Black and White photograph of Birney No. 15 at Charing Cross, northbound, c1980.s Tram operating a Bendigo Tramways talking tram tour. Has the Fountain Plaza in the background. Photo by George Bishop.On the back of the photos in ink "Tram Tour, Charing Cross Car 15 / G. Bishop photo"tramways, trams, bendigo, charing cross, tram 15

Given to Acting Captain Austin Appleby by and internee. Used by the Appleby family for over 50 years. Originally sent out by the German Red Cross to POW's and internees in the Tatura area in 1943.Artificial Christmas tree on wooden stand decorated with bells, stars and candles, supplied to Camp 3 by the Red Cross. Inscription on original box: Weihnachtszweige Die "Goldenen Nuisse" sind gefult also knacken 15 stuch. Translation reads: Christmas branches. The "Golden Nuts" are filled, therefore crack (them). 15 pieces.christmas, appleby, red cross, camp 3, german pows, camp 3 tatura

This item is part of the collection of Ecclesiastical Linen once used by St. Andrews Anglican Church on the corner of the Esplanade and 14 Drummond St, Dennington, Victoria. The first Anglican service was conducted on December 22nd, 1907. The church was decommissioned in January 2003. This item is part of the Ecclesiastical Linen collection, which is significant for its examples of handworked embroidery and drawn-thread work from the early 20th century. The items are also examples of a collection used for religious services during this period. The Ecclesiastical Linen is also significant for its association with the early development of the local township of Dennington and the importance the the community of setting aside land in the 1850's for the purpose of religious worship. The Ecclesiastical Linen is also significant for its connection to St Andrews Anglican Church, Dennington. The church was funded and attended by the local community in the early 1900's and is now listed on the Victorian Heritage Database (VHD 118083) as a building of historical and social significance. Priest's scarf, part of a set of Ecclesiastical Linen once used in St. Andrew's Anglican Church, Dennington, Victoria, between the years 1907 and 2003. The rectangle of lined coarse white fabric is slightly flared at the ends, which are finished with a white twisted cotton fringe. Three cross symbols, one at each end and one in the centre, have been handworked in white ribbon with gold-coloured edging and gold embroidery in the form of rows of small crosse.. Three embroidered symbols [ribbon cross with gold-coloured borders and small gold coloured crosses along the arms]flagstaff hill, warrnambool, maritime museum, shipwreck coast, great ocean road, st andrews anglican church dennington, dennington church, warrnambool church 1907, ecclesiastical linen, communion linen, hand worked linen, religious service, religious ceremony, ceremonial linen, needlework, embroidered, applique, cross symbol, priest's scarf

Leonard William TELFORD, No 4937. Refer Cat No 157.2 medals for his service history, 156, 158.2. (.1) Copy of photo, B & W of L. W. Telfords grave prior to Headstone being placed. Wooden headstone cross with the 4 points connected by timber pieces. Brick and timber structure in background. (.2) Original photo B & W of L W Telfords grave with Headstone placed. (.1) On cross - "Erected by his comrades 12th MG Coy. Transport." "In Memory of Farrier L.W. TELFORD 4937 (.2) At base of the cross, “Duty Nobly Done”photography-photographs, military history, graves

Square metal tin green in colour with yellow writing and red cross printed on itFirst Aid Kit General purpose for MT in yellow writing with red cross above, black dagger drawn on back of tin. Inside lid schedule of contents, including Serial No, description and unit of Issue, quantityempty first aid kit tin container

Victorian padded, embossed and paper lace New Year card with silk intaglio of a New Year greeting. The card has opening front panels with the cross and a Christian message. A small card with a cross central feature (with message entwined) on opening panels revealing a silk intaglio with a New Year message.padded greeting card, new year,

Arthur McDiarmid and Larney Lamers during Decorated Bicycle Competition at Red Cross Easter Fair Lakes Entrance VictoriaColour photograph showing Arthur McDiarmid and Larney Lamers during Decorated Bicycle Competition at Red Cross Easter Fair Lakes Entrance Victoria people, events, celebrations

