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Federation University Art Collection
Work on paper - Limited Edition Coloured Print - 4/30, Geoffrey Ricardo, 'Naturalists' by Geoffrey Ricardo, 1992
GEOFFREY RICARDO (1964- ) Born Melbourne, Australia 1984-86 Bachelor of Arts (Fine Art), Printmaking, Chisholm Institute of Technology, Melbourne 1987-89 Printing Assistant at Bill Young Studios, Editioning intaglio prints, King Valley, VIC 1988 Full-time Studio Technician at Printmaking Department, Chisholm Institute of Technology, Melbourne 1989-90 Graduate Diploma (Fine Art), Printmaking, Monash University, Melbourne 1991 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012 Framed limited edition coloured print showing two men in dinosaur masks, leaning over and heading butting each other. Edition is limited to 30, print is number four.On the left, between print and matting: 4/30 "Naturalists" On the right, between print and matting: signed Ricardo ' 92 On front upper right hand corner pale dark red stain on glass On back, left hand corner, red ink finger prints near where it appears that the backing board has been torn to remove the previous tape. On back, both vertical sides has a number of dents towards the outside of it near the tape. art, artwork, print, limited edition, geoffrey, ricardo, fantasy, colour, available, sport -
Federation University Art Collection
Work on paper - Printmaking -Aquatint etching, 'Dog' by Geoffrey Ricardo, 1995
GEOFFREY RICARDO Born 1964, Melbourne, Australia 1984-86 Bachelor of Arts (Fine Art), Printmaking, Chisholm Institute of Technology, Melbourne 1987-89 Printing Assistant at Bill Young Studios, Editioning intaglio prints, King Valley, VIC 1988 Full-time Studio Technician at Printmaking Department, Chisholm Institute of Technology, Melbourne 1989-90 Graduate Diploma (Fine Art), Printmaking, Monash University, Melbourne 1991 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed limited edition print This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.art, artwork, geoffrey ricardo, printmaking, etching, aquatint -
Geelong Naval and Maritime Museum
Plate, Huddart Parker Line plate, Mid to late 19th Century
Huddart Parker traded between 1876 and 1961. It was established in 1876 by James Huddart, T.J. Parker, John Traill and Captain T. Webb. The business rapidly expanded and was travelling between Melbourne and Sydney by 1882 and Melbourne to Adelaide from 1886. The Company was established in Geelong but moved its offices to Melbourne by 1890. It is likely this saucer was used on the Huddart Parker shipping line some time between 1876 and 1961. Historically, the early establishment of the company in Geelong is significant for the region. The object is significant for its connection to early Victorian transport from regional ports to larger cities.A white glazed saucer with a blue transfer print with geometric design on rim. Huddart & Parker Co. logo transfer print on rim and base.Makers Mark: "C McDANN & CO ENGLAND HANLEY R.NO 764041" on base. "HUDDART PARKER LINE" logo on rim.geelong maritime museum, huddart parker line, huddart parker, c. mcdann and company, hanley, shipping lines geelong -
Geelong Naval and Maritime Museum
Tea Cup, Huddart Parker Line Tea Cup, 1950
Huddart Parker traded between 1876 and 1961. It was established in 1876 by James Huddart, T.J. Parker, John Traill and Captain T. Webb. The business rapidly expanded and was travelling between Melbourne and Sydney by 1882 and Melbourne to Adelaide from 1886. The Company was established in Geelong but moved its offices to Melbourne by 1890.It is likely this tea cup was used on the Huddart Parker shipping line some time from 1950 to the company's closure in 1961. Historically, the early establishment of the company in Geelong is significant for the region. The object is significant for its connection to Victorian transport from regional ports to larger cities. It is a good example of mid 20th Century hotelware and Duraline offerred 'unchippable crockery' for utilitarian purposes. Duraline was imported by Loftus Moran P/L who were based in South Melbourne and supplied the ware to hotels and institutions across Victoria. White glazed tea cup with blue transfer printed blue line around rim, blue geometric pattern around body and Huddart Parker line logo. Cup has a triangular shaped handle. Cup has a small hairline crack and a small chip.Dura Line/ Grafton China/ Made in Englad/ Loftus Moran Pty Ltd 1950huddart and parker line, geelong shipping, geelong maritime museum, duraline, grafton china, loftus moran p/l -
Port Fairy Historical Society Museum and Archives
Photograph
S.s.Casino 1910. The people on the decks are tourists coming from Terang and surrounding areas to spend the day at the seaside. The steamer S.S.CASINO was much loved by the whole Port Fairy community- with the possible exception of some of the fishermen whose boats she ran down! Transport of the large quantities of wool, potatoes, onions, grain, sheep, cattle and other produce grown on the rich lands of the Western District Belfast was served by a plethora of shipping, both sail and steam, but only one of the steamers then in the regular trade (S.S. DAWN) would ever be able to get up the river and reap the cost savings of loading against a wharf. It was not unusual for four steamers to be anchored in the bay at once and for seven or eight different steamers to call during a week. A number of inter-colonial steamers also called to pick up produce for delivery to Melbourne, Sydney and Adelaide. Production in the Western District was increasing and virtually all of that production had to go through one of the western ports in order to reach markets. By 1882 a meeting 15ft. March, 1882, in the office of auctioneer, J.B. HoIden in Cox Street took action and it was unanimously resolved - that the Belfast & Koroit Steamship Company be formed with a capital of £20,000 in 10,000 shares of £2 each". A number of steamers were offered by letter to the fledgling company, including the new and almost sister ships, CASINO and HELEN NICHOLL. The CASINO was on her delivery voyage from England was due to arrive in Warrnambool to load potatoes for Sydney and, initially, arrangements were made for her to call into Port Fairy for inspection by the BKNS Co directors. She eventually proceeded direct to Warrnambool and the Directors inspected her there. Without hesitation they purchased her even though they had to raise a large bank loan to do so. The CASINO arrived in Port Fairy on Saturday, 29th. July, 1882, steaming triumphantly up the Moyne River, and was greeted by crowds, many of whom had driven in from the surrounding countryside, which gave her “loud ringing English cheers". By 1884 the CASINO could not carry all the cargoes available to her and in December of that year the company purchased the new steamer BELLINGER to provide additional capacity. She helped to open up the intermediate ports of Lorne, Apollo Bay and Port Campbell, but the BELLINGER was not really suitable for the trade and she was sold in 1887, leaving the CASINO to operate alone -as she was to do for almost all of the next 45 years. The opening of the railway in 1890 decreased the cargo available to the steamers and the economic depression of the early 1890's worsened the situation. The weak soon began to fall by the wayside and when the Portland & Belfast SN Co. decided to go into liquidation in April 1895, the Belfast & Koroit Company bought the Portland Company's steamer DAWN on advantageous terms, a substantial part of the payment being in BKSN Co shares. The BKNS Co and the Howard Smith Line came into direct head to head competition and