Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Screenprint on papergippsland, artwork, permanent collection

Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Screenprint on papergippsland, artwork, permanent collection

Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Screenprint on papergippsland, artwork, permanent collection

Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Screenprint on papergippsland, artwork, permanent collection

Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Screenprint on papergippsland, artwork, permanent collection

Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Screenprint on papergippsland, artwork, permanent collection

Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Screenprint on papergippsland, artwork, permanent collection

Donated by Freestone Press, 2016Screenprint on papergippsland, artwork, permanent collection

Donated by Rodney Scherer through the Australian Government Cultural Gifts Program, 2004Screenprint on papergippsland, artwork, permanent collection

Purchased, 2019Screenprint on papergippsland, artwork, permanent collection

Purchased, 2019Screenprint on papergippsland, artwork, permanent collection

Donated by the artist, 1969Screenprint on papergippsland, artwork, permanent collection

Donated from the estate of Patricia Marie White, 2017Screenprint on papergippsland, artwork, permanent collection

Alun LEACH-JONES (1937 - 24 December 2017) Born Maghull, Lancashire, United Kingdom Arrived Australia 1960 Alun Leach-Jones is recognised as one of Australia's leading abstract colour painters. He spent his childhood in the Welsh village of Glasfryn, Denbighshire. At the age of 14 he started a three year apprenticeship with the Solicitors Law Society, Liverpool illuminating manuscripts and hand copying legal documents. While working with the law society Leach-Jones studied painting and drawing in the evenings at the Liverpool College of Art between the years 1955-57. He immigrated to Australia in 1960, settling in Adelaide and attending the South Australian School of Art, after which he travelled and exhibited throughout Australia and abroad. In 1966 Leach-Jones celebrated Noumenon series was shown with Australian Galleries in Melbourne and he was immediately recognised as being part of what was then labelled as ‘the New Abstraction’ in Australian art. Later in 1968 his work was included in the influential exhibition "The Field" held at the National Gallery of Victoria. 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.Framed screenprint.art, artwork, printmaking, alun leach-jones, abstract colour, south australian school of art

Australia 1928 - Colour ScreenprintArtist's proof

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of four seagulls on a blue, orange and yellow diamond-shaped grid. The seagulls are created through black outline and shading. Seagulls are in various poses, all with wings extended. The grid alternates from blue diamond shapes to those which fade from orange at the top to yellow at the bottom. The grid is surrounded by a blue and white cloud-like border.Front: 12/20 Cape Nelson at Sunset. Catherine Taylor Back: 43

CEMA Art Collection Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Screenprint depicting a panoramic view of Portland Harbour and coastline in lower half. Top half of work features five enlarged sea creatures on a yellow background. The creatures are (from left to right): two seahorses; a side view of a fish; a bug; and a front view of a fish. Mounted on yellow matt with purple highlight and sage edging. Wooden and gold frame with glass glazingFront: Portland Pier 30/70 (lower left) A Gee 83 (lower right) (pencil)

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of females in various landscapes. The top half of the work features the ocean, coastline and breaking waves. Super imposed on this are images of: five seagulls; a blue portrait of a female face; and a female torso and head. In the centre of the work a female stands looking towards a house and the ocean in the distance. The lowest section of the work features the image of a female face in a blue and orange rectangle. To the left of her is a twig.Front: 14/16 Bridgewater Bay. Catherine Taylor '83 Back: 42

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of Bentinck Street from foreshore with a female face and top of vehicle in the foreground. The female has red hair and lips, yellow face and blue clothing. The vehicle is red and blue. An extensive patch of grass separates the woman and vehicle from Bentinck Street. The buildings have patches of green, yellow, white and red added. Behind the buildings is a clear light blue sky.Front: 10/14 Kingsley, Gordon & Catherine signature '83 Back: 44

Australia 1913 - 1986Screenprint 35/35Titled and inscribed ' For Bob', edition signed and dated

Australia 1913 - 1986Screenprint s.68Title, edition , signed and dated

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of four images of houses displayed in a vertical layout. The top image is a close view of a yellow wall, white door and green foliage. The next image shows a pink house with purple and yellow details, a white picket fence and several large trees. The third image is of a yellow house with a red roof, white wire fence and trees. The bottom image shows a pink brick house with brown roof.Front: 20/22 One Farm's History, Tyrendarra. Carmel Wallace 1984 Back: 48

Print was part of "A Community View, 150 years in Portland Screenprint Exhibition." Part of CEMA Art Collection. Part of Angela Gee residency workshops, 1983 and 1984.Image of approximately 125 people's faces and two dogs, surrounded by a border of line-drawn flowers, leaves and stems. At top centre are the words "1834 Portland 1984" with a decorative underline in bold alluding to the shape of the Portland Bay and Cape Nelson. Background colours are in vertical swathes: aqua, pale green, apricot, blue, mauve, pink, turquiose.Front: (no inscriptions) Back: Portland C.S.P. (Community Screen Print) Design Studio 1983-1985. Initiated by C.E.M.A., Portland Access Printshop and Anne O'Kane, C.A.O. Purpose - an employment project to train 5 people in print-making, costume and design. A grant of $200,000 was obtained from the Commonwealth Employment Program; the products - costumes, flags, posters, banners - were used for Portlands 150th Anniversary Celebrations.angela gee, portland centenary, 1984, screenprint, cema, female artist, female artists

Purchased with the assistance of the John Leslie Foundation, 2017Screenprint, intaglio and watercolour on papergippsland, artwork, permanent collection

Purchased, 2015Inkjet prints and screenprint on papergippsland, artwork, permanent collection

Australia 1913 - 1986Colour Screenprint s.26Signed and titled

Purchased with the assistance of Brian and Raynor Castles and the Friends of the Gallery, 2019Archival inkjet prints and screenprint on papergippsland, artwork, permanent collection

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of a landscape with several social comments. The top of the work features a Micky Mouse symbol with dollar signs in his eyes and a speech bubble which says "We'll move the Heathland". To the left is text stating "ALCOA AIMS TO MOVE THE HEATHLAND. "AGE" 5-9-80". In the centre of the work vegetation burns, aboriginal people wave and a tractor drives below the text "THEY BURNT THE HEATHLAND 4-12-80". The lower section of the work shows two men with a red megaphone. A speech bubble comes from the megaphone which states, "I UNDERSTAND YOUR ANGUISH!" To the right of the men is a wreath of native plants with two animals (native mice?).Front: 26 B. Sharrock (lower right, image) (pencil) Back: 36