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Surrey Hills Historical Society Collection
Book, Lost relations : Fortunes of my family in Australia's Golden Age, 2015
Bought with funds generated by cemetery tours , presented to SHNCHC by SHHS following a presentation to the Society by the author. Graeme Davison has lived in Surrey Hills for many years. A family history by historian Graeme Davison - A widow and her 8 older children are uprooted from their Hampshire farm in 1850 and thrown together on an emigrate ship with 38 distressed needlewomen from London. How they came to be on the boat, and what happened on the high seas and afterwards in Australia , is a vivid tale of family ambitions and fears, successes and catastrophes. The Hewetts were not famous or distinguished, but their story reveals much about the foundations of Australia. Inscriptions: A family history by historian Graeme Davison - A widow and her 8 older children are uprooted from their Hampshire farm in 1850 and thrown together on an emigrate ship with 38 distressed needlewomen from London. How they came to be on the boat, and what happened on the high seas and afterwards in Australia , is a vivid tale of family ambitions and fears, successes and catastrophes. The Hewetts were not famous or distinguished, but their story reveals much about the foundations of Australia. Inscriptions: Title Page : (signed by author) :Graeme Davisonfamily history, hewett family, (mr) graeme davison -
Federation University Art Collection
Sculpture - Mace, 'University Mace' by Trefor Prest, 1995
The University's mace was carried in procession for the first time during the Graduation ceremonies in May 1996. The mace was presented to the University by former Chief Commissioner of the Ballarat City Council, Vern Robson, at a ceremony on 02 February, following a national competition for its design, sponsored by the Council. (The Flag, Issue 2, July 1996) Nineteen artists responded to the competition which called for a design that would embody a distinctive Australian image reflecting the heritage of the city and in relationship with gold, an Aboriginal element and the history of the University. The winning entry, dominated by a poppet head, was submitted by Central Victorian artist/sculptor Trefor Prest, a sessional lecturer in sculpture at the University.(The Flag, Issue 2, July 1996) The Herald Sun of 03 February 1996 reported 'the new mace shows importance elements of Ballarat's heritage as well as the university's focus on the future. The artist emphasises the egalitarian nature of Australia as embodied in Ballarat's famous slice of history - the Eureka uprising. ... The mace has a poppet head at the top of the shaft - an unusual element for a mace - but it represents Ballarat's mining history and the University's evolution from the Ballarat School of Mines. An opening egg at the top stands for the nurturing of development and learning. The mace's straight shaft is depicted as the tree of knowledge and, incorporating a bark canoe scar, Ballarat's Aboriginal heritage. At the end of the shaft is a surveying device, which represents precision and accuracy ads embodied in the university's academic pursuits.' Bob Morrell of the University organised the national competition to design the mace and said 'It is in keeping with the university's logo, 'proudly flying the flag', which incorporates the Southern Cross.' 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. Trefor Prest lectured in Sculpture at the University of Ballarat from 1995-1996.The mace symbolises the office of the Chancellor. The design of the mace is the outcome of a national competition and represents the cultural diversity of Australia. The poppet head on the top of the mace refers to gold mining, which underpinned the development of Ballarat. The protruding spikes recall the Eureka Stockade. The 'egg' shape enfolds and nurtures the development of knowledge and learning. The shaft with the three 'branches' represents the Tree of Knowledge, and includes a bark canoe scar which recognises the integration of black and white Australian traditions. The lower part of the shaft culminates in a device suggestive of scientific or surveying and measuring technology. This represents precision and accuracy embodied in the academic pursuits of Federation University Australia.art, artwork, trefor prest, prest, mace, federation university, university, eureka stockade, aborigines, scarred tree, mining, university mace, ballarat -