nearly forced the BKNS Co out of existence. Cargo dropped to such an extent that in 1899, they reached agreement that only one ship would run and that the ship which ran would pay a weekly amount to the competitor to stay out of the trade. This controlled service ceased in1909, and competition intensified when Howard Smith placed the newly built, larger steamer EUMERALLA on the run. The BKNS Co survived this competition and even prospered during it partly by extending on a more regular basis, the CASINO'S voyages to South Australian ports Port Macdonnell, Kingston, Beachport, Robe and, on occasions Adelaide. There were setbacks when, on 20 October 1924, CASINO went ashore at the Kennett River, near Apollo Bay, and again, in February l929, when she struck a submerged object at Warrnambool and had to be beached. The railways placed great competitive pressure on the small steamship company and this pressure was intensified when the Great Depression slashed the market for Western District produce, BKNS Co struggled on, paying dividends in most years, and the company planned a big celebration for the CASINO'S fiftieth anniversary in the trade on 29th July, 1932. Disaster struck soon after 9 o'clock on the morning of Sunday I0 July, 1932 when the CASINO was lost at Apollo Bay together with the lives of 10 crew members. Black and white photograph of tourists crowded on the decks of s.s.Casino during a sail around the bay for Terang dayship, boat, sea, river, s.s.casino 1910, transport, 1910, wool, onions, grain, sheep, cattle, steam, terang day -
Port Fairy Historical Society Museum and Archives
Photograph, s.s.Casino
This photograph show the ship in dry dock (possibly Melbourne) for maintenance. The steamer S.S.CASINO was much loved by the whole Port Fairy community- with the possible exception of some of the fishermen whose boats she ran down! Transport of the large quantities of wool, potatoes, onions, grain, sheep, cattle and other produce grown on the rich lands of the Western District Belfast was served by a plethora of shipping, both sail and steam, but only one of the steamers then in the regular trade (S.S. DAWN) would ever be able to get up the river and reap the cost savings of loading against a wharf. It was not unusual for four steamers to be anchored in the bay at once and for seven or eight different steamers to call during a week. A number of inter-colonial steamers also called to pick up produce for delivery to Melbourne, Sydney and Adelaide. Production in the Western District was increasing and virtually all of that production had to go through one of the western ports in order to reach markets. By 1882 a meeting 15ft. March, 1882, in the office of auctioneer, J.B. HoIden in Cox Street took action and it was unanimously resolved - that the Belfast & Koroit Steamship Company be formed with a capital of £20,000 in 10,000 shares of £2 each". A number of steamers were offered by letter to the fledgling company, including the new and almost sister ships, CASINO and HELEN NICHOLL. The CASINO was on her delivery voyage from England was due to arrive in Warrnambool to load potatoes for Sydney and, initially, arrangements were made for her to call into Port Fairy for inspection by the BKNS Co directors. She eventually proceeded direct to Warrnambool and the Directors inspected her there. Without hesitation they purchased her even though they had to raise a large bank loan to do so. The CASINO arrived in Port Fairy on Saturday, 29th. July, 1882, steaming triumphantly up the Moyne River, and was greeted by crowds, many of whom had driven in from the surrounding countryside, which gave her “loud ringing English cheers". By 1884 the CASINO could not carry all the cargoes available to her and in December of that year the company purchased the new steamer BELLINGER to provide additional capacity. She helped to open up the intermediate ports of Lorne, Apollo Bay and Port Campbell, but the BELLINGER was not really suitable for the trade and she was sold in 1887, leaving the CASINO to operate alone -as she was to do for almost all of the next 45 years. The opening of the railway in 1890 decreased the cargo available to the steamers and the economic depression of the early 1890's worsened the situation. The weak soon began to fall by the wayside and when the Portland & Belfast SN Co. decided to go into liquidation in April 1895, the Belfast & Koroit Company bought the Portland Company's steamer DAWN on advantageous terms, a substantial part of the payment being in BKSN Co shares. The BKNS Co and the Howard Smith Line came into direct head to head competition and nearly forced the BKNS Co out of existence. Cargo dropped to such an extent that in 1899, they reached agreement that only one ship would run and that the ship which ran would pay a weekly amount to the competitor to stay out of the trade. This controlled service ceased in1909, and competition intensified when Howard Smith placed the newly built, larger steamer EUMERALLA on the run. The BKNS Co survived this competition and even prospered during it partly by extending on a more regular basis, the CASINO'S voyages to South Australian ports Port Macdonnell, Kingston, Beachport, Robe and, on occasions Adelaide. There were setbacks when, on 20 October 1924, CASINO went ashore at the Kennett River, near Apollo Bay, and again, in February l929, when she struck a submerged object at Warrnambool and had to be beached. The railways placed great competitive pressure on the small steamship company and this pressure was intensified when the Great Depression slashed the market for Western District produce, BKNS Co struggled on, paying dividends in most years, and the company planned a big celebration for the CASINO'S fiftieth anniversary in the trade on 29th July, 1932. Disaster struck soon after 9 o'clock on the morning of Sunday I0 July, 1932 when the CASINO was lost at Apollo Bay together with the lives of 10 crew members. Black and white photograph of ship in dry dockship, boat, sea, river, industry, belfast and koroit steam navigation company -
Port Fairy Historical Society Museum and Archives
Headwear - Hat, 1860
Owner: Edmund Moutray Esq. died on voyage from London to Adelaide 1860.Mrs. V. Rowley, daughter, and Moutray family, Port Fairy districtAn example of an heirloom and it’s connection to familyblack top hat, tall crown, cream lined: brown leather case with lid and red liningbrim: 720/ 678 crown: extra quality/ Lincoln/ Bennett/ & Co. base of case: E. Moutraylocal history, costume accessories, hat accessories, edmund moutray, london, mrs v rowley, moutray -
Port Fairy Historical Society Museum and Archives
Award - cigar case, c. 1901
On 30th August 1901 The Chronicle, an Adelaide newspaper, announced that J.W.Hosking was leaving Terowie to establish a business in Port Fairy. He had lived in Terowie for 25 years and had been chairman of the District Council, a member of the school board and a Justice of the Peace. He was also a keen supporter of the cricket and other sporting teams. On leaving Treowie he was presented with a Gladstone bag and an illuminated address signed by 47 residents. Hosking had a wife and daughter and it was reported that with his brother, he had bought the drapery and furnishing business of W.T.Hattam in Port Fairy. Trading as G.E.Hosking &Co., the brothers already had branches in N.S.W. South Australia and Western Australia. By 1905 J.W.Hosking was President of the Port Fairy Hospital and, although in July of that year he announced that he was resigning because of pressure of business, he was obviously persuaded to stay on. Indeed, he remained President until 1907. In September 1907, the brothers were bought out by D.E.MacLellan, late of MacLellan & Craig of Mount Gambier. So when the silver cigar/cigarette case was presented to Hosking, he was not only ceasing to be President of the Hospital but was almost certainly leaving the town. On February 1908 he resigned as a JP for the Western Bailiwick of the State of Victoria.Typical of the type of item given to express gratitude for voluntary work especially in positions such as Presidents and Secretaries.silver cigar case, chased hall marked, interior gold washto J W Hosking Esq/ from the Committee/Port Fairy Hospital/14/11/07civic mementoes, presentations, hospital, hosking, g.e.hosking&co, port fairy, president, jp, western bailiwick, state of victoria, demaclellan, wthattam -
