Artists Of The Bendigo Goldfields 1852 - 1864. Short notes on the paintings and their artists. This Collections was exhibited at the Bendigo Art Gallery, 9 March - 9 April,1989. The Artists were: Ludwig Becker, Edward Thomas Barnard, Nicholas Chevalier, William Dexter, Alexander Fox, S. T. Gill, Thomas Ham, Theodore King, George Lacy, Frederick Nixon, J. A. Panton, C. Rudston Read, George Rowe, G. J. W. Russell, Edwin Stocqueler, A. J. Stopps, W. E. D. Sturat, Thomas Wright. With Index. 32 pages.David Thomasbook, bendigo, paintings, books, catalogues, and newspapers.

Small drawing of St. Andrew's Uniting Church in Myers Street, Bendigo. The drawing in is a green frame. On the back: St. Andrew's Uniting Church in Myers Street, Bendigo, Australia by Bendigo artist Keith Ross, www.keithrossartist.com The year 2004 marked 150 years of worship on this site. The first services were held in a tent, then in a more substantial building which was replaced in 1930 by the present one. Architects were G.D. Garvin and G. Eathorne. October 2004 saw the celebration of this important sesquicentenary.church, history, st andrew's

a/ The Stuttgart Trio, Music Advancement Society Bendigo. Presented in Australia by Musica Viva. Rainer Kussmaul - Violin, Monika Leonhard - Piano, Peter Hahn - Cello. The Stuttgart Trio were formed in 1968 and in their first year of existence won the Mendelssohn Prize in Berlin, an award in the Concert by Young Artists Series in Hanover and in. . . Programme. Post April 1974. b/ Program insert to announce a change in the program.musical instruments, string, music advancement society bendigo, the stuttgart trio, music advancement society bendigo. presented in australia by musica viva. rainer kussmaul - violin, monika leonhard - piano, peter hahn - cello. formed 1968 and in their first year won the mendelssohn prize in berlin, award concert by young artists series in hanover. . . programme. post april 1974.

Photographed by Alison Kelly while she was joint caretaker of the building during the Mission Arts Centre days 1987 to 1991From album of photos mostly by Alison Kelly: Port Melbourne Missions to Seamen, Chaplain's lounge room while living quarters for artist Michael Nichols, interim caretaker while Brian Couldrey and Alison Kelly were touring port tourism installations overseasmissions to seamen, built environment, alison kelly

Shop due for demolition was purchased by artist Helen ..... and restored keeping most of it intact. These pictures were taken at the time of sale by Russell POLSON, a descendant of the Bellions. They were brought in for copying in 1991 by the Bellion's granddaughter, Margaret BRIDE.24 photos taken by Russell POLSON in 1991 of Benjamin Henry BELLION (original builder) and Elzabeth Sarah WALKER's shop and shipping business at 175 Stokes Street.. 1870 to 1959. (.01) cash drawer. (.02) windows. (.03) stables (.04) backyard (.05) back house (.06) bathroom (.07) fireplace (.08) bedroom (.09) stairs (.10) cupboard (.11) shelves (.12) drawers (.13) bench (.14) bench 2 (.15) under windows (.16) bench and door (.17) under stairs (.18) windows 2 (.19) door (.20) stables and yard (.21) backwindow (.22) sideway (.23) kitchen (.24) upstairsbusiness and traders - grocers and supermarkets, built environment - commercial, benjamin bellion, william j bellion, helen leitch, a peterson