Surrey Hills Historical Society Collection
Photograph, Parer family portrait
Members of the Parer family began arriving in Australia from 1852. By the 1890s several had settled in Surrey Hills and Box Hill. Identification is as follows: Back L to R: Phillip ( ), Stephen, Joseph, Francis. Front L to R: John, Tici, Eulalia, Tia. Phillip lived at 'Monserrat' in Mont Albert Road (land later subdivided so that house was renumbered as a Weybridge Street address. Stephen was was the youngest child of Antonio and Josefa Parer. He left for Australia when he was 17 years old and landed in Melbourne in 1888 and went straight to work at Parers’ Crystal Palace for his brother Francis. Stephen preferred the outdoors and went to work on the family market garden in Box Hill. Joseph was the first Parer to arrive in Australia, in 1855. He and his brother Francis created the Parer dynasty in Australia, bringing all the family members from Spain and offering them work in their hotels. Francis Parer was born in Alella in 1836 and left for Australia when he was 17. In partnership, he commenced a business of general produce dealers in Little Bourke Street. He later entered the hospitality business buying in partnership the ‘Spanish Restaurant’ on Elisabeth Street and later, the Victoria Restaurant on Bourke Street with his brothers. In 1870 he purchased 40 acres of land at Box Hill at £15 per acre. The property became a famous market garden where he grew all kinds of vegetables and orchards. It is believed the first tomatoes in Australia were grown there. Juan or John lived in 'Gerona' in Weybridge Street. Eulalia Parer married Marcus Clota at Alella on 9 September 1867 and came to Australia in 1876. They lived in Guildford and Union Roads. Tia Marieta married and lived in Guildford Road. There are many members of the family buried in Box Hill Cemetery. Black and white formal studio portrait of 8 members of the Parer family mounted on brown board. There are 4 men standing and one man and 3 women seated.White paper label stuck to rear: "THE ORIGINAL PARER FAMILY WHO SETTLED IN AUSTRALIA - 1852. / Photograph with compliments of SANS family."phillip parer, stephen parer, box hill cemetery, joseph parer, francis parer, john parer, tici parer, eulalia parer, tia parer, "monserrat" -
Federation University Art Collection
Ceramic, Ino Kiyoshi, [Vase] by Ino Kiyoshi, c1982
Ino KIYOSHI (b 1946, Kyoto Japan, d. 2008) Worked in Australia from 1973–76 and 1978–2008 Ino Kiyoshi was to a family that has been involved in the production of pottery for some 160 years. Working in the family studio while studying at the Kyoto School of Arts and Crafts, he completed his diploma of Ceramic Art in 1969. He then attended the KyotoTechnical School for a post-graduate course in glazing. then lectured in ceramics at the KyotoTechnical School. Following in the footsteps of the famous Japanese potter, Shoji Hamada who had visited Australia in 1965, Kiyoshi Ino visited Sydney in 1973, where he worked with Japanese potter Shigeo Shiga). Kiyoshi took up an appointment as Visiting Lecturer in Ceramics at the Gippsland Institute of Technical Education, Churchill, Victoria, from 1974 to 1976 and returned there as Assistant to the Senior Lecturer in Ceramics in 1979. He ceased teaching at the Gippsland Institute in 1988. Ino was involved in the establishment of a space for artists in the old butter factory at the nearby township of Yinnar and in 1982 the Yinnar Art Resource Collective, commonly known as Yinnar ARC, was established. Ino has exhibited extensively throughout Australia.Australian Studio Ceramics Gift of the artist, 1982Impressed seal for Kiyoshi Ino on baseceramics, gippsland campus, jan feder memorial ceramics collection, ino kiyoshi, japanese ceramics -
Federation University Art Collection
Ceramic, [Untitled] by Ino Kiyoshi, c1982
