Alfred William Eustace (1820-1907), an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped beside the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. A.W. Eustace was a significant member of the Chiltern community during the 19th century and his artwork was displayed widely, even in European royal homes.Copy of sepia photograph of A.W. Eustace in a brown wooden oval frame with a copy of A.W. Eustace's signature across the bottom of the photograph.Sticker on back: 194 Sticker on back: MADE IN/ CHINA/ FABRIQUE 'AU/CHINEa.w.eustace, photograph, chiltern

These copies of five oil on gum leaf paintings by Alfred William Eustace (1820-1907) display the subjects and detail of his small gum leaf paintings. A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Alfred William Eustace was a well-known self-taught Australian artist who was known worldwide for her unique oil on gum leaf paintings. He was also a prominent Chiltern citizen.Copies of five A.W.Eustace oil paintings on gum leaf, under glass, displayed on blue paper in a black metal frame.alfred eustace, gum leaf painting, chiltern

TWELVE COLOUR PHOTOGRAPHS OF TRAVELLING TOBY JUG EXHIBITION FROM SHEPPARTON ART GALLERY. SOME WITH NAMES OF MUSEUM VOLUNTEERS ON BACK. PHOTOGRAPHS CATALOGUED 1845 1 - 12, PHOTOS ON VICTORIAN COLLECTION MARKED 1845 A TO K. local history, photography, photographs, exhibition, toby jug

Helen A’Beckett Read is a traditional painter who did not start her career until later in life. Her art style in Nocturne can be described as contemporary impressionism, as the use of a tonal colour palette and the style of brushstrokes are impressionistic while the style of the landscape depiction is contemporary. While Helen A’Beckett Read is an accomplished artist in her own merit, she is also a member of the famous Boyd family being the daughter of Arthur Boyd and Emma Minnie A'Beckett.ContemporaryRural City of Wangaratta Council Collection. Purchased with funds from the Wangaratta Arts Council.A landscape oil painting of a night scene painted in the traditional style using shades of blue, brown, green and yellow.Obverse: Helen Read/ 1980/wangaratta art gallery, helen a'beckett read, the boyd family, landscape, painting

McDonald Smith is famous for paining in the tradition of tonal impressionism, with most of his works painted in oil. This influence of the European Impressionist art style is clearly seen in his artwork Flower Study. The notion of light, an impressionist theme, is depicted by the use of a tonal colour palette and varied brushstrokes. The depiction of a Japanese dragon vase hints at the art aesthetic of Japonisme in the European Impressionist movement, a possible nod of respect to the movement by McDonald Smith.Rural City of Wangaratta Collection, Wangaratta Art Prize 1997.A rectangular still life painting of a bunch of flowers in a vase painted in oil using shades of white, red, green, blue, and yellow.Obverse: P McDONALD SMITH (bottom right corner)wangaratta art gallery, painting, still life, paul mcdonald smith

Rural City of Wangaratta CollectionA pastoral landscape painting in oil using a tonal colour palette of greens, blues, browns and yellows.J. Colin Angus/ 84/ (bottom left corner)wangaratta art gallery, j colin angus, john colin angus, painting, landscape, pastoral

naïve art, outsider artRural City of Wangaratta Collection, Wangaratta Art Prize 1977.An oil painting that tells the story of the bushranger Mad Dog Morgan, painted in the naïve art style using a colour palette of blue, brown, orange, and red.wangaratta art gallery, tony convey, naïve art, outsider art, mad dog morgan, painting, bushranger

contemporaryRural City of Wangaratta Collection. Purchased by the Wangaratta Arts Council.A contemporary still life object study painted in synthetic polymer using a small colour palette of brown, black, cream, grey, blue, orange, and purple.wangaratta art gallery, still life, carol hamilton, painting

Mollie Hill was a famous Welsh-born Australian watercolourist who studied at the Melbourne National Gallery Art School and is known for her 'eye for colour'. Her work features many landscapes of northern Victoria as she lived for some time in Shepparton and Wandiligong. She was also a well-known journalist. Depicted in this painting is the old council borough offices which were demolished in 1962. Rural City of Wangaratta Collection. Gift of Wangaratta Co-operative Housing Society No. 3 Ltd.A watercolour landscape of the old Wangaratta borough offices painted using shades of green, red, blue, and brown.Obverse: Mollie Hill/ (bottom right corner) PRESENTED/ TO THE BOROUGH OF WANGARATTA/ BY WANG. CO-OP. HOUSING SOCIETY/ NO. 3. LTD. IN APPRECIATION OF THE/ GENEROUS ASSISTANCE RECEIVED./ (in mounting board)wangaratta art gallery, mollie hill, watercolour, painting, landscape, borough offices

