Photocopy of a group, thought to be the Augustine Congregational Church, Auburn, at a picnic at Blackburn Lake in 1901 Inscription. For dear Gert. Eunice AULT, 6th from viewer's right (probably with members of St Augustine Congregational Church, Burwood Road, Hawthorn.Eunice Olive Ault later Mrs Henry E Press. Henry Press was a member (perhaps an office-bearer) of Scots Church, Melbourne and Eunice attended there with him. She lived with him at 8 Dean Ave, Hawthorn and after his death resumed her association with Augustine Church. Blackburn 11 Nov 1901.clothing & dress, blackburn lake

This collection of Stereograph card depicts scenes from the Coronation of King George V. Produced by 'The Rose Stereographs. George Rose was born in Clunes, Victoria in 1861 and later worked in his father’s boot-making business in Prahran while studying photography. In 1880 he founded the Rose Stereograph Company and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer. Some of the pioneers of Moorabbin were staunch supporters of the Monarchy of England. This collection of cards was donated by one of the founding pioneer families.Stereograph cards - 25 cards produced by Rose Stereographs. - black and whiteDescription of each card written on bottomcoronation, king george v, england, monarchy, moorabbin, london, westminster abbey, trafalgar square, boy scouts, crystal palace, queen mary

This collection of Stereograph card depicts scenes from various Euopean sites and buildings. Produced by 'The Rose Stereographs. George Rose was born in Clunes, Victoria in 1861 and later worked in his father’s boot-making business in Prahran while studying photography. In 1880 he founded the Rose Stereograph Company and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer.Collection of one of the pioneer families of City of Moorabbin.11 Stereographic Cards - manufactured by The Rose Sterographics - Black and whiteDescription of each card on the bottomeurope, paris, church of mary magdalene, the louvre, cathedral of notre dame, palace of justice, palace of beautiful arts, champs elysees, boulevard du nord, jules anspach fountain, brussels belgium, cathedral of st gudule, brussels, moorabbin, stereograph cards

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 7 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. This photograph was taken during a flood year, perhaps 1923, when the Yarra encroached on the grounds of the Abbotsford Convent. In the distance, the Johnston Street Bridge separates the viewer from the industrialised landscape of Fairfield. In developing the photo, Henry Christian employed a circular frame to artistically focus the view. He empkloyed this technique for what he may have viewed as his best photographs. "Studley Park / Kew"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums, fairfield, kew, johnston street bridge, studley park