Port Fairy Historical Society Museum and Archives
Photograph
The steamer S.S.CASINO was much loved by the whole Port Fairy community- with the possible exception of some of the fishermen whose boats she ran down! Transport of the large quantities of wool, potatoes, onions, grain, sheep, cattle and other produce grown on the rich lands of the Western District Belfast was served by a plethora of shipping, both sail and steam, but only one of the steamers then in the regular trade (S.S. DAWN) would ever be able to get up the river and reap the cost savings of loading against a wharf. It was not unusual for four steamers to be anchored in the bay at once and for seven or eight different steamers to call during a week. A number of inter-colonial steamers also called to pick up produce for delivery to Melbourne, Sydney and Adelaide. Production in the Western District was increasing and virtually all of that production had to go through one of the western ports in order to reach markets. By 1882 a meeting 15ft. March, 1882, in the office of auctioneer, J.B. HoIden in Cox Street took action and it was unanimously resolved - that the Belfast & Koroit Steamship Company be formed with a capital of £20,000 in 10,000 shares of £2 each". A number of steamers were offered by letter to the fledgling company, including the new and almost sister ships, CASINO and HELEN NICHOLL. The CASINO was on her delivery voyage from England was due to arrive in Warrnambool to load potatoes for Sydney and, initially, arrangements were made for her to call into Port Fairy for inspection by the BKNS Co directors. She eventually proceeded direct to Warrnambool and the Directors inspected her there. Without hesitation they purchased her even though they had to raise a large bank loan to do so. The CASINO arrived in Port Fairy on Saturday, 29th. July, 1882, steaming triumphantly up the Moyne River, and was greeted by crowds, many of whom had driven in from the surrounding countryside, which gave her “loud ringing English cheers". By 1884 the CASINO could not carry all the cargoes available to her and in December of that year the company purchased the new steamer BELLINGER to provide additional capacity. She helped to open up the intermediate ports of Lorne, Apollo Bay and Port Campbell, but the BELLINGER was not really suitable for the trade and she was sold in 1887, leaving the CASINO to operate alone -as she was to do for almost all of the next 45 years. The opening of the railway in 1890 decreased the cargo available to the steamers and the economic depression of the early 1890's worsened the situation. The weak soon began to fall by the wayside and when the Portland & Belfast SN Co. decided to go into liquidation in April 1895, the Belfast & Koroit Company bought the Portland Company's steamer DAWN on advantageous terms, a substantial part of the payment being in BKSN Co shares. The BKNS Co and the Howard Smith Line came into direct head to head competition and nearly forced the BKNS Co out of existence. Cargo dropped to such an extent that in 1899, they reached agreement that only one ship would run and that the ship which ran would pay a weekly amount to the competitor to stay out of the trade. This controlled service ceased in1909, and competition intensified when Howard Smith placed the newly built, larger steamer EUMERALLA on the run. The BKNS Co survived this competition and even prospered during it partly by extending on a more regular basis, the CASINO'S voyages to South Australian ports Port Macdonnell, Kingston, Beachport, Robe and, on occasions Adelaide. There were setbacks when, on 20 October 1924, CASINO went ashore at the Kennett River, near Apollo Bay, and again, in February l929, when she struck a submerged object at Warrnambool and had to be beached. The railways placed great competitive pressure on the small steamship company and this pressure was intensified when the Great Depression slashed the market for Western District produce, BKNS Co struggled on, paying dividends in most years, and the company planned a big celebration for the CASINO'S fiftieth anniversary in the trade on 29th July, 1932. Disaster struck soon after 9 o'clock on the morning of Sunday I0 July, 1932 when the CASINO was lost at Apollo Bay together with the lives of 10 crew members. Black and white photograph of s.s.Casino steaming down to berth at her wharf on the left fishing boats in foregroundship, boat, industry, belfast and koroit steam navigation company, moyne river, river, s.s.casino, wharf -
Port Fairy Historical Society Museum and Archives
Photograph - Panoramic Photograph, A.C. Aberline, Moyne River East Beach Port Fairy. SS Casino
The steamer S.S.CASINO was much loved by the whole Port Fairy community- with the possible exception of some of the fishermen whose boats she ran down! Transport of the large quantities of wool, potatoes, onions, grain, sheep, cattle and other produce grown on the rich lands of the Western District Belfast was served by a plethora of shipping, both sail and steam, but only one of the steamers then in the regular trade (S.S. DAWN) would ever be able to get up the river and reap the cost savings of loading against a wharf. It was not unusual for four steamers to be anchored in the bay at once and for seven or eight different steamers to call during a week. A number of inter-colonial steamers also called to pick up produce for delivery to Melbourne, Sydney and Adelaide. Production in the Western District was increasing and virtually all of that production had to go through one of the western ports in order to reach markets. By 1882 a meeting 15ft. March, 1882, in the office of auctioneer, J.B. HoIden in Cox Street took action and it was unanimously resolved - that the Belfast & Koroit Steamship Company be formed with a capital of £20,000 in 10,000 shares of £2 each". A number of steamers were offered by letter to the fledgling company, including the new and almost sister ships, CASINO and HELEN NICHOLL. The CASINO was on her delivery voyage from England was due to arrive in Warrnambool to load potatoes for Sydney and, initially, arrangements were made for her to call into Port Fairy for inspection by the BKNS Co directors. She eventually proceeded direct to Warrnambool and the Directors inspected her there. Without hesitation they purchased her even though they had to raise a large bank loan to do so. The CASINO arrived in Port Fairy on Saturday, 29th. July, 1882, steaming triumphantly up the Moyne River, and was greeted by crowds, many of whom had driven in from the surrounding countryside, which gave her “loud ringing English cheers". By 1884 the CASINO could not carry all the cargoes available to her and in December of that year the company purchased the new steamer BELLINGER to provide additional capacity. She helped to open up the intermediate ports of Lorne, Apollo Bay and Port Campbell, but the BELLINGER was not really suitable for the