Set of 5 transparencies taken on 19/11/1962 on Kodak mounts. 1186.1 - Bendigo 21 bound for Golden Square at Charing Cross with The Beehive buildings and shops in Pall Mall in the background. Trams has an ad for Cohns drinks on front bumper, SEC Best for Cooking roof ad. and Mamouney's furniture roof ad. Two women passengers boarding. 1186.2 - Bendigo 26 crossing Pall Mall from Mitchell St. bound for Eaglehawk with "Ezywalkin" shop in background. Tram has an SEC 'Electric Cooking' roof ad and a 'Streets Ice cream' ad on front dash. 1186.3 - Bendigo 7 arriving at the Charing Cross stop, bound for North Bendigo. Has a Huttons dash panel ad, a Castrol roof ad. Buildings as for 1186.1. Passengers waiting at the stop. 1186.4 - Bendigo 19 leaving Charing Cross for Golden Square with City Club Hotel alongside and other buildings as for 1186.1 in the background. Tram has Briquettes ad on front dash and SEC 'Electric Cooking' roof ad. 1186.5 - Bendigo 21in High St. at corner of Short St. heading for Charing Cross. Destination half way between Depot and Railway Station. Tram has ads for Cohns Drinks on dash panel, SEC 'Cook with Electricity' and a Sandhurst Milk roof ads.Information written on in black ink and date stamped in purple ink. 1186.1 - "No. 21 in Pall Mall at Charing Cross, Bendigo" 1186.2 - "No. 26 arriving at Alexandra Fountain, Charing Cross, Bendigo" 1186.3 - "No. 7 in Pall Mall at Charing Cross, Bendigo" 1186.4 - "No. 19 in High St., Bendigo, leaving Charing Cross for Golden Square" 1186.5 - "No. 21 in High St. Bendigo, at corner of Short St." tramways, trams, bendigo, charing cross, pall mall, high st., tram 7, tram 19, tram 21, tram 26

Article relates to several items in the Wangaratta RSL collection including the DFC medal awarded to John Hudson WILKINSON. From collection of photographs and cuttings dedicated to the memory of WILKINSON JOHN HUDSON : Service Number - 400444 : Date of birth - 18 Feb 1914 : Place of birth - RUTHERGLEN VIC : Place of enlistment - MELBOURNE : Next of Kin - WILKINSON HUDSON. Wilkinson was awarded the distinguished flying cross in March 1944 and tragically killed in action over Germany also in 1944. See also 237 and 240. Newspaper article with picture of a Distinguished Flying Cross medalpilot, kia, killed in action, dfc, distinguished flying cross, wwii, world war two, air force

The Hamilton-Smith collection was donated by the children of Grace Mary Hamilton-Smith nee Ellwood (1911-2004) and John Hamilton-Smith (1909-1984) who settled in Wodonga in the 1940s. The Ellwood family had lived in north-east Victoria since the late 1800s. Grace’s mother, Rosina Ellwood nee Smale, was the first teacher at Baranduda in 1888, and a foundation member of the C.W.A. Rosina and her husband Mark retired to Wodonga in 1934. The collection contains significant items which reflect the local history of Wodonga, including handmade needlework, books, photographs, a wedding dress, maps, and material relating to the world wars. Grace and John married at St. David’s Church, Albury in 1941. John was a grazier, and actively involved in Agricultural Societies and the Belvoir Wodonga Rotary Club. Grace was an active member of several organisations including the CWA, Red Cross, the Wodonga Show Ladies' Auxiliary and the Victorian Agricultural Societies Association. This uniform was owned by Grace Hamilton-Smith. She achieved recognition for more 20 years of service to the Red Cross.This item has well documented provenance and a known owner. It is part of a significant collection from the Hamilton-Smith family of Wodonga and reflects important aspects of social history including the roles of women and their contribution to the community. A tan coloured Red Cross uniform and badges worn C1940sred cross australia, hamilton-smith collection, wodonga red cross