Beni Carr Glyn Burnett (also known as B. C. G. Burnett or Beni Burnett) was born in 1889 to missionary parents in Mongolia. When he was 15 years old he began training as an architect with a firm in Shanghai. He worked in Singapore, Japan and China before moving to Australia around 1933. In 1937 he was appointed as the Commonwealth principal architect in the Northern Territory. He went on to design a series of houses for senior public servants and military personnel which became very popular as they were specifically designed for the tropics - incorporating louvres, high ceilings and good ventilation. When Darwin was bombed in February 1942, he was evacuated to Alice Springs where he continued to work as an architect. He also became a Magistrate and Coroner in Alice Springs. In later life he was well known for sketching clientele in public bars. He died in 1955. Beni Burnett was living in Sydney in 1933 when he produced these three artworks. There were several photography firms operating in Sydney at this time who specialised in photographing ships and the shipping trade (e.g. Samuel J. Hood and William James Hall) and whose photographs were used by artists to produce ship portraits. Both of these photographers took photographs of the two ships in B. C. G. Burnett's watercolours. The "Magdalene Vinnen" was photographed by Samuel J Hood in a series of photos taken in March 1933. It was a 4 masted steel barque, built in 1921 in Kiel, Germany and for almost 80 years was the largest traditional sailing ship in operation. It was used extensively as a cargo ship. It sailed into Sydney Harbour on 27th Feb 1933, loaded with almost 16,000 bales of wool destined for Falmouth, England. In March 1933 (whilst in Sydney) the German Republic flag (on orders from Adolph Hitler) was lowered and replaced with the old monarchist flag which was then to be the official flag and beside it the Nazi flag was to be flown on all ceremonial occasions. It visited Australia again in 1935 with its cargo being wheat from Port Broughton, S. A. In 1936 it was renamed "Kommodore Johnsen" and in 1945 (after WW2) the ship was awarded to the Soviet Union as war compensation and renamed "STS Sedov". The "Winterhude" (originally called "Mabel Rickmers) was a three masted Finnish barque built in 1898 by Rickers - Werft Bremerhaven for use on the East India rice trade and later the South American nitrate trade. After WW1 it came under French control as war compensation. It was also sold several times and at one stage was called "Selma Hemsoth" but in 1925 it was bought by Gustaf Erikson who restored the name "Winterhude" and the vessel became a regular transport in the Australian wheat trade. In 1944 it was sold to the German navy before being taken over by the British at the end of WW2. It was photographed in Sydney by William James Hall in 1931 on its way to Port Lincoln, South Australia to load wheat for Europe. The third ship depicted by B. C. G. Burnett is a pen and wash sketch labelled "The White Ship" and exactly matches a photograph pasted into his personal scrapbook which is in the "Library and Archives N. T.". The name of the ship is unknown and B. C. G. Burnett may have taken some artistic licence with the colouring as in the original photograph, the ship had a dark hull.This set of three small artworks is significant as examples of shipping (particularly the use of sailing ships) that were still being used as late as the 1930's in Australia. They are also important because their creator (B. C. G. Burnett) went on to become a well-known public figure in the Northern Territory in the late 1930's due to his innovative approach to designing homes for the tropical climate.A set of three artworks by B. C. G. Burnett of sailing ships in Sydney Harbour. They are all on rectangular watercolour paper with small diagonal edges at each corner. Painting 1 is a watercolour painting of a sailing ship called "Magdalene Vinnen". It shows a 4 masted barque with a blue and red steel hull in full sail heading towards the viewer. The painter's name (B. C. G. Burnett) and date (1933) are written on the bottom left-hand corner of the painting. Painting 2 is a watercolour painting of a sailing ship called "Winterhude". It shows a 3-masted barque with a blue and red steel hull in full sail heading away from the viewer. A small figure can be seen at the wheel at the rear of the ship. The painter's name (B. C. G. Burnett) and date (1933) are written on the bottom left-hand corner of the painting. Sketch 3 is an ink sketch of an unknown sailing ship moored to a dock. There are several small boats tied up near the sailing ship and a large steel freighter can be seen in the background. There is a faint wash of colour on parts of the sketch - the bottom of the ship, the masts and booms and the water at the end of the pier. The title (The White Ship) and the artist's name (B. C. G. Burnett) are written in ink in the top left corner. 1 (front) - "B. C. G. BURNETT. 1933 2 (front) - "B. C. G. BURNETT. 1933" 3 (front) - "THE WHITE SHIP / B. C. G. BURNETT"flagstaff hill maritime museum and village, warrnambool, great ocean road, sailing ships, ships, barque, magdalene vinnen, winterhude, beni carr glyn burnett, b. c. g. burnett, beni burnett, painting, watercolour painting, sketch, ink sketch, sydney harbour, architect, darwin, burnett house, photography, samuel j. hood, william james hall, sedov, kommodore johnsen, mabel rickmers

The 1980s saw a rise in campaigns for Antarctica to be designated a World Park. Black’s screenprints celebrate the creatures of the continent, however invocations such as ‘protect Antarctica from all mineral and oil exploration and exploitation’ remind the viewer that these creatures are in peril. Black printed 500 of these postcards (described as ‘Antarcticards’) at the Redletter Press in Brunswick and they were distributed around the world, reaching as far as Macquarie and Heard Islands. The campaigning was successful, with Australian Prime Minister Bob Hawke announcing that Australia would not support an agreement that would open the Australian Antarctic Territory up to mining and oil drilling.Donated by the artist8 prints in total

