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Federation University Art Collection
Painting - Natural pigment on bark, Mawurndjul, John, 'Female Wayarra Spirit' by John Mawurndjul, 1995
Balang [John MAWURNDJUL] (1952 - ) Born Mumeka, Northern Territory Country: Milmilngkan, West Arnham Land, Northern Territory Clan: Na-Kurulk Language Group: Kunwinjku Location: Milmilngkan John Mawurndjul is an Australian indigenous artist. He is a member of the Kuninjku people of West Arnhem Land, Northern Territory. Growing up John had only occasional contact with non-indigenous people and culture. He was tutored in rarrk, a traditional painting technique using fine cross hatching and infill, working on small barks. During the 1980s he started producing larger and more complex works. The artist has painted 'Wayarra', a generic term which can include both malevolent spirit beings which continually inhabit certain sites or objects but can also mean the Spirit of a recently deceased person. These spirits are one of two spirits of the dead, the other being the 'Kun-malng' soul. The 'Wayarra' is the shadow or 'shade' of the dead and may take on the form of the deceased and haunt areas where the deceased recently inhabited. In order to prevent Wayarra spirits from harassing relative of the recently deceased, a smoking ceremont is performed where Ironwood leaves are burnt around the camp of the recently deceased and ochre is rubbed on all objects belonging to the deceased. Ochre may also be rubbed on vehicles, houses and trees. Some Wayarra are a particular Dreaming totem for people of certain clans. This is why many artists depict Wayarra in their bark paintings and sculptures. They are depicting clan totems particular to their lineage and which are celebrated in major regional patrimoiety ceremonies. In 1989 the work of John Mawurndjul was included in the landmark exhibition "Magiciens de la Terra' at the Centre Pompidou and Grande Halle de la Vilette in Paris, France. His works have also been exhibited in numerous solo and group exhibitions in Australia, New York, Paris and Japan. Mawurndjul is one of eight artists whose work in part of the largest inernational commission of contemporary Indigenous art from Australia at the Musee du Quai Branly, Paris. The work was exhibited in the Australian survey "John Mawurndjul: I Am The Old And The New", at the Museum of Contemporary Art, one of the 160-odd works all chosen by Mawurndjul for inclusion in the exhibition. 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.This artwork was chosen by John Murwurndjul as on of around 160 works for exhibition in the 2018 Australian Survey of his work at the Museum of Contemporary Art. The artist is known for his rarrk work, which is evident in 'Female Wayarra Spirit'.Aboriginal bark painting featurung rarrk. The artwork is associated with Dilebang, a duwa moiety place that belongs to the Kurulk clan. This work is currently on loan for exhibition in 'John Mawurndjul: I am the old and the new'. The exhibition will be shown at the Museum of Contemporary Art Australia (Sydney) from 6 July – 23 September 2018, and the Art Gallery of South Australia, Adelaide from 26 October 2018 – 28 January 2019.art, artwork, john mawurndjul, aboriginal, bark painting, rarrk, wayarra, kuninjku, maningrida, loan -
Federation University Art Collection
Work on paper - Printmaking -Aquatint etching, 'Dog' by Geoffrey Ricardo, 1995
GEOFFREY RICARDO Born 1964, Melbourne, Australia 1984-86 Bachelor of Arts (Fine Art), Printmaking, Chisholm Institute of Technology, Melbourne 1987-89 Printing Assistant at Bill Young Studios, Editioning intaglio prints, King Valley, VIC 1988 Full-time Studio Technician at Printmaking Department, Chisholm Institute of Technology, Melbourne 1989-90 Graduate Diploma (Fine Art), Printmaking, Monash University, Melbourne 1991 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed limited edition print This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.art, artwork, geoffrey ricardo, printmaking, etching, aquatint -
Surrey Hills Historical Society Collection
Photograph, Painting of Thomas Carlyle Lothian by artist Ernest Buckmaster