trade and she was sold in 1887, leaving the CASINO to operate alone -as she was to do for almost all of the next 45 years. The opening of the railway in 1890 decreased the cargo available to the steamers and the economic depression of the early 1890's worsened the situation. The weak soon began to fall by the wayside and when the Portland & Belfast SN Co. decided to go into liquidation in April 1895, the Belfast & Koroit Company bought the Portland Company's steamer DAWN on advantageous terms, a substantial part of the payment being in BKSN Co shares. The BKNS Co and the Howard Smith Line came into direct head to head competition and nearly forced the BKNS Co out of existence. Cargo dropped to such an extent that in 1899, they reached agreement that only one ship would run and that the ship which ran would pay a weekly amount to the competitor to stay out of the trade. This controlled service ceased in1909, and competition intensified when Howard Smith placed the newly built, larger steamer EUMERALLA on the run. The BKNS Co survived this competition and even prospered during it partly by extending on a more regular basis, the CASINO'S voyages to South Australian ports Port Macdonnell, Kingston, Beachport, Robe and, on occasions Adelaide. There were setbacks when, on 20 October 1924, CASINO went ashore at the Kennett River, near Apollo Bay, and again, in February l929, when she struck a submerged object at Warrnambool and had to be beached. The railways placed great competitive pressure on the small steamship company and this pressure was intensified when the Great Depression slashed the market for Western District produce, BKNS Co struggled on, paying dividends in most years, and the company planned a big celebration for the CASINO'S fiftieth anniversary in the trade on 29th July, 1932. Disaster struck soon after 9 o'clock on the morning of Sunday I0 July, 1932 when the CASINO was lost at Apollo Bay together with the lives of 10 crew members. black and white panaramic photograph mounted on cardboardMoyne River & East Beach Port Fairy- s.s.Casino-A.C.Aberline-Canterburyship, boat, sea, river, training walls, wharf, moyne river, s.s.casino, steamer -
Uniting Church Archives - Synod of Victoria
Printed etching, Undated c.1858
Rev William Butters (1810 - 1887). Born Hibbaldstone, Lincolnshire on 24 January 1810. Entered the Wesleyan ministry in 1833 and sent as a missionary to Van Dieman's Land. Worked with convicts at Port Arthur, then served at Hobart, Ross and Launceston. In 1850 he was appointed to Melbourne. His health failed during the unprecedented difficulties initiated by the discovery of gold in 1851. Appointed to Adelaide 1855 - 1862. returned to Victoria in 1862, but his health broke down completely and he returned to England in 1863 and became a supernumerary. A founder of the Wesleyan Mission Carlton. President of the Australasian Conference in 1858. William Butters lived for 24 years in the London (Brixton) circuit before dying suddenly on 10 October 1887.B & W waist length printed etching of Rev. William Butters"Revd William Butters President of the Australasian Conference"william butters, wesleyan, methodist, minister, chaplain, port arthur, van dieman's land, wesleyan mission carlton, president of conference -
Uniting Church Archives - Synod of Victoria
Photograph, Rev. C. G. Forward - Pastor 1937-1943, 1937-1943 - taken while at Black Rock Congregational Church
Born 3/4/1907 Launceston; died 10/10/1982 Adelaide. Attended Congregational College 1925-1930. Ordained Hughesdale 9/2/1931. Ministry: Hughesdale 1929-1931; Beechworth 1931-32; Gardiner 1932-37; Black Rock 1937-1942; Military Chaplain Aust & PNG 1942-45; Croydon/North Croydon 1945-51; College Park (SA) 1951-56; Luhrs Road Payneham/Hectorville (SA) 1956-60; Luhrs Road Payneham 1960-61; Colonel Light Gardens 1961-67; Port Elliott (SA) 1967-71. President Congregational Union of South Australia 1958-59. Married Madge (undated). Retired 1971. Further information - Portrait, SA Cong., February 1958, p. 4.Sepia photograph, mounted on light brown card of Charles Gilbert Forward wearing striped dark suit with clerical stock and collar, as well as glasses and a very light moustache.Rev. C. G. Forward - Pastor 1937-1943forward c. g., congregationalist, victoria, south australia congregational churches -
Kew Historical Society Inc
Photograph, Anglo-Australasian Photographic Company, Waterfall Scene Near the Buchan River, c. 1876
Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘Waterfall scene near the Buchan River’ : Views of Victoria (General Series), No.39 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘The Buchan River is a tributary of the great Snowy River, which extends itself from Port Ricardo, on the Gipps Land coast, to considerably beyond Mt. Kosciusko, in New South Wales. It is comparatively but a stream, but, like most of the smaller rivers in Victoria, it contains some beautiful scenery, peculiar to itself. Our present illustration is characteristic of its scenery, and is taken from a creek close to the River.’nicholas caire (1837-1918), buchan river, landscape photography - victoria -
Flagstaff Hill Maritime Museum and Village
Furniture - Cupboard, Possibly 1920, when the City of Rayville was built
The biscuit locker came from the vessel the "City of Rayville", an American motor-driven freighter constructed in 1920. The ship was the second victim within 24 hours of an extensive minefield laid by German raiders in October 1940, during World War Two and the first American ship to be sunk in world war II. She was under the command of Captain Cronin and bound from Adelaide via Melbourne to New York, carrying a cargo of 1500 tons of lead from Port Pirie along with a cargo of wool and copper from Adelaide, when she struck a mine in the Bass Strait, six miles south of Cape Otway at 7:45 pm on 8th November 1940. The explosion was heard on shore at Apollo Bay; the force of it tore out the foremast and the ship sank within 25 minutes. There was a crew of 38 and all but one survived. A rescue crew of fishermen from Apollo Bay left shore in the dark and picked up the survivors from the dangerous sea taking them back to safety. The US Secretary of State Cordell Hull at the time wrote individual letters of thanks to all the rescuers involved. The biscuit locker is of historical and marine archaeological significance because of its association with the wreck of the City of Rayville. The vessel is listed on the Victorian Heritage Register No VHR S126. Additional significance is that the ship was the first American vessel sunk in the second world war and is still socially significant to the descendants of the City of Rayville crew and the Apollo bay fishermen who took part in the rescue.The external surfaces of the cupboard and the inside of the door are painted brown. The interior is painted blue the door has 2 metal hinges attached on the outside, each with 6 single-slotted screws and a wooden rotating door latch attached to the side of the door. There is a round eyelet on the door near the latch, the cupboard sides are each made from wood joined vertically and sit within a slightly wider, flat base and top. The frame of the cupboard is split with the paint on the outside of the cupboard scratched and chipped revealing a darker paint underneath. There is also a rough slash of white paint from the side of the cupboard going to about the Centre of the door. “PI/298” is hand written in black pen, paint or ink on the inside panel of the door in neat letters. "MS CITY OF RAYVILLE" stamped on back of cupboard in black paintcity of rayville, cupboard, locker, biscuit locker, 1940, world war ii, wwii, cape otway, german mines, american ship, flagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, rayvill -