The 1980s saw a rise in campaigns for Antarctica to be designated a World Park. Black’s screenprints celebrate the creatures of the continent, however invocations such as ‘protect Antarctica from all mineral and oil exploration and exploitation’ remind the viewer that these creatures are in peril. Black printed 500 of these postcards (described as ‘Antarcticards’) at the Redletter Press in Brunswick and they were distributed around the world, reaching as far as Macquarie and Heard Islands. The campaigning was successful, with Australian Prime Minister Bob Hawke announcing that Australia would not support an agreement that would open the Australian Antarctic Territory up to mining and oil drilling.Donated by the artist8 prints in total

The 1980s saw a rise in campaigns for Antarctica to be designated a World Park. Black’s screenprints celebrate the creatures of the continent, however invocations such as ‘protect Antarctica from all mineral and oil exploration and exploitation’ remind the viewer that these creatures are in peril. Black printed 500 of these postcards (described as ‘Antarcticards’) at the Redletter Press in Brunswick and they were distributed around the world, reaching as far as Macquarie and Heard Islands. The campaigning was successful, with Australian Prime Minister Bob Hawke announcing that Australia would not support an agreement that would open the Australian Antarctic Territory up to mining and oil drilling.Donated by the artist8 prints in total

The 1980s saw a rise in campaigns for Antarctica to be designated a World Park. Black’s screenprints celebrate the creatures of the continent, however invocations such as ‘protect Antarctica from all mineral and oil exploration and exploitation’ remind the viewer that these creatures are in peril. Black printed 500 of these postcards (described as ‘Antarcticards’) at the Redletter Press in Brunswick and they were distributed around the world, reaching as far as Macquarie and Heard Islands. The campaigning was successful, with Australian Prime Minister Bob Hawke announcing that Australia would not support an agreement that would open the Australian Antarctic Territory up to mining and oil drilling.Donated by the artist8 prints in total

The 1980s saw a rise in campaigns for Antarctica to be designated a World Park. Black’s screenprints celebrate the creatures of the continent, however invocations such as ‘protect Antarctica from all mineral and oil exploration and exploitation’ remind the viewer that these creatures are in peril. Black printed 500 of these postcards (described as ‘Antarcticards’) at the Redletter Press in Brunswick and they were distributed around the world, reaching as far as Macquarie and Heard Islands. The campaigning was successful, with Australian Prime Minister Bob Hawke announcing that Australia would not support an agreement that would open the Australian Antarctic Territory up to mining and oil drilling.Donated by the artist8 prints in total

The 1980s saw a rise in campaigns for Antarctica to be designated a World Park. Black’s screenprints celebrate the creatures of the continent, however invocations such as ‘protect Antarctica from all mineral and oil exploration and exploitation’ remind the viewer that these creatures are in peril. Black printed 500 of these postcards (described as ‘Antarcticards’) at the Redletter Press in Brunswick and they were distributed around the world, reaching as far as Macquarie and Heard Islands. The campaigning was successful, with Australian Prime Minister Bob Hawke announcing that Australia would not support an agreement that would open the Australian Antarctic Territory up to mining and oil drilling.Donated by the artist8 prints in total

The 1980s saw a rise in campaigns for Antarctica to be designated a World Park. Black’s screenprints celebrate the creatures of the continent, however invocations such as ‘protect Antarctica from all mineral and oil exploration and exploitation’ remind the viewer that these creatures are in peril. Black printed 500 of these postcards (described as ‘Antarcticards’) at the Redletter Press in Brunswick and they were distributed around the world, reaching as far as Macquarie and Heard Islands. The campaigning was successful, with Australian Prime Minister Bob Hawke announcing that Australia would not support an agreement that would open the Australian Antarctic Territory up to mining and oil drilling.Donated by the artist8 prints in total