On 13/8/1914 Red Cross was set up in Victoria as a branch of the British Red Cross. This coincided with the outbreak of WW1. Its initial remit was to supply comforts packages for soldiers. This expanded to the Voluntary Aid Detachments' (VAD) who cared for sick and wounded soldiers in hospitals or on transport ships. In 1929 the Red Cross Blood transfusion Service began. After WW11 it continued to expand into all domestic and overseas humanitarian operations. The Kangaroo Flat group was first mentioned in the newspapers in August 1915.Black and white rectangle photograph. Edges have been hand cut. Back has description written in blue pen and copyright stamp. Ladies Red Cross Kangaroo Flat 1961, Sitting - Mrs Browning, Mrs Mitchell Sec + Tres, Mrs E Lanyon 90 years of age, 47 years continuous service to Red Cross. Standing - Mrs V Ryan, Mrs Freestone, Mrs Barber, Mrs Dower. Written on back - names of the seven ladies in the photo. Stamp on back - Copyright Not for Reproduction Herald Sun Photography. Grey lead inscription and sticker, location to be changed Folder 20 to Box 949 1125kangaroo flat, red cross, 1960s

Classic Australian Poster Series. Limited edition reproduction No.15. All gifts and souvenirs P/L - Melbourne (03) 328 4025.1. Poster - paper, white print on poster, illustration in colour, woman holding a large bouquet of flowers. Red Cross depicted bottom right corner. Poster stored in cardboard tube. 2, Tube - storage. Cardboard with two plastic caps. Adhesive label in colour depicting small copy of poster and edition information.Printed on poster "Welcome Back - by the/ Australian/ Red Cross/ Society"red cross, poster

This Book of Common Prayer, with Psalms, was part of the original furnishings of St Nicholas Seamen's Church, Williamstown, Victoria. The church was operated by the Missions to Seamen organisation. It was dedicated to John Thomas and Rev A Gurney Goldsmith. It is one of 48 similar books. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen was an Anglican charity that served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the organisation began in Williamstown in 1857 as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’ in an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel. This book is significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It originated in Bristol, England when a Seamen's Mission was formed in 1837. The book is historically significant for its connection to the Ladies Lightkeepers’ Auxiliary, an organisation of women, formed to support seafarers. The connection of this book to the Mission to Seamen and to the Ladies Lightkeepers’ Auxiliary highlights the strong community awareness of the life of people at sea, their dangers and hardships, and their need for physical, financial, spiritual and moral support. Book, titled The Book of Common Prayer. It has a textured black leather cover with embossed lettering on the spine and an embossed gold cross on the front cover. The spine is decorated with horizontal ribs. The fly page has a printed red shield with animal figures in each quadrant and a cross in the shield's centre. The book was printed by Cambridge University Press. Inscriptions and the emblem of a large cross are inlaid in gold on the cover. The edges of the 591 pages are gold leaf. There is an inscription on the inside of the front cover. The book was dedicated to John Thomas and Rev A Gurney Goldsmith. The book is one of forty-eight similar books in the St Nicholas Seamen’s Church Collection.On the spine "COMMON PRAYER" "CAMBRIDGE" On the front cover Symbol [CROSS] Inside the front cover "John Thomas and Rev A Gurney Goldsmith"flagstaff hill maritime museum and village, flagstaff hill, warrnambool, maritime museum, maritime village, shipwreck coast, great ocean road, religion, religious service, prayer book, the book of common prayer, cambridge university, john thomas, rev a gurney goldsmith, book 47

Medal issued to commemorate the 50th jubilee of the Town of Kew. It names J.F. McCrea as Mayor. John Falding McCrea was Mayor of Kew 1910-11. Kew was proclaimed a municipality on 22 December 1860, seceding from the Boroondara Road Board District, then comprising Kew, Hawthorn and Camberwell. It was proclaimed a town on 8 December 1910, the year this medal was issued, and a city on 10 March 1921. On 22 June 1994 Kew city was united with Camberwell and Hawthorn cities to form Boroondara city. (MV)This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.Bronze Town of Kew Jubilee medal in the shape of a Maltese Cross.Obverse description Shield of six wheat-sheafs above motto CRESCO on ribbon; above shield is the Royal coat of arms with lion and unicorn supporters and, on ribbon DIEU ET MIN DROIT; on arms of cross top, TOWN / OF, bottom, KEW, left TO COMMEM / -ORATE, right, ITS JUBILEE / 1910 Reverse description shield of six wheat-sheafs above motto CRESCO on ribbon; above shield is the Royal coat of arms with lion and unicorn supporters and, on ribbon DIEU ET MIN DROIT; on arms of cross top, TOWN / OF, bottom, KEW, left TO COMMEM / -ORATE, right, ITS JUBILEE / 1910town of kew jubilee (1910), commemorative medals - kew (vic), australian commemorative medals