Rural City of Wangaratta Collection. Wangaratta Art Show Grand Winner 2001.A pastoral landscape of a farming property painted in oil using a colour palette of yellows, greens, blues, browns, and creams.Obverse: RAMON HORSFIELD/ (bottom left corner) Grand Winner - 2001/ "Golden Summer"/ By Ramon Horsfield/ Judge Kevin Taylor/ (plaque mounted on frame)wangaratta art gallery, ramon horsfield, landscape, pastoral, painting

Knight’s art style is heavily influenced by the Australian Impressionist movement of the late 19th century and he paints his work in outdoor settings, which is known as plein-air painting. Rural City of Wangaratta Collection, Wangaratta Art Prize Grand Winner 1992.An aerial landscape of a costal view painted in oil using a tonal colour palette of browns, blues, greens, oranges, and whites.Obverse: KEN KNIGHT/ (bottom right corner) WANGARATTA ART SHOW/ GRAND WINNER 1992/ 'COASTAL VISTA'/ By KEN KNIGHT/ (plaque mounted on frame)wangaratta art gallery, ken knight, landscape, painting, costal, plein-air, plein air

Rural City of Wangaratta Collection.A costal landscape of a group of stones painted in oil using a colour palette of blue, green, white, black, yellow, and orange.Obverse: Mezaks/ (bottom right corner)wangaratta art gallery, maggie mezaks, painting, landscape, costal

Rural City of Wangaratta Collection, Wangaratta Art Prize 1990.An oil landscape of gums and grass trees painted with a colour palette of green, yellow, brown, blue, and grey.E. MICHEL 90/ (bottom right corner) GRAND WINNER 1990/ ELLEN MICHEL/ 'Summer In The Warbys'/ (plaque mounted on frame)wangaratta art gallery, ellen michel, landscape, painting, warby ranges

Rural City of Wangaratta Collection, Wangaratta Art Prize 1993.A still life watercolour of an old garage painted with a colour palette of brown, green, grey, and yellow.Obverse: RON L MULLER/ (bottom left corner) Grand Winner 1993/ Garage Corner/ By/ Ron L. Muller/ Judge - Barbara Beasly-Southgate/ (plaque mounted on frame)wangaratta art gallery, ron muller, watercolour, garage, still life

Rural City of Wangaratta Collection, Wangaratta Art Prize Grand Winner 1981.A aerial landscape of a rural road, painted in oil using a colour palette of blue, green, white, yellow, and brown.Obverse: L Pawluk/ (bottom left corner)wangaratta art gallery, len pawluk, landscape, rural, painting, walhalla

Rural City of Wangaratta Collection, Wangaratta Art Prize 1987.A landscape of a lake scene, painted using oils in a colour palette of green, blue, pink, brown, and grey.Obverse: Wykeham Perry 87/ (bottom left corner) WANGARATTA ART SHOW/ GRAND WINNER 1987/ (plaque mounted on frame)wangaratta art gallery, wykeham perry, landscape, painting, coastal

abstractRural City of Wangaratta Collection. Purchased with funds from the Wangaratta Art Council.An abstract painting of an eatery dinning area painted in oil using a colour palette of predominantly blue alongside shades of green, pink, brown, and yellow.Pyett/ '76/ (bottom left corner)wangaratta art gallery, christopher pyett, painting

Rural City of Wangaratta Collection. Gift of the artist 1992.A landscape scene of a river winding through gums painted with oils using a colour palette of green, brown, grey, blue, orange, and purple.Obverse: A. Quabba 1992/ (bottom right corner)wangaratta art gallery, angelo quabba, landscape, painting

Rural City of Wangaratta CollectionAn portrait of John Colin Angus in his later years sitting in a wooden armchair, painted using oils in a small colour palette of reds, blues, pinks, and yellows.Obverse: A Quabba 95/ (top left corner)wangaratta art gallery, painting, portrait, john colin angus, angelo quabba

Rural City of Wangaratta Collection. Gift of Leslie Morrison. Donated in memory of Bruce Morrison, Shire Engineer.A realistic pastoral landscape, painted in watercolour using a colour palette of green, blue, brown, yellow, and white.Obverse: VR WATT/ (bottom left corner)wangaratta art gallery, v. r. watt, landscape, painting, pastoral

Rural City of Wangaratta Collection. Gift of Leslie Morrison. Donated in memory of Bruce Morrison, Shire Engineer.A realistic pastoral landscape, painted in watercolour using a colour palette of green, blue, brown, yellow, and white.Obverse: VR WATT/ (bottom left corner)wangaratta art gallery, v. r. watt, landscape, pastoral, painting