The 1980s saw a rise in campaigns for Antarctica to be designated a World Park. Black’s screenprints celebrate the creatures of the continent, however invocations such as ‘protect Antarctica from all mineral and oil exploration and exploitation’ remind the viewer that these creatures are in peril. Black printed 500 of these postcards (described as ‘Antarcticards’) at the Redletter Press in Brunswick and they were distributed around the world, reaching as far as Macquarie and Heard Islands. The campaigning was successful, with Australian Prime Minister Bob Hawke announcing that Australia would not support an agreement that would open the Australian Antarctic Territory up to mining and oil drilling.Donated by the artist8 prints in total

This work forms a pair with Untitled #4 (fox bones – pattern) / This work draws on ideas of death and the traces of a body that death leaves behind / The work aims to confront the viewer with the concept of death, but it is not morbid or macabre in its consideration of it / Instead of fear the work presents a quiet and beautiful image that aims to portray a feeling of acceptance in the inevitable destruction of one's body / In this work the bones of a deceased fox were meticulously cleaned, bleached and layed out for photographing / No digital manipulation was used to arrange the bones / The same bones from the same fox were rearranged and used for the other work in this series. This work was completed in 2012 as part of the artist's residency in 2011 at Birrarung, Laughing Waters (Laughing Waters Artist in Residence program - LWAIR) managed by Nillumbik Shire Council / Works produced there take inspiration from the natural landscape and the creatures living within that particular environment.Print - digital photograph printed on hahnemuhle photo rag paper / edition 2 of 8 + 2 artist prints / Individual fox bones placed/layed out on a white background and arranged in an orderly fashion according to size and shape / Beige/neutral in colour / Blonde timber frame.No signatures / no personal markings / no framers identified. digital print / fox / bones / ordered / photograph / laughing waters / birrarung / imam / death

This work forms a pair with Untitled #3 (fox bones – ordered) / This work draws on ideas of death and the traces of a body that death leaves behind / The work aims to confront the viewer with the concept of death, but it is not morbid or macabre in its consideration of it / Instead of fear the work presents a quiet and beautiful image that aims to portray a feeling of acceptance in the inevitable destruction of one's body / In this work the bones of a deceased fox were meticulously cleaned, bleached and layed out for photographing / No digital manipulation was used to arrange the bones / The same bones from the same fox were rearranged and used for the other work in this series.This work was completed in 2012 as part of the artist's residency in 2011 at Birrarung, Laughing Waters (Laughing Waters Artist in Residence program - LWAIR) managed by Nillumbik Shire Council / Works produced there take inspiration from the natural landscape and the creatures living within that particular environment.Print - A digital photograph printed on hahnemuhle photo rag paper / edition 2 of 8 + 2 artist prints / Individual fox bones placed/layed out on a white background and arranged in an outward circular pattern. Beige/neutral in colour / Blonde timber frame. No signatures / no personal markings / no framers identified.digital print / fox / bones / pattern / photograph / laughing waters / birrarung / imam / death

Luke King’s mixed media artwork Portrait (2023) was shown in the group exhibition Fever’Dreams at the Counihan Gallery in 2023. The group exhibition explored the slippery boundaries between abstract and figurative artwork, showcasing local artists with a strong connection to Merri-bek’s arts community. King uses portraiture to highlight the importance of gesture and facial expression in personal storytelling. Exhibition curator of Fever’Dreams, Mitchel Brannan, writes of King’s work: ‘King explores the profound capacity of the human face to convey emotions within the context of constraint. Through his art, King invites viewers to reflect on the complexities of human expression and the underlying dynamics of restraint within society.’