Flagstaff Hill Maritime Museum and Village
Photograph - Vessel, S.S. Warrnambool, 1998-2003
This photograph and a matching earlier photograph are the images of a painting of the British steamship SS Warrnambool at Dover Strait in the English Channel. The photographs were donated by the painting’s owner, who acquired the 30” x 56” (76 x 142.5 cm) oil on canvas painting in 1998. Both photographs were accompanied by a letter, one written in 2001, and the other in 2003. The letters confirm that the artist of the painting was Charles Keith Miller, signed with the initials “CKM” and dated “1893”. The painting shown in the photographs was a gift to the Town Council of Warrnambool, presented to Warrnambool folks in Melbourne on December 1, 1892, by the Captain of William Lund’s ship SS Warrnambool. The painting was given by Lund in appreciation of the Ladies of Warrnambool who had presented the ship with a ‘house’ flag bearing the Blue Anchor Line’s symbol of a diagonal blue anchor on a white background; the ladies had made the decision to present the flag only a month earlier. A few days later, December 6th, the SS Warrnambool was on its homeward journey to Britain, sailing via Adelaide. It anchored for a short time off the Port of Warrnambool. A boat was launched from Lady Bay to take a group of friends to the ship with a delivery of gifts. After cheers were roused for both the ship and the Captain, the ship continued on its way. The photograph shows the gifted white flag with a diagonal blue anchor flying from the masthead. The same symbol is painted on the ship’s black funnel. The signal flags on the foremast display ‘M’ ‘R’ ‘V’ ‘B’. These letters are most likely the ship’s call number ‘MRVB’. Although the painting was given as a gift in December 1892, it is post-dated “1893”. Perhaps the painting was given earlier than anticipated; or the date added later, but whatever the reason, the provenance of the painting was confirmed at auctions of this painting and other works by the same artist. CHARLES KEITH MILLER 1836-1907:- Captain Charles Miller left his home in Scotland at the age of 15 years for a life at sea. He earned his Master’s Certificate ten years later. After being the captain of sailing ships he moved over to the steamships because they were faster. In 1866 he married and settled in Glasgow. Over the following eleven years he and his wife had five children, then sadly his wife passed away. Captain Miller returned to the sea for a while but in 1888 he gave up his sea life to spend his time as a marine artist. His understanding of seafaring life and vessels, combined with his artistic skills, gave him the ability to produce fine art and several galleries and museums have collections of his sought-after works. S.S. WARRNAMBOOL 1892-1925:- The steamship SS Warrnambool was built in 1892 by the Sunderland Ship Building Company for the Lund Line of London, founded by William Lund in 1869. It efficiently carried both passengers and cargo across the world to Australia, under the command of her master Captain Joshua Edward Iibery, who had many years of experience with the Blue Anchor Line. The company, referred to as the Blue Anchor Line or BAL, owned a fleet of both sail and steamships. The funnels of all of the steamships were painted black, with a white band around the top bearing a diagonal blue anchor and chain. The company’s house flag was also white with a diagonal blue anchor. The SS Warrnambool carried passengers and cargo in a ‘no frills’ service to and from Europe around the Cape of Good Hope, stopping at some ports in between. The ship was involved in bringing home returned solders in 1895. At one time it carried a doctor from Victoria, Australia, to assist at the war front in South Africa. The ship had a very good reputation for its cargo arriving ‘almost always in excellent condition.’ Exported goods from Australia included iron safes, flour, wool, apples, frozen rabbits, butter, cheese, pork, cattle, poultry and sheep. One remarkable delivery contained Ostriches for Queen Victoria and they survived the journey well. The SS Warrnambool was sold in 1900 to the British and South American Steam Navigation Co. Ltd of Liverpool and was renamed ‘Harmodius’. The company was managed by R.P. Houston & Company of London and its Houston Line funnels were red with a black top. The Harmodius was sold in 1919 to K.S.S. Co. Ltd, managed by Kaye Son & Co. Ltd. of Liverpool, and was renamed ‘Kut’. The line had black funnels with a white ‘K’ in a diamond or between white stripes. In 1926 it was purchased by T.W. Ward Ltd. and broken up. NOTE- other vessels named “Warrnambool” Two other vessels carried the name “Warrnambool” (1)- HMAS Warrnambool J202 (1941-1947), a Bathurst Class corvette vessel owned by the Royal Australian Navy, destroyed by a mine. The photograph is significant for its association with the painting "SS Warrnambool" by well-known early 20th century marine artist Charles Keith Miller, whose paintings are well valued. The painting and the photograph of it are namesakes of Warrnambool and are connected through the gifts exchanged between the ship company owner, the City of Warrnambool and the Ladies of Warrnambool; the House Flag and the painting by C K Miller. The image is a good likeness to original photographs of the late-19th to early-20th century steam and sale vessel. Coloured photograph of a painting, the steamship S.S. Warrnambool. The three-masted ship has lowered sails. It is in calm water, land on one side, and other vessels in the water. The ship has four raised signal flags, a house flag and a blue ensign. The funnel also bears the house flags symbol. Smoke emits from the funnel. Figures are visible onboard. There is a signature and a title on the lower edge of the photograph. (Artist of the painting in the photograph was Charles Keith Miller)House flag symbol, [diagonal blue anchor on white background] Text "CKM" and "1893" Text "S. S. WARRNAMBOOL."flagstaff hill, warrnambool, photograph, steam ship warrnambool, flagstaff hill maritime village, shipwreck coast, ss warrnambool, captain, charles keith miller, ckm, 1893, william lund, warrnambool town council, blue anchor line, lund line, ladies of warrnambool, house flag, diagonal blue anchor, captain miller, sunderland ship building company, migrant ship, 1892 ship, home flag, bal, australian export, s.s.warrnambool, dover strait, english chanel, port of warrnambool, lady bay, mrvb, captain charles miller, captain joshua edward iibery, ostriches, queen victoria, british and south american steam navigation co., harmodius, r.p. houston & company, houston line, k.s.s. co. ltd, kaye son & co. ltd, kut, t.w. ward ltd -
Flagstaff Hill Maritime Museum and Village
Tool - Saw, 1905-1913