Ernest Buckmaster (1897-1968) was born in Hawthorn. He was not a strong boy and was taken by his grandparents to help on their mixed farm at Box Hill until he was fourteen. He attended the local state school. In 1913 he was apprenticed to James Beament, a signwriter and amateur artist. After he was rejected for military service, Beament encouraged him to join the Victorian Artists Society and to enrol at the National Gallery Art School. On 24 August 1945 he was appointed an official war artist, commissioned to paint the Japanese surrender in Singapore. He completed twenty-five pictures for the Australian War Memorial. Lothian published his book 'The Art of Ernest Buckmaster' in 1951. REF: ADB entry. Thomas Carlyle Lothian (1880-1974), publisher and publishers' representative, was born on 7 May 1880 at Newcastle-upon-Tyne, England, eldest child of John Inglis Lothian, bookkeeper, and his wife Lillias Charlotte, née Smith. He arrived in Melbourne in July 1888, John having come to represent the publishing firm of Walter Scott. In 1912, on his father's retirement, he formed the company of Thomas C Lothian Pty Ltd. Following the outbreak of war, he formed the Lothian Book Publishing Co. Pty Ltd (from 1924 the Lothian Publishing Co. Pty Ltd). By 1918 he had published more than half of his total of some 230 titles, including, in 1916, his two most ambitious productions, Elves and Fairies, illustrated by Ida Outhwaite, and The Art of Frederick McCubbin.A black and white photograph of a man, wearing glasses and a suit coat, shirt and tie.thomas lothian (mr), ernest buckmaster (mr), windsor crescent, surrey hills, john lothian (mr), house names, york street, greenhaze, mont albert road, barton street, 'st abbs', 'tantalton' -
Surrey Hills Historical Society Collection
Photograph, Parer family portrait
Members of the Parer family began arriving in Australia from 1852. By the 1890s several had settled in Surrey Hills and Box Hill. Identification is as follows: Back L to R: Phillip ( ), Stephen, Joseph, Francis. Front L to R: John, Tici, Eulalia, Tia. Phillip lived at 'Monserrat' in Mont Albert Road (land later subdivided so that house was renumbered as a Weybridge Street address. Stephen was was the youngest child of Antonio and Josefa Parer. He left for Australia when he was 17 years old and landed in Melbourne in 1888 and went straight to work at Parers’ Crystal Palace for his brother Francis. Stephen preferred the outdoors and went to work on the family market garden in Box Hill. Joseph was the first Parer to arrive in Australia, in 1855. He and his brother Francis created the Parer dynasty in Australia, bringing all the family members from Spain and offering them work in their hotels. Francis Parer was born in Alella in 1836 and left for Australia when he was 17. In partnership, he commenced a business of general produce dealers in Little Bourke Street. He later entered the hospitality business buying in partnership the ‘Spanish Restaurant’ on Elisabeth Street and later, the Victoria Restaurant on Bourke Street with his brothers. In 1870 he purchased 40 acres of land at Box Hill at £15 per acre. The property became a famous market garden where he grew all kinds of vegetables and orchards. It is believed the first tomatoes in Australia were grown there. Juan or John lived in 'Gerona' in Weybridge Street. Eulalia Parer married Marcus Clota at Alella on 9 September 1867 and came to Australia in 1876. They lived in Guildford and Union Roads. Tia Marieta married and lived in Guildford Road. There are many members of the family buried in Box Hill Cemetery. Black and white formal studio portrait of 8 members of the Parer family mounted on brown board. There are 4 men standing and one man and 3 women seated.White paper label stuck to rear: "THE ORIGINAL PARER FAMILY WHO SETTLED IN AUSTRALIA - 1852. / Photograph with compliments of SANS family."phillip parer, stephen parer, box hill cemetery, joseph parer, francis parer, john parer, tici parer, eulalia parer, tia parer, "monserrat" -
Federation University Art Collection
Painting - Oil, et al, [The Green Vase] by David Strachan, c1948
David STRACHAN (1919–1970) Born 25 June 1919 at Salisbury, Wiltshire, England Arrived 1920 Adelaide, Australia: 1921 Creswick, Victoria David Strachan attended Creswick State School and Geelong Church of England Grammar school. By the age of 16 he wanted to be an artist. Accompanying his mother to London in 1936, he enrolled at the Slade School of Fine Art, where he met Godfrey Miller. In 1937 he attended the Académie de la Grande Chaumière, Paris, and painted at Cassis on the Mediterranean Sea. He returned to Australia in April 1938 and studied at the George Bell School, Melbourne. He had a growing interest in classicism blended with a fascination for the dream-state which was reinforced in his work after he moved to Sydney in 1941. There he was befriended by Jean Bellette and her husband Paul Haefliger, who were to be driving forces behind the Sydney Art Group (founded 1945). He lived on the top floor of the Haefligers' house at Double Bay, and together the three artists drew from models whom the Haefligers hired. In this period Strachan painted and exhibited some of his most poetic works—mainly figurative and landscape subjects, and still-lifes of haunting