This print of Christ is slightly smaller than the original 1927 oil painting by Herbert Beecroft, which is titled “Christ” and measures, in centimetres, 60 high by 50 wide. The original is displayed at John Wesley’s House & The Museum of Methodism in Islington, England. The title of the print is taken from the Holy Bible, from the New Testament book of Luke, chapter 22 verse 61, which is a famous Christian account of Jesus being betrayed by Peter, which leads to Jesus’ crucifixion; “And the Lord turned, and looked upon Peter. And Peter remembered the word of the Lord, how he had said unto him, Before the cock crow, thou shalt deny me thrice.”. The print was published in 1942 by the National Sunday School Union in England, now known as the National Christian Education Council. The NSSU was established in Britain in 1803 to promote Sunday Schools in Britain and overseas. The organisation produced many publications including training manuals and materials for Sunday School teachers. Herbert Beecroft 1864-1951, also known as Lawrence Herbert Beecroft, was an early 20th-century artist. He and his wife emigrated from England to Sydney, Australia, in 1905. He worked as a painter, illustrator, miniaturist ‘lightning cartoonist’, and lecturer. From 1927 Beecroft painted a series of portraits of Jesus Christ, prints of which made many worldwide sales. He entered a miniature portrait in the 1921 inaugural Archibald Prize competition. It was one of forty-one entries but the title was unknown. It is highly probable that it was JF Archibald, the person who endowed the prize, first awarded in 1921. This print of Christ, originally painted by Herbert Beecroft, represents the social movement in the early 20th century to educate all children in good morals and Christianity.A religious portrait of the artist’s impression of Jesus. The print is in a gilt timber frame behind glass. The frame has eyelets and wire for hanging. The backing paper lifts to reveal a handwritten pencil inscription. The portrait shows a male figure from the waist up facing the viewer but turned slightly to his right. He has long wavy blond hair, a moustache and a beard. He wears a blue-grey robe over a collarless white shirt. The background is red-brown. It is the artist’s impression of Jesus. The whole frame-mat has script text above and below the print, giving its title, and details of the publisher and producer. This print was produced from an original 1927 oil painting by Herbert Beecroft. It was published in 1942 by The National Sunday School Union in London and produced by Frost & Reed Ltd. England. Handwritten script on the mat; “Published in 1942 by the National Sunday School Union, 4 Black Friars Lane, London, EC4. Produced by Frost & Reed Ltd., Bristol & London. Printed in England. Copyright.” and, “The Lord turned and looked upon Peter … and Peter remembered” Signature on bottom left “Herbert Beecroft” In pencil on backboard under back paper “H 89 / 12”. Pen on white tape “155”flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, print, religious, vintage, 1942, herbert beecroft, lawrence herbert beecroft, archibald prize winner, early 20th-century, artist, oil painting, luke 22:61

Debbie LLOYD Debbie Lloyd returned to study in 2005 completing a Bachelor of Fine Arts (Visual Arts) degree at the University of Ballarat (now Federation University) in 2007, with honours the following year. She returned to the university as Artist in Residence in 2009. During her time at the University Debbie exhibited in many group exhibitions and her work was selected for the National Graduates Show at PICA in Western Australia. Debbie’s first solo exhibition was held at Space22 in Ballarat, towards the end of 2010. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Two artworks featuring a third dimension created with folded paper. Artist's Statement: "My artwork explores the visual experience that can be achieved using black and white, lineal patterns or by creating illusion and surface movement through the simple manipulation and repetition of forms. In these works I have used everyday objects, and shapes, repeated, reconfigured and recontextualised to provide the viewer with visual challenges that slow down and complicate the reading of the work. In the words of a former lecturer of mine, who kindly delivered the opening speech at one of my exhibitions – There is in Debbie’s work a belief in the transcendental power of repetition, a tribute in many respects to the fact that human kind is defined by nothing more noble and uplifting than its ability and obligation to persist." (http://100thgallery.com/gallery/debbie-lloyd/, accessed 08 May 2018) art, artwork, debbie lloyd, available, recycling, envelopes