This crosscut saw was originally part of the equipment on the barque Marjorie Craig, which brought New Zealand timber into Warrnambool from about 1908 to 1912 for the local merchants P J McGennan & Co. The toolbox was donated by a member of a local family connected with the La Bella rescue in 1905. The toolbox has carvings and markings that make it unique and connect it to the Marjorie Craig. The Craig Line of sailing ships was from Auckland, New Zealand, and traded in timber and some coal from New Zealand ports to Australia, including Sydney, Adelaide, Melbourne and Warrnambool. They returned with produce from Australia as ballast. In 1912 the Craig fleet included the Ihumata, Inga, Jessie Craig, Marjorie Craig, Louisa Craig and Joseph Craig. The steel barque Marjorie Craig, 500 ton, was built in 1891 as the 'Hirotha', in Ardrossan, Scotland for Norwegian owners. The ship was sold to Auckland’s Donald Ross and others in 1900, then in 1905 it was sold, registered by J.J. Craig in Auckland, New Zealand and renamed Marjorie Craig. Marjorie Craig’s commanders included Master R A Campbell in 1907, J MacFarlane in 1909 and Master R.G. Holmes in 1913. From February 1908, the Marjorie Craig was regularly seen in the Port of Warrnambool with loads of timber for merchants P J McGennan & Co. In February 1912 Marjorie Craig delivered white pine for P J McGennan & Co. In April of the same year, she brought 500,000 feet of timber for McGennan & Co and again in May 1912. On May 12 1912 Marjorie left the Port of Warrnambool with 500 tons of flour for New Zealand; it seems that this was her last time at Warrnambool. Prior to 1908, the vessel Speculant brought in timber from New Zealand for the McGennan firm. The Marjorie Craig had a strong reputation for being a ‘Fast Flyer’, breaking the sailing records for voyages between New Zealand and Australia. It was reported that she made passages with a speed equal to steamboats on several occasions. One of her records was from Warrnambool to Hokianga, NZ in eight-and-a-half days. The ship broke the record in October 1913 for the time from Adelaide to Auckland, sailing in 28 days, even with a damaged ship, and the owner presented Captain Holmes with a gold watch and chain. By the end of December 1913, the Craig Line’s last two surviving sailing ships, Marjorie Craig and Jessie Craig, had been purchased by Huddart, Parker & Co. Ltd. to work as coal hulks, one in Melbourne and one in Hobart.The saw is significant for being created for use in 1905 when the steel barque Marjorie Craig was purchased by J J Craig and given that name. The saw would be part of the sip's equipment and could have been used for the timber carried as cargo on the Marjorie Craig. The saw is significant for its association with the well-known Marjorie Craig, a frequent visitor to the Port of Warrnambool 1908 to 1912, a supplier of New Zealand timber for the local firm P J McGennan & Co, and one of the fastest inter-colonial sailing ships that broke numerous records for its speed including the fastest sailing from Warrnambool to Hokianga. Crosscut saw; blade attached to wooden handles by wingnut each end. The saw has 63 teeth. Also has a tag attached with an inscription. The saw was ship's equipment on the barque, Marjorie Craig.Handwritten on tab: "From sailing ship Marjorie Craig early 1900 Port of Warrnambool"flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, shiopwreck coast, woodworking tool, crosscut saw, shipwright tool, saw, marine trade, carpenter, marjorie craig, j j craig, craig line, 1905-1912 -
Flagstaff Hill Maritime Museum and Village
Drawing - Pastel Picture, W.R. Angus (Dr. William Roy Angus), 1925
This large pastel drawing was created by Dr W.R. Angus in 1925, the year after he graduated as a doctor in South Australia. In 1926 Dr Angus was appointed as Medical Assistant to Dr Thomas Francis Ryan, in Nhill, Victoria, where he extended his experiences in radiology and pharmacy. Eventually, in 1939, he and his wife Gladys moved to Warrnambool, Victoria, with their children. The drawing is part of the W.R. Angus Collection, which includes another of the doctor’s pastel drawings and a box of used pastels. The picture was framed by W.H. Rogers & Co. of North Terrace, Adelaide. The business also framed maps and plans. This pastel drawing is locally significant for being the work of Warrnambool doctor, W.R. Angus. It is part of the W.R. Angus Collection, which is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being a historical example of medicine, administration, household equipment and clothing from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. The collection includes Army objects, which are examples of items issued to Doctors and Surgeons in the Medical Services of the Australian Army in World War 2. It also includes household items used by Dr Angus and his family from the 1920s in various locations including Warrnambool, together creating an understanding of the furnishing of an early to mid-20th century home.Pastel drawing behind glass in a rectangular wooden frame with an unusual oval wooden matt. The subject is a scene with a pink-tinted sky reflected in a river running between the foot of two hills with trees. The picture was created and signed by W R Angus in 1925. The back is covered in brown paper and has a mounting wire. Inscriptions are on the picture and the back. A remnant of the framer’s label is attached. The picture is part of the W.R. Angus Collection. Signature and date; “W.R.A. / 1925” Printed on label remnant; “—Rogers & Co. / - ORIA STREET / - way Station, North Terrace / “THE CORRECT FRAMERS” / -lise in Map and Plan Mounting / PHONE 5437”flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, drawing, pastel drawing, pastel drawing by w.r. angus 1925, rogers & co., w.h. rogers & co., correct framers, w.r. angus collection -
Flagstaff Hill Maritime Museum and Village
Photograph - Ship, Alma Doepel, 1931-1934
This photograph is of the square-rigged schooner "Alma Doepel". Details added to the back of the photograph incorrectly describe the vessel as "Amy Doepel / ketch / Amy Doepel". The rigging on the vessel dates the photograph to sometime between 1931-1933. The location is yet to be determined. Frederick Doepel was a shipping agent in Bellinger Valley, NSW. He employed an experienced shipwright to build Alma Doepel, which was made from local timber. He named the ship “Alma Doepel” after his baby daughter Alma. The ship was registered in Sydney and launched 19th October 1903, and her first sea voyage was in December. She traded in timber Port Macquarie/Bellinger River and New Zealand. “Alma Doepel” was purchased by Henry Jones & Co., Hobart jam makers, in partnership with Harry Heather, her new captain, in 1916. The ship was then registered in Hobart. She carried jam and timber to the mainland, particularly Melbourne, and brought back cargo for Tasmania. She even carried the piles for the building of Portland Harbour. When Harry Heather passed away in 1937 he was succeeded by Eric Droscoll. Before the square-rigged "Alma Doepel" left for Tasmania on March 8th 1937 she was fitted with a new set of sails, becoming a fore-and-aft rigged schooner. She had been the last 'top sail' schooner in Bass Strait trade! "Alma Doepel" continued her coastal trading until 1942, when she was requisitioned by the Army. In January 1943 she was left in Melbourne by her crew and the Army took her over, taking her to Sydney in February, 1943. She was relaunched by the Army in 1944 minus two of her masts and her small 1936 engine, and was fitted with three large bus engines. In March 1945 she headed for the war zone, delivering cargo up and down the coast of New Guinea, at one time carrying over 400 troops. In 1946 she returned to Hobart where the Army re-converted her back for Bass Strait trading and returned her. In January 1947 Eric Driscoll took “Alma Doepel” to the eastern Tasmanian coastal port of St. Helens, trading cargo of local mountain ash timber to Melbourne on the mainland until 1959. She was then stripped down to her hull with only a single mast and two engines, and fitted with wooden bins on rails in her hold. From 1961 to 1975 she carried limestone to a factory to make carbide. Michael Wood and David Boykett, two of the governors of "Sail and Adventure", then bought her for the price of her two Gardiner engines and in 1976 they brought her to Melbourne. An Alma Doepel Supporters Club was formed to support the ship’s major restoration to