beauty. His flowers, bowls of fruit, birds, and angelic figures glimmered out of the darkness as things not of this world, evoked faintly, like mythological personages in a gently spoken narrative. He 'spent an erratic war' painting camouflage at Bankstown aerodrome with other artists, among them (Sir) William Dobell, and dancing minor roles with Hélène Kirsova's ballet company. In 1948 Strachan settled in Paris. His paintings, included by Peter Bellew in an exhibition at the Musée National d'Art Moderne, had been well-received by French critics two years earlier. In 1950 he began tentative experiments in etching. These led to the formation of the Stramur-Presse, a business venture which published etchings and lithographs of leading French and English artists. His most important project was a series of twenty-two colour etchings illustrating Alister Kershaw's book of poems, Accent & Hazard (Paris, 1951). Strachan continued to exhibit in Australia and maintained a lively social life with Australian friends. From Paris, he went for weekend painting trips with Moya Dyring in her car and, after 1957, visited the Haefligers on Majorca. He lived in London in 1955-57. His paintings became progressively less soft in effect, his palette brightened, and his forms, especially the still-lifes, became spikier. In the late 1950s his attention drifted towards the study of Hindu philosophers and Jungian psychology. For most of 1957-58 he was enrolled at the C. G. Jung-Institut, Zürich, Switzerland. In 1959 he worked in Silvio Daneo's silkworm factory at Bricherasio, Italy. In May 1960 Strachan returned to Sydney. He lived at Woolloomooloo before buying a house at Paddington in 1963. Over the ensuing years he involved himself energetically with the art scene, exhibiting, teaching (1960-65) at East Sydney Technical College, fund-raising for memorials for Thea Proctor and Dyring, and as the last president (1965) of the Society of Artists. His paintings were out of harmony with the prevailing fashion for abstraction, but he won the Wynne prize for landscape painting in 1961 and 1964 (shared). Perhaps the most moving works of Strachan's last ten years were the mining landscapes, including those he painted near Hill End, leading up to his vast canvas, 'Lewers Freehold Mine'. This was a history picture, depicting the mine as it might have appeared in 1874. He presented it to the Creswick Historical Museum in 1970 in memory of his father. (Barry Pearce, 'Strachan, David Edgar (1919–1970)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/strachan-david-edgar-11786/text21083, published first in hardcopy 2002, accessed online 6 January 2016.) This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed still lifefeaturing fruit and flowers.art, artwork, strachan, david strachan, still life, flowers, flora, available -
Federation University Art Collection
Ceramic, John Dermer, Salt Glazed Stoneware Pot by John Dermer, 1977
John DERMER (1949- ) Born Melbourne, Victoria John Dermer studied Ceramics at the Royal Melbourne Institute of Technology and Hawthorne State College (Diploma of Education), before working in potteries in England. Upon his return to Australia he established "Kirby's Flat Pottery" studio at Yackandandah, Victoria in 1974. John is proudly a product of the Leach/Hamada movement in ceramics. He sees this as a tradition that for him represents the essence of working with clay. The lines are pure and balanced while the forms are honest, proud and passionate. Yars of research and experience in salt glazing were rewarded in 2006 when John Dermerwon the highly prestigious Saltzbrand Keramik International Award in Koblenz, Germany. Another avenue of ceramics for which John is renowned is in the field of terra sigillata. This passion had its foundation back in 1987 when he received a major commission from Romaldo Giurgola and Pamille Berg for the new Parliament House in Canberra. During the completion of these massive pieces for the Prime Minister’s suite and Cabinet entry he had to invent and develop methods for decorating and firing the pots successfully. The completed pieces are still regarded by John as some of his finest works. John Dermer was a visiting lecturer to the Gippsland Centre of Art and Design (GCAD). This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Salt glazed stoneware pot This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Signed on base 'John Dermer'john dermer, ceramics, artwork, artists, gippsland campus, jan feder memorial ceramics collection, salt glaze, kirby's flat pottery, stoneware -
Albert Park-South Melbourne Rowing Club
Moore Sculling Machine