Ino KIYOSHI (b 1946, Kyoto Japan, d. 2008) Worked in Australia from 1973–76 and 1978–2008 Ino Kiyoshi was to a family that has been involved in the production of pottery for some 160 years. Working in the family studio while studying at the Kyoto School of Arts and Crafts, he completed his diploma of Ceramic Art in 1969. He then attended the KyotoTechnical School for a post-graduate course in glazing. then lectured in ceramics at the KyotoTechnical School. Following in the footsteps of the famous Japanese potter, Shoji Hamada who had visited Australia in 1965, Kiyoshi Ino visited Sydney in 1973, where he worked with Japanese potter Shigeo Shiga). Kiyoshi took up an appointment as Visiting Lecturer in Ceramics at the Gippsland Institute of Technical Education, Churchill, Victoria, from 1974 to 1976 and returned there as Assistant to the Senior Lecturer in Ceramics in 1979. He ceased teaching at the Gippsland Institute in 1988. Ino was involved in the establishment of a space for artists in the old butter factory at the nearby township of Yinnar and in 1982 the Yinnar Art Resource Collective, commonly known as Yinnar ARC, was established. Ino has exhibited extensively throughout Australia. Gift of the artist, 1982impressed seal for Kiyoshi Ino on baseceramics, shikuhu ino, jan feder memorial ceramics collection, gippsland campus, yinnar, yinnar art resource collective -
Tennis Australia
Racquet, Circa 1955
A Wilson Famous Player Series, Frank Sedgman Southern Cross tennis racquet. Base of head features Wilson logo. Angular shaft features decal of head and neck photo image of Sedgman. Materials: Wood, Nylon, Leather, Adhesive tape, Ink, Glue, Lacquer, Metal, Cloth, String, Ribbontennis -
Tennis Australia
Racquet, Circa 1955
A Wilson Famous Player Series, Frank Sedgman Finalsit tennis racquet. Base of head features Wilson logo. Shaft features decal of head and neck photo image of Sedgman. Materials: Wood, Nylon, Leather, Adhesive tape, Ink, Glue, Lacquer, Metal, String, Ribbon, Paint, Plastictennis -
Tennis Australia
Racquet, Circa 1950
A Wilson Famous Player Series, Jack Kramer Staff Model tennis racquet. Base of head features Wilson logo. Shaft features decal of head and neck photo image of Kramer. Throat features decal design of a gold crown within a corona. Base of shaft and cloth butt cover feature 'W' trademark. Leather handle grip features quatrefoil perforations. Retailer sticker features on left side of shaft. Materials: Wood, Nylon, Leather, Adhesive tape, Ink, Glue, Lacquer, Metal, String, Ribbon, Paint, Plastic, Clothtennis -
Tennis Australia
Racquet, Circa 1950
A Wilson Famous Player Series, Jack Kramer Staff Model tennis racquet. Base of head features Wilson logo. Shaft features decal of head and neck photo image of Kramer. Throat features decal design of a gold crown within a corona. Base of shaft features 'W' trademark. Leather handle grip features quatrefoil perforations. Faint autograph by Kramer along left side of shaft. Initials carved into right side: K.W. Materials: Wood, Nylon, Leather, Adhesive tape, Ink, Glue, Lacquer, Metal, String, Ribbon, Paint, Plastictennis -
Tennis Australia
Racquet, Circa 1950
A Wilson Famous Player Series, Jack Kramer Staff Model tennis racquet. Base of head features Wilson logo. Shaft features decal of head and neck photo image of Kramer. Throat features decal design of a gold crown within a corona. Base of shaft features 'W' trademark. Leather handle grip features quatrefoil perforations. Autographs by Kramer along obverse and reverse of shaft. Materials: Wood, Nylon, Leather, Adhesive tape, Ink, Glue, Lacquer, Metal, String, Ribbon, Paint, Plastictennis -
Tennis Australia
Racquet, Circa 1954
A Wilson Famous Player Series, Jack Kramer Fire Star tennis racquet. Base of head features Wilson logo. Throat features decal design of a stylised pentagram. Shaft features decal of head and neck photo image of Kramer. Base of shaft and butt cover features 'W' trademark. Leather handle grip features quatrefoil perforations. Autographs by Kramer along obverse and reverse of shaft. Materials: Wood, Nylon, Leather, Adhesive tape, Ink, Glue, Lacquer, Metal, String, Ribbon, Paint, Plastic, Clothtennis -
Tennis Australia
Racquet, Circa 1954
