Framed coloured Photograph in a black frame of HMAS Brisbane at sea.41photograph, hmas brisbane, ddg (destroyer designated guided)

certificate presented to the Wangaratta Urban Fire Brigade 18th October 1991, by Fire Services Museum of Victoria for the CENTENARY OF THE FIRE BRIGADES ACT 1891 - 1991.blue patterned certificate framed by a narrow black plastic frame1991, fire brigades act

This is a photograph from the W.C. Busse Collection and a woman is illustrated with a bun hair tie and a pearl necklace. Wilfred Clarence Busse 1898-1960, born in Chiltern, was a barrister and author. His family moved to the region during the gold rush and continued to reside in the area, purchasing land adjacent the Murray River. Busse attended school at Wesley College and studied law at the University of Melbourne. Busse went on to become a barrister, often in the chambers of Sir Leo Finn Bernard Cussen (1859-1933) a judge of the Supreme Court of Victoria. Time spent on a Victorian station in his early twenties, as well as careful documentary research, informed the writing of his historical novels of bush life. "The Blue Beyond; A Romance of the Early Days in South Eastern Australia" was written in 1928 and published in 1930. "The Golden Plague: A Romance of the Early Fifties", written in 1930, won the T. E. Role gold medal for the best historical novel published that year and went on to become a best seller. His passion for the region led him to write “The History of Chiltern”, which was published in a serial form in the Chiltern Federal Standard from 1922-1923. He was a member of the Chiltern Athenaeum upon his death in 1960. The photograph belongs to the W.C. Busse Collection, which is of great importance to Chiltern Athenaeum. Wilfred Clarence Busse was a barrister and author born in Chiltern and drew inspiration to write novels from his life growing up in Chiltern.Black and white framed photograph printed on paper and wooden frame.w.c. busse collection, wilfred clarence busse, chiltern, barrister, author, murray river, wesley college, university of melbourne, chambers, leo finn bernard cussen, judge, supreme court of victoria, historical novels, bush life, the blue beyond, the golden plague, t. e. role gold medal, the history of chiltern, chiltern federal standard, chiltern athenaeum

Framed Colour Photograph - 3 of the Oarsome Foursome, black frame

Framed Colour Photograph - 3 of the Oarsome Foursome, black frame

Framed Certificate - 2018 Awards for Planning Excellence, black frame

Wes WALTERS (06 August 1928 - 19 August 2014) Born Mildura, Victoria From 1940 t0 1945 Wes Walters attended the Ballarat High School. He then studied architecture at the Gordon Institute in Geelong, followed by art at the Ballarat School of Mines (a division of the Ballarat School of Mines). During his time at the Ballarat Technical Art School (later Federation University Australia) Walters studied under Neville Bunning and Taylor Kelloch, and was awarded the Ballarat Ladies Art Association Scholarship in 1948. He next moved to Melbourne to work as a commercial artist with the George Patterson advertising agency. Each evening Walters studied life drawing at the Victoria Artists’ Society and taught himself anatomy. Wes Walters excelled in both abstract and realist art. He won the Art Gallery of Ballarat’s Minnie Crouch Prize for watercolour art in 1953 and 1956. He won the prestigious Archibald Prize in 1879 for his portrait of Phillip Adams. 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.Large framed life Drawing in pastel framed behind glass. signed lower right 'Walters '87'wes walters, nude, life drawing, available

Framed Certificate in carved wooden frame headed "In Freedom's Cause"Shire of Upper Yarra ---- The President and Councillors and Ratepayers of the Shire of Upper Yarra Hereby place on record their thanks and Appreciation for the Conduct of Leslie Raymond Jack who served his King and Country in the Great War. In Witness Whereof the Corporate Seal of the Municipality is hereto attached in the presence of.

FRAMED IN BROWN WOODEN FRAME - MOUNTED ON GOLD COLOURED MATBorough of Clunes/For Liberty/Anzacs for Justice "The Mayor, Councillors and Burgesses of the Borough of Clunes hereby place on record their thanks and appreciation for the conduct of Gnr A. Sexton who served his King and Country in the Great War of 1914, 1915,1916,1917." In witness whereof the Corporate Seal of the Municipality is hereby attached in the presence of John F Phillips Mayor Allan K Buckley Town Clerk Philip Rowe Scty 25/3/19 ww1, the great war, sexton, borough of clunes

The certificate was issued by the City of Bendigo to AHQ Survey Regiment awarding the Regiment "Freedom of Entry" on ceremonial occasions. The certificate recognises the long service and close association between the Regiment and the City. Three certificates with seals were produced. One held by the City of Bendigo, one held by the Regiment and one was held by Ian Wallace who produced the certificates when he was part of the City's Engineering Department. The Freedom of Entry to the City was first conferred by the Bendigo City Council to the Army Survey Regiment in 1970. The unit then exercised its freedom by marching into the city with swords drawn, bayonets fixed and drums beating. The honour is usually bestowed upon local regiments, in recognition of their dedicated service, and it is common for military units to periodically exercise their freedom by arranging a parade through the city. The parade generally concluded after formal inspections of the troops. Regiment members were often treated to a civic reception at the City Hall after the ceremony. The Regiment also exercised its Freedom of Entry with anniversary parades in 1977, 1980, 1985, 1990 and 1995.The Regiment copy of the certificate was sent to the Army Military Museum at Holsworthy when the unit was disbanded and this copy (6409.1) held in the Bendigo RSL Museum is the copy that was originally held by the City of Bendigo. 6409.2 is a photograph of Gary Warnest, President ExFortuna Survey Association (left) holding the certificate 6409.1 and Mr Ian Wallace the certificate producer (right).Large framed certificate. Wooden frame, glass protecting the certificate.royal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr

FRAMED ORIGINAL MINER'S RIGHT, FRAMED & ISSUED TO JOHN HOPE.3RD JULY 1892local history, document, miners right, mining

The use of a catheter for oxygen therapy was introduced by Arbuthnot Lane in 1907. However, its true value can be seen in its use during WWI. Masks were cumbersome and uncomfortable for the wounded and nasal delivery of oxygen was received more easily. The Tudor Edwards' Spectacle-frame was manufactured in London during the 1930s. Dr Penn recorded that it was an inefficient means of oxygen therapy because of the smallness of the nasal tubes.Metal mask resembling spectacles with round frames and rounded ends of the arms to secure around the ear. There is a tube coming from each round eye frame to end in a curve that sits in the nostril. The other end of this tube has a rubber tube attached which meets in the middle via a metal connector.oxygen therapy, intra-nasal

Original plans for the Mount Buffalo Chalet, framed architectural drawings for the Chalet, titled " Additions to Government Chalet Mt Buffalo. Dated 1909. Signed Jas G Spence & E F Leary. "Ground Plan, first floor plan, elevation, Section M5 and side elevation –beautiful coloured plan, hand price onit of £970, also called Drawing No. 1.Beautiful plan suitable for reproduction for graphic work." (Pg 45. Heritage Impact Assessment, September 2013. MGS Architects and McDougall & Vines, Conservation and Heritage Consultants) 'The Mount Buffalo Chalet opened in April 1910 as a remarkable Victorian State government venture into alpine tourism and recreation. Designed by Public works Department architect, George Austin (1860-1921)." (Pg 4 Historica, 2011). "The collection of ephemera builds on the Chalet's holding of archival material with a range of interesting, original items. Dinner menus., stationery., luggage labels, tickets, dockets and plans help to interpret the structured routine and social conventions of the Chalet that held sway for so many years." (pg 127 MBCC) These plans drawn were most likely to have been drawn upon recommendation by Government Tourist Officer, J.C.Boyce. John Newton (the Lessee) suggests the addition of 2 new wings (24 rooms) and creation of a billiards room. Treasury approved money for these extensions which were not completed until1914. Listed in Draft Inventory of Significant Collection Items. Four framed hand-drawn and coloured drawings / plans of the Chalet. Framed and mounted behind glass. 1: Dated 1911 -1912. 2: -dated 6th oct 1909 3: -Dated 25th Sept 1909. 4: -Dated 6th Oct 1909.Handwritten at the top of each drawing," Mount Buffalo / Wood Chalet"

CLUNES TOWNSHIP IN 1886.1 BLACK WOODEN FRAMED PHOTOGRAPH OF CLUNES. HAND TINTED WITH A NARRATIVE WHICH WAS GLUED ONTO THE GLASS. VIEW LOOKING SOUTH NEAR THE PRESENT DAY SCENIC ROAD LOOKOUT. .2 BROWN WOODEN FRAMED PHOTOGRAPH OF THIS SKETCH. WITH MATT BORDER..1 TOWN OF CLUNES - Population 4874 - Number of dwellings 1100. Gold first discovered here 1st July 1851 Printed narrative: A hand-tinted photo-engraving from the Handbook of Victoria, published for the Colonial and Indian Exhibition in London, 1886. Looking south from near the present-day Scenic Road lookout, the illustration projects the image of Clunes as a goldmining town The view shows the headframes of several mine shafts, the Central Clunes Q.M.Co., and the Boundary, No.1 and No.2 shafts of the South Clunes G.M.Co. The headframe on the skyline in the middle distance was probably that of the Bute & Downes Amalgamated G.M.Co., near the railway station. .2 PAPER CERTIFICATE OF AUTHENTICITY ON REAR OF FRAME.colonial and indian exhibition in london 1886, bute & downes amalgamated, buildings, mining

Saw metal large on three sided wooden frame. Blade attached to frame by screws & tensioned by metal turnbuckle. A frame saw.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Saw metal large on three sided wooden frame. Blade attached to frame by screws & tensioned by metal turnbuckle. A frame saw.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

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

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

A photo of a tram painted to promote Legacy in 1995 which was the 50th Anniversary of the end of World War II. Wording on the tram says: "This year - Australia remembers the Heroes of World War II / 50 years on / Legacy never forgets to care for the widows and children of those who fought for our freedom". It appeared in The Answer in June 1995 after it had been launched on May 2nd by President David Millie and Public Transport Minister, Mr Alan Brown. The ribbon was cut by Junior Legatees Kim Anderson and Peter Hazelager. "The distinctive white tram will be running on routes around Melbourne for at least six months and our thanks go to the Public Transport Corporation for making it possible.A record of a way to promote Legacy during Legacy Week in 1995.Colour photo x 6 of a tram painted to promote to Legacy and widows riding the tram.Printed on the back "legacy promotion, tram, answer

A group of widows at exercise classes in a pool at Melbourne City Baths. Melbourne Legacy ran an excellent exercise program for its widows for many years and the swim classes were very popular. It is assumed to be 2001 as it was with a bunch of photos with the label, "Swimming 2001". Names unknown. More photos at 00644.A record of the types of activities Legacy provided as a physical and social outlet for widows. Colour photo x 3 of Legacy widows doing exercises in a pool.Printed on back widows, exercise classes, swimming, activities

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

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

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

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

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

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

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