Booknon-fictionExplores the lives, ideas and artworks of women in the Surrealist Movement including Frida Kahlo, Meret Oppenheim Dorothea Tanning and Leonora Carrington, alongside their more well-known male counterparts.painting, drawing, collage, photography, surrealism

non-fictionTraces three periods of Hanrahan's practice: early development; first major period of printmaking 1963 to 1967 and her second since 1967. Focuses on major themes and motifs and contains a small proportion of images made since 1960, many exploring her family and womens' lives. These themes and the tactile quality of her practice are woven into her 9 published novels, and text often appears in the prints. Includes list of solo exhibitions, a bibliography and biographical details.printmaking, lithography, etching, linocut, screenprinting, wood engraving, writing, sexuality, family, identity, drypoint, popular culture, body, motherhood, ageing, gender

non-fictionProfessor of Art Linda Nochlin, and critic and art historian Thomas B. Hess respond to the question "Why have there been no great women artists?'. Nochlin writes of 'the women question' in art and beyond, addressing barriers in education and art schools negating full participation or studying the nude, the limiting definitions of 'greatness', domestic demands and class, and maintains it is the institutional structures that are the key to equality, and it is these which should be challenged and reformed. Hess addresses wrong attribution, the studio system, the relative freedoms in the Middle Ages before the Renaissance emphasised the male genius ideal and self confidence. Ten replies from artists follow, mainly responding to Nochlin's treatise. Elizabeth Baker, writes the final essay, charting the changes in regards to representation including issues surrounding quotas, recognition, the debates surrounding the contested definitions of female and feminist artists.and the frequent lack of support by female dealers, critics and curators.essays, feminism, studio practce, art history, gender, politics, discrimination, museolgy, curatorship, identity

Booknon-fictionSixteen illustrated essays by various writers on the works and practice of women surrealists working in Europe, the United Kingdom and the United States in the 20th century.surrealism, merit openheim, leonora carrington, valentine hugo, remedios varo, leonor fini, elléouët

Booknon-fictionWritten by two muralists and a sociologists the book documents the community based mural movement in the late 60s and early 70s in Canada and the USA.political art, revolutionary art, community arts, large scale works

Booknon-fictionAnthology of articles on the history and theory of community arts in Australia written by artists and artsworkers involved. community arts, collaborative practice, art history, political art, community arts network, aboriginal land rights

Photographed by Alison Kelly while she was joint caretaker of the building during the Mission Arts Centre days 1987 to 1991From album of photos mostly by Alison Kelly: Port Melbourne Missions to Seamen, southeastern corner of Chaplain's lounge room 1990, while living quarters for artist Michael Nichols, interim caretaker while Brian Couldrey and Alison Kelly were touring port tourism installations overseasmissions to seamen, built environment, alison kelly

Engraved eggs were donated by folk artists form the Hutsul region of Ukraine.The eggs have traditional Hutsul folk motifs depicted .Four wooden eggs with geometric engravings and coloured with traditional folk motifs and a surface laquerred finish.

Long Gully is a suburb of Bendigo, 3 km north-west of the city's centre. The Long Gully Creek signifies the physical location of the suburb, and the Long Gully reefs ran southwards from Eaglehawk. It was particularly rich, realising yields as high as five ounces of gold to the ton.Four black and white photos of a painter's studio in Creeth Street, Long Gully, Bendigo. The photos were of very low quality and have been restored as much as possible. The photos are of: 8679a Three women in long dresses and two men sitting around a table having tea in front of a mantle-piece. Several paintings are on the wall above. 8679b Four female artists (or students) painting pictures. They are supervised by a man and a woman. Various pieces of art are on the wall and floor around them. A painter's pallet is open on the floor in the foreground. 8679c Three women and one man are viewing pictures in the studio. 8679d Paintings on display in the studio history, bendigo, creeth street long gully, artist studio

Bendigo Advertiser "The way we were" from 1999. Snap: the former Bartlett Bros photographic studio in Williamson Street dominated photography in Bendigo for almost 50 years. Much of that time it was managed and owned by Robert Bugg, photographer and artist. The business was later acquired by Vincent Kelly, Reg Brock, Martin&Aulsebrook and more recently by the London Pharmacy.newspaper, bendigo advertiser, the way we were

Bendigo Advertiser "The way we were" from 1999. Historic: W.J. Straughair was in Mitchell Street, Sandhurst. Specialising in artists' materials, it was also a house, land and commission agent.newspaper, bendigo advertiser, the way we were