A Wilson Famous Player Series, Jack Kramer Top Notch tennis racquet. Base of head features Wilson logo. Throat features decal design of a crowned eagle. Shaft features decal of head and neck photo image of Kramer. Leather handle grip features multiple perforations. Autographs by Kramer along reverse of shaft. Materials: Wood, Nylon, Leather, Adhesive tape, Ink, Glue, Lacquer, Metal, String, Ribbon, Paint, Plastictennis -
Tennis Australia
Racquet, Circa 1958
A Wilson Famous Player Series, Maureen Connolly Match Point tennis racquet. Base of head features Wilson logo. Throat features gold fleur-de-lis device. Shaft features decal head and shoulders image of Connolly. Cloth butt cover features blue 'W' trademark. Leather handle grip features quatrefoil perforations. Materials: Wood, Nylon, Leather, Ink, Glue, Lacquer, Metal, Paint, Ribbon, Adhesive tape, Clothtennis -
Tennis Australia
Racquet, Circa 1964
A Wilson Famous Player Series, Maureen Connolly Cup tennis racquet. Base of head features Wilson logo. Throat features decal head and shoulders image of Connolly. Shaft features decal image of a rendered cup trophy. Base of shaft and plastic butt cap feature 'W' trademark. Leather handle grip features clustered perforations. Materials: Wood, Nylon, Leather, Ink, Glue, Lacquer, Metal, Paint, Ribbon, Adhesive tape, Plastic, Stringtennis -
Tennis Australia
Racquet, Circa 1955
A Wilson Famous Player Model tennis racquet. Wilson logo features across base of head. Model name with a compass device feature on the throat. 'W' trademark features at the base of the shaft. Leather handle grip features quatrefoil perforations. Materials: Wood, Nylon, Leather, Adhesive tape, Paint, Glue, Lacquer, Metal, Ink, Ribbontennis -
Tennis Australia
Racquet, Circa 1950
A Wilson Famous Player Series, Bobby Riggs Finalist tennis racquet. Base of head features Wilson logo. Throat features the 'W' trademark with an interwoven banner device. Shaft features decal head and neck illustration of Riggs. Leather handle grip features quatrefoil perforations. Materials: Wood, Nylon, Paint, Leather, Adhesive tape, Plastic, String, Glue, Metal, Lacquertennis -
Tennis Australia
Racquet, Circa 1956
A Wilson Famous Player Series, Tony Trabert Victory tennis racquet. Base of head on obverse features Wilson logo. Throat featuresmodel name beneath a crowned shield device, with a 'V' in the centre. Shaft features a decal head and shoulders photo image of a young Trabert. Leather handle grip features quatrefoil perforations. Inscription along right side of shaft: ENDORSED BY/THE NATIONAL CHAMPION. Materials: Wood, Nylon, Leather, Ribbon, Glue, Metal, Lacquer, Cloth, Painttennis -
Tennis Australia
Racquet, Circa 1956
A Wilson Famous Player Series, Tony Trabert Victory tennis racquet. Base of head on obverse features Wilson logo. Throat features model name beneath a crowned shield device, with a 'V' in the centre. Shaft features a decal head and shoulders photo image of a young Trabert. Leather handle grip features quatrefoil perforations. Inscription along right side of shaft: ENDORSED BY/THE NATIONAL CHAMPION. Materials: Wood, Nylon, Leather, Ribbon, Glue, Metal, Lacquer, Paint, Adhesive tape, Plastictennis -
Tennis Australia
Racquet, Circa 1956
A Wilson Famous Player Series, Tony Trabert Victory tennis racquet. Base of head on obverse features Wilson logo. Throat features model name beneath a crowned shield device, with a 'V' in the centre. Shaft features a decal head and shoulders photo image of a young Trabert. Leather handle grip features quatrefoil perforations. Inscription along right side of shaft: ENDORSED BY/THE NATIONAL [C]HAM[PION]. Materials: Wood, Nylon, Leather, Ribbon, Glue, Metal, Lacquer, Paint, Adhesive tape, Plastic, Clothtennis -
Tennis Australia
Racquet, Circa 1958
A Wilson Famous Player Series, Tony Trabert Victory tennis racquet. Base of head features Wilson logo. Throat features model name beneath a diamond and chevron device. Shaft features a decal head and shoulders photo image of a young Trabert. Cloth butt cover features red 'W' trademark. Materials: Wood, Nylon, Leather, Ribbon, Glue, Metal, Lacquer, Paint, Adhesive tape, Plastic, Cloth, Stringtennis -
The Adam Lindsay Gordon Commemorative Committee Inc.