An early black and white photograph which shows a man and a woman standing on the bridge that crosses the Steavenson River at the base of the Steavenson Falls in Marysville in Victoria.An early black and white photograph which shows a man and a woman standing on the bridge that crosses the Steavenson River at the base of the Steavenson Falls in Marysville in Victoria. The Steavenson Falls are named after the Victorian Assistant Commissioner of Roads and Bridges, John Steavenson who arrived in Victoria in the early 1860s.steavenson river, steavenson falls, marysville, victoria, waterfalls, john steavenson

The gold cross was discovered by Victorian scuba diver Julie Wilkins, who had already experienced more than 500 dives in Australia and overseas. She was holidaying in Peterborough, Victoria, and looking forward to discovering more about the famous Loch Ard ship, wrecked in June 1878 at Mutton Bird Island. The fast Glasgow-built clipper ship was only five years old when the tragedy occurred. There were 54 people on board the vessel and only two survived Julie's holiday photograph of Boat Bay reminds her of her most memorable dive. Submerged in the calm, flat sea, she was carefully scanning around the remains of the old wreck when, to her amazement, a gold coin and a small gold cross suddenly came up towards her. She excitedly cupped them in her hands, then stowed the treasures safely in her wetsuit and continued her dive. She soon discovered a group of brass carriage clock parts and some bottles of champagne. It was a day full of surprises. The items were easily recognisable, without any build-up of encrustations or concretion. Julie secretly enjoyed her treasures for twenty-four years then packed them up for the early morning train trip to Warrnambool. After a short walk to Flagstaff Hill Maritime Museum and Village, her photograph was taken as she handed over her precious find. She told her story to a local newspaper reporter, lunched a café in town then took the late afternoon train home. Her generous donation is now part of a vast collection of Loch Ard shipwreck artefacts, including the gold watch and the Minton Majolica model peacock. The small decorative cross dates back to on or before 1878, when the Loch Ard had set sail. The loop and ring have been added, perhaps as a pendant, pocket watch accessory or similar purpose. It may have been worn for ‘good luck’ or a ‘blessing’ on the long journey to Australia, where ships had to carefully navigate the treacherous Bass’s Strait before arriving at their destination of Melbourne. Sadly, many met their fate on that short stretch of ocean aptly named the Shipwreck Coast. The cross is very recognisable even though it was exposed to the wrecking of the ship, its consequent movement, and the sea's turbulence. Its scratched, pitted and worn condition, and the damage near the loop, is part of its story. The red-brown-black discolouration is similar to that found on other gold coins, sometimes called the ‘corrosion phenomena’. Studies suggest the possible cause is contaminants in the minting process reacting to the coins’ environment. Three edges of the cross have slightly raised narrow ridges of gold which could have been cause by the gold being cast liquid gold into a mould.This gold cross pendant is significant as a symbol of Christianity, a sign of hope and safety, and a sample of the religious following on board the Loch Ard, although not everyone wears a cross for this reason. This cross is a sample of jewellery owned by people migrating to Australia in the late 19th century. The cross and the guinea recovered together from the wreck of the Loch Ard are made of gold and help interpret the financial status of some of those on board.Gold cross; yellow gold with decorative hand engraved foliage design on the front, fitted loop and ring on top. The simple Latin or Roman variation of the cross, with an elongated vertical arm, has no figure on it and the reverse has no decoration. The right, left and base edges have sections of narrow, long slightly raised ridges. The top edge has remnants of red-black colour. Victorian era cross, ca. 1878. The cross was recovered from the wreck of the ship Loch Ard.Engraved foliage design. Slightly raised long ridges on sides and base edges. flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, gold cross, religious cross, religious trinket, religious jewellery, engraved cross, cross pendant, cross with ring, victorian era, 1878, antique cross, crucifix, religious symbol, christian symbol, christian jewellery, contamination phenomena, gold corrosion, good luck, lucky charm, blessing, pendant, loch ard, wreck of the loch ard, mutton bird island, peterborough, scuba diver, 1980s, shipwreck artefact, relic, latin cross, roman cross, pectoral cross, julie wilkins