Bendigo Advertiser "The way we were" from 1999. Historic: W.J. Straughair was in Mitchell Street, Sandhurst. Specialising in artists materials, it was also a house, land and commission agent.newspaper, bendigo advertiser, the way we were

The century-old paintings of Bendigo gold mines made the long journey home from Western Australia in 2012. The paintings of the Great extended Hustler’s Mine, Bendigo, and Koch’s Pioneer Gold Mine, Long Gully, were painted by C.G Robertson in 1901.For years the paintings sat in the Perth house of Charles and Grace Strue; however Ian and Katinka Napier, the grand-daughter of Mr and Mrs Strue, donated the paintings to the Bendigo Historical Society.DVD. Hustler's Gold. Hustlers Reef paintings. artist C G Robertson 1901, for one painting. Second Hustler Extended Bendigo.bendigo, mining, c. g. robertson artist

Naive painting of the Creswick Post Office painted on site, "en plein air", part of his recording of the town. Litherland was born in Odessa in 1897 and arrived in Creswick in 1938, where he lived until his death in 1978. This painting and 65 others were bequeathed to the town by him.This painting records the life of the town of Creswick at a moment of time, in the naive style. Litherland became a character about town and a noted artist. He is represented in the National Gallery of Victoria, the Art Gallery of Ballarat, the National Gallery of Australia and other regional galleries.Gouache painting on paper of Creswick Post Office in the naive style. Framed by artist. Named on the back by the artist.Signed lower middle "Victor Litherland" and dated 1963. On the back the name "Creswick Post Office" is written by the artist.victor litherland, creswick, naive art, gouache

Painted "en plein air", as seen by the artist, recording things as they were in 1959. Painted by Victor Litherland who arrived in Creswick in 1938. He became a noted artist represented in major collections. He painted in the naive style and recorded his history of the town.Gouache painting on paper of the old Creswick Fire Station and Town Hall (now the home of the Creswick Museum), done in naive style.signed "Victor Litherland" and dated 1959victor litherland, creswick, naive, gouache, town hall, fire station, 1959

"The fist references the Black Lives Matter movement and also represents the strength of Indigenous peoples all over the world and symbolises solidarity and justice for everyone affected by systematic racism. Bunjil (wedge-tailed eagle) is flying high on the building. He is the creator spirit for Wurundjeri people who looks over us and protects us. Bunjil represents healing and power to our people. The blue circles and lines represent revival and waterways; in particular, they depict the Birrarung (Yarra River), which is very significant for the Wurundjeri people. Our people are known as the Manna Gum people. The leaves in the artwork highlight Wurundjeri people and their Country. These leaves also represent the cleansing of negative spirits. The Manna Gum leaf is also an important symbolic offering in our traditional Welcome to Country ceremony. Leaves are offered to visitors as they are granted safe passage through our land. They are made welcome to everything from the tops of the trees to the roots of the earth. We ask that they take care of the land, plants and animals and to respect the protocols and rules of the Traditional Owners whilst on our Country."In 2020 Council declared its support for the global Black Lives Matter (BLM) movement. In consultation with Yarra City Council's Yana Ngargna advisory group a motion was prepared and passed unanimously by all Councillors. A number of actions were generated from this decision; one of which was for Council to commission a large-scale mural that aligned with the movement. Emerging artist Ky-ya Nicholson-Ward, a proud Wurundjeri, Dja Dja Wurrung, Nguarai Illam-Wurrung, German and Irish woman, created the mural installed on a building in Peel Street Park, Collingwood. Selected by Council's Yana Ngargna, Black Lives Matter Working Group the artwork identifies the cultural importance of the local area to the Wurundjeri Woi Wurrung people as the Traditional Owners. With a strong focus on Aboriginal identity the mural outlines the local context of the Black Lives Matter movement, which is connected to racism, policing of Aboriginal and Torres Strait Islander peoples and associated deaths in custody. The artwork acknowledges the ongoing challenges faced by Aboriginal community members and their struggle to survive white systems, policies and institutions. Ky-ya's mural tells the story of Aboriginal resilience, strength and self-determination; and will support the process of healing. It is a celebration of the local Aboriginal and Torres Strait Islander community; the significant Aboriginal history of Fitzroy, Collingwood and surrounds; and community's continuing cultural connection to the area. Importantly, this artwork provides a platform to educate a broader audience about the local context of the Black Lives Matter movement and Aboriginal deaths in custody. The mural will activate this site, enliven the area, promote inclusion, incite conversation and contribute to the creative capital of this locale. A welcoming environment for Aboriginal and non-Aboriginal communities.Aboriginal Lives Matter Ky-ya Nicholson WardOn a black background a hand fist (strength, solidarity and justice) is placed at the centre of the building; Bunjil (wedge-tailed eagle) is depicted flying high on the building; blue circles and lines represent revival and waterways (Birrarung-Yarra River) and the leaves in the artwork highlight Wurundjeri people (cleansing of spirit and welcome to Country)The artist name 'Ky-ya Nicholson Ward' painted in white, low right of the wall facing into Peel Street Park. black lives matter (blm) movement, wurundjeri woi wurrung, bunjil, identity, birrarung, country

