Artwork. Norman Penrose collection: 2 creamy pages of differing strokes of the pen to create drawings using light and heavier pressure. 1 page of pen practice. It has letters and strokes. Also some border design. Signed N W Penrose in the bottom right corner.N W Penrosedrawing, print, norman penrose collection, pen handling and practice, lettering and strokes

Documents and copies of photos related to various Cornish enterprises in Bendigo: a. Line drawing (faint) of foundry owned by the Roberts family (Mitchell, Wills and King streets); b. copy of article from unknown source re United Iron Works with details of the firm and Roberts principals - William Roberts, Abraham Roberts and Arthur Roberts - with copies of photographic portraits (Bartlett Bros.) - bad copy with LH side of text partly illegible; c. copy of article titled 'Goyne's Battery Gratings re John Goyne and history of the business (submitted by person living at ''Rosemundy'', Goynes Road, Epsom - Goyne's home then on 20 acres); d. Photograph of old Robinson photo of Bendigo Stamper Grating Factory, Epsom and five men posed in front of large timber building (badly cut photo with LH edge missing. original photo (9 x 13) of ''Former Bendigo Cornish Fuse Factory'' (handwritten inscription on reverse) taken in recent times (hint - car in driveway); f. copy from un-named book of J Nankervis's Ham and Bacon Curing Factory, Golden Square - drawing of the establishment and a photos of winning display of small goods at the Bendigo Show (no date); g. copy from un-named book of photo of premises of A J Williams, Lily and McKenzie Streets - wooden structure with sign indicating Hardware Merchants and ??Mines Furnisher?? , showing three horse-driven small wagons (delivery?); h. copy of photo of Cornish store