a topsail schooner. In 1987 she was overhauled in Adelaide, with the support of Elders IXL and she returned to Sydney to lead the Parade of Sail on Bicentenary Day, 25th January 1988. She returned to Melbourne in February and began sail training voyages in Port Phillip Bay, operating from an office on Station Pier. The Alma Doepel Voyagers Club was started. Trainees joined the crew in sailing the ship over nine or ten days of instruction in sailing and seamanship. These trips plus chartered trips and fund raisers continued until early 1999, when she was no longer in a condition to operate; she needed a lot of attention. She lay idle in Victoria Dock for quite some time. In April 2001 “Alma Doepel” was taken to Port Macquarie’s Lady Nelson Wharf where she became a museum ship maintained by volunteers. In 2008 she had time in dry-dock and after sea-trials headed off to Victoria Harbour, Docklands, in Melbourne, where she is currently being restored with the help of The Supporters.This phot graph is significant for its connection with the Bass Strait trade, being the last top-sail schooner to brade across the strait. The photograph is also significant in its representation of the the sailing ships that traded around Australia in the 1930s.Photograph of "Alma Doepel " a wooden, 3 masted, square rigged sailing schooner built in Sydney, launched in 10/10/1903. Photograph is sepia coloured, mounted on card, inscription on the back. Information also provided with photograph. Photograph (marked incorrectly on back) "Amy Doepel / ketch / Amy Doepel". Sticker with "91" in pencil. Information provided (dated incorrectly) "1943, Sydney, New South Wales"flagstaff hill, warrnambool, shipwreck coast, maritime museum, maritime village, photograph, alma doepel, frederick doepel, henry jones and co, harry heather, eric droscoll, alma doepel supporters club, elders ixl, parade of sail, bicentenary day, alma doepel voyagers club, last top sail schooner in bass strait trade, square-rigged, fore-and-aft rigged -
Flagstaff Hill Maritime Museum and Village
Anchor, Before 1831
Historical Information: The anchor is from the wooden sailing ship CHILDREN, which was wrecked at Childers Cove east of Warrnambool on the 15th of January 1839 with the loss of 16 lives. The Children anchor was raised from the wreck site by Flagstaff Hill Divers; Peter Ronald, Garry Hayden (Terang, still), Tim Goodall (now Warrnambool), and Colin Goodall (now Warrnambool), on Sunday 3rd January 1974. A week or so later it was dragged up the cliffs and taken to Warrnambool. It is now on display near the entrance to the Maritime Village and Museum. It appears to be a Pering’s Improved Anchor, developed at Portsmouth after 1813. The addition of broad curvature to the anchor arms provided a stronger purchase than the pre-existing Admiralty Old Pattern Long Shanked Anchor with straight arms. However, the evidence of hammer-welding the separate pieces of the arms and palms to the central shank (peaked crown and flat palms) suggests the manufacture is before the 1831 Rodger’s Anchor design, (which cast both arms and their flukes as one piece that was then attached to the shank by a bolt through the crown). This identification seems consistent with the date of the CHILDREN’s construction in 1824. The CHILDREN was a three masted barque with a wooden hull built at Liverpool in England. She was bought by the Henty family of Portland (Australia Felix) in 1837 for regular coastal trading between Van Diemens Land, the Port Phillip District of New South Wales and South Australia. Only 255 tons burden (92 feet in length, with a beam of 25 feet and depth of 17 feet), she sailed from Launceston bound for Adelaide in late December1838, on her first Australian voyage and under the English master who had brought her out – Captain H. Browne. On board the CHILDREN were 24 passengers, including 9 children; the captain and 14 crew; livestock of 1500 sheep, 8 bullocks and 7 horses; general cargo of beef, pork, tobacco, tripe, butter, limejuice, horse hair, currants, lead shot, beer and spirits; 5,000 house bricks from London; and six whaling boats with associated whaling gear. The vessel was battered by gale force north-westerly winds shortly after setting out from Launceston on 11 January 1839 and adverse sailing conditions persisted for the next four days. At 11 pm on the 15th of January 1839, and many miles north and east of the captain’s navigated position, the CHILDREN struck the Pinnacle, a limestone stack off Childers Cove. Within half an hour the ship was completely destroyed. As well as the loss of livestock and cargo, 16 passengers and crew perished, including the captain, six men, one woman and eight children. In 1931 shifting sands at Childers Cove uncovered the skeleton of an adult male. In 1951 another two skeletons were exposed by storms, an adult male and a child. In 1963 some district scuba divers retrieved a small signal-cannon from the site. And in 1974 Flagstaff Hill recovered the anchor and some house bricks. The shipwreck of the CHILDREN is of state significance – Victorian Heritage Register No. S116.A large forged-wrought iron anchor from the wreck of the CHILDREN. Flat hammer-welded flukes on opposing curved arms and a peaked crown. It has a metal (elbowed) stock or cross-bar and a heavy duty pinned shackle (not ring) for the anchor chain. It is in fair condition but extensively corroded after 135 years on seabed (supported on display) .warrnambool, shipwreck coast, flagstaff hill, shipwrecked coast, flagstaff hill maritime village, flagstaff hill maritime museum, shipwreck artefact, maritime museum, the children, childers cove, anchor, pering’s improved anchor, 1839 shipwreck. -
Queenscliffe Maritime Museum
Newspaper - Article re the Australian steam-packet "Adelaide", Photographer unknown, Plate and story, 04 Dec 1952
... News 04 Dec 1852 regarding the steam-packet ADELAIDE leaving... ADELAIDE leaving London for Port Phillip and Sydney. On the reverse ...An original newspaper cutting from The Illustrated London News 04 Sep 1852 regarding the steam-packet Cleopatra leaving London for Port Phillip and Sydney.Realism, historical, etchingsAn original newspaper cutting from The Illustrated London News 04 Dec 1852 regarding the steam-packet ADELAIDE leaving London for Port Phillip and Sydney.On the reverse - [NIL] 1852, steam-packet ship, iron-screw steam-ship, ss adelaide -
Queenscliffe Maritime Museum
Functional object - Deckhouse from Shandon, Robert Duncan & Co, 1883
The Shandon was a 1387 ton iron sailing ship, of length 245.9 feet, beam 37.8 feet and draught of 21.3 feet. She was built in 1883 at Port Glasgow and had a chequered career as a trader for nearly 40 years. She was converted to a lighter until the end of WWI then re-rigged as a barque and spent the next four years trading across the Pacific Ocean. In 1922 she was in use as a coal hulk in Adelaide. During WWII she was a coal hulk in Townsville. Shandon had one moment of glory in 1934 when she was involved in Victoria's 100th anniversary celebrations. The Shandon will eventually open as a public display, after restoration. c1912 Barque rigged 1924 Laid up and used as a coal hulk again. 1946 While under tow, got ashore in a cyclone 1935 Re-rigged for Centenary Maritime Exhibition at Melbourne then reverted to coal hulk. Original deckhouse from sailing vessel Shandon. Deckhouse would have been used as crew's quarters including galley, eating and sleeping space as well as room for storage. 4 portholes and 2 doors with separate galley compartment with own split door. deck house, shandon -
Queenscliffe Maritime Museum
Badge - Plaque, Master Mariners of Australia