This painting was inspired by an original painting by Wilhelm Melby held at the National Gallery of Victoria. Melby is a Danish artist (1824-1882). It depicts a famous Devonshire coastal region famous now for its lighthouse and the pick up point for the pilot when entering waters approaching Dartmouth. The sailing vessels pre-date the construction of the famous lighthouse. Over the centuries the view would have been familiar to many sailors as they left or approached the English mainland and south coast ports in the English Channel. Madeline Mary Ravenna Lewellin (1854 – 24 November 1944) was born in Victoria to Dr John Henry Hill Lewellin, a physician, and Grace Elizabeth (née Danneby). She was one of five daughters, and the family lived in Prahran. Lewellin's brother, Captain Herbert Gordon Hill Lewellin, was a commander in the P. and O. fleet (apprentice on the Romanoff, Lieutenant RNR on the HMS Arethusa in 1899, RMS Mongolia in 1913 sunk in 1917, Naldera in 1920). She studied painting at the National Gallery School in 1879 under Eugene von Guerard. She's also known for collecting and painting specimens, and became a member of the Field Naturalists Club of Victoria in 1885. In 1884 she won a silver medal for her studies of fungi. She collected plants for Australian botanist Ferdinand von Mueller, and the variety of Dicrastylis lewellinii (Purple sand-sage) is named after her. Miss Lewellin, who had a love of the sea and ships as subject matter is listed in 1910 as a donor as a 10/6 member donating to the motor launch fund and in 1918 as a working member of the Ladies Harbour Lights Guild which involved regular volunteer shifts at the Mission to Seamen on canteen and other duties.Marine art, Maritime artThis oil painting has a dark polished wood and gold leaf slip. The painting depicts two masted boats. The choppy sea takes up the lower-third of the painting, and the other two-thirds of the image of made up of stormy grey clouds. A rocky cliff face can be seen on the right-hand side of the painting. A small church can be seen on the hillside. The ship on the left third of the painting sits on the horizon line of the sea. The centre ship with two masts appears to be leaning to the right and its deck is exposed to the viewer showing four men attempting to handle the masts and rigging. The left-hand ship with three masts is surrounded by two grey distant silhouetted mast ships. There are three seagulls at the upper left-centre of the image. There are another three gulls down on the lower-left of the image. Front: ENGRAVED PLAQUE: Start Point Light. Devonshire. SIGNATURE: After W. Melby / M.M.R Lewellin. 1875. Reverse: IN BLACK MARKER PEN: * Hang from two points * WHITE STICKER WITH CONSERVATOR DETAILS: Art Conservation Frames / 118 Bridport Street, Albert Park, VIC, 3206 / 9696 9066 / artconservationframers.com.aupainting, ships, mast, church, sea, storm, oil painting, seagulls, madeline r. lewellin, artwork-paintings, ngv, wilhelm melby, eugene von guerard, botanist, rms mongolia, captain herbert gordon hill lewellin (1862-1935), paddy lewellin, reproduction

This photograph depicts Camp st in Beechworth looking east. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life.Black and white rectangular photograph (copy) printed on gloss photographic paper. Obverse: The Rose Series P.3469 Copyright FORD STREET Reverse: BMM7744 PH150 1998.00059 beechworth, ford street, rose series, photograph, post card, black and white

This copy of a postcard depicts Ford Street in Beechworth looking North. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life.Black and white photograph (copy) on gloss photographic paper. Obverse: THE ROSE SERIES P.3481 COPYRIGHT FORD STREET, LOOKING NORTH, BEECHWORTH, VIC Reverse: BMM7743 PH 149 1998.00059beechworth, ford street, rose series, postcard, photograph, black and white, burke museum

This copy of a postcard from the Rose series depicts Camp Street looking East. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life.Black and white photograph (copy) on gloss photographic paper.Obverse: THE ROSE SERIES P.3459 COPYRIGHT CAMP STREET, LOOKING EAST, BEECHWORTH, VIC Reverse: BMM7743 PH 149 1998.00059beechworth, rose series, camp street, burke museum, black and white