"Grace Blake’s conversations with older members of the Club have elicited the following information during July 2014: • Don Christie recalls the machine being acquired by (or donated to) SMRC in the 1960s. SMRC later donated it to APRC. • Bob Duncan remembers it being at APRC. • Max Shaw joined the club in 1946 but doesn’t recall it at all. • Peter Watson recalls collecting the rowing machine from the old APRC club house before its demolition (c. 1995). The AP-SMRC machine carries a ‘maker’s plate’ with the name Moore... Moore Crane and Engineering Company Pty Ltd was a subsidiary of Malcolm Moore Industries Ltd whose manufacturing engineering works were located on Williamstown Road, Port Melbourne from 1927. The founder established the main business in 1921 and retired in 1953.21 The business was delisted from the Australian Stock Exchange in 1976. Grace Blake advises that some of the earlier SMRC members were plumbers and therefore worked in trades connected with engineering. She reports that Peter Watson recalls some of his contemporaries completing their engineering apprenticeships at Malcolm Moore Industries Ltd in the 1970s. There are still many unanswered questions concerning the history and provenance of the rowing machine at the time of writing this report, but the connection with a local engineering works is certainly fascinating. Questions to explore in the future include: Did Moore manufacture the machine, or import it (and perhaps assemble it) under licence? Was this machine a ‘one-off’ or did Moore make / distribute others within Australia? When, why and how did SMRC acquire the machine? Why did SMRC decide not to retain it, but to pass it over to APRC? And how did APRC use it?" 2014 Significance Assessment, pp38-40. "The ‘Moore’ Rowing Machine at the Albert Park – South Melbourne Rowing Club (AP- SMRC) is a rare example in Australia of the Kerns patent design from 1900. This machine may not, however, be that old in construction or use. The AP-SMRC machine is almost intact, appearing to lack only the leather straps for fastening the rower’s feet to the foot-rests. Spalding manufactured the design in the USA in the early decades of the 20th century, but the metal elements in its models are traditionally black. The bright red paint on the AP-SMRC machine suggests something different. The AP-SMRC machine carries a maker’s plate that associates it directly with a local engineering business, Malcolm Moore Industries Ltd of Williamstown Road, Port Melbourne. Club members recall the machine being at the South Melbourne Rowing Club in the 1960s, and being transferred at a later date to the Albert Park Rowing Club. The machine has not been used since the founding of the amalgamated AP-SMRC and requires careful conservation. The ‘Moore’ rowing machine is of national research significance as a rare survivor, in Australia, of the well-regarded Kerns patent design that was popularised by Spalding in the northern hemisphere. The English River and Rowing Museum website quotes a testimonial from an AG Spalding & Bros’ Mail Order Catalogue: ‘This machine was described by ‘an experienced oarsman’ ... “to be the most perfect rowing machine ever produced”. A feature was the adjustment of the resistance so “the weaker sex can use the machine”’. Its historic significance lies in its rarity (and perhaps uniqueness) as an aid to the training of rowers at two successful clubs on Albert Park Lake. Additional historic significance lies in the connection that the rowing machine represents between local rowing clubs and a major local manufacturing engineer. The ‘Moore’ rowing machine bridges the realms of innovation and application, of industry and recreation, of land-based and aquatic sports, and of two neighbouring rowing clubs on the Albert Park Lake." 2014 Significance Assessment, p43"A rowing machine that appears to be built to the Kerns patent design from 1900 but may not be that old in construction or use. The machine is heavy and includes parts made from cast iron. The cast iron components are painted in a distinctive bright red. The wooden seat moves on timber slides. Resistance is created by spring mechanisms at the ends of two frame elements that connect with two wooden ‘oars’, and by the central chain-driven system that co-ordinates with the rower’s movements. The machine carries a maker’s plate with the single word ‘Moore’ in an oval design, using white letters against a navy background, fastened to the base board and close to the foot-rests." 2014 Significance Assessment, p38Moorerowing, apsm rowing club, significance assessment, malcolm moore industries ltd, kerns, 1900, sculling machine, albert park rowing club, south melbourne rowing club, albert park lake, rowing machine, ergo -
Kew Historical Society Inc
Legal record - The Indenture, Crown Portion 86, otherwise known as 'The Morgan Deed', 1852 (and later)