The Company of Master Mariners of Australia is an association established to promote the interests and status of the Merchant Navy generally and of Master Mariners in particular. The Company was founded in 1938 by Capt. A.N. Boulton, MBE, VRD, BCom, ExC and became an incorporated body in 1988. The Company of Master Mariners of Australia Limited is a not for profit professional association that is limited by guarantee. The Company has five Branches based in Fremantle, Adelaide, Melbourne, Sydney, and Brisbane.Captain John Noble is a former sea pilot and authorPlaque of the Company of Master Mariners of AustraliaCompany of Master Mariners of Australiaport phillip sea pilots, captain john noble, the company of master mariners -
Queenscliffe Maritime Museum
Document - Passenger List, P&O Passenger List RMS Strathaird
RMS Strathaird was the second of a pair to be built and was completed on January 10, 1932. She was preceded by her identical sister the RMS Strathnaver completed on September 2, 1931. They were built by Vickers-Armstrong Ltd, in Barrow-in-Furness, England.RMS Strathaird departed Tilbury on her maiden voyage on February 12 1932, bound for Brisbane Australia sailing via Port Said, Aden, Bombay, Colombo, Fremantle, Adelaide, Melbourne, Sydney and Brisbane, a service she would remain on until the war would put an end to her passenger’s service for six long years! After the Mediterranean had been declared safe in late 1943, the Strathaird was the very first ship to sail through the Suez Canal in 1943. In 1945 she returned to Australia and New Zealand with their troops heading home. The RMS Strathaird was handed back to P&O in December 1947 and after a major refit she departed Tilbury on January 5, 1948. She returned to her regular Australian service but also continued to operate the occasional cruises. Due to demand and the migrant trade, in 1954 the Strathaird was converted to become a one-class liner, accommodating a good 1,252 passengers. Upon completion she departed Tilbury for her first voyage on April 8, 1954. TSS Strathaird departed Tilbury for Australia on March 28, 1961 and she then departed Sydney on May 9. As she sailed from Australia and had passed through the Suez Canal and was now in the Mediterranean she passed P&O’s newest superliner, the 42,570 GRT SS Canberra that had departed the UK on June 2, for Australia and New Zealand.A PDF doc of a Passenger List from the 'RMS Strathaird' passenger list dated September 1952P&O Passenger Listrms strathaird, passenger liners, migrant ships, cruise liners, british travellers -
Queenscliffe Maritime Museum
Painting - Water colour painting of the Loch garry, Loch Garry, 1933
Arthur V Gregory b.1867, d.1957 worked from studio at 326 Albert Road South Melbourne established by his father G F Gregory in 1852In her latter years she was still making good passages under Captain Horne, in spite of a shortage of good crews. The following runs are recorded: 1892 Tuskar to Cape Otway 71 days 1894 Downs to Melbourne 77 1895 Lizard to Melbourne 77 1895 Melbourne to Prawle Point 80 1900 Melbourne to Prawle Point 85 1901 Adelaide to Cape Otway 48hr 1903 Port Phillip Heads to Lizard 74 days 1904 Melbourne to Dover 77 1905 Tuskar to Cape Borda 73 1905 Equator to Leeuin 36Water colour painting in painted gilt frameLoch Garry rounding Cape Otway A.V. Gregory 1933a.v gregory, loch garry, water colour -
Port Melbourne Historical & Preservation Society
Photograph - Stearine Lighthouse, built of candle grease and exhibited at the Adelaide Exhibition, Mar 1923
Brass framed Black and white photograph of Stearine Lighthouse built of candle grease and exhibited at the Adelaide Exhibition 1923industry - manufacturing, j kitchen & sons pty ltd, stearine lighthouse -
Port Melbourne Historical & Preservation Society
Photograph - Naval vessels at Station Pier and Princes Pier, Port Melbourne, Ron Laing, 1985 - 1996
A set of 70 colour photographs of various Naval vessels visiting Melbourne and berthed at Station and Princes Piers, pre 1986 to 1996 inclusiveDetails on back in ink/penciltransport - shipping, piers and wharves - station pier, piers and wharves - princes pier, ron laing, hmas melbourne, hmas tobruk, hmas warrnambool, hmas brisbane, hmas jervis bay, hmas canberra, hmas ovens, hmas adelaide, hmas perth, hmas anzac, hmas onslow, hmas sydney, hmas success, hmas parramatta, hmas darwin, hmas stuart, uss reuben james, uss polar star, uss kinkaid, uss kirk, uss blue ridge, uss paul f foster, uss ingersoll, nz waikato, nz endeavour, nz southland, balny, commandant dirot, colbert, commandant bory, caio dulio, sawayuki, kashima, wallaroo, yukon, quappelle, sackatchewan -
Port Melbourne Historical & Preservation Society
Photograph - HMS Repulse, outer west Princes Pier, Port Melbourne, C W Ward, 1924
HMS Repulse was on a good-will visit, showing the flag of Great Britain. She came from Adelaide and was on her way to Hobart.Black and white photograph of HMS Repulse at the outer West Princes Pier between 17-25 March 1924transport - shipping, piers and wharves - princes pier, hms repulse -
Port Melbourne Historical & Preservation Society
Photograph - Royal Australian Navy vessels at Station Pier, Port Melbourne, Ron Laing, c. 2000
Further updates of Ron Laing's photographic coverage of Port MelbourneFour colour photographs of various Royal Australian Navy vessels which have visited Station Pier.piers and wharves - station pier, hmas darwin, hmas adelaide, hmas anzac, hmas warramunga, hmna te kaha, hmas wallaroo, hmas bandicoot, hmas fremantle -
Victorian Railway History Library
Booklet, The Electrail Division of Steamrail Victoria, 40th Anniversary of Grand South Aussie Rail Tours, 2002
A booklet on the 40th anniversary commemoration of the Grand South Aussie Rail Tours from Adelaide to Victor Harbor, Quorn, Port Augusta, Peterborough, Port Pirie, Moonta, Wallaroo and back to Adelaide in 1962. Commemorated 3-9th October 2002.ill, p.18.non-fictionA booklet on the 40th anniversary commemoration of the Grand South Aussie Rail Tours from Adelaide to Victor Harbor, Quorn, Port Augusta, Peterborough, Port Pirie, Moonta, Wallaroo and back to Adelaide in 1962. Commemorated 3-9th October 2002.railway tours - south australia, tourist railways and museums - australia -
Melbourne Legacy
Photograph, Suez Canal, 1920
One photo from an album belonging to JB McLean, of his voyage home from World War 1 in 1920 on the Ceramic. The photo shows buildings at Port Tawfiq at the end of the Suez Canal. The Ceramic departed Tillbury, UK 12th March and docked in Freemantle on 27th April 1920 and then went onto Adelaide, Melbourne and Sydney. The Ceramic was a transport vessel built in Belfast in 1913 for the White Star Line to transport frozen produce and apples from Australia to UK. It was taken over by the Australian Government for troop transport in October 1914 and could carry over 3,000 troops. This trip in 1920 there were 1467 on board, there were women and children as well as 439 soldiers returning home, one of whom was John 'Basil' McLean. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. There was a large collection of postcards so he may have been collecting them as souvenirs. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving Portsea in 1920.A collection of items from John Basil McLean is in the archive. Kept as an indication of what founding legatees experienced in World War One and what they saw on the way home.Sepia photo of a the port at the end of the Suez Canal from the deck of the Ceramic glued to black cardboard in an album of photos from 1920.Handwritten caption 'Port Tewfik' in white ink.world war one, jb mclean, ship, ceramic, suez, souvenir