This copy of a postcard from the Rose series depicts Ford Street looking South. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life.Black and White photograph (copy) on gloss photographic paper. Obverse: THE ROSE SERIES P.10544 COPYRIGHT FORD STREET, BEECHWORTH, VIC Reverse: BMM7746 PH 147 1998.00059beechworth, rose series, ford street, burke museum, postcard

Taken in Beechworth, this photograph depicts Ford Street looking North. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life. Black and White photograph on gloss photographic paper. Obverse: THE ROSE SERIES P.2749 COPYRIGHT FORD STREET, LOOKING NORTH, BEECHWORTH, VIC Reverse: 7739 PH 152 1998.00059beechworth, rose series, ford street, george rose, burke museum

This is an Aboriginal artwork that depicts a Goanna Totem. Designed by Ballarat-based, Gunditjmara artist Aunty Diana Nikkelson, the design is inspired by the artist’s totem and is a tribute to the first artists of the region, the Wadawurrung people. It acknowledges Aboriginal survival and the dynamic regeneration of the Aboriginal art and culture in the region. The artwork is in-set to the basalt paving along Police Lane by a series of etched footsteps, which evolve from human footprints to goanna prints as viewers approach the rear of the Art Gallery of Ballarat. The artwork was originally located only outdoors and half of it was brought into the Art Gallery of Ballarat in 2011, when the former Federation Plaza was enclosed to form the Art Gallery of Ballarat's McCain Annexe. The artwork was created in 2006 as part of the cultural festival of the Commonwealth Games. The artwork is of cultural and aesthetic significance to the people of BallaratSand blasted petroglyph forms into bluestone on laneway surface. The carved inlay of the Goanna Totem design into the bluestone of Police Lane (beside Art Gallery of Ballarat) continues inside the building.goanna totem ballarat, goanna totem, diana nikkelson, aboriginal, dreaming, nikkelson, gunditjmara

Williams' use of the dog and poem was inspired by a print by the late Barbara Hanrahan (an artist friend) in which a women was holding a cat accompanied by a dog and in which words from a William Blake poem were included / After her mother died Williams made a work of her mother with the dog, holding the cat and using the same words in the Hanrahan print / The dog is a family pet; Dolcie, that Williams fell in love with / The dog as a symbol has been used in fifteenth and sixteenth century painting to represent fidelity in marriage / The use of the dog is also a contradiction to the themes in this work by Williams / Williams found that many of her women friends were having emotional and romantic difficulties, suffering from the same malady again and again, feeling rejected, destroyed and having unfulfilled desires / The female figure standing on her hands is not seeing things realistically / The figure is head over heels, vulnerable, with her skirt around her head revealing more than normal / The text enhances the meaning of the work and draws the viewer into experiencing the foolishness of love, demanding the viewer travel around and around to read it / Overall the dog provides structure to the work and a reliable object on which all else balances / Balance has been one of the recurring or repetitive themes within William's work / It references the physicality of clay, the difficulties in creating balance with the clay and balance in the work / Williams' work is about form rather than colour / Sometimes she uses a coloured clay like a pale terracotta / Williams likes the flatness of the surface in relationship to the marks of the text / She describes herself as a Minimalist, paring down the form to the bare essentials. 'In Love' was a finalist in the 1997 Nillumbik Art Award held at the Eltham Community and Reception Centre, Pitt Street, Eltham. A ceramic sculpture made of white stoneware clay (coated with a wash of gesso) of a girl doing a hand stand on the back of a dog (retriever?) / Her face/head is partially covered by her skirt which has come down / Her skirt is inscribed in the round with the poem "The Lady's First Song" (1938) by W.B. Yeats (see inscriptions and markings) / The dog is looking straight ahead and upwards towards the sky and his tail is pointing straight out. The dog is covered with cross-hatch incised lines to give the illusion of fur and texture / Hand written inscription of W.B. Yeats poem "The Lady's First Song" (1938) on girl's skirt / I turn round / Like a dumb beast in a show. / Neither know what I am / Nor where I go, / My language beaten / Into one name; / I am in love / And that is my shame. / What hurts the soul / My soul adores, / No better than a beast / Upon all fours.williams / yeats / love / ceramic / stoneware / dog