This indenture once formed part of the City of Kew's Municipal Collection. Cr. W.D. Vaughan in his history 'Kew's Civic Century' (1960) records on page 194 that: "The original deed of conveyance of the land being all of Crown Portion 86, Kew, purchased by John Quick, James Venn Morgan, Samuel Derrick and William Derrick was presented by the Historical Society of Victoria on behalf of Mrs Fryer, a daughter of the later J.V. Morgan, to the [Kew] Council on August 5, 1941. Crown Portion 86, comprised all the land between Cotham Road and High Street to an alignment opposite the east boundary of Glenferrie Road. On it the first residential house was built by Mr. J.V. Morgan in 1852." Following the donation, the Indenture was surrounded by other original related text and explanatory notes and framed. The resulting framed documents are the largest framed objects in the collection.The Indenture and the accompanying contextual documents are some of the most historically significant manuscripts to have survived since the settlement of Kew in the 1850s. They provide a link to Kew's most famous pioneering families.Framed 1952 Indenture recording the sale of land in Kew to pioneering Kew families.james venn morgan, john quick, william derrick, samuel derrick, kew (vic) - history, kew (vic) - pioneers, samuel watts, kew (vic.) — municipal collection -
Kew Historical Society Inc
Photograph - Digital Photographs [Series], Robert Baker, Exhibition ~ Josiah Earl Barnes: The Embarkation Photographer, Kew Court House, 2015
From its beginnings in 1958, the Society has mounted exhibitions and/or displays, in early days in shop windows and in community spaces located in the Kew City Hall (later Kew Library), and since 2010 at the Kew Court House. Exhibitions typically coincided with the annual Kew Community Festival in March, but after 2013 evolved into three new exhibitions yearly at the Kew Court House. Smaller displays continue to be mounted in the Kew Library.Born digital series of photographs of an exhibition focusing on the World War I work of the Kew photographer, Josiah Earl Barnes, also known as 'the embarkation photographer'. All the images in the exhibition were lent by three of his descendants. The exhibition formed the Kew Historical Society's major contribution to the Gallipoli and Beyond Commemorations. photographers - kew (vic) - josiah earl barnes, j.e. barnes - the embarkation photographer, australian photography - world war 1 - 1914-1918, wwi -
Kew Historical Society Inc
Photograph - Ceiling fresco, Ballroom, ‘Southesk’, Cotham Road, Stewart West, 1970
Colour enlargement of a photograph (slide) of Southesk (formerly Ordsall) in Cotham Road, Kew (demolished 1970).The ceilings of and architraves of Ordsall were painted by artists employed by the decorating company, Cullis Hill & Co. The frescos, of which fragments survive, were some of the most important murals used as elements of interior decoration in Melbourne during the Boom Period of the 1880s. These photographs were taken immediately prior to the demolition of the house, and are the best examples of the murals.The most significant decorative aspects of Southesk (formerly ‘Ordsall’) were the murals in the front two rooms. An article in the Melbourne Argus in 1882 records that Mr Vandenbrandt and Signor Rizzi created these under the supervision of Cullis Hill. This fresco from the ceiling of the ballroom is believed to depict two of the Seasons. Signor Rizzi was a renowned painter of flowers. He is credited with painting these parts of the murals. Examples of his floral paintings can still be seen at Villa Alba in Walmer Street.david carnegie, john halfey, southesk - cotham road - kew (vic), ordsall - cotham road - kew (vic) -
Tatura Irrigation & Wartime Camps Museum
Photograph, Female Office in Mustard Uniform - caricature, 1941-1946
Hans Walter von Gruenewaldt was a German POW who used his artistic ability to paint several large mural caricatures whilst he was held at Camp 13 at Murchison. The technique he used was colourful house paint, painted directly onto the walls of the German mess hut, reading room and recreation hall. After the war, the recreation hall paintings and all, was moved from the camp to the nearly town of Murchison and used as the RSL local dance hall for 50 years. When the hall was demolished the paintings were restored and framed by citizens of Murchison. The von Gruenewaldt murals presently hang in the David Jones Nursing home and other public buildings in Murchison.Photograph of caricature painted on mess hut wall. Female office in mustard uniform with green hat. The office is accompanied by a dog (coloured). hans walter von gruenewaldt, german pow, internment camp 13, murchison victoria, caricatures -