The St Kilda Esplanade Market has been operating on Sundays since December 1970. Initially known as The Art Bank, and displaying works by 20 or so artists, it soon expanded to include works by potters, leatherworkers and other craftspeople. In 2016 food vendors were added. Over the years the Market has fluctuated in size to more than 250 stalls. Colour photograph unmountedAbout 1960 1970?st kilda, st kilda market, st kilda sunday market, esplanade market, st kilda art bank

Text from card: 'On the night of 24th April 1918, the Australians made a daring and clever counter attack in the darkness, recaptured Villers-Bretonneux, stopped the German advance and saved Armiens. This, and the Battle of Hamei, were only a prelude to the smashing advance which commenced on 8th August.' Contains illustrations of 'Australians Advancing from Villers-Bretonneux, August 8th 1918' from an original painted by AIF War Artist Captain Will Longstaff; 'Capture of Hamei Village, July 14th 1918, by Australians assisted by a Detachment of Americans' by War Artist A Pearse. Both paintings were made for the Australian Comforts Fund. The Australian Comforts Fund was an umbrella organisation for voluntary bodies set up on 24 August 1916, after the outbreak of World War I. It was dissolved on 16 April 1920 but was re-established in 1940, during World War II and dissolved again in 1946. Card made in England by Raphael Tuck & Sons Ltd, publishers to the King and Queen. Oblong sheet folded in half to create 4 pages, all printed in colour and including illustrations and very full documentation.'Graham Clarendon Hyde 14 Btn AIF' 'Given to Historical Society of St Kilda by Mr G Hyde N Zealand August 1980'aif, world war i, wwi, australian comforts fund, 14th battalion aif, villers-bretonneux, battle of hamei

An example of tableaux drama. Ten 'scenes from the Empire' were presented: King Alfred Disguised as a Harper in the Camp of the Danes'; 'The Signing of the Magna Carta'; 'Queen Elizabeth Knighting Drake on the Deck of the "Golden Hind"' etc. Contains details of Executive of the Victorian Artists' Society and the St Kilda Executive Committee. Under the patronage and in the presence of, among others, the Governor of Victoria, the Lord Mayor of Melbourne and Madame Melba. To raise funds 'to provide an Ambulance for the Australian Wounded'.Yellowed cream cardboard, printed in black and gold, folded in half to form the cover. Inside two sheets of paper, printed in black and red and folded to make four pages, are fastened to the cover by stitched red string.wwi, world war i, victorian artists' society, wwi fund-raising

The pram was made by Otto Gottlieb, for his daughter Ruth's fifth birthday. Otto and family were internees in camp 3. Artwork by unknown artist. Originally had a hood but this is missing.Timber pram on metal rectangular "Wheels". Red metal handles. Sides are painted grey and trimmed in red. Hand painted animals, sea creatures, boats and a lighthouse. otto gottlieb, ruth gottlieb, internment camp wood work