These postcards are part of the Rose series of photograph / postcards taken around Victoria. Rose was born in Clunes in 1861 and later worked in his father’s boot-making business in Prahran while studying photography. In 1880 he founded the Rose Stereograph Company and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. Rose produced stereoviews of the Western Front during the First World War. In all, he took about 9000 images in about 38 countries. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life.These postcards are pictorial records of Orbost in the mid 20th century.Postcards such as these were a way of showing the scenic attractions of Orbost to potential tourists.Three black / white postcards of views over the Orbost flats and railway viaduct. 3183.1 is of a railway viaduct in the foreground and farming flats. 3183.2 is a view over the Orbost flats taken from Grandview Lookout. 3183.3 is a view from the Grandview Lookout showing the back of a woman looking across a rail fence. 3183.1 - bottom front - Rose Series P 478 SNOWY RIVER FLATS, ORBOST VIC 3183.2 - bottom front - Rose Series P 49 ORBOST, FROM GRANDVIEW HEIGHTS,VIC 3183.3 - bottom front - Rose Series P 14443 A VIEW FROM THE LOOKOUT, ORBOST, VICpostcards-orbost rose-series orbost-railway-viaduct grandview-lookout-orbost

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.In this view of Studley Park Road, looking northeast to the Junction, the photographer invites the viewer to participate in a point-of-view that emphasises the elevated, tranquil vantage point of the hill in contrast to the bustling commercial area in the distance. The view emphasises the exclusiveness of Studley Park, with its high fences behind which a number of significant Kew mansions were concealed. Contemporary advertisements for the sale of mansions in Studley Park Road often included fulsome descriptions of their elaborate formal gardens, as well as paddocks for grazing, stabling and dairies. None can be seen here. The use of high, protective wooden pickets to surround the newly planted avenue of elms on the south side of the road appears to be typical of the period. Similar examples can be seen in early photographs of Wellington and Princess Streets.The horse and carriage, selected as a central focus of the view, reinforces the residential, exclusive nature of this part of Kew in the early 1890s. Studley Park Roadkew illustrated, kew where we live, photographic books, henry kellett

Charlemont & Co., operated out of the Academy Studio, 114 Elizabeth Street from 1890 to 1898. The sitter’s identity has been established as a Mrs. Merritt. While we know that she is not the Mrs Merritt who was to be the wife of the future Mayor of Kew, there were two Mrs Merritts who were shopkeepers in High Street, Kew. Mrs Lucy Merritt operated a bootmaker’s shop, and subsequently a “boot warehouse” from 1888 until the 1920s. Miss Laura Merritt established a dressmaker’s shop in High Street in 1910. Her business also lasted until the 1920s, albeit changed to that of a bookseller and stationer. Silver albumen cabinet card by Charlemont & Co., who operated out of the Academy Studio, 114 Elizabeth Street from 1890 to 1898. In this portrait of Mrs Merritt, she is posed gazing directly at the lens, thus achieving a potentially more intimate relationship with the viewer. All that is revealed however in this supposedly more direct pose is her face. As with an earlier generation, her hair is centrally parted and flattened to accommodate her bonnet, which is surmounted by feathers. The detail in her coat-dress is sharply revealed by new photographic processes that allowed firms like Charlemont & Co., to capture greater light and shade, as well as the detail of fabrics. The entire garment is beaded with what is probably Parisian jet. The beading is arranged in a ‘paisley’ design. The paisley pattern was to become ubiquitous in the 19th century as a design on everything from carpets, to shawls, to clothing.Mrs Merrittcharlemont & co., mrs merritt