Functional object - Envelop, stamped, First Day Cover, 16 November 1970
... of issue Adam lindsay gordon famous australians lachlan macquarie ...For more information there is a similar envelop with stamps at the Melbourne Museum : https://collections.museumsvictoria.com.au/items/1692627There were five issues in the 'Famous Australians' series released as follows: Issue 1, November, 1968; Issue 2, November, 1970; Issue 3, May. 1973; Issue 4, August, 1975; Issue 5, November, 1976.Have a look at the description from Melbourne Museum: https://collections.museumsvictoria.com.au/items/1692627stamps, first day cover, first day of issue, adam lindsay gordon, famous australians, lachlan macquarie, john duigan, reginald duigan, edward john eyre, philately -
Tatura Irrigation & Wartime Camps Museum
Folder, Karl Duldig
Folder with black plastic cover, clear front containing printed articles "Famous Men of Malvern" and "Australian Jewish Historical Society Journal" "Famous Men of Malvern" and "Australian Jewish Historical Society Journal" karl duldig, camp 3, singapore group, internee camps -
Koorie Heritage Trust
Book, Roberts, Janine P, Jack of Cape Grim : a Victorian adventure, 1986
Contents: The Tasmanians; Move the Tasmanians to Port Phillip; The Squatters; Melbourne Protected; Melbourne Aborigines Take Up the Gun; The Tasmanians Fight; The Trial; The Execution; The Sequel.Blurb: Jack of Cape Grim is a true story, set in Tasmania and Victoria in the mid1800s. Jack, an Aboriginal, and his friends, the famous Truganini (said, incorrectly, to be the 'last' Tasmanian Aborigine), Bob, Matilda and Fanny brought to Victoria from Tasmania to help'tame' the Victorian Aborigines. The group breaks away from Robinson, the Aboriginal Protector, to seek revenge for their fate, stranded far from homeland.The early white settlers of the Port Phillip District get more than they expected as the Aborigines rampage on the Peninsula, chased by trooper. The outcome is the horrific first public execution in the bustling town of Melbourne.123 p., [24] p. of plates : ill., facsims., maps, ports. ; 22 cm.Contents: The Tasmanians; Move the Tasmanians to Port Phillip; The Squatters; Melbourne Protected; Melbourne Aborigines Take Up the Gun; The Tasmanians Fight; The Trial; The Execution; The Sequel.Blurb: Jack of Cape Grim is a true story, set in Tasmania and Victoria in the mid1800s. Jack, an Aboriginal, and his friends, the famous Truganini (said, incorrectly, to be the 'last' Tasmanian Aborigine), Bob, Matilda and Fanny brought to Victoria from Tasmania to help'tame' the Victorian Aborigines. The group breaks away from Robinson, the Aboriginal Protector, to seek revenge for their fate, stranded far from homeland.The early white settlers of the Port Phillip District get more than they expected as the Aborigines rampage on the Peninsula, chased by trooper. The outcome is the horrific first public execution in the bustling town of Melbourne.truganini, 1812-1876. | aboriginal tasmanians -- treatment. | aboriginal tasmanians -- victoria -- treatment. | aboriginal tasmanians -- government relations. | aboriginal australians -- victoria -- government relations. | victoria -- history -- 1834-1851. -
Islamic Museum of Australia
Surfboards with digital decals, Inshallah Series 2008, 2008
Phillip George was inspired by his trip to the Middle East and the Cronulla riots in 2005 when Lebanese Australians where targeted on a beach in Sydney. The full series consists of 30 surfboards which are all adorned with intricate Islamic vegetal and geometric designs. The range was called Inshallah, or God willing and was made by George in the hope of bridging the cultural divides between Australian Muslims and other Australians.Fibreglass and carbon fire surfboards with digital decals x 3. The Inshallah surfboard series employ designs from famous mosques, showcasing the vegetal and geometric patterns of traditional Islamic design.phillip george, islamic design, australian culture, australian art, surfboard -