Tatura Irrigation & Wartime Camps Museum
Photograph, naval officer in full uniform - caricature, 1941-1946
Hans Walter von Gruenewaldt was a German POW who used his artistic ability to paint several large mural caricatures while he was held at Camp 13 at Murchison. The technique he used was colourful house paint, painted directly onto the walls of the German mess hut, reading room and recreation hall in compound 13D. The paintings were completed over a duration of six years (1941-1946). Colour photo of a caricature painting by Hans Walter von Gruenewaldt depicting a naval officer in full uniform.hans walter von gruenewalt, german pow's, camp 13 murchison, pow camps, caricatures -
Tatura Irrigation & Wartime Camps Museum
Photograph, sergeant holding a swaggers stick - caricature, 1941-1946
Hans Walter von Gruenewaldt was a German POW who used his artistic ability to paint several large mural caricatures while he was held at Camp 13 at Murchison. The technique he used was colourful house paint, painted directly onto the walls of the German mess hut, reading room and recreation hall in compound 13D. The paintings were completed over a duration of six years (1941-1946). Colour photo of a caricature painting by Hans Walter von Gruenewaldt depicting male staff - sergeant holding a swaggers stick, accompanied by "Micky Mouse" in staff sergeant uniform.hans walter von gruenewalt, german pow's, camp 13 murchison, pow camps, caricatures -
Tatura Irrigation & Wartime Camps Museum
Photograph, female highland dancer - caricature, 1941-1946
Hans Walter von Gruenewaldt was a German POW who used his artistic ability to paint several large mural caricatures while he was held at Camp 13 at Murchison. The technique he used was colourful house paint, painted directly onto the walls of the German mess hut, reading room and recreation hall in compound 13D. The paintings were completed over a duration of six years (1941-1946). Colour photo of a caricature painting by Hans Walter von Gruenewaldt depicting female highland dancer.hans walter von gruenewalt, german pow's, camp 13 murchison, pow camps, caricatures -
Tatura Irrigation & Wartime Camps Museum
Photograph, Australian swaggy and magpie - caricature, 1941-1946
Hans Walter von Gruenewaldt was a German POW who used his artistic ability to paint several large mural caricatures while he was held at Camp 13 at Murchison. The technique he used was colourful house paint, painted directly onto the walls of the German mess hut, reading room and recreation hall in compound 13D. The paintings were completed over a duration of six years (1941-1946). Colour photo of a caricature painting by Hans Walter von Gruenewaldt depicting a male, typical Australian swaggy, magpie looking on.hans walter von gruenewalt, german pow's, camp 13 murchison, pow camps, caricatures -
Tatura Irrigation & Wartime Camps Museum
Photograph, Male Cossack dancer - caricature, 1941-1946
Hans Walter von Gruenewaldt was a German POW who used his artistic ability to paint several large mural caricatures while he was held at Camp 13 at Murchison. The technique he used was colourful house paint, painted directly onto the walls of the German mess hut, reading room and recreation hall in compound 13D. The paintings were completed over a duration of six years (1941-1946). Colour photo of a caricature painting by Hans Walter von Gruenewaldt depicting a cossack dancer, male.hans walter von gruenewalt, german pow's, camp 13 murchison, pow camps, caricatures -
Tatura Irrigation & Wartime Camps Museum
Photograph, male and female dancers - caricature, 1941-1946
Hans Walter von Gruenewaldt was a German POW who used his artistic ability to paint several large mural caricatures while he was held at Camp 13 at Murchison. The technique he used was colourful house paint, painted directly onto the walls of the German mess hut, reading room and recreation hall in compound 13D. The paintings were completed over a duration of six years (1941-1946). Colour photo of a caricature painting by Hans Walter von Gruenewaldt depicting male and female dancers.hans walter von gruenewalt, german pow's, camp 13 murchison, pow camps, caricatures -
Tatura Irrigation & Wartime Camps Museum
Photograph, native woman carrying a baby - caricature, 1941-1946
Hans Walter von Gruenewaldt was a German POW who used his artistic ability to paint several large mural caricatures while he was held at Camp 13 at Murchison. The technique he used was colourful house paint, painted directly onto the walls of the German mess hut, reading room and recreation hall in compound 13D. The paintings were completed over a duration of six years (1941-1946). Colour photo of a caricature painting by Hans Walter von Gruenewaldt depicting a native woman carrying a baby on her back.hans walter von gruenewalt, german pow's, camp 13 murchison, pow camps, caricatures -