Copy of receipts for donations made by Bendigo Preserving Company Patriotic Group to various charity groups in support of WW2 war effort. Includes 3 letters to Company thanking for donation.1. Small lined exercise book, Black & white cover with 36 sheets (72 pages). Last 24 pages blank and other pages have receipts stuck into books of donations for money raised to various organisations. 2. Typed thank you letter from Salvation Army. 3. Handwritten thank you letter from Red Cross. 4. Handwritten thank you letter from Red Cross.1. On front cover "The Educational Exercise Book" and picture of the statue of Jupiter in the Temple at Olympia. On back, conversion tables for weights and measures. 2. Salvo Letterhead and Thank You note. 3. Red Cross Letterhead and handwritten note. 4. Red Cross Letterhead and handwritten note.fundraising, receipts, ww2

Black & White photograph of Charing Cross Bendigo with two bogie trams waiting by fountain. (No. 18 for Eaglehawk and No. 17 for Quarry Hill) with single trucker in background. The Beehive building and Ezywalkin shoes building in background. Taken Queens Birthday weekend, 1967.On rear in blue ink 'Charing Cross, Bendigo, Monday am June Weekend 1967'trams, tramways, bendigo, charing cross , tram 17, 18

After an unsuccessful attempt to gain a seat for the Australia Party in the 1974 Hugh Jeffrey ran again in 1977 for the newly-formed Australian Democrats in one of 5 Victorian electorates. This badge features a green background in enamel with Australian Democrats in gold lettering surrounded by a gold border. A gold Southern Cross and Federation Star feature on the right hand side, next to the lettering. The rear features a pin and MD and Co Badges stamped into the base.1 badge with writing and gold Southern Cross stars on green backgroundAustralian Democratshugh jeffrey, badges

Words and music of popular song about Red Cross Nurses during World War 1.Music book, yellow background with Red Cross Nurse holding vase of flowers on front cover. Three loose pages. 407 $1 written in pencil on front. In fragile condition.front "The/Rose of No Man's Land/ words by..."music, red cross, world war 1, george evans collection

White cardboard mount, 35mm slide, from the Association of Railway Enthusiast's film strip titled "Provincial Tramway Film Strip" of the Charing Cross area on a rainy evening at sunset. Features three trams, Pall Mall and the Bendigo Post Office building. The film strip notes (Reg. Item 2560), provided the following caption details: "A rainy evening sees a pair of single truckers on "GOLDEN SQUARE" - "NORTH BENDIGO" line meeting an outbound "EAGLEHAWK" car at the Cross. Sept. '71 (Ray Marsh)" See image btm2581p.tif for high level scan of image. Stamped on base of slide "11790" and written in ink on top edge "Charing Cross Bendigo"tramways, trams, are, film strip, charing cross, bendigo, pall mall, night photo

This brief description of St. Stephen's Presbyterian church, Surrey Hills, on the corner of Canterbury and Warrigal Roads, Surrey Hills, dates back to 1887 when Surrey Hills was a settled emerging community. It documents the changes from then, including the land and buildings, their ministry, hymn books and bibles, church camps, mission work, PMWU, men's activities, outreach groups, multi-cultural groups until 2012.This brief description of St. Stephen's Presbyterian church, Surrey Hills, on the corner of Canterbury and Warrigal Roads, Surrey Hills, dates back to 1887 when Surrey Hills was a settled emerging community. It documents the changes from then, including the land and buildings, their ministry, hymn books and bibles, church camps, mission work, PMWU, men's activities, outreach groups, multi-cultural groups until 2012.(mr) j. k. blogg, 1887, surrey hills, (mr) (rev) john ewing, (mr) (rev) alexander mcdonald, (mr) (rev) frederick darling, surrey college, kleppers orchard, balmoral crescent, st. stephen's presbyterian church, uniting church, (mr) (rev.) david innes, (rev) w. howden, (mr) (rev) david bradshaw, churches, canterbury road, warrigal road

This altar cloth is representative of ecclesiastical linen in use in the early to mid-20th century. It is decorated with the Mariner's Cross symbol, connecting it to the history of the early Christian church. The cover for the cloth shows the respect the maker had for the cloth and what it stands for. The Mariner's Cross symbol also makes it appropriate as an altar cloth for the St Nicholas Seamen's Church at Flagstaff Hill Maritime Village. MARINER'S CROSS symbol: - The symbol of an anchor that also looks like a cross is called the Mariner’s Cross (also called the Anchored Cross or Cross of Hope). It looks like a ‘plus’ sign with anchor flukes at the base and a ring at the top. The anchor is one of the earliest symbols used in Christianity and represents faith, hope and salvation in times of trial. The Mariner’s Cross is linked to the scripture in Hebrews 6:19, which says, “Which hope we have as an anchor of the soul, both sure and steadfast, and which entereth into that within the veil”. This particular Mariner’s Cross also has the letter ‘X’ under the post of the anchor. In Greek, the language of the New Testament, the word for Christ is ‘Christos’, which begins with the Greek letter ‘X’ or ‘Chi’. Together, the elements on this Mariner’s Cross - anchor, cross and ‘X’ - symbolise to the Christian that Jesus Christ the Saviour gives security and safety, hope and salvation. Many church organisations still use various forms of the Mariner’s Cross. THE MISSIONS TO SEAMEN (Brief History): - The Missions to Seamen was an Anglican charity that has served seafarers of the world since 1856 in Great Britain. Its symbol is a Flying Angel, inspired by a Bible verse. Today, there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the organisation began in Williamstown in 1857 as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’ in an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000, the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres, such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943, a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel. The altar cloth is representative of the ecclesiastical linen in use in the early to mid-20th century, when the original St Nicholas Seamen's Church was opened in Williamstown, Victoria. The Mariner's Cross embroidered onto the altar cloth gives it a connection with the early Christian church and with the Missions to Seamen. The fine hand stitching and embroidery are examples of traditional handcraft skills used over the centuries and continuing in use today.Altar cloth, white linen, with custom-made white cotton cover. The long rectangular cloth has the symbol of a Mariner's Cross (anchor and cross) embroidered with white silk thread on each short end. The wide hems are hand-stitched. The cover has two white tape ties and embroidered text in blue silk thread. This cloth and cover is part of the St. Nicholas Seamen's Church Collection. On cloth: symbol of (anchor with an 'X' stitched behind the centre of it). On cover, text "FLAGSTAFF/ HILL" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, religion, religious service, st nicholas seamen’s church flagstaff hill, altar cloth, church linen, ecclesiastical linen, mariner’s cross, anchor cross, cross of hope, symbol of christianity, anchored cross, flagstaff hill maritime museum and village, maritime village, religious worship, worship service, st nicholas seamen’s church, williamstown, missions to seamen victoria, mission to seafarers, st nicholas missions to seamen’s church williamstown, missions to seamen, st nicholas missions to seamen’s church flagstaff hill, 139 nelson place williamstown, anglican church

Black and white photograph of the participants and organisers of yet another Slovenian cultural evening of music, poems and danceswedding

Jacqueline Dark, mezzo soprano from Ballarat Victoria, principal artist with Opera Australia, was a leading singer in the production of Salome in Hong Kong in 2014.Fold out events calendar 2014 for Hong Kong City Hall and Hong Kong Cultural CentreRichard Strauss SALOME An Opera in One Actjacqueline dark, salome

GEOFFREY RICARDO (1964- ) Born Melbourne, Australia 1984-86 Bachelor of Arts (Fine Art), Printmaking, Chisholm Institute of Technology, Melbourne 1987-89 Printing Assistant at Bill Young Studios, Editioning intaglio prints, King Valley, VIC 1988 Full-time Studio Technician at Printmaking Department, Chisholm Institute of Technology, Melbourne 1989-90 Graduate Diploma (Fine Art), Printmaking, Monash University, Melbourne 1991 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed coloured aquatint on paper. Donated through the Australian Government's Cultural Gifts Programme by Katherine Littlewood.Under image in pencil ' T/P "Monkeyshine" Ricardo 2000'geoffrey ricardo, framed print