National Wool Museum
Leisure object - Playing cards, Onkaparinga Woollen Mill Company, 1950s
Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Playing cards featuring Onkaparinga sales mottos and picturesOnkaparinga Pure Wool Blankets/Australia’s Best/Rugs, Blankets, Piece Goods, Men’s and Boy’s Clothing/Made from Pure Wool In White Pink Blue Green And Primrose/The Home Of The Famous Onkaparinga Pure Wool Products/White And Coloured Blankets Give Individuality And Charm/Made In Australiablanket fever, wool, playing cards, advertisements, onkaparinga -
Nillumbik Shire Council
Print (etching, acquatint, stencil): Jock CLUTTERBUCK (b.1945), Jock Clutterbuck, ‘Frosty Night Cartouche’ from 'The Baldessin & Friends' commemorative folio, 2016
Jock Clutterbuck is a sculptor and printmaker of national significance, known for his sophisticated abstract forms with underlying esoteric mysticism. Clutterbuck overlapped with Baldessin when he studied sculpture and printmaking at the Royal Melbourne Institute of Technology, RMIT (1965-66). He taught at RMIT from (1969-73) before lecturing in sculpture at the Victorian College of the Arts (1974-2000). He is represented in many national and international public art collections and is a recipient of many National prizes and awards. George Baldessin (1939-1978) was a printmaker and sculptor who built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.‘Frosty Night Cartouche’ is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Following a visit to the Press in 2015, Clutterbuck was reminded of a suite of paintings he had produced some thirty years earlier inspired by plein-air drawings of the night sky. This print attempts to capture something of the enchantment, mystery and drama of a frosty rural property where Clutterbuck spent many years. It is a frost dreaming; a subtle personal homage to Baldessin, embodying the reverence of a fellow artist towards an old friend. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Frosty Night Cartouche' (title); right 'Jock Clutterbuck' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)ekphrasis2018, symbols -
Nillumbik Shire Council
Print (etching): Michael LEUNIG (b.1945 Vic, AUS), Michael Leunig, ‘Pilgrim’ from 'The Baldessin & Friends' commemorative folio, 2016
Michael Leunig is an Australian cartoonist, poet and cultural commentator. His best known works include The Adventures of Vasco Pyjama and the Curly Flats series. Leunig was declared one of Australian Living Treasures by the National Trust of Australia in 1999. George Baldessin (1939-1978) was a printmaker and sculptor who built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.one colour (yellow) etching on Somerset paper. Thick lines weave in and out to produce a figure reminiscent of his 'curly flat' characters holding a long stem flower/vine. ekphrasis2018, pilgrim, baldessin, leunig -
Nillumbik Shire Council
Print (sugarlift etching): Jan SENBERGS (b.1939 Lativia, arrived AUS 1950), Jan Sensbergs, 'New Jersey - rust belt' from the 'Baldessin & Friends' commemorative folio, 2016
Jan Senbergs was born in Riga, Latvia, in 1939 and came to Australia when he was ten. Senbergs’ work has been characterised by a simple and bold aesthetic. From lush landscapes to barren urban spaces, his body of work signifies an artist who has continually experimented with shape, form and motif, a fundamental humanist vision, a finely-honed sense of the absurd, and a rigorous studio practice spanning printmaking, drawing and painting. Senbergs is Baldessin's exact contemporary. He was also born in Europe and fled his homeland because of the war, arriving in Melbourne in 1950. Like George, Senbergs also worked at the RMIT and in 1973 represented Australia at the Bienal de Sao Paulo. Senbergs first met George when he was living in St. Kilda. George asked if he could screen print his 'Argus' catalogue for a show at the gallery in the Argus building. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'New Jersey - rust belt' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print finds its' origins in the time Senbergs spent at Harvard in America in 1989-90. In the context of Baldessin it explores an industrial urban surreal vision that was common to both artist. The image captures the life force of the city revealing the keen and observant eye of Jan Senbergs. Similar in sensibility to his large scale charcoal drawings of the 1990s, the artwork is not only a record of what the artist sees, but of what interest him. By following the movement of each line the viewer can witness the artist's eye travelling through, over and around each element of the urban landscape. The scale is deceptive with the image bled to the full-size of the sheet of paper like a microcosm of a much bigger whole. sugar lift etching of an urban (cityscape - New Jersey) scene - bridges, roads, buildings, in thick black brushstrokes. The image is busy; full of energy and movement. A bleed print in which the paper barely contains the city scape. In pencil (handwritten): top centre: left '14/25' (edition); centre 'New Jersey-Rustbelt' (title); right 'Jan Senbergs' (signature); print, sugarlift etching, urban landscape, ekphrasis2018, new jersey, line, rust belt -
Nillumbik Shire Council
Print (etching and photo polymer): Imants TILLERS (b.1967 Syd., AUS) in posthumous collaboration with George BALDESSIN (b.1939 Treviso ITA – d.1978 Melb., AUS), Imants Tillers, 'Unsaid + Nameless' from the 'Baldessin & Friends' commemorative folio, 1976; completed 2016
Imants Tillers has been identified as a quintessential postmodern artist in his use of appropriation and quotation. Since 1981 he has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora. Most recently, his paintings have been concerned with place, locality and evocations of the landscape. Imants Tillers and Baldessin met on their way to the Bienal de Sao Paulo in 1975 and in the following year worked on two collaborative etching plates in Paris that were printed by Pierre Giarudon. 'Unsaid + Nameless' harks back to his experiences with Baldessin in Paris forty years ago. It is a poignant image of absence that can be read in the tradition of the momento mori. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'Unsaid + Nameless' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. In 1976 Baldessin and Tillers embarked on the collaborative work 'According to des Esseintes'; a post modern Surrealist game of consequences and sequences. In homage to his friendship and work, Tillers completed an unfinished Baldessin plate from 1976 inspired from their 'des Esseintes' collaboration. The addition of Odilon Redon's 'smiling spider' is indicative of Tiller's broader post-modern approach. Solar plate etching of Odilon Redon's 'Laraignee souriante' (The Smiling Spider) on an incomplete plate etched by George Baldessin in 1976 on Somerset paper. Other images include skewed perspectives of a wooden window frame, 'wooden' floor or table(?) folded sheet of paper and unknown apparatus. In pencil (handwritten): low plate: left '14/25' (edition); centre: 'Unsaid + Nameless' (title); right 'Imants Tillers' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)solar plate etching, george baldessin, somerset paper, spider, line, ekphrasis2018, odilon redon, appropriation, post modern, surrealism, collaboration, paris, folio -
Nillumbik Shire Council
Print (woodcut and etching on chine-colle): John WOLSELEY (b.1938 Somerset, UK; arrived 1976 Melb., AUS), John Wolseley, 'Life world of the Longicorn beetle' from the 'Baldessin & Friends commemorative folio', 2016
Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'Life world of the Longicorn beetle' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media