Tatura Irrigation & Wartime Camps Museum
Photograph, Dutch man smoking pipe - caricature, 1941-1946
Hans Walter von Gruenewaldt was a German POW who used his artistic ability to paint several large mural caricatures while he was held at Camp 13 at Murchison. The technique he used was colourful house paint, painted directly onto the walls of the German mess hut, reading room and recreation hall in compound 13D. The paintings were completed over a duration of six years (1941-1946). Colour photo of a caricature painting by Hans Walter von Gruenewaldt depicting one Dutch man smoking a pipe, wearing a light blue top, patched brown trousers and clogs.hans walter von gruenewalt, german pow's, camp 13 murchison, pow camps, caricatures -
Tatura Irrigation & Wartime Camps Museum
Photograph, German Waitress carrying beer mugs - caricature, 1941-1946
Hans Walter von Gruenewaldt was a German POW who used his artistic ability to paint several large mural caricatures while he was held at Camp 13 at Murchison. The technique he used was colourful house paint, painted directly onto the walls of the German mess hut, reading room and recreation hall in compound 13D. The paintings were completed over a duration of six years (1941-1946). Colour photo of a caricature painting by Hans Walter von Gruenewaldt depicting one German waitress carrying mugs of beer.hans walter von gruenewalt, german pow's, camp 13 murchison, pow camps, caricatures -
Tatura Irrigation & Wartime Camps Museum
Photograph, Male dancer in Spanish hat - caricature, 1941-1946
Hans Walter von Gruenewaldt was a German POW who used his artistic ability to paint several large mural caricatures while he was held at Camp 13 at Murchison. The technique he used was colourful house paint, painted directly onto the walls of the German mess hut, reading room and recreation hall in compound 13D. The paintings were completed over a duration of six years (1941-1946). Colour photo of a caricature painting by Hans Walter von Gruenewaldt depicting one male dancer, red jacket, white shirt, black trousers and Spanish hat.hans walter von gruenewalt, german pow's, camp 13 murchison, pow camps, caricatures -
Tatura Irrigation & Wartime Camps Museum
Photograph, Female Spanish Dancer - caricature, 1941-1946
Hans Walter von Gruenewaldt was a German POW who used his artistic ability to paint several large mural caricatures while he was held at Camp 13 at Murchison. The technique he used was colourful house paint, painted directly onto the walls of the German mess hut, reading room and recreation hall in compound 13D. The paintings were completed over a duration of six years (1941-1946). Colour photo of a caricature painting by Hans Walter von Gruenewaldt depicting one female Spanish dancer. Long yellow flounced dress, holding a black fan.hans walter von gruenewalt, german pow's, camp 13 murchison, pow camps, caricatures -
Tatura Irrigation & Wartime Camps Museum
Photograph, Female European Dancer - caricature, 1941-1946
Hans Walter von Gruenewaldt was a German POW who used his artistic ability to paint several large mural caricatures while he was held at Camp 13 at Murchison. The technique he used was colourful house paint, painted directly onto the walls of the German mess hut, reading room and recreation hall in compound 13D. The paintings were completed over a duration of six years (1941-1946). Colour photo of a caricature painting by Hans Walter von Gruenewaldt depicting female European dancer, light blue top, darker blue skirt, red boots.hans walter von gruenewalt, german pow's, camp 13 murchison, pow camps, caricatures -
Tatura Irrigation & Wartime Camps Museum
Photograph, Asian Lady with Donald Duck - caricature, 1941-1946
Hans Walter von Gruenewaldt was a German POW who used his artistic ability to paint several large mural caricatures while he was held at Camp 13 at Murchison. The technique he used was colourful house paint, painted directly onto the walls of the German mess hut, reading room and recreation hall in compound 13D. The paintings were completed over a duration of six years (1941-1946). Colour photo of a caricature painting by Hans Walter von Gruenewaldt depicting female Asian lady, leading Donald Duck.hans walter von gruenewalt, german pow's, camp 13 murchison, pow camps, caricatures -
Tatura Irrigation & Wartime Camps Museum
Photograph, RSL Hall Murchison, 1941-1946
Hans Walter von Gruenewaldt was a German POW who used his artistic ability to paint several large mural caricatures while he was held at Camp 13 at Murchison. The technique he used was colourful house paint, painted directly onto the walls of the German mess hut, reading room and recreation hall in compound 13D. The paintings were completed over a duration of six years (1941-1946). Colour photo of stage of the RSL Hall Murchison.hans walter von gruenewalt, german pow's, camp 13 murchison, pow camps, caricatures -
Tatura Irrigation & Wartime Camps Museum
Photograph, Leo Baker Collection, 2001
Photographs taken by Leo Baker in 2001. Originals in his possession.leo baker collection, tatura buildings 2001, anglican church, catholic church, activity centre, swimming pool, clock tower, court house, senior citizens clubrooms, lake bartlett, hilltop clubhouse, old steel water tower, criterion hotel, bowling club, photograph, buildings -
Geelong Naval and Maritime Museum
Photograph, Crew Ashore, May 1920
... of the Geelong Advertiser in his hands. Osborne House was used as a Naval ...Osborne House was used as a Naval College from 1915-1917 it was served as a Naval Convalescent Hospital, followed by the home of Australia's first submarine fleet (1919-1924) and a training base during WW2.It is possible this photograph taken in 1920 shows a crew from the submarine fleet. This photograph is historically significant, it represents use of the building by the Navy and was taken onsite at the training facility. The crew and dogs are wearing a variety of clothing suggesting they were performing or having a break from work. This photograph is significant for its connections to Victoria's history of defense and building Geelong's workforce.A black and white photograph showing a crew ashore in May 1920. The photograph has been taken out the front of the stables at Osborne House, Geelong. Photo shows 15 crew members and 3 dogs dressed up. One crew member holds a copy of the Geelong Advertiser in his hands.osborne house stables, australian naval college, submarine fleet -
Geelong Naval and Maritime Museum
Postcard, Photograph of Claude Vincent Drury, c.1922-1925
Claude Vincent Drury (Service No. 10536) commenced with the RAN in December 1922. His records show he served for a period of 3 years and was stationed at the London Depot and on the HMAS Cerberus and HMAS Geramium (survey ship) between 1922-1925 (National Archives online, Series A6770, Barcode 4414684).This photograph is significant for its historical connections to Claude Vincent Drury who served in the RAN during the early to mid 1920s.Postcard from Claude Vincent Drury (c.1922-1925) in uniform with a hat with "Cumberland" on it to Elsie and Clarence.Handwritten message "From Claude/ To Elsie/ and Clarence/ with love" Printed on back of postcard "Photo by C. Purris(?) ... Photographic Studio,/ 101 Fore Street Devon ... 4863"claude vincent drury, hms cumberland -
Geelong Naval and Maritime Museum
Hat, Imperial Japanese Navy, 1943
The hat was picked up at sea by a German Sailor serving on the blockade runner RAMSES. It was giver to RAN sailor A. Tarr when HMAS Adelaide rescued survivors after the sinking of the RAMSES. The Japanese Ministry of Health, Labour and Welfare provided some information about Shigeyoshi Higuchi. He was a sailor but did not serve on a ship. After WWII, he returned safely home to his family.This hat is significant as a tangible connection to wartime service by Japanese sailor Shigeyoshi Higuchi.A dark blue circular velvet hat lined with black cotton on the inside with four studs. A square label with printed and hand written Japanese characters is attached to the underside of the hat.Part of the label has been translated from Japanese into English. It indicates the owner of the hat was Shigeyoshi Higuchi, who was based in Nagasaki Sasebo. His military number was (some kanji) and 1274. The hat was made in April 1943.japanese imperial navy, ramses, hmas adelaide, shigeyoshi higuchi, nagasaki sasebo -
Geelong Naval and Maritime Museum
Diary, L. A. Reynolds, J. N. Preston HMAS Vendetta, Mid 20th Century
John Nesbeit Preston was born on 5 October 1897 in Gisbourne, New Zealand. He served in the RAN from 1919 to 1942. He served on the Stuart (Vendetta) from 1941 - 1943.This diary is a significant primary source detailing the daily life of J.N. Preston's service for the RAN on the HMAS Vendetta and other vessels during World War II. It represents a detailed account of his travels and experience of war.A small diary with a navy cover. Hand written entries begin 9th January 1941. Describes J. N. Preston's daily life, routine and experiences during his service from 1941 during World War II. "Diary" stamped on front cover. Made in Australia. "L.A. Reynolds/ For Music/ Records/ Instruments/ Allan's Pianos/ Murray St, Colac. CAR 14150j. n. preston, hmas vendetta, world war ii, geelong naval and maritime museum