffrey Cohen AM. Cartographic Squadron – Front rank L to R: CPL Dennis Learmonth, CPL Roger Pearson, SPR Rod Skidmore, SPR John Martin, SGT Bob Bright, SPR Peter Main, CPL John ‘Stormy’ Tempest, SSGT Allan Adsett, SSGT Gary Warnest. Centre rank L to R: CPL Paul Richards, SPR Jan (Crighton) Minchin, SPR Ilen Isaac, CPL Sue (Fryer) Bottomley, SPR Gina (Coore) Neilson. .21) - Photo, black & white, 1980. Medal presentation - L to R: CAPT Bob Cooper, BRIG Geoffrey Cohen AM. Cartographic Squadron – Front rank L to R: CPL Dennis Learmonth, CPL Roger Pearson, SPR Rod Skidmore, SPR John Martin, SGT Bob Bright, SPR Peter Main, CPL John ‘Stormy’ Tempest, SSGT Gary Warnest. Centre rank L to R: CPL Paul Richards, SPR Jan (Crighton) Minchin, SPR Ilen Isaac, CPL Sue (Fryer) Bottomley. .22) - Photo, black & white, 1980. Medal presentation - L to R: CO LTCOL Bob Skitch, CAPT Bob Cooper, BRIG Geoffrey Cohen AM. Cartographic Squadron – Front rank L to R: CPL Dennis Learmonth, CPL Roger Pearson, SPR Rod Skidmore, SPR John Martin, SGT Bob Bright CPL Trevor Bottomley, SPR Gerry Gates, SPR Peter Main, CPL John ‘Stormy’ Tempest, CAPT Bob Williams, SSGT Allan Adsett. Centre rank L to R: CPL Paul Richards, SPR Jan (Crighton) Minchin, SPR Gina (Coore) Neilson, SPR Carla Dell, CPL Lynn Johnson, SPR Cathy Regan, unidentified, SSGT Bob Scaddan. Rear rank: CPL Stu Symonds. .23) - Photo, black & white, 1980. Presentation - L to R: CO LTCOL Bob Skitch, BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. Cartographic Squadron – Front rank L to R: CPL Dennis Learmonth, CPL Roger Pearson, SPR Rod Skidmore, SPR John Martin, SGT Bob Bright CPL Trevor Bottomley, SPR Gerry Gates, unidentified, CAPT Bob Williams, SSGT Allan Adsett, CAPT Bob Cooper. Centre rank L to R: SPR Jan (Crighton) Minchin, CPL Sue (Fryer) Bottomley, SPR Carla Dell, CPL Lynn Johnson, SPR Cathy Regan, unidentified, SSGT Bob Scaddan. .24) - Photo, black & white, 1980. Presentation - L to R: CO LTCOL Bob Skitch, BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. Cartographic Squadron – Front rank L to R: SPR Rod Skidmore, SPR John Martin, SGT Bob Bright CPL Trevor Bottomley, SPR Gerry Gates, unidentified, CAPT Bob Williams, CAPT Bob Cooper. Centre rank L to R: SPR Jan (Crighton) Minchin, CPL Sue (Fryer) Bottomley, SPR Carla Dell, CPL Lynn Johnson, SPR Cathy Regan, unidentified, SSGT Bob Scaddan. .25) - Photo, black & white, 1980. Presentation - L to R: CO LTCOL Bob Skitch, BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. Cartographic Squadron – Front rank L to R: CPL Roger Pearson, SPR Rod Skidmore, SPR John Martin, SGT Bob Bright CPL Trevor Bottomley, unidentified, CAPT Bob Williams, SSGT Allan Adsett, SSGT Gary Warnest. CAPT Bob Cooper, Centre rank L to R: CPL Sue (Fryer) Bottomley, SPR Gina (Coore) Neilson, SPR Carla Dell, CPL Lynn Johnson. .26) to .28) - Photo, black & white, 1980. Presentation - L to R: MAJ Robin Blackburn, BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. .29) to .31) - Photo, black & white, 1980. Presentation - L to R: SPR Penny Knott, CO LTCOL Bob Skitch. .32) - Photo, black & white, 1980. CO Handover - L to R: LTCOL Bob Skitch, LTCOL Frank Thorogood SB St J. Cartographic Squadron – Front rank L to R: CPL Dennis Learmonth, CPL Roger Pearson, SPR Rod Skidmore, SPR John Martin SPR Gerry Gates, SPR Peter Main, CPL John ‘Stormy’ Tempest, unidentified, CAPT Bob Williams, SSGT Allan Adsett, SSGT Gary Warnest. Centre rank L to R: SPR Ilan Isaac, CPL Sue (Fryer) Bottomley, SPR Gina (Coore) Neilson, SSGT Bob Scaddan at end. .33) & .34) - Photo, black & white, 1980. CO Handover - L to R: LTCOL Bob Skitch, LTCOL Frank Thorogood SB St J. Cartographic Squadron – Front rank L to R: CPL Dennis Learmonth, CPL Roger Pearson, SPR Rod Skidmore, SPR John Martin, SGT Bob Bright, SPR Gerry Gates, SPR Peter Main, CPL John ‘Stormy’ Tempest, unidentified, CAPT Bob Williams, SSGT Allan Adsett. Centre rank L to R: SPR Ilen Isaac, CPL Sue (Fryer) Bottomley, SPR Gina (Coore) Neilson, SSGT Bob Scaddan at end. .35) - Photo, black & white, 1980. CO Handover – March past L to R: BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. LTCOL Frank Thorogood SB St J, CO LTCOL Bob Skitch. L to R: RSM WO1 Aub Harvey, 2IC MAJ Don Swiney MBE. .36) - Photo, black & white, 1980. CO Handover March past L to R: BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. LTCOL Frank Thorogood SB St J, CO LTCOL Bob Skitch. HQ Squadron march past L to R: unidentified officer, MAJ MAJ David Bowen - US Exchange officer, CAPT Paddy Strunks. .37) - Photo, black & white, 1980. CO Handover March past L to R: BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. LTCOL Frank Thorogood SB St J, CO LTCOL Bob Skitch. HQ Squadron march past L to R: unidentified, SGT Rick Warren, remainder unidentified. .38) - Photo, black & white, 1980. CO Handover March past L to R: BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. LTCOL Frank Thorogood SB St J, CO LTCOL Bob Skitch. Cartographic Squadron march past L to R: CLP Paul Richards, CPL Dennis Learmonth, CAPT Bob Williams, CAPT Bob Cooper. .39) - Photo, black & white, 1980. CO Handover March past L to R: BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. LTCOL Frank Thorogood SB St J, CO LTCOL Bob Skitch. Cartographic Squadron march past L to R: SPR Greg Else, SPR Jan (Crighton) Minchin, SPR Rod Skidmore, unidentified, SPR Megan (McBurney) Reynolds, CPL Roger Pearson, CPL Stu Symonds, CPL Paul Richards. .40) - Photo, black & white, 1980. CO Handover March past L to R: BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. LTCOL Frank Thorogood SB St J, CO LTCOL Bob Skitch. Cartographic Squadron march past L to R: CPL Terry Danger, CPL Lynn Johnson, SPR Peter Main, unidentified, SPR Carla Dell, SPR Gerry Gates, SPR Bob Sheppard, SPR Gina (Coore) Neilson, CPL Trevor Bottomley, SPR Ian Fitzgerald, CPL Sue (Fryer) Bottomley, unidentified. .41) - Photo, black & white, 1980. CO Handover March past L to R: BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. LTCOL Frank Thorogood SB St J, CO LTCOL Bob Skitch. Lithographic Squadron march past L to R: CAPT Mick Byrne, MAJ Robin Blackburn. .42) - Photo, black & white, 1980. CO Handover March past L to R: BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. LTCOL Frank Thorogood SB St J, CO LTCOL Bob Skitch. Lithographic Squadron march past L to R: CPL Gary Kerr, SPR Brian Paul, SPR Brian Fauth, CPL Roy Hicks, SPR Per Andersen, CAPT Mick Byrne. .43) & .44) - Photo, black & white, 1980. CO Handover March past L to R: BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. LTCOL Frank Thorogood SB St J, CO LTCOL Bob Skitch. Lithographic Squadron march past. .45) - Photo, black & white, 1980. CO Handover March past L to R: BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. LTCOL Frank Thorogood SB St J, CO LTCOL Bob Skitch. Officer march past L to R: unidentified, CAPT Peter Searle - UK Exchange.No personnel are identified. Photo .34P is annotated on back ‘1981 LTCOL Bob Skitch handed over to LTCOL Thorogood.’ *Date is incorrect.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr