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Federation University Art Collection
Work on paper - Artwork - Printmaking, Geoffrey Ricardo, "The Urbane Heart" by Geoffrey Ricardo, 1999
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 intaglio print from Geoffrey Ricardo's 'A Dark City, A Narrative' suite'. Donated through the Australian Government's Cultural Gifts Programme by Katherine Littlewood.Under image in pencil ' artists proof "The Urban Heart" Ricardo 99,geoffrey ricardo, printmaking, framed print, intaglio -
Federation University Art Collection
Work on paper - Artwork - Printmaking, Geoffrey Ricardo, 'Love Street' by Geoffrey Ricardo, 1999
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 intaglio print from Geoffrey Ricardo's 'A Dark City, A Narrative' suite. Donated through the Australian Government's Cultural Gifts Programme by Katherine Littlewood.Under image in pencil '7/25 "Love street" Ricardo 99'geoffrey ricardo, printmaking, artworks, artist -
Federation University Art Collection
Work on paper - Artwork - Printmaking, Geoffrey Ricardo, Not known (Geoffrey Ricardo), 1997
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 2012Etching with aquatint on paper depicting a group of people pulling along a giant inflatable cow. Donated through the Australian Government's Cultural Gifts Programme by Katherine Littlewood.Lower left "State Proof" Lower right "Ricardo '97"geoffrey ricardo, printmaking, balloon, cow -
Federation University Art Collection
Work on paper - Artwork - Printmaking, Ricardo, Geoffrey, 'Veneer Deer' by Geoffrey Ricardo, 1997
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.geoffrey ricardo, printmaking -
Federation University Art Collection
Work on paper - Artwork - Printmaking, Ricardo, Geoffrey, 'Lobster Chase' by Geoffrey Ricardo, 2000
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 etching.geoffrey ricardo, printmaking, available, lobster -
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 Historical Collection
Letter - Correspondence, Walter M. Hitchcock, Letters from Walter M. Hitchcock concerning a model of a Ballarat tent (and more), 1911, 1911 (exact)
The tent model mentioned in the letters was displayed in the Ballarat School of Mines Museum. During the 1960s it was transferred to the Ballarat Historical Society. Two handwritten letters on paper with black mourning edge written by Walter M. Hitchcock to the Ballarat School of Mines, and another written by Walter's brother George M. Hitchcock.Letter transcription follow: Letter from Walter M. Hitchcock regarding the death of James Oddie and early gold mining at Ballarat, 1910 and 1911 48 The Memorial Hall Farringdon St London Dec1/10 The Secretary Ballarat Museum Dear Sir, I am just now sending you this line, i anticipation of further correspondence later on, simply to forward you a Post Card of the 1st mining tent erected 1851 on the site of he then newly proclaimed Township of Ballarat, which, as the sole survivor of the party who built the original, I have had the pleasure in making, and have decided to present it to your museum, Sir Jno Lasenor out Agent General for Victoria came to a Bazaar recently held in London. where I had it on view in the museum from 3 days, - and desired I would allow its [ ? ] exhibited in the first large window of the beautiful new building of the Victoria Agency situate in the Strand. It is there for the past few days and he may wish it to remain a week or two longer, I know of no other exhibition of it to delay it being packed and shipped to my relatives in Geelong (Mr [?] Bright of Hitchock's Firm) who may wish to show it in one of their windows before forwarding it to your museum - I have had an itemised pane glass case made for it with drop down end and [?} it stands on a plateau of moss, to represent grass 32 x 13 x 13 high and chimney 14 1/2 - the case is made 34 x 26 x 20 high inside - I shall have it very carefully packed - tent emptied tools, beds, &c &c in separate packing and insured for 50 pounds - I will send you full details later on. I hope and believe your President will accept it in due time Meantime believe me to be very truly Cat Walter Hitchcock G.F.B. 48 The Memorial Hall Farringdon St London March 15th 1911 The Secretary Ballarat School of Mines Dear Sir, Thanks for your letter received last week – I have unaccountably mislaid it, so cannot address you personally, shall no doubt find it among office papers. The model is being fetched today from Victorian Agent General’s (Sir John [Lavernor?] office window in the Strand where many thousands, he tells me, have stopped in passing to see it (their first peep of Ballaarat). It will be on view at Blackheath (Kent) for a week, then packed and shipped without further delay. I shall enclose in the glass case (which is 26 x 34 x 16 in high) some spare minced moss and gas (smoke) in case in transit the plateau suffers by shaking (though it is well glued down). All the tools, mining appliances, cradle, windlass, &c will be separately packed enclosed – which you can easily place in respective positions. HRH Prince of Wales has graciously accepted a photo of it – and in my letter to him when sending it for his acceptance I said – as he would probably ere long visit Australia as did his grandfather and father, which ought to (and certainly will) include at least a day or two in seeing your beautiful City, and also something of your mines &c instead of the hurried visit of his father (2 hours) when he, as Duke of York, unveiled a statue to the memory of those slain in the sad Boer War, which now is admitted by almost everybody to have been a big political mistake, - though in the future with England’s present wise policy towards that country it will prove for Africa’s welfare. It may interest you to know that when I ascertained that Geelong was not to be visited by the Royal Pair – I went up to St James’s Palace by appointed time the Duke’s private Secy Sir Arthur Bigge – taking with me a specially illustrated paper issued in Melb. showing many pictures of the beauties and industries of Geelong – Sir Arthur was impressed but said all the arrangements for the Royal stay in Victoria (10 days) were made locally, by Lord Hopetoun and collegues and committee, and were practically closed – which meant that only a brief trip to Ballarat to uncover the memorial was intended outside Melbourne. Perhaps if we were Melbourne residents we should have succumbed to the prevailing spirit of selfishness – forgetting (or trying to forget) that there are many beauty spots in Victoria and centres of great interest - Ballarat, Geelong, Bendigo, &c that ought to have been visited instead of Melbourne only. Finding Sir Arthur favorably impressed about Geelong I thanked him and returned to City work again. I at once called to Geelong whose mayor and friends had been twice unsuccessful in trying for the Melbourne functions programme being altered to include a visit to Geelong and lovely spots in the Western District, reporting my interview with Sir A B and his favourable reception of my representations, but that any alteration to the programme of engagements during the Royal visit must be made locally and by the local authorities. This had the desired success for on receipt of my message the Geelong mayor and colleagues again reopened the question and went to Melbourne, resulting in a concession (but what an altogether inadequate one) and they graciously ? consented to the train, on its way with the Duke and Duchess to your city, to stop at the Geelong stn (15 minutes) and so it came about that by a hasty local effort, 3,000 school children, and not a few of the leading people including the Mayor &c were gathered to welcome them in Geelong. The National anthem being sung, an Address read and presented and kindly replied to. Now Ballarat should doubtless has influence. See to it when our P. Of Wales visits Victoria – an unselfish ¬ programme is fixed up – and HRH afforded ample opportunity of visiting leisurely your city, Geelong, Bendigo and other centres of beauty and importance. The Prince himself will be the gainer by such an equitable and enlightened programme, - and come back with all the more favourable views of the marvellous development ever since our family first settled in Geelong in 1850. A far preferable result of such a visit than night after night having Melbourne Banquets and the visiting of its undoubted attractions - whilst all the rest of the State remained unvisited. Such an official mistake must not be made again. I will write you again, stating name of steamer of which the model is shipped and date of departure – it is firmly built on a backing of 3/8 in oak tall uprights so through the 7/8 in plateau and am entrusting the packing be very careful. I expressed firm – so that except possibly any breakage in glass case – it should reach you in due time all right. The top of case will be screwed so that it can be readily removed temporarily to enable my [ ? ] firm to show it in one of their windows. Believe me Yours very truly Captn Walter M. Hitchcock My brother will deliver it on my a/c – all carriage paid. Mt very kind regards to my friend since 1850 Jas Oddie. University of Ballarat Historical Collection Cat. No. 8133.3 & .4 Letter from Walter M. Hitchcock regarding the death of James Oddie and early gold mining at Ballarat, 1911 48 The Memorial Hall Farringdon St London April 20th 1911 My Dear Sir, It is with no ordinary feeling of regret that I received the tidings of the death of my good friend, your fellow citizen for many years, Mr James Oddie. Living at Geelong from March 1850 I came to know him there as carrying on a foundry business in Ashby. With the discovery of gold at Ballarat started off almost of the working people, as well as of all other classes of the male population. Mr Oddie arrived in Ballarat I believe on or about September 1st 1851. My three comrades and I arrived October 1st 1851 – among the many thousands soon gathered within a mile or so of Golden Point – my friend Oddie and I often met. I returning to Geelong after a year mining – my friend on the other hand remaining at Ballarat ever since – a marvellous record, and I am sure his life has been one of unique value to your City in many ways, - his age (87) naturally prepared me for his call home – and only two mails before the news came I received from him on of his kindly chatty letters in which amongst other things – he referred with pleasure to having received from me two 10 x 12 photos – one being of my model and that he was arranging to have it placed in a shop window in your city. I am interested in the fact of your having known each of my three comrades of 1851/52. It was J.M. Garrett and I who got permission to conduct public Sunday morning service in their large Marquee – used all the week for issue of Licenses in the absence of any church buildings, and it being on wet Sundays impossible to have services as usual under the trees – Ballarat then was more like a Gentleman’s Park – than bush country – but the axe soon did its work – and all were felled for our cooking, and hencewith to make our kindling etc. Shafting of holes not being at first done because too shallow – our deepest (at Eureka) was only 115 ft. Bendigo I hear had now mines of 4,000 ft in depth (deeper than our tin or coal mines here). I fortunately have, in excellent state of preservation, my last of 12 licenses dated October 1 1852 and have recently purchased here a Miner’s Right dated 1864, to that when explaining on matters re Gold Licensing I can show sample of each. With kind regards Believe me Yours sincerely Walter M. Hitchcock Geelong June 20/11 Dear Sir, By rail to day through Messrs Bannister I send the model of miner’s tent packed in a case 50 donated by my brother Captain Walter M. Hitchcock of London. This model was made by my brother and represents the tent he worked in on the Ballarat Gold Fields in the year 1851 or 2. In a separate parcel a few extras omitted from the case. Please send me receipts in duplicate, one for my brother, the other for the Customs, Geelong, as being donated to your institution, after some little correspondence it was admitted [??] any payment for duty. You probably have my brother’s address and would like to acknowledge its arrival, direct. I hope it is in good order. I did not open it for show in Geelong, as there would be less risk of breakage on repacking. With kind remembrances. I am Yours Faithfully Geo. M. Hitchcock. A Mr G. F. B. Sharick who is living near my home called in to see my model – he said he knew FM [Fred Martell] and was lately at Ballaratballarat school of mines, frederick martell, fred martell, james oddie, walter m hitchcock, walter hitchcock, f m garratt, george hitchcock, hitchcock, golden point, gold discovery, j m garrett, gold license, j.m. garrett, t.m. hall, george m. hitchcock, f.m. garratt, walter m. hitchcock -
Bendigo Military Museum
Photograph - Army Survey Regiment – Commanding Officer Handover Parade, Fortuna, Bendigo, 1980
This photograph was taken at a Commanding Officer Handover Parade at the Army Survey Regiment, Bendigo in 1980. LTCOL Bob Skitch was the CO from 1976 to 1980 and handed over LTCOL Frank Thorogood SB St J. LTCOL Thorogood’s appointment was from 1980 to 1981.This is a set of 45 photographs taken at a Commanding Officer Handover Parade at the Army Survey Regiment, Bendigo in 1980. The photographs are on 35mm negative film and were scanned at 96 dpi. Photograph .34P is an enlargement printed on photographic paper and scanned at 300 dpi. They are part of the Army Survey Regiment’s Collection. .1) - Photo, black & white, 1980. Led by HQ Squadron, Army Survey Regiment marches onto the parade ground. .2) - Photo, black & white, 1980. Army Survey Regiment marches onto the parade ground. Drummers L to R: SSGT George Austen, CPL Di Chalmer, CPL Tony Lawler. .3) - Photo, black & white, 1980. Air Survey Squadron formed up. SSM WO1 Bob Mason at front. L to R: unidentified (x9), SPR Kristin (Isaac) Skidmore, unidentified, SPR Scheryl Delforce, unidentified (x2), SSGT Russell ‘Rusty’ Williams, SSGT Peter Warwick, SSGT Greg Buckenham, SGT Cliff Webb, SSGT Alan Derby, SSGT John Bennett, SSGT Bruce Gordon. .4) - Photo, black & white, 1980. Officers formed up before taking posts. L to R: CAPT Peter Searle - UK Exchange, unidentified, LT Ozzy Slade, CAPT Peter ‘Blue’ Blaskett, unidentified (x4), CAPT Bob Williams, MAJ David Bowen - US Exchange officer, unidentified (x3), RSM WO1 Aub Harvey. .5) - Photo, black & white, 1980. Officers salute before taking posts. L to R: CAPT Peter Searle - UK Exchange, unidentified, LT Ozzy Slade, CAPT Peter ‘Blue’ Blaskett, unidentified (x4), CAPT Bob Williams, MAJ David Bowen - US Exchange officer, unidentified (x3). .6) - Photo, black & white, 1980. Officers march to their posts. L to R: CAPT Bob Cooper, CAPT Mick Byrne, MAJ Robin Blackburn, unidentified. .7) & .8) - Photo, black & white, 1980. L to R: 2IC MAJ Don Swiney MBE hands over parade to CO LTCOL Bob Skitch. Cartographic Squadron - Centre rank L to R: CPL Paul Richards, SPR Megan (McBurney) Reynolds, SPR Jan (Crighton) Minchin, SPR Ilen Isaac, CPL Lynn Johnson, remainder unidentified. Front rank L to R: CPL Dennis Learmonth, CPL Roger Pearson, SPR Rod Skidmore, SPR John Martin, SGT Bob Bright, CPL Trevor Bottomley, SPR Gerry Gates, remainder unidentified, OC CAPT Bob Williams, Officer in far right: CAPT Bob Cooper. .9) - Photo, black & white, 1980. L to R: CO LTCOL Bob Skitch salutes reviewing officer - Commander 3MD BRIG Geoffrey Cohen AM. Cartographic Squadron in background L to R: CPL Trevor Bottomley, SPR Gerry Gates, SPR Peter Main, CPL John ‘Stormy’ Tempest, unidentified, OC CAPT Bob Williams, SSGT Gary Warnest. .10) - Photo, black & white, 1980. HQ Squadron inspection - L to R: unidentified (x5), CAPT Paddy Strunks, SPR Chris Ebeling, CO LTCOL Bob Skitch, BRIG Geoffrey Cohen AM, unidentified (x7), in foreground MAJ David Bowen - US Exchange officer, unidentified, CPL Phil McGuire, WO2 Ted Burgess. .11) - Photo, black & white, 1980. HQ Squadron in foreground L to R: MAJ David Bowen - US Exchange officer, unidentified, CPL Phil McGuire, WO2 Ted Burgess. Lithographic Squadron inspection L to R: CPL Paul Davis, CPL Le-Anne (Smallshaw) Shirely, CO LTCOL Bob Skitch, unidentified, OC MAJ Robin Blackburn, BRIG Geoffrey Cohen AM, SPR Jim Ash, unidentified, unidentified UK Exchange SNCO, SSGT Greg Francis-Wright, WO1 Doug Malligan, drummers SSGT George Austen, CPL Di Chalmer, CPL Tony Lawler, unidentified (x2). .12) - Photo, black & white, 1980. Air Survey Squadron inspection - L to R: LT Ozzy Slade, CAPT Peter ‘Blue’ Blaskett, unidentified officer, front rank L to R: SGT Cliff Webb, CO LTCOL Bob Skitch, CAPT Peter Searle - UK Exchange, unidentified, centre rank L to R: unidentified, SSGT Greg Buckingham, SSGT John Bennett, rear rank L to R: unidentified (x4), SPR Sharon (Jones) Treble, CPL Marrianne (Van De Zee) De Groot, SPR Ginny (Turner) Rowe, SSGT Kevin Kennedy, unidentified, SSGT Alan Derby. .13) - Photo, black & white, 1980. Air Survey Squadron inspection - Centre rank: SSGT John Bennett, CO LTCOL Bob Skitch, CAPT Peter Searle - UK Exchange, BRIG Geoffrey Cohen AM, rear rank L to R: SPR Ginny (Turner) Rowe, SSGT Kevin Kennedy, unidentified, SSGT Alan Derby, SSGT Bruce Gordon, supernumerary rank L to R: SSM WO1 Bob Mason, WO1 Bob Hayden, WO2 Peter Colwell, WO1 Chris Parkinson. Unidentified. .14) - Photo, black & white, 1980. Air Survey Squadron inspection - Centre rank: SSGT John Bennett, CO LTCOL Bob Skitch, CAPT Peter Searle - UK Exchange, BRIG Geoffrey Cohen AM, rear rank L to R: SPR Ginny (Turner) Rowe, SSGT Kevin Kennedy, unidentified, SSGT Alan Derby, SSGT Bruce Gordon, supernumerary rank L to R: SSM WO1 Bob Mason, WO1 Bob Hayden, WO2 Peter Colwell. .15) - Photo, black & white, 1980. Cartographic Squadron inspection – L to R: OC CAPT Bob Williams, CO LTCOL Bob Skitch, BRIG Geoffrey Cohen AM. Front rank L to R: CPL John ‘Stormy’ Tempest, unidentified (x2), SSGT Allan Adsett, SSGT Gary Warnest. Centre rank L to R: SPR Ilen Isaac, CPL Sue (Fryer) Bottomley, SPR Gina (Coore) Neilson, SPR Carla Dell, CPL Lynn Johnson, SPR Cathy Regan, unidentified, SSGT John ‘JB’ Barrie, SSGT Bob Scaddan. Rear rank L to R: CPL Terry Danger, CPL Brad Peppler. .16) & .17) - Photo, black & white, 1980. Cartographic Squadron inspection – L to R: OC CAPT Bob Williams, CO LTCOL Bob Skitch, BRIG Geoffrey Cohen AM. Front rank L to R: CPL Dennis Learmonth, CPL Roger Pearson, SPR Rod Skidmore, SPR John Martin, SGT Bob Bright, CPL Trevor Bottomley, SPR Gerry Gates, CPL John ‘Stormy’ Tempest, unidentified (x2), SSGT Allan Adsett, SSGT Gary Warnest. CO LTCOL Bob Skitch, CAPT Bob Cooper, BRIG Geoffrey Cohen AM. Centre rank L to R: SPR Ilen Isaac, CPL Sue (Fryer) Bottomley, SPR Gina (Coore) Neilson, SPR Carla Dell, SPR Cathy Regan, SSGT John ‘JB’ Barrie, SSGT Bob Scaddan. Rear rank L to R: CPL Terry Danger, CPL Brad Peppler, SGT Stu Thaxter, SGT Colin Cuskelly, SGT Bill Friswell. Far right: CAPT Peter Searle - UK Exchange, WO1 Jim ‘JJJ’ Jefferies. .18) - Photo, black & white, 1980. Cartographic Squadron inspection – Front rank: SSGT Gary Warnest. L to R: CO LTCOL Bob Skitch, CAPT Bob Cooper, BRIG Geoffrey Cohen AM. Centre rank L to R: SPR Ilen Isaac, CPL Sue (Fryer) Bottomley, SPR Gina (Coore) Neilson, SPR Carla Dell, SPR Cathy Regan, SSGT John ‘JB’ Barrie, SSGT Bob Scaddan. Rear rank L to R: CPL Terry Danger, CPL Brad Peppler, SGT Stu Thaxter, SGT Colin Cuskelly, SGT Bill Friswell. SSM WO1 Gordon Lowery. Far right: WO1 Jim ‘JJJ’ Jefferies, CAPT Peter Searle - UK Exchange, CAPT Peter ‘Blue’ Blaskett, LT Ozzy Slade. .19) - Photo, black & white, 1980. Medal presentation - L to R: CO LTCOL Bob Skitch, CAPT Bob Cooper. Cartographic Squadron – Front rank L to R: CPL Dennis Learmonth, CPL Roger Pearson, SPR Rod Skidmore, SGT Bob Bright, CPL Trevor Bottomley, SPR Gerry Gates, SPR Peter Main, CPL John ‘Stormy’ Tempest. Centre rank L to R: CPL Paul Richards, SPR Jan (Crighton) Minchin, SPR Ilen Isaac, SPR Carla Dell, CPL Lynn Johnson, SPR Cathy Regan. .20) - Photo, black & white, 1980. Medal presentation - L to R: CAPT Bob Cooper, BRIG Geoffrey Cohen AM. Cartographic Squadron – Front rank L to R: CPL Dennis Learmonth, CPL Roger Pearson, SPR Rod Skidmore, SPR John Martin, SGT Bob Bright, SPR Peter Main, CPL John ‘Stormy’ Tempest, SSGT Allan Adsett, SSGT Gary Warnest. Centre rank L to R: CPL Paul Richards, SPR Jan (Crighton) Minchin, SPR Ilen Isaac, CPL Sue (Fryer) Bottomley, SPR Gina (Coore) Neilson. .21) - Photo, black & white, 1980. Medal presentation - L to R: CAPT Bob Cooper, BRIG Geoffrey Cohen AM. Cartographic Squadron – Front rank L to R: CPL Dennis Learmonth, CPL Roger Pearson, SPR Rod Skidmore, SPR John Martin, SGT Bob Bright, SPR Peter Main, CPL John ‘Stormy’ Tempest, SSGT Gary Warnest. Centre rank L to R: CPL Paul Richards, SPR Jan (Crighton) Minchin, SPR Ilen Isaac, CPL Sue (Fryer) Bottomley. .22) - Photo, black & white, 1980. Medal presentation - L to R: CO LTCOL Bob Skitch, CAPT Bob Cooper, BRIG Geoffrey Cohen AM. Cartographic Squadron – Front rank L to R: CPL Dennis Learmonth, CPL Roger Pearson, SPR Rod Skidmore, SPR John Martin, SGT Bob Bright CPL Trevor Bottomley, SPR Gerry Gates, SPR Peter Main, CPL John ‘Stormy’ Tempest, CAPT Bob Williams, SSGT Allan Adsett. Centre rank L to R: CPL Paul Richards, SPR Jan (Crighton) Minchin, SPR Gina (Coore) Neilson, SPR Carla Dell, CPL Lynn Johnson, SPR Cathy Regan, unidentified, SSGT Bob Scaddan. Rear rank: CPL Stu Symonds. .23) - Photo, black & white, 1980. Presentation - L to R: CO LTCOL Bob Skitch, BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. Cartographic Squadron – Front rank L to R: CPL Dennis Learmonth, CPL Roger Pearson, SPR Rod Skidmore, SPR John Martin, SGT Bob Bright CPL Trevor Bottomley, SPR Gerry Gates, unidentified, CAPT Bob Williams, SSGT Allan Adsett, CAPT Bob Cooper. Centre rank L to R: SPR Jan (Crighton) Minchin, CPL Sue (Fryer) Bottomley, SPR Carla Dell, CPL Lynn Johnson, SPR Cathy Regan, unidentified, SSGT Bob Scaddan. .24) - Photo, black & white, 1980. Presentation - L to R: CO LTCOL Bob Skitch, BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. Cartographic Squadron – Front rank L to R: SPR Rod Skidmore, SPR John Martin, SGT Bob Bright CPL Trevor Bottomley, SPR Gerry Gates, unidentified, CAPT Bob Williams, CAPT Bob Cooper. Centre rank L to R: SPR Jan (Crighton) Minchin, CPL Sue (Fryer) Bottomley, SPR Carla Dell, CPL Lynn Johnson, SPR Cathy Regan, unidentified, SSGT Bob Scaddan. .25) - Photo, black & white, 1980. Presentation - L to R: CO LTCOL Bob Skitch, BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. Cartographic Squadron – Front rank L to R: CPL Roger Pearson, SPR Rod Skidmore, SPR John Martin, SGT Bob Bright CPL Trevor Bottomley, unidentified, CAPT Bob Williams, SSGT Allan Adsett, SSGT Gary Warnest. CAPT Bob Cooper, Centre rank L to R: CPL Sue (Fryer) Bottomley, SPR Gina (Coore) Neilson, SPR Carla Dell, CPL Lynn Johnson. .26) to .28) - Photo, black & white, 1980. Presentation - L to R: MAJ Robin Blackburn, BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. .29) to .31) - Photo, black & white, 1980. Presentation - L to R: SPR Penny Knott, CO LTCOL Bob Skitch. .32) - Photo, black & white, 1980. CO Handover - L to R: LTCOL Bob Skitch, LTCOL Frank Thorogood SB St J. Cartographic Squadron – Front rank L to R: CPL Dennis Learmonth, CPL Roger Pearson, SPR Rod Skidmore, SPR John Martin SPR Gerry Gates, SPR Peter Main, CPL John ‘Stormy’ Tempest, unidentified, CAPT Bob Williams, SSGT Allan Adsett, SSGT Gary Warnest. Centre rank L to R: SPR Ilan Isaac, CPL Sue (Fryer) Bottomley, SPR Gina (Coore) Neilson, SSGT Bob Scaddan at end. .33) & .34) - Photo, black & white, 1980. CO Handover - L to R: LTCOL Bob Skitch, LTCOL Frank Thorogood SB St J. Cartographic Squadron – Front rank L to R: CPL Dennis Learmonth, CPL Roger Pearson, SPR Rod Skidmore, SPR John Martin, SGT Bob Bright, SPR Gerry Gates, SPR Peter Main, CPL John ‘Stormy’ Tempest, unidentified, CAPT Bob Williams, SSGT Allan Adsett. Centre rank L to R: SPR Ilen Isaac, CPL Sue (Fryer) Bottomley, SPR Gina (Coore) Neilson, SSGT Bob Scaddan at end. .35) - Photo, black & white, 1980. CO Handover – March past L to R: BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. LTCOL Frank Thorogood SB St J, CO LTCOL Bob Skitch. L to R: RSM WO1 Aub Harvey, 2IC MAJ Don Swiney MBE. .36) - Photo, black & white, 1980. CO Handover March past L to R: BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. LTCOL Frank Thorogood SB St J, CO LTCOL Bob Skitch. HQ Squadron march past L to R: unidentified officer, MAJ MAJ David Bowen - US Exchange officer, CAPT Paddy Strunks. .37) - Photo, black & white, 1980. CO Handover March past L to R: BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. LTCOL Frank Thorogood SB St J, CO LTCOL Bob Skitch. HQ Squadron march past L to R: unidentified, SGT Rick Warren, remainder unidentified. .38) - Photo, black & white, 1980. CO Handover March past L to R: BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. LTCOL Frank Thorogood SB St J, CO LTCOL Bob Skitch. Cartographic Squadron march past L to R: CLP Paul Richards, CPL Dennis Learmonth, CAPT Bob Williams, CAPT Bob Cooper. .39) - Photo, black & white, 1980. CO Handover March past L to R: BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. LTCOL Frank Thorogood SB St J, CO LTCOL Bob Skitch. Cartographic Squadron march past L to R: SPR Greg Else, SPR Jan (Crighton) Minchin, SPR Rod Skidmore, unidentified, SPR Megan (McBurney) Reynolds, CPL Roger Pearson, CPL Stu Symonds, CPL Paul Richards. .40) - Photo, black & white, 1980. CO Handover March past L to R: BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. LTCOL Frank Thorogood SB St J, CO LTCOL Bob Skitch. Cartographic Squadron march past L to R: CPL Terry Danger, CPL Lynn Johnson, SPR Peter Main, unidentified, SPR Carla Dell, SPR Gerry Gates, SPR Bob Sheppard, SPR Gina (Coore) Neilson, CPL Trevor Bottomley, SPR Ian Fitzgerald, CPL Sue (Fryer) Bottomley, unidentified. .41) - Photo, black & white, 1980. CO Handover March past L to R: BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. LTCOL Frank Thorogood SB St J, CO LTCOL Bob Skitch. Lithographic Squadron march past L to R: CAPT Mick Byrne, MAJ Robin Blackburn. .42) - Photo, black & white, 1980. CO Handover March past L to R: BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. LTCOL Frank Thorogood SB St J, CO LTCOL Bob Skitch. Lithographic Squadron march past L to R: CPL Gary Kerr, SPR Brian Paul, SPR Brian Fauth, CPL Roy Hicks, SPR Per Andersen, CAPT Mick Byrne. .43) & .44) - Photo, black & white, 1980. CO Handover March past L to R: BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. LTCOL Frank Thorogood SB St J, CO LTCOL Bob Skitch. Lithographic Squadron march past. .45) - Photo, black & white, 1980. CO Handover March past L to R: BRIG Geoffrey Cohen AM, ADJT CAPT John Harrison. LTCOL Frank Thorogood SB St J, CO LTCOL Bob Skitch. Officer march past L to R: unidentified, CAPT Peter Searle - UK Exchange.No personnel are identified. Photo .34P is annotated on back ‘1981 LTCOL Bob Skitch handed over to LTCOL Thorogood.’ *Date is incorrect.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Photo Albums - set of two, c. 1919
Memorabilia of 908 Dvr Thomas Edward Whyte, 3rd Light Horse Field Ambulance, World War 1 READ THIS. During the last war I sent these pictures home through devious channels. When I lobbed back I found them all pasted in these albums by my young brother Billy. He was only a kid then! Nowadays he is serving up North. Went away with the original 9th Battn. Was in the Blitz on England and served in Libya, Tobruk, Greece, Crete and Palestine and was twice knocked. It's not long since the last upheaval 1914-18 and I wonder if these boys think as we did. This will be the last war? I sincerely hope so. TWSet of two photo albums. Photos pasted into albums with captions in white ink. Photo captions - Vol 1. (? = not legible) 1. Prisoners from ES SALT 2. Dust scene at AUJA FORD. 4th LH BDE 3. ? ? CHEOPS PYRAMID 4. Houses and domain WASSA battle 5 .Pontoon at SERAPELAI 6. SPINX (sic) & PYRAMID 7. The Nile floods occur once yearly and all irrigation centres are alternatively flooded 8. Pontoon bridge over SUEZ Canal at SERAPEUM . Constructed by Aust Engineers 9. The arrival of newspapers and mail 10. Lake IIMSAH-ISMALIA 11. Camp outside Jerusalem. Walls of old city easily discernible 12. Roman walls on beach at MONTAZEH 13. ? ? These boats are used for conveying between steamer & shore 14. Interest shown in the new issue. Through the scarcity of horses Batmen/Grooms and drivers ? allotted donkeys ? ? 15. DAMASCUS GATE JERUSALEM 16. Trumpeter ? 17 Indians making ? for railroad 18. 'SPELLO' Sinai Country 19. Police searching Egyptian labourer 20. Cavalry ?? SHA? 21. Entering ? WADI ? 22. Bedouins at ? 23 No caption 24 No caption 25 Bolar trees EZBEKIEH Gardens CAIRO 26 .Flamingos at NOUZEH Gardens ALEXANDRIA 27 BARAGE 28 KASR-ELNILL Bridge 29 NOUZEH GARDENS 30 AMGS on beach at ? 31 NOUZEH GARDENS - ALEX 32 Mascot of 7th M.V.G. 3RD ALHR 33 Printing on walls inside St Mary's Church. Depicting the Flight from Herod. (Corner torn off photo) 34 Inside Virgin Mary's Church at MATARA 35 ? painting in Church ?? 36 SUEZ Canal. Finish of Arab pony race. ZAL-A-ZIA 37 Admiralty offices at PORT SAID 38 A corner of CHEOP"s PYRAMID 39 The Spinx (sic). Nose was blown off by a shell from one of Napoleon's guns. 40 Monastry on the MT of TEMPTATION 41 Mess orderlies. Foodstuffs in locker given to troops by the AIF 42 Mid day meal on treck 43 Ambulance sand carts for conveying wounded and sick over desert sand 44 3rd ALHB 45 Kaisers Church JERUSALEM. Inside is a large painting figuring the Kaiser & Kaiserine holding a model church. 46 Bedouin women drawing water from well at EL-ARISH 47 2nd ALH BGDE doing route march on JERUSALEM-JERICHO ROAD 48 GEN HODSON GOC Anzac Mounted Divn presenting decorations & investitures on the sands at SHEIKS-ZOWAID 49 Armoured Car 50 Snow at the CEEDERS (sic) on Mt LEBANON 51 Compulsory phenyle bath for all troops in front line area 52 Austrian guns taken at point of bayonet by NZ & 2nd BGDE at GAZA 53 CACHOLETS for carrying wounded 54 The boys found some timber and made a spring board on SUEZ Canal 55 Bedouin wedding. The Bride travels in state amongst rubbish on top of camel. Her father leads conveyance. 56 Australian graves at SHALLAL 57 Camel Transport Company bring rations along beach 58 Billy the mascot holds an offensive & checks advancement 59 Exercising horses at HELMIEH Egypt 60 PONT-DE-QUOBBA Egypt. A suburb of well-to-do Egyptian merchants 61 Demolition stunt at ASLU. Bridge destroyed by Australian Engineers 62 Swimming horses in Great Bitter Lakes Egypt 63 On the move along Wadi 64 On the shores of the Bitter Lakes EL-EGYTE 65 A leave party waiting for the pontoon to swing into position 66 Carting grain 67 Egyptian Brass Band 68 French warboat (sic) in Canal 69 Russian Troops from Mesopotamia passing through SUEZ Canal 70 Prisoners coming in under escort. Turkish & German officers in lead mounted on ponies 71 Turkish prisoners 72 T.B.D in Canal 73 Old trenches on SUEZ CANAL near BITTER LAKES on W Bank 74 Monitor in Canal 75 Block house, trenches & entanglements near Post 62 76 A halt in an Egyptian village EL-MARO' 77 Mobile wireless plant 78 On the road from Canal to Railhead 79 Old Turkish guns in ancient fort at ALEXANDRIA 80 Francenia steaming through Canal 81 After MAGHDABA stunt. Convoy taking wounded form EL-ARISH to railway at 139 82 Indian Camelry 83 Virgin Mary's Church 84 Sluice gate at BARAGE Egypt 85 Hospital at lower W bank of Canal 86 Virgin Mary's tree 87 Sweetwater Canal at ISMAILIA Egypt 88 Halt and Feed. The A.M.C. attached to flying column. 89 Bringing stores ashore at JAFFA 90 H Videon & J Britton astride donks. Horses became scarce through casualties etc and units had donkeys issued to them 91 RAMLEH. The traditional burial place of St John the patron saint of England (sic). 92 Jewish Synagogue at RISHON-COUR-LE-LION (Richard the Lion Hearted) 93 Water tower at HELIOPOLIS 94 Portion of camp on HELIOPOLIS Racecourse 95 Arrival of papers 96 Sand sleigh 97 Boring plant & prisoners taken on the JIFF-JAFFA stunt. Two Austrian officers and party of Turks taken whilst building a concrete gun emplacement 98 The obelisk at MATARIA 99 In an avenue of Australian gums at ZEITOUA 100 Mountain battery gun 101 The 3rd ALH BGDE camped at HELIOPOLIS Racecourse 102 Captured Turkish guns 103 Turkish and Austrian prisoners. JORDAN VALLEY 104 The MT of Temptation Monastery built over spot where Christ spent his 40 days 105 Refugees from ES-SALT at JERICHO 106 3rd LHFA and 8th LH REGT at HELIOPOLIS 107 Fig trees at Roman Wells JIFF JAFFA 108 Inside the Blue Mosque CAIRO 109 Lagoon that was destroyed on JIFF JAFFA stunt 110 Section race at Brigade sports 111 Another tombstone at ALEX 112 Innoculating female date palm 113 Bronze tombstone in a cemetary at ALEXANDRIA 114 Luna Park at HELIOPOLIS 115 Egyptian water buffalo. Used by natives for ploughing etc 116 Russian church. Some call it the "Church of St Mary Magdelene" 117 At pyramids GIZA. Billingsley lost leg & McMullin KIA 118 Pontoon bridge over Suez Canal 119 DURBAN 120 Rescue work 121 Paddy Hanly 122 Motor train for conveying rations between Canal and Railhead. 123 At MUCKSHUBE ? 124 British ??? 125 Bedouins bringing in their harvest from the fields of ABBASSAN-EL-KEBIR Palestine 126 German HD QTRS BEERSHEBA 127 Date ? SINAI 128 Military railroad running through ? at EL-ARISH 129 Street scene at KHAN-YUNIS Palestine. Samson often called at this place to visit his girl. Napoleon narrowly escaped capture here during his ? in 1799 130 Date palms bearing fruit. These do not ? they are ?? 131 Motor ambulance convoy 132 Turkish hospital BEERSHEBA 133 MT CALVARY 134 Town Hall BEERSHEBA 135 Railway station BEERSHEBA 136 ASLUJ 137 Turkish depot MAGDABA 138 DURAN 139 3rd ALAB Hospital 140 Main Street PORT SAID 141 Stock Exchange ALEXANDRIA 142 The "Bull Ring" 14th AGH 143 (Double exposure) 144 Jewish School at DURAN Palestine 145 Damascus Gate JERUSALEM 146 Roller used for grinding clay for making bricks 147 The Harbour at ALEXANDRIA 148 Part of Napoleons Road along sea shore opposite BEELAH 149 Hotel at ALEX. Barred to the troops of course. 150 HELIOPOLIS 151 -153 ALEXANDRIA 154 Ambulance treck 155 Cacholets at the casually clearing station 156 Refugees from ES-SALT entering the Jordan Valley. Mts of MOAB in background 157 Cameliers bring in prisoners 158 The "Niagara". Casualties were from the front line by all descriptions of transport and passed through several field hospitals until they eventually reached the railway. They were sent to KANTARA by train. Despatched from there to PORT SAID by this boat 159 JERICHO 160 Turkish prisoners in JORDAN VALLEY 161 Bedouin nippers of SINAI 162 Bridge destroyed by ALH at ASLUJ 163 Railway sheds at BEERSHEBA. Portion was set afire by retreating Turks 164 ASLUJ Station 165 German Hospice 166 at ASLUJ 167 Suez Canal offices PORT SAID 168 MENA Village from top of Cheops. White lines at left are roads made by Australian troop. First Aust Contingent camped here. 169 A felukeh passing through gate at BARAGE 170 Military railway terminal EL ARISH 171 (No caption) 172 Egyptian family waiting for a train 173 Turkish prisoners and captured material coming in 174 Turkish wounded at BEERSHEBA awaiting removal 175 Two hospital ships at ALEXANDRIA 176 Some of the Bd boys 177 Race meeting 3rd ALHB at TRIPOLI- SYRIA 178 The blacksmith and Rodney Thomas swimming horse in SUEZ CANAL 179 Natives grinding grain 180 Thoroughbred 181 MUKATTAM HILLS 182 Trenches at JIFF JAFFA 183 MacBoyd as a Padre 184 Egyptian Syce having shave by travelling barber 185 The creek outside ALMINA 186 Cameliers 187 Clearing Station on beach at EL-ARISH 188 Wadi at TALLAT-EL-DUMM 189 Motor transport park 190 Some of the boys 191 Pompeys Pillar 192 at MAGHDABA 193 Hospital at JERUSALEM 194 Cheop's Pyramid 195 Golden Gate JERUSALEM 196 Hustling Turks through BEERSHEBA 197 Holy City 198 Mosque of Omar Jerusalem 199 Railway bridge destroyed by ALH at ASLUJ 200 Enemy material captured at SHERIA BEERSHEBA 201-3 These Mosques built with alabaster taken from pyramids at GIZA 204 Pontoon bridge built by our Engineers over RIVER JORDAN 205 3rd Bgde in Koil at MASAID 206 Billy McGhie throwing the weight 207 Nirazeh ? Gardens 208 Motor Ambulance Park 209 Bedouin women in Palestine village 210 ALEXANDRIA 211 Junction Stn 212 Indian Lancers 213 Motor convoy at ESSANI 214 A & B Sections 215 JERUSALEM. Once known as the 'City of Palms' and presented to Cleopatra by Anthony 216 Monastery on the Mount of Temptation. Situated on the Hills of Solomon on E side of Jordan Valley just behind JERICHO 217 DURAN A Jewish village in Palestine 218 One of our planes meets with a mishap on landing 219 Bedouin flocks around NABLUS 220 ES-SALT Road just above Jordan River 221 Halt! Action Front! Getting guns into action from pack 222 Village well 223 Gun inspection 224 WADI GHUZZEE Bridge 225-6 At GIZA Zoo Egypt 227 Syrians gathering olives 228 Smashed plane 229 MacBoyd 230 Bridge across Jordan at GORRONHOER 231 Competitors for Gretna Green. 3rd Bgde sports at TRIPOLIA 232 EL ARISH 233 Main street JAFFA 234 The beach at MARI-KHEB 235 Scene of old Cairo 236 Bedouin market 237 Bridge built over Wadi EL-ARISH. The biblical "River of Egypt". 238 Old water reservoir in native village 239 A "spello" on the track 240 Plane going out on reconnaissance 241 Bomb attached to carrier on a plane 242 Ancient Turkish gun at forts in TRIPOLI - SYRIA 243 Gun inspection 3rd AMGS 244 Old Turkish trenches outside GAZA 245 Wadi KHUZEL Bridge at SHALLA 246 BEERSHEBA 247 Street scene ZAG-A-ZIG 248 Spinx (sic) & Pyramid - GIZA 249 Egyptian Coastguards at ALEXANDRIA 250 A Palestine camp E Troop 3rd MG Sqn 251 B class horses killed in Syria 252 Scene from summit of Pyramid 253 Bert Richmond & an old Turkish Howitzer on MONTAZEH 254 LION'S WELL 255 Australian trenches outside Ferry's Post near Hill 70 256 A street scene in HELIO{PLIS 257 Electric trams at ALEXANDRIA 258 Cleaning harness 259 Swinging pontoon bridge into position at SERAPEUM 260 British Monitor in Suez Canal 261-2 Scenes of Turkish buildings at MAGHDABA. Taken by the ALH The first time in history mounted troops have attacked and taken entrenched positions 263 Aussies at Egypt's ancient monuments 264 Scenes of old CAIRO from MOKATTAM Hils 265 Bridge across canal at BARAGE, 16 miles outside CAIRO 266 Curly and Vic Norton 267 Stumpy McIntyre & Long Pikington 268 In Wadi GHUZZEL near TELL-EL-JEMM 269 Digging post holes for stables 270 Cameliers bring in prisoner. Austrian Officer in black 271 White washing mess shed 272 F Troop 3rd AMGS Sqn 273 Jews at Recruiting Depot at JERUSALEM, forming Jewish Battalion 274 In Jordan Valley, 3rd Machine Gunners have 8 horses killed by an aerial torpedo 275 Turkish prisoners 276 Cocos Island 277 Snow on the Lebanon Ranges 278 Egyptian Hotel 279 Gordon Wake. Note intruders 280 Electric trams at HELIOPOLIS Egypt. Heliopolis built by Belgian firm in 7 years 281 Sweetwater Canal at SERAPEUM 282 The ? wells at JIFF-JAFFA 283 Virgin Mary's well at MATARIA. Boyd, Simpkin & Crowley 284 Cricket for convalescents at MONTAREH 285 Indians working at cutting for military railway 286 Australian Hospital BEERSHEBA 287 Removing wrecked ambulance car from rail road 288 Engineers depot in ? at EL-ARISH 289 Water preservation scheme at SHALLAL 290 German Princes Palace at HELIOPOLOLIS 291 Some of the boys 292 Aussie aerodrome BEELAH 293 EL-JALLAH outside BETHLEHEM 294 Some of the gunners 295 Trying camels in gun carriages. Note sand caterpillar 296 Street outside old city JERUSALEM 297 D.H QRS In EL-ARISH. Hod 298 Cairo Museum 299 Wadi bridge built by Army Engineers 300 A two storied building at GALM used as German HQrs until reached by our guns 301-2 No caption 303 Ambulance with Flying Column 304 Jack Pegg 3 AMGS 305 KHAN YUNIS 306 In the Jewish village of "Rischon le Lion" 307 Wet Canteen BEELAH 308 Motor Transport LATRON 309 Gen Chauvel OC Desert Mounted Column 310 10th LH - Inverness Battery "Railhead" 311 3rd LHFA "SERAPIUM" 312 ESBEKIEN Gardens "LE CAIRE" 313 Camel training and wireless station Hill 60 314 ZAG-A-ZIG Rly Stn 315 One of the Irrigation Canal locks "HELOUAN" 316 Indian Camel Corps 317 Base at Hill 60 318 Aussie transport arriving "ALEXANDRIA" 319 3 ALHB at AL MINA 320 Main entry to city of JAFFA 321 Mosque at DAMASCUS 322 A Turk brought to earth by one of our patrols 323 Brigade boxing contrst 324 Ostrich farm ZEITOUN 325 MATERIA 326 No caption 327 Mail day 328 3rd LHFA entering HELIOPOLIS from MENA 329 M Boyd, L Simpkins, S Crowley 330 Stretcher bearers 331 French Hosp JERUSALEM 332 SERAPIUM 333 Gippo crushing wheel 334 On the move - bully and biscuits 335 V Morton, F Stokes, L Simpkins & Hanley 336 Turkish prisoners - SHERIA 337 Getting used to the mask J Antonio MM 338 Sand carts 339 Model house - MONTAZA Hospital 340 "Abdul" 341 Wood Depot "ESDUD" 342 On troop ship - from Syria 343 Turkish prisoners "JULIUS" 344 TRIPOLI 345 3rd AMGS cook house "BEELAH" 346 Breaking camp "ZEITOUN" 347 Turkish prisoners "GAZA" 348 One of our tanks. About nine were blown out of action at GAZA 349 Camp in HOD-EL-ARISH 350 German HQRS BEERSHEBA 351 Race Course TRIPOLI 352 A Locke & P Leeming 353 Sea planing in Suez Canal 354 MOASCR detail camp 355 KANTARE Suez Canal 356 Four boys of MG Sqn at cards while convalescing . Marked X was a prisoner of war for three days. Got him back with us when we countered. 357 Signal station at CANA 358 H Videon in german rig 359 ROD-EL-FARAC 360 Sweetwater Canal ZAG-A-ZOG 361 Hospital train on beach EL-ARISH 362 Jerusalem Road 363 Bedouin camel and young'un 364 Admiralty Offices, PORT SAID 365 Suez Canal PORT SAID 366 Taking wounded to clearing station 367 Hills of 10-60 MALHA 368 Junction Station 369 EL ARISH 370 Wine Distillery LATRON 371 White figures how entrance to Pyramid 372 RAPC Wireless Station 373 Sports in Canal. ANZAC Day 1916. Prince of Wales is aboard white launch. 374-5 Captured Austrian boat. 40,000 cases of benzine aboard. She was brought into Canal at Port Said. Spies set her afire. She burnt for some considerable time and eventually blew up. 376 Pumping water from Wadi on Muckshabee stunt 377 On trenches 378 Bringing in disabled battle plane 379 Giving a motor transport a lift 380 Old Turkish howitzer. MONTAZZA 381 Jerusalem country 382 Palm Hod in SINAI. Trees do not bear dates until 14 years old. No bees here. Palms innoculated by Bedouin. 383 Camel cacolets for conveying wounded 384 ESKBEKIEL Gardens Cairo 385 LAKE TIMBAH 386 Xmas dinner 1916 387 Gift billies from ACF 388 Section competition 389 In big marquees HELIOPOLIS 390 HM Landships 391 Capt Aberdeen inspecting horses 392 Football. Black vs White 393 The game 394 Old Napoleon fort. 10 mile along coast from ALEX 395 Jewish Cemetery AKRON 396 Ration fatigue 397 Blowing bottom out of Turkish Reservoir to allow soakage 398 Tilley & Farley - 14th AGH 399 At GIZA Zoo. Note height of giraffe 400 On this stunt we destroyed Turkish reservoir of 2 1/2 million gallons 401 Demolition party at wells MUCK-SHUBE 402 3rd ALH Bde HELIOPOLIS Race course 403 HMLS "Lady Wingate" 404 Turks blew out our tanks at GAZA 405 One of our aviators captured by German. Note German wearing Iron Cross. Snapped behind Turkish lines. Original of this snap was dropped at Aust aerodrome to let them know Aussie airman was alright and not killed in capture. Chivalry 406 Sausage observation balloon 407 READY 408 Bomb on carrier 409 Testing 410 B Richmond, Wireless Operator RAFC 411 Loading Bomb 412 Crash in desert 413 Bomb in YMCA at MAZRAR 414 No caption 415 LW Simpkin - Late 3LHFA 416 LEMNOS 417 Shelling the MARSDEN 418 Pontoon across Jordan River 419 Shells on Walkers Ridge 420 Sweetwater Canal 421 LAKE ISMAILIA 422 Indian Lancers on Canal 423 CAIRO Railway Station 424 Destroying Turkish water supplies. Explosives used for breaking clay at bottom of lagoon, help to absorb water 425 Exercising horses at ZEITOUN Egypt 426 In Wadi on MUG-SHUBEE stunt 427 Tractor drawing 60 lb gun towards front line 428 Sultan's mother's place at HELIOPOLIS = City of the Sun 429 Camped on the sands outside RAILHEAD, Jump off for SINAI campaign 430 G Turner & A Lockwood out for a camel ride. 431 GAZA and Nile floods from top of Pyramid 432 Baby refuses to carry his harness and his pal wears an astonished look 433 No caption 434 Turkish Officers 435 Regt HQRS at IBEETA 436 No caption 437 3rd Machine Gun Squadron 3rd ALH Bgde (my unit) 438 Camel Corps at dinner 439 KHEFREN Pyramid snapped from top of Cheops 440 CHEOPS 441 Pyramids 442 MENA from top of Pyramids 443 Snap from Pyramid showing MENA-CAIRO road running through Nile floods 444 MENA village from Pyramid 445 Band of British West Indies Regt 446 Gippo Band 447 Swimming on Med Sea 102 KmA 448 H Maddocks 449 Bedouin and Egyptians utilise any animals for their fields 450 Captured Turkish train - BEERSHEBA 451 Gardens ISMAILIA 452 Gippos used for horse lines etc 453 Canteens at HELIOPOLIS 454 3 ALHB watering in Wadi on ESSANI stunt 454 JAFFA 455 ALEX, Napoleon relics 456 Egyptian water wheel 457 SUEZ 458 WADI GHUZZEE 459 On Reconnaissance at 10-60 460 Goats and sheep captured from hostile Bedouins 461 Pontoon SERAPIUM 462 Aust trenches - Suez Canal. Turks attacked FEB 1916 463 Camel transport 464 3 ALHB Wireless Station. Col Scott 9 LH got DSO on this stunt (MUCK SHUBE) 465 ALEXANDRIA 466 Canal Hospital Ships 467 Ambulance - Sand cart 468 At old Cairo 469 No 1 Casualty Clearing Station 470 3rd Brigade on move 471 3rd LHFB- Making camp SERAPIUM 472 Watering horses 473 Moving up wadi 474 The wells at Wadi GHUZZEE 475 Camel transport SINAI 476 Turkish reservoir destroyed by ALH 477 Wall in a Luxor tomb 478 Entrance to "Temple of Bulls" 479 Bob White 480 Bedouin crops 481 Harem of Montazza, Turkish prince 482 Jack Holmes, Billy McGhee 483 MUDERIA, B Troop post 484 JIFF JAFFA 485 Natives on railroad construction 486 Aust graves SHALLAL 487 The Stumpy Mirror 488 R Nile at MANSUREH 489 Aust graves - BEELAH 490 NOUZEH Gardens - ALEXANDRIA 491 On issue from QMS. Take what comes. Fit does not matter 492 MATARA 493 German Yacht Club - ALEX 494 Old Turkish Howitzer and cannon ball 495 Field hospital 496 Gardens at BARAGE 497 A dispute's ending 498 Snow. MT LEBANON 499 Bedouin sheep 500 Combat in the air 501 no caption 502 Old Napoleon gun 503 Gordon Wake HQ car 504-5 Burying the dead at GAZA 506 Water Polo 507 Brigade boxing comp 508 Field cooker 509 Bridge on Jerusalem road, Blown up by Turks 510 Teaching horses to lay quiet. For protective purposes 511 "Major" and "Bitsy" 512 Bedouin Scarabs 513 Convalescent 514 1. W Billings. Returned to Aust 2. W McMahon KIA 515 Hospital 516 Coming good 517 1st day up - 14th AGH PORT SAID 518 Back again in Regt 519 Billy and Taffy 520 Stew 521 KHAN YUNIS 522 MENA 523 Casualties PORT SAID 524 Washing 525 Mail 526 Gun from the "Emden" mounted in Syney 527 MARSURES 528 Desert bivouac 529 HASSED 530 3RD ALH Bde. Good camp (Extra) All conv's 531 New issue 532 On to another camp (8 LH Regt) 533 Shore - JAFFA on MED SEA Photo Captions Volume 2 (Illegible = ?) 1 The Cedars on Mt Lebanon, according to tradition originated from the staves of the 12 Apostles 2000 years ago. 2 TIBERIUS taken 27th Sept '18 3 NAZARETH taken 20th Sept. German officer and Arab pony 4 TIBERIUS fell on 27th Sep. Von Saunders was the GOC of Turkish Forces in Palestine 5 Jordan Valley & Plains of Jericho run between Mts of Moab & Hills of Solomon. Distance across valley from foot of each range of hills abt 13 miles, looks ? 6 Storm on Sea of Galilee 7 DAMASCUS fell on 1st October. German vehicle park. 8 German funeral near Jerusalem 9 JENIN. German Headquarters. Fell 20th Sept. German field bakery 10 Three pages back will be seen a storm on GALILEE. Note now calm here. This photo taken near spot from which the previous one was taken. German motor launch on Galilee. 11 Captured intact on 20th Sept. German workshops JENIN 12 Turkish aerodrome captured here. Hostile aircraft landed whilst it was in our hands. Aviators greatly surprised and even indignant. Motor smash near EL FULE. 13 German Orderly Room (Ammunition box full of gold), DAMASCUS. All this gold Turkish coin secured by our troops. 14 German artillery on the way to the front near KENETRA. The ALH swooped down on the artillery around this vicinity & captured many field guns. 15 German Despatch Rider on the road to ES SALT. Unsuccessful raids carried out on ES SALT on 30th April & 4th May. This country was hard on men and horses. Goat tracks were used at times but horse were led most of the time. Stunt lasted 14 days in wet weather & horses were only unsaddled for about 2 hours during stunt. 16 Strand, ? , Tiberius, Gallilee 17 German workshop. Captured by ALH 18 One of the dead lying outside GAZA. Killed 19th April 17. We could not bury them before November 19 Some of the boys that fell in the charge at BEERSHEBA. Tibby Cotter 20 Collecting our dead for burial. They were K in A on the 19th April at GAZA. Buried seven months later, 23,000 casualties in one day 21 German U-Boat 22 Page of postage stamps and money - Struck to commemorate Gallipoli victory - Turkish war postage stamps - War duty - Turkish war bank notes 23 Pamphlet. With paper badges affixed These badges were worn by young Egyptian students. Arabic translation means "Egypt for Egyptians Long Live Egypt" This pamphlet was printed under German influence & distributed around ZAG-A-ZIG, the chief centre of hostilities during the recent Egyptian riots. The Young Egyptian Students influenced the Natives to oppose British Administration, what they called Tyranny. They professed to have sufficient competent educated men to govern their own affairs, but our Heads would not hear of it. Consequently the riots. Many ? and soldiers killed. All railways and communications disorganised. It took several months to bring things to their normal ? Pictures of medals 1. In honour of General Falkenhaugh GOC Turkish Forces 2. The Victorious Emperors of Germany, Austria and Turkey 3. Egypt Awakening 24 Those large photographs I sent you were procured for me by a pal who knew the chap that owned the negatives. The owner of these snaps belongs to the 5th Regiment of the 2nd Brigade, and he took the camera from a Turkish Officer. It had only 6 snaps of a spool of 10, and the BIll Jim finished off the spool by taking 4 of the special entry into Jerusalem. The cross indicates those taken by the Australian, the remainder were taken by the Jackos in the vicinity of BEERSHEBA and SHERIA Turkish field bakery 25 Cavalry going up to support their own line. However never had much action against the Turkish horsemen 26 Turkish Electricians in the field. I have an idea that this photo was taken to get the centre figure. He looks dinkum Australian. Note Australian leggings on Turk on the right 27 Turkish machine gunners ready for action. This is very much like the Beersheba country. Turkish officers on the right, and along side him is the range taker with his Barand Stroud. We use these instruments in the Sqn and they cost about 83 (Pound) 28 Turkish General Head Quarters just beyond SHERIA. Note hard rocky country 29 Turkish Cavalry watching a fight and getting ready to go into action. This is at SHERIA, and the heavy fighting lasted several days. Plenty of water and the Jacko's tried their hardest to hold on to this pozzie. Often our chaps met the gamer Turks in the dead of night, because both sides were on the same game, crawling down for water. This stunt is known as the Junction Fight. 30 Official entry Dec 11th. The official entry into Jerusalem. Sir G Allenby in the lead with his staff officers of the French and Italian troops accompanying him. Guard represents New Zealand, Australia, England Wales Scotland Ireland and India entering theJaffa Gate 31 Sir Ronald Storrs made Governor of JERU. Captured 9th Dec 17. Reading the Proclamation, General Allenby wearing white breeches. Troops of other nations were present, and the notables of Jerusalem. It was read from the foot of the Tower of David, a place that has been standing since the time of Christ 32 The first of the British troops entering Jerusalem. A few Turkish officers may b seen walking at the head of the column. Populace in a bad plight, very poor and no tucker, and all were greatly overjoyed at the ?? of the British Hundreds and kiddies ill treated ?? (Part of caption missing) 33 10th LH Regt first to enter JERUSALEM. Mounted officer on the right supposed to be the CO of the first troops to enter Jerusalem. Note mud on the horses. Had very wet and muddy weather 34 Dead Jacko 35 Turkish machine gun and crew 36 Hanging Armenian doctors who refused to join Turkish Army 37 Outside Damascus Gate Jerusalem 38 Turkish patrol lying outside trench at EL BUAJ 39 Burying Aussies at DAMASCUS 40 1. Djemel Pasha 2. General Limon Von Saunders GOC Turkish Forces in Palestine 41 One execution in Egypt. Executing an Egyptian offender 42 Turkish atrocities DAMASCUS 43 Turks occupying trenches outside JERICHO 44 On ASLUJ demolition stunt. Feeding and spelling. Arrived at Rendezvous too early 45 Turkish saw bayonet 46 Captured guns taken at BEERSHEBA & SHERIA 47 Our gunners obtained a direct hit on ammunition train 48 The large and small of the game. At GAZA. 74th CCS in background 49 Around JULIOUS. These Turkish shell dumps were very numerous around this vicinity 50 Captured Turkish Cavalry 51 Cavalry leaders 52 Turkish machine gun & crew 53 Enemy officers. One on left is wearing Iron Cross ribbon 54 Captured Austrian boat afire, Suez Canal Port Said. 40,000 cases of benzine aboard. Fire a mysterious outbreak 55 ? Hotchkiss gunners and enemy aircraft over ? TELL-EL-FARA 56 Types of enemy officers. One of our bikes in their possession. Recaptured later. The five pointed medals worn by these officers is called the Gallipoli Star. Issued to commemorate the Turkish victory at Gallipoli 57 Our batteries put in some good shooting amongst Turkish transport 58 Showing compactness of Turkish trenches 59 Desert homes. The only time we had cover in SINAI was when we camped near a Hod. Then we could use date palm leaves 60 JIFF JAFFA 61 ZAITZOUN 62 10th Regt MGS amongst hills outside JERUSALEM 63 Jews wailing place JERUSALEM 64-5 German post card characters 66 Post Card PHYLAE The Kiosk 67 Post Card Vue du Canal de Suez 68 Post Card No 93 Queen Street, Fort, Colombo 69 Snipers at NALIN Sth Syria. Lousy country for richochets. Nast wounds. (Aust War Memorial Melbourne) 70 Myself on Ginger. This little neddie is boshter jumper 71 Magazine cutting - Lt C H Vautin & German airman G Felmy 72 9th Regt 3rd LHB Judean Hills outside JERUSALEM. (Aust War memorial Melbourne) 73 Sand hills SINAI ? Desert (Aust War Memorial Melbourne) 74 3rd LHB spelling at GALILEE (AWM Melbourne) 75 Jordan Valley outside JERICHO (AWM Melbourne) - lovely Jordan Valley, dust and heat, 1280 ft below sea level 76 Copy of no 69 77 Watering at MATARIA 78 A desert grave - Tpr H R Olver MM 6th LH MGS Beneath this simple cross there lies a comrade true and tried He fought as fights a soldier And like a soldier died 79 B Section. When they first took our Stetsons and issued cumbersome helmets 80 Palestine types of Turkish and German officers 81 Some of the gunners amongst the snows in MT LEBANON 82 The country around JERUSALEM 83 JERUSALEM 84 Fishing ? ? at GALLILEE 85 Jerusalem taken Dec 9th. Official entry on the 11th. Jerusalem (showing) Holy City and Mosque of Omar 86 Turkish shell hits old tomb at ZERNUKAH. Capt Hurley official photographer - AWM Melbourne 87 14th AGH at PORT SAID 88 Human bones at Dead City ABBASSIA 89 3rd ALH Bde at HELIOPOLIS 90 Men wearing gloves 91 Wireless station in course of erection at MATARIA - 28 masts 92 Old slave market at ABBRASSIA. Many excavations performed on projecting wooden frame at corners 93 3rd guns on the move. The beautiful scenery between LATRON & JERUSALEM 94 Bedouin agents 95 Collecting captured enemy material 96 Captured double-engined plane 97 On the march. Country at Eastern SINAI 98 Anzac mosaic found at SHALLAL whilst trench digging now covered with gun etc ready for removal. Was sent to Canberra. 99 A Troop watering. A rotten job at a small well when horses are thirsty 100 The new Jericho road. Running through Hills of Solomon Valley in distance 101 Gun inspection 102 Draining pools at WADI AUJA. Keeping down Malaria carrying mosquitos 103 8th Regt and 3rd AMGS at BEELAH 104 A rendezvous in the Jordan Valley 105 2nd ALHB camped outside JERUSALEM 106 WADI AUJA in the Jordan Valley 107 Hospital train on the beach at EL -ARISH 108 Jacko's 109 Jerries 110 Stables of Turkish Headquarters SHALLAL 111 Early training. Every man to throw and quieten his horse for purpose of taking cover 112 A Troop 3rd Guns at TAALAT-EL-DUMM 113 Watering at WADI GHUZZEE 114 J Rushden KIA at ES-SALT 115 J Carling F Troop 3rd AMGS. Taken prisoner at EL-BURJ. Repatriated after Armistace 116 Captured enemy plane 117 Jacko gun 118 Brig-Gen Galloping Jack Royston. OC 3rd ALH Bde 119 Cleaning ammunition belts in the Hod at MASAID 120 Bringing up the fodder at ABBASSAN-EL-KEBIA 121 Some of the boys amongst the snow on MT LEBANON 122 Turkish barley crops at SHALLAL in Southern Palestine 123 The crops a few weeks after our horses had been in this vicinity 124 Clearing up after a stunt 125 On the move. 5 minute spells for the horses 126 In Jordan Valley. An airial torpedo lobbed amongst 3rd MG Transport horses & killed 28 127 Camel ration convoy coming along beach 128 Field Hospital at ET MALER 129 Desert graves at ROMANI 130 A day on the beach. Wash self, horse and clothing 131 Watering on the beach at BEELAH. Note how close fresh water is to the seashore 132 A patrol caught by a shell 133 Spello 134 Crossing the Wadi 135 Halt! Weights off and feed 136 Gas instruction 137 F Troop at TELL-EL-FARI 138 Xmas Dinner at MASAID 1916-17. Arrived back at this camp Xmas Eve after 5 nights & 4 days in saddle & the capture of MAGHDABA 139 Exercising along the beach at MARA-KHEB 140 Watering at a Bedouin well 141 At Sheikh's ZOWAID 142 3rd Gun Squadron at ABBASSAN-EL-KEBIR 143 Captured plane on its way to Australian Aerodrome 144 One of our planes about to pass over Hod 145 E & F Troop horse lines and horses 146 Sun set on Med Sea 147 Beach scene at EL-ARISH 148 Turkish transport. Small animals but they can pull big loads and they possess large hearts 149 The dressing station JIFF JAFFA ? 150-8 Types of Egyptian women - Nubian - Fellaheen - Sudanese - Low class Gippo - Egyptian - Middle Class -Egyptian Aristocracy - Turkish 159 French girls on beach at PORT SAID 160 Bedouin girls drawing water 161 Egyptian flappers at ALEXANDRIA 162 Post Card- Dame Turque 163 Post Card - Jeunne Fille Arabe 164 Graves of New Zealanders at RISCHON 165 Graves of Australians at DEIR-EL-BELAH 166 Race day. The saddling paddock 167 Bivouacs 168 3rd ALH Brigade at TRIPOLI 169 Advance party putting down horse lines at KHAN YURIS 170 Breaking the desert monotony 171 WADI QUELT. Taken from one of its precipitous banks 172 Turkish stores on N shore of DEAD SEA 173 Watering at Solomon's Pools 174 Waiting for action at - ES DUN (AWM Melbourne) 175 Camel Corps in action SINAI (AWM Melbourne) 176 ALH Time to Camp (part missing) (AWM Melbourne) 177 3rd Machine Gun Squadron IBU-HARITH, Lieut Breed, McLeod, Guppy, Whyte 178 Cartoon sketch - "A Digger" 179 Turkish Cavalry 180 Gun crew of No 2 Sub F Troop, 3rd Gun Sqdn 181 Operating base of JIFF JAFFA stunt 182 One of the British war boats that cooperated with the Land Force 183 Military railway line passing through a Hod in SINAI 184 AL-MINAH The sea port of Tripoli, Syria 185 NAZARETH Taken on 20 Sep 18 186 The Monastery on the Mt of Temptation, Taken from a cave on opposite hill. 187 JAFFA From the beach 188 In Monastery on the Mt of Temptation Rock on which Christ spent his 40 days 189 Cross indicates Garden of Gethsemane. Arrow at Russian Church of St Magdalene. MT of Olives on left 190 The Roman Bath at MONTAZAH. Hewn out of solid rock 191 Mine sweeper ashore near SHEIK'S ZOWAIL 192 Throwing "Chester" for an operation 193 The swimming pozzie at LAKE TIMSAH, ISMAILIA. Half a mile from MOASCAR, the Aust Training Depot 194 The remains of Napoleon's road. Portions can be seen running between BEELAH & GAZA 195 Camels utilised for ambulance work 196 TULKERAM taken on 19th Sep. This stunt started the previous night and this position fell to us the first day. About 60 miles from starting point 197 German officer at mess, JERUSALEM 198 German Headquarters SEMAK 199 TIBERIAS 200 Water preservation scheme at SHALLAL 201 A dip in the Jordan River. Crossed river on night 21-22 April 18 202 Watering and a wash up 203 JERICHO Taken on 21 Feb 18 204 Turkish graves 205 KHAN YUNIS. Southern Palestine, Note how sand ridges from the beach meet vegetation area. Fertile land 20 miles in width. the beginning of PHILISTIA 206 TAUBE-OVER 207 Drawing drinking water in Wadi GHUZZEE 208 The swimming pozzie in JORON 209 Landing stores at EL-ARISH 210 A camp near the wadi 211 Railway line and bridge crossing wadi above SHALLAL 212 The mid-day halt 213 Turks and Aussies at Dressing Station on beach 214 Washing day 215 Bringing supplies ashore 216 Trying mules in a 60 pounder 217 The desert winds have blown away and left this piece standing 218 Pontoons used by the Turks in their attempt to cross Suez Canal Feb 15 219 "HASSEIN" 220 "GIPPO" Mascot of 3rd AMG Sqdn 221 "Biddy" 222 Railhead camp 223 Typical Bedouin 224 Motor Submarine chaser dvr whyte, photos, ww1, light horse field ambulance -
Orbost & District Historical Society
album, 1942
This album was possibly sent as a Christmas gift to the Answer family in 1942. It was compiled by Corporal Eric Edward Answer (born 5.3.1906) - VX 26353 of the 9 Division Provost Company.He was born in Wairewa Victoria and ensilsted on 27.6.1940. He was discharged on 26.1 1944. His next of kin is noted as Muriel Answer.These personal photographs give an insight into the human element of World War 11 ensuring that those who were part of the Orbost community and played a vital role during this time are remembered.A photo album of 20 photo. It has a wooden (possibly olive wood) cover with an etching of Jerusalem on the front. It has cloth binding tied with white tape. The inside pages are brown card.Corporal E. Answer M.T. 2/23 Aust. Inf. Bn Abroad Albury's Own Christmas 1942 ww11 answer-corporal -
Orbost & District Historical Society
poison pot, Smith, R. & E, 1940's
This item was used on P.C. Toby Nixon and Grace Nixon's farm, "Rolling Downs" at Bete Bolong. During WW11 the farm grew carrots, red beet, cabbages, beans and maize. Because of labour shortages the government built a Prisoner of War Camp on Russell's Hill. The manager, Dick Northrope, used three Italian prisoners to frill ring small trees and shrubs between crop harvesting. The introduction of ‘frill ringing’ and poisoning with arsenical tree killers in the 1940's and 1950's helped reduce the amount of labour required and trees on more country were treated. This enabled the hill country at Bete Bolong to become more productive. The dead trees and shrubs were later cleared by Erle Broome's D7 caterpillar bulldozer. This was the first big area of 230 acres to be cleared in the Orbost district. Soon after entering World War 11 Australia was asked by Britain to accept and guard large numbers of 'enemy aliens' and prisoners of war. The British government felt that it could not afford to feed large numbers of prisoners and it was believed that once in Australia the internees would have no chance of escape. Eager to show solidarity with Britain's cause, Australia readily agreed and decided to place the prisoners in a number of different camps scattered around the country and guard them with reservists and soldiers too unfit to serve overseas. There was an internment camp at Bete Bolong, Orbost. This item is an example of an item used by the Italian P.O.W.'s residing there. It is also an example of an agricultural tool not commonly used today.A galvanized iron watering can which has been used to hold poison for ring barking trees (possibly arsenic). It has a narrow spout. There is a handle at the back and a folding handle on the top. The top is conical with an opening for a cork. agriculture prisoner-of-war-camp tree-removal land-clearing -
Orbost & District Historical Society
newspaper supplement, Coronation Day Supplement, June 2 1953
The Daily Telegraph is a broadsheet newspaper published in London by Telegraph Media Group and distributed across the United Kingdom and internationally. It was founded by Arthur B. Sleigh in 1855 as The Daily Telegraph and Courier. The coronation of Queen Elizabeth II as monarch of the United Kingdom, Canada, Australia, New Zealand, the Union of South Africa, Pakistan, and Ceylon took place on 2 June 1953. Elizabeth ascended the throne at the age of 25, upon the death of her father, King George VI, on 6 February 1952, and was proclaimed queen by her various privy and executive councils shortly afterwards. The ceremony took place at Westminster Abbey. Celebrations took place and a commemorative medal was issued throughout the Commonwealth. Saving an item dedicated to the royal family is typical of the general feeling of respect and admiration felt by the rural communities towards the British Royal Family, especially towards Queen Elizabeth II.A supplement from the Daily Telegraph, June 2 1953, titled Coronation Day Supplement. On the front cover is a b/w picture of Westminster Abbey.newspaper-supplement-daily-telegraph coronation royal-family elizabeth-11 -
Orbost & District Historical Society
order form, Andrew Jack & Co, early 20th century
Mr Carl Otto (Clyde) Drevermann was born at Lucknow and worked in various parts of Victoria before coming to Orbost in about 1902. In July 1902 he entered into partnership with Mr Edward Fisher Reynolds and the ironmongery, hardware and tinsmithing business was carried on by the new firm as Drevermann and Reynolds. In about 1905 Mr Drevermann assumed proprietorship and the tinsmith and plumbing section of the business was sold off to Mr Edward Swan. The ironmongery, hardware and timber business was known as Carl Dreverman & Co until 1917 when it was changed to Orbost Hardware and Timber Co. This shop had a row of nails on the window sill to prevent people sitting on the ledge. Carl Drevermann was a prominent Orbost identity and the Drevermann family owned the current Orbost Hardware Store for many years. Clyde [Carl] Drevermann died on 15/11/1946 aged 72. He was born in Lucknow and went into partnership with E P Reynolds on 9/8/1902 in Orbost selling furnishings, general ironmongery, furniture and tinsmith items. This partnership did not last long as on 6/9/1902 the shop then operated as Carl Drevermann & Co. later to become the Orbost Hardware & Timber Co. Mr Reynolds relocated the tinsmith part of the business to a new address. Mr Drevermann was a keen motorist and promoter of East Gippsland during the time when motor tourism was in its infancy. ( Lindsay and Noreen Thomson)A small white paper order form. It has black print an details are hand-written.drevermann-carl order-form-book-keeping -
Orbost & District Historical Society
certificate, 2000
James Chester Kerr Trewin (916-1965) was born in Orbost, Victoria, Australia and died there. Service Australian Army Service Number VX5640. He enlisted on 23 Oct 1939 at Sale, VIC He was discharged on 5 Aug 1943 with the rank o Lieutenant He was in 2/7 AUSTRALIAN INFANTRY BATTALION. This personal document gives an insight into the human element of World War 11 ensuring that those who were part of the Orbost community and played a vital role during this time are remembered.A rectangular laminated certificate which was given to James C. K. Trewin for contributing to Australia's effort in WW11. It is signed by John Howard-prime minister ; Peter McGauran - federal member and Bruce Scott-minister for veteran affairs.On rectangular picture of the Australian flag - Their Service Our Heritagecertificate trewin-james ww11 -
Orbost & District Historical Society
military uniform, Before 1939
This is the army uniform of James Chester Kerr Trewin a lieutenant in 2/7th and 58/59th Battalions. He served in the Middle East, Syria and New Guinea. James Trewin was wounded in action.This item gives an insight into the human element of World War 11 ensuring that those who were part of the Orbost community and played a vital role during this time are remembered.A khaki coloured WW11 jacket (male) with a cap. There are medals on a strip. Three bronze stars : 1939-1945 Star; Africa Star; Pacific Star. Round silver medals : 1939-1945 Defence Medal ; 1939-1945 Australian Service Medal . There is a Rising Sun - Australian Commonwealth Military Force - on the lapel and on the cap. On left sleeve is a strip of black and red bars.uniform-military trewin-james ww11 -
Orbost & District Historical Society
personal kit, Mills Equipment Company, Prior to 1940
This item was owned and used by James Chester Kerr Trewin during WW11.These personal items give an insight into the human element of World War 11 ensuring that those who were part of the Orbost community who played a vital role during this time are remembered.A khaki coloured container which holds a clothes brush, a tiny pencil and other items.M.E. Co 1940ww11 trewin personal-effects military -
Orbost & District Historical Society
Red Cross Box, 1939
This box was donated by Mary Gilbert who was the Orbost Red Cross Superintendent. Australian women's efforts on the home front to support the nation during WWI and WWII were monumental. They worked tirelessly for Red Cross in response to the national emergency, serving the humanitarian needs of the nation. Women produced millions of pounds worth of in-kind support through volunteer labour and goods, sending an astonishing volume of goods overseas to servicemen and prisoners of war. They knitted and sewed socks, towels and vests for soldiers.A black Red Cross box containing training cards, forms and badges. The box is made of card and covered in black fabric.red-cross gilbert-mary world-war-11 -
The Beechworth Burke Museum
Postcard, 1918
It is believed that the photograph on the obverse side of the postcard was taken in 1918. Depicted are ten Australian male soldiers. Their names are transcribed in pencil on the reverse side of the postcard. Each soldier is dressed in a formal military uniform. It is believed that these soldiers were part of The Australian Imperial Force during World War I. This can be inferred by the chevron rank insignia visible on the uniforms of nine of ten men. The placement of this insignia on the sleeves of their right arms suggests that they were either Warrant Officers or Non-Commissioned Officers (NCO). Specifically, the number of chevron stripes - here, nine men have three - are believed to signify a Corporal rank. The men pictured on this postcard are also wearing 'Rising Sun' collar badges on their coats. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force. Another characteristic of the Australian Imperial Force uniform are the rectangular colour patches worn by all men on this postcard. In March 1915, a new scheme of unit identification was devised to replace the wearing of unit titles. This consisted of cloth colour patches on the upper arms of a soldier’s tunic. The black and white nature of the record means that we cannot establish which battalion these soldiers were part of. However, one of the handwritten signatures on the reverse side of the postcard reads "W.A. Griggs". This was the signature of Sergeant William Archibald Griggs. Further research shows that Griggs was part of the 5th Australian Division Signals Company. Therefore, it is believed these soldiers were part of the ANZAC Signal Companies. The main role of the Signal Companies during World War I was the laying and maintenance of telephone cables and switchboards, used to connect various units in their area. Furthermore, the man standing in the back row, third from the left side, has an Overseas Service chevron patch on his coat. In January 1918, the Australian Imperial Force approved the wearing of the overseas service chevrons which had been adopted by the British Army. These were embroidered or woven inverted chevrons worn above the cuff on the right arm. Due to a shortage of supply, some men had chevrons privately made. For each year of war service, a blue chevron was awarded, and those men who had embarked in 1914 received a red chevron to indicate that year’s service; however, the black and white nature of the postcard makes it difficult to determine what colours are on this man's patch.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Black and white rectangular postcard printed on paper.Obverse: Oh 'Serg!' / Reverse: CARTE POSTALE / 6537 / Correspondance / Adresse / w.a. Grigg / J. Fain / Ruckling / R.J Farrar / (?) / Clarke / L (?) / GFFisher / R. M. Forrest / With Compliments / Sgt's Mess / November 1918 /military album, army, aif, uniform, military, wwi, world war i, rising sun badge, william archibald griggs, anzac, signal companies, postcard, patches, chevron -
The Beechworth Burke Museum
Postcard
The photograph on the obverse side of the postcard was taken some time between 1914-1918. Depicted are five unidentified Australian soldiers. They are all dressed in military uniforms. It is believed that these soldiers were part of The Australian Imperial Force during World War I. This can be inferred by the 'Rising Sun' collar badges on their coats. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force. Another characteristic of the Australian Imperial Force uniform are rectangular colour patches. One is visible on the soldier in the front row, first from the left on this postcard. In March 1915, a new scheme of unit identification was devised to replace the wearing of unit titles. This consisted of cloth colour patches on the right arms of a soldier’s tunic. The sepia nature of the record means that we cannot determine the colour, and therefore cannot establish which battalion this soldier was part of. Furthermore, the man seated in the middle of the front row has an Overseas Service chevron patch on his coat. In January 1918, the Australian Imperial Force approved the wearing of the overseas service chevrons which had been adopted by the British Army. These were embroidered or woven inverted chevrons worn above the cuff on the right arm. Due to a shortage of supply, some men had chevrons privately made. For each year of war service, a blue chevron was awarded, and those men who had embarked in 1914 received a red chevron to indicate that year’s service; however, the sepia nature of the postcard makes it difficult to determine what colours are on this man's patch.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular postcard printed on paper.Reverse: CARTE POSTALE / hyossest (?) / 6538 /military album, army, aif, australian imperial force, postcard, wwi, world war i, portrait, soldiers -
The Beechworth Burke Museum
Photograph
It is believed this photograph was taken in the early 1900s during World War I. Depicted is a 19 year old male soldier named Thomas "Tom" Lacey, who was a resident of Beechworth, Victoria. He is dressed in an Australian military uniform and posing inside a photographic portrait studio.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when Britain and Germany went to war on 4 August 1914. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 9 November 1914, the Royal Australian Navy made a major contribution when HMAS Sydney destroyed the German raider SMS Emden. On 25 April 1915, members of the Australian Imperial Force (AIF) landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This began a campaign that ended with an evacuation of allied troops beginning in December 1915. The next year, Australian forces fought campaigns on the Western Front and in the Middle East. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular photograph printed on paper.Reverse: 3417.1 /military album, wwi, world war i, thomas lacey, tom lacey, soldier, australian army, war -
The Beechworth Burke Museum
Postcard
Depicted is a handwritten note written by Thomas "Tom" Lacey. It is addressed to his sister, Maude. This letter accompanies a portrait of Tom dressed in an Australian army uniform (record number 3417.1). Tom was a resident of Beechworth, and was only nineteen years old when he fought in World War I.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when Britain and Germany went to war on 4 August 1914. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 9 November 1914, the Royal Australian Navy made a major contribution when HMAS Sydney destroyed the German raider SMS Emden. On 25 April 1915, members of the Australian Imperial Force (AIF) landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This began a campaign that ended with an evacuation of allied troops beginning in December 1915. The next year, Australian forces fought campaigns on the Western Front and in the Middle East. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular postcard printed on paper.Obverse: My Dear Sister / I will / write / you / a long / letter / next / week / CARTE POSTALE / Just a line / in (?) to your letter / which I received two / days ago. I suppose you / used to wonder why I / never wrote but it is / pretty hard to get / writting paper at / (?). Well maud / I suppose you heard / about me getting around / I was shot through the / both legs but my poor / old mate got killed / straight out. I tell you / I do miss him. / I am glad you like / your new place. / Do you ever see Mary Y(?) / I had not had a letter / from her for 3 months / I have had a good / rest since I came out / of hospital I have been to / Cairo twice. Do you ever / get any letters from Dave / (?) him to drop me a / line some of these days / Well Maud I would like / to spend next XMAS with / you but that not my luck / this is all the new good by Tom /military album, beechworth, tom lacey, army, world war i, wwi, letter, thomas lacey -
The Beechworth Burke Museum
Postcard
Taken on an unknown date, depicted is a portrait of a young, unidentified male soldier. He is dressed in an Australian military uniform. It is believed that this soldier was part of The Australian Imperial Force during World War I. This can be inferred by the chevron rank insignia visible on the uniform. The placement of this insignia on the sleeve of the right arm suggests that this soldier was either a Warrant Officer or a Non-Commissioned Officer (NCO). Specifically, the number of chevron stripes - here, there are three - are believed to signify a Sergeant ranking. The man in this photograph is also wearing a 'Rising Sun' collar badge on his coat. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular postcard printed on card.Reverse: CARD / JAS.C.CRADDEN, / 182 PITT ST, SYDNEY. / Cecil Johnson / BMM2640.1 /military album, wwi, world war i, postcard, australian army, australian imperial force, aif, sergeant, warrant officer, non-commissioned officer, portrait -
The Beechworth Burke Museum
Postcard
Taken on an unknown date, depicted is a portrait of a young, unidentified male soldier. He is dressed in an Australian military uniform. It is believed that this soldier was part of The Australian Imperial Force during World War I. This can be inferred by the 'Rising Sun' collar badge on his coat. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular postcard printed on card.Reverse: BMM2640.2 / POST CARD / Write here for Inland Postage only / The Address to be written heremilitary album, wwi, world war i, australian army, australian imperial force, aif, uniform, postcard, portrait -
The Beechworth Burke Museum
Postcard
Taken on an unknown date, depicted is a full-length portrait of a young, unidentified male soldier. He is dressed in an Australian military uniform. It is believed that this soldier was part of The Australian Imperial Force during World War I. This can be inferred by the chevron rank insignia visible on the uniform. The placement of this insignia on the sleeve of the right arm suggests that this soldier was either a Warrant Officer or a Non-Commissioned Officer (NCO). Specifically, the number of chevron stripes - here, there are two - are believed to signify a Corporal rank. The man in this photograph is also wearing a 'Rising Sun' collar badge on his coat. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Black and white rectangular postcard printed on card.Reverse: Mendelssohn & Co., / Swanston St., Melbourne / POST CARD / KODAK / CORRESPONDENCE / ADDRESS ONLY / AUSTRAL / AUSTRAL / KODAK / BMM 2640.3 /military album, world war i, wwi, corporal, portrait, soldier, australian imperial force, aif, postcard, uniform -
The Beechworth Burke Museum
Postcard
Taken on an unknown date, depicted is a portrait of a young, unidentified male soldier. He is dressed in an Australian military uniform. It is believed that this soldier was part of The Australian Imperial Force during World War I. This can be inferred by the chevron rank insignia visible on the uniform. The placement of this insignia on the sleeve of the right arm suggests that this soldier was either a Warrant Officer or a Non-Commissioned Officer (NCO). Specifically, the number of chevron stripes - here, there are two - are believed to signify a Corporal rank. The man in this photograph is also wearing a 'Rising Sun' collar badge on his coat. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular postcard printed on card.Reverse: BMM 2640.4 / P RD / Write here for Inland Postage on /military album, aif, australian imperial force, corporal, war, wwi, world war i, rising sun, badge, uniform, military -
The Beechworth Burke Museum
Postcard
Taken on an unknown date, depicted is a full-length portrait of a young, unidentified male soldier. He is dressed in an Australian military uniform. It is believed that this soldier was part of The Australian Imperial Force during World War I. This can be inferred by the 'Rising Sun' collar badge on his coat. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Black and white postcard printed on card.Reverse: BMM 2640 / POST CARD / KODAK / 5 CORRESPONDENCE / ADDRESS ONLY / AUSTRAL / AUSTRAL / KODAK / R. McGEEHAN, PHOTO, 57 ELM GROVE RIPPONLEA, / EXTRA COPIES & ENLARGEMENTS OBTAINABLE. /military album, military, war, world war i, wwi, australian imperial force, aif, rising sun, uniform, portrait -
The Beechworth Burke Museum
Photograph
Taken on an unknown date, depicted is a portrait of a young, unidentified male soldier kneeling beside a grave in a cemetery. He is dressed in an Australian military uniform. The cemetery pictured is the Arnos Vale Cemetery in Bristol, United Kingdom. There are multiple crosses marking graves in this photograph, all marked in memory of different soldiers who fought with the Australian Imperial Force (AIF) during World War I. It is believed that the soldier who is kneeling was also part of the Australian Imperial Force. This can be inferred by the chevron rank insignia visible on the uniform. The placement of this insignia on the sleeve of the right arm suggests that this soldier was either a Warrant Officer or a Non-Commissioned Officer (NCO). Another signifier of the Australian Imperial Force uniform are the three inverted chevron stripes positioned on the lower part of the left sleeve, near the wrist. These are called Good Conduct Stripes and were worn by Warrant Officers and NCOs. This patch consisted of a single chevron stripe for each year of military service meeting certain requirements of good conduct. Additionally, the man in this photograph is also wearing a 'Rising Sun' collar badge on his coat. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force. Furthermore, the grave that this unidentified soldier is kneeling next to is the resting place of Private John James (J. J.) Simpson. He was born in Stanley, Victoria in 1883. He enlisted in the Australian Imperial Force in Melbourne, Victoria on 12 July, 1915, with the service number 4909. John James Simpson was then posted to the 60th Company Depot at Seymour for military recruit training. John James Simpson was reported wounded in action in France on 19 July, 1916. He was admitted to 13th General Hospital, France with gunshot wounds to his legs. From Boulogne, France, he traveled to the United Kingdom aboard the Hospital Ship 'St. Denis' for medical care. Upon arrival, he was admitted to 2nd Southern General Hospital, Bristol, England on 27 July, 1916. John James Simpson passed away from his wounds on 1 August, 1916. He was 33 years old.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular photograph printed on matte photographic paper mounted on card.Obverse: A.I.F. / AUSTRALIA / 441, PTE.T. / T (?) / 26B (?) / 6.1.17 / (?) / LANGTON RD. / ST. ANNES PK. / BRISTOL / A.I.F. / AUSTRALIA. / 708, GNR B.L.CRAWFORD. / FR / 5 D.A.C. / 13.2.17 / A.I.F. / AUSTRALIA. / 4481, P (?) D.MORRIS. / (?) / 31.12.(?) / A.I.F. / AUSTRALIA. / 4909, PTE J.J.SIMPSON. / 608(?) / 1.8.16 / Winchester / LANGTON RD. / ST. ANNES PK / BRISTOL / Reverse: 2641 /military album, military, war, world war i, wwi, australian imperial force, aif, j. j. simpson, uniform, cemetery -
Flagstaff Hill Maritime Museum and Village
Photograph, circa 1878
Loch Ard was bound for Melbourne in 1878 loaded with passengers and cargo when it ran into a rocky reef at the base of Mutton Bird Island, near Port Campbell. Of the 54 crew members and passengers on board, only two survived: an apprentice, Tom Pearce and a young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. The wreck of Loch Ard still lies at the base of Mutton Bird Island and much of the cargo has been salvaged. Some was washed up into what is now known as Loch Ard Gorge following the shipwreck. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. The photograph is significant for its association with the wreck of the Loch Ard. This wreck has been protected as a Historic Shipwreck since 11 March 1982, under the Commonwealth Historic Shipwrecks Act (1976) Flagstaff Hill’s collection of artefacts from Loch Ard is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register. The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the Loch Ard, which was one of the worst and best known shipwrecks in Victoria’s history. The Loch Ard collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history. Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. Photograph, portrait of Miss Eva Carmichael. Reverse has gold maker’s print and a white adhesive label with hand writing on it.Reverse of photograph shows 3 signatures in script on bottom right corner., Printed text “PHOTOGRAPHIC / SOCIETY OF VICTORIA / MELBOURNE / REGISTERED COPYRIGHT / JULY 24th 878” and “NONE ARE GENUINE UNLESS WITH / SIGNATURES THUS” and “PRESIDENT / VICE PRESIDENT / - - - - - TARY” plus white label, hand written “F- Ph 56/2 – 74” flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, photograph miss eva carmichael, loch ard shipwreck, loch ard survivor -
Flagstaff Hill Maritime Museum and Village
Photograph, March 1895
Loch Ard was bound for Melbourne in 1878 loaded with passengers and cargo when it ran into a rocky reef at the base of Mutton Bird Island, near Port Campbell. Of the 54 crew members and passengers on board, only two survived: an apprentice, Tom Pearce and a young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. The wreck of Loch Ard still lies at the base of Mutton Bird Island and much of the cargo has been salvaged. Some was washed up into what is now known as Loch Ard Gorge following the shipwreck. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. The photograph is significant for its association with the wreck of the Loch Ard. This wreck has been protected as a Historic Shipwreck since 11 March 1982, under the Commonwealth Historic Shipwrecks Act (1976) Flagstaff Hill’s collection of artefacts from Loch Ard is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register. The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the Loch Ard, which was one of the worst and best known shipwrecks in Victoria’s history. The Loch Ard collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history. Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. Photograph of Miss Eva Carmichaels Cave at Loch Ard Gorge where the survivors found shelter. Reverse has four areas of torn surface, perhaps were photo had been mounted. Hand written text in pencil and in ink.Reverse of photograph Hand written in pencil “ … refuge … which he … offer words … Miss Carmichael. He then … on the …“ Hand written in ink “Loch Ard Gorge / Miss Carmichael’s cave” and “ Mr J Swinton / Warrnambool / March 1895” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, loch ard shipwreck, 1878 shipwreck, loch ard gorge, miss eva carmichael -
Flagstaff Hill Maritime Museum and Village
Photograph, late 1800's
Miss Eva Carmichael is one of two survivors of the Loch Ard shipwreck.. Loch Ard was bound for Melbourne in 1878 loaded with passengers and cargo when it ran into a rocky reef at the base of Mutton Bird Island, near Port Campbell. Of the 54 crew members and passengers on board, only two survived: an apprentice, Tom Pearce and a young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. The wreck of Loch Ard still lies at the base of Mutton Bird Island and much of the cargo has been salvaged. Some was washed up into what is now known as Loch Ard Gorge following the shipwreck. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. The photograph is significant for its association with the wreck of the Loch Ard. This wreck has been protected as a Historic Shipwreck since 11 March 1982, under the Commonwealth Historic Shipwrecks Act (1976) Flagstaff Hill’s collection of artefacts from Loch Ard is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register. The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the Loch Ard, which was one of the worst and best known shipwrecks in Victoria’s history. The Loch Ard collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history. Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. Photograph of Miss Eva Carmichael sitting on a chair holding a curtain. Text below photograph is partly unreadable but gives the name of the photographic studio. A printed on the back "County of Gloucester Studio Cheltenham" with the address and other informaion.Reverse has crest that includes “PRIZE MEDALIST PARIS EXHIBIT’N 1867” Printed text “No. …………” “COUNTY OF GLOUCESTER STUDIO / 20a / PROMENADE VILLAS / CHELTENHAM” and “Autotype Prints or Permanent Porcelain enlargements can be made from this plate” flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, photograph of miss eva carmichael, eva carmichael, loch ard shipwreck, county of gloucester studio