Stormy skies can be memorable with dark and contrasting colours. They often appear menacing and producing apprehension in the air because of the oncoming weather. Fabrics used in this piece are all commercial. I have endeavoured to make the sky angry with stitches. The mesa has some very dark and ominous craggy rifts. ‘Sky Series’ Changes are constantly taking place in the sky . I love the variety, colour and movement of the sky which are all a direct result of the clouds, sun and time of day. I certainly think about the sky much more when we are on Safari. The sky is a great indicator of the ever changing time of day and weather conditions …... fine and clear, cloudy, sunset, sunrise and storms. The artwork features a simple ‘mesa’ shape against the sky. A mesa is a flat topped hill. Which are part of the Australian Inland. The mesa I have featured is in recognition of Mt Connor in the Northern Territory.Wangaratta Art Gallery CollectionA embroidered textile depiction of an outback landscape scene during a storm featuring a colour palette of blues and browns.june brown, textile

When in the desert it is frightening to see a distant fire, even though you may not see the actual flames. As evening approaches the sky reflects anger and colour. The mesa is also reflecting some of the glow . I imagined it had been burnt already and some embers are still aglow in the evening light All fabrics used in this work are cotton commercial fabrics. My stitching has been done to accentuate the red reflection in the sky. Black rayon thread gives a certain sheen to the mesa with a dried grassy foreground. ‘Sky Series’ Changes are constantly taking place in the sky . I love the variety, colour and movement of the sky which are all a direct result of the clouds, sun and time of day. I certainly think about the sky much more when we are on Safari. The sky is a great indicator of the ever changing time of day and weather conditions …... fine and clear, cloudy, sunset, sunrise and storms. The artwork features a simple ‘mesa’ shape against the sky. A mesa is a flat topped hill. Which are part of the Australian Inland. The mesa I have featured is in recognition of Mt Connor in the Northern Territory.Wangaratta Art Gallery CollectionA embroidered textile depiction of an outback landscape scene during a fire featuring a colour palette of pinks, purples, and browns.june brown, textile, landscape

Wangaratta Art Gallery CollectionA small weaving with a colour palette of black, reds and oranges.esmae emerson, weaving, textile

Wangaratta Art Gallery CollectionA small weaving with a colour palette of black, green, yellow and white.esmae emerson, weaving, textile

The genesis of this work was an exploration of materials and sustainability, which led to the use of jute twine as the base material - a humble, sustainable fibre, and an unlikely material for the creation of 3D forms. Machine sewn with a simple zig zag stitch, the work contrasts the most basic of materials and equipment with the creation of beautiful and sophisticated objects. Embedded textures are constructed with a variety of threads, yarns and techniques, allowing the minimal palette to highlight serendipitous interplays of form and texture.Wangaratta Art Gallery Collection5 twine bowls of various sizes in a colour palette of black and cream.fiona gavens, textile, twine bowl

Wangaratta Art Gallery CollectionA small maquette tapestry featuring a scalloped design in a colour palette of white, olive, and grey.tim gresham, weaving, tapestry, textile

I draw inspiration from the world around me and from particular aspects of life. Previously my work dealt with my experience as a Scottish migrant – looking back and forward, north and south, here and there, between two countries. This ‘in-between-ness’ of the migratory experience, while not unique to me or other Australians, contributes to my sense of being made up of many parts, a kind of fragmentation where certain components come into play at different times. There is an eternal mismatch or sense of being out of place in my world as I am recognized as Scottish in Australia when people hear me speak but in Scotland people comment on my Australian accent. In a wider sense Australia’s history and culture is made up of many examples of people and things brought together without a good likeness or fit. Woven tapestry allows me to combine my interests in textiles and visual art using the tactile qualities of materials in the highly complex woven form. It allows be to create realistic images, but change format, composition and placement to create images which invite the viewer to question. The intricate nature of multiple wefts twined between warps parallels the complexities of life and tapestry’s building /constructed process embodies the advancement of time.Wangaratta Art Gallery CollectionA small tapestry of a gum leaf and a singe root system handwoven in a colour palette of black, grey, and white.valerie kirk, tapestry, textile

I draw inspiration from the world around me and from particular aspects of life. Previously my work dealt with my experience as a Scottish migrant – looking back and forward, north and south, here and there, between two countries. This ‘in-between-ness’ of the migratory experience, while not unique to me or other Australians, contributes to my sense of being made up of many parts, a kind of fragmentation where certain components come into play at different times. There is an eternal mismatch or sense of being out of place in my world as I am recognized as Scottish in Australia when people hear me speak but in Scotland people comment on my Australian accent. In a wider sense Australia’s history and culture is made up of many examples of people and things brought together without a good likeness or fit. Woven tapestry allows me to combine my interests in textiles and visual art using the tactile qualities of materials in the highly complex woven form. It allows be to create realistic images, but change format, composition and placement to create images which invite the viewer to question. The intricate nature of multiple wefts twined between warps parallels the complexities of life and tapestry’s building /constructed process embodies the advancement of time.Wangaratta Art Gallery CollectionA small tapestry of roots and leaves handwoven using a colour palette of black, grey, and white.valerie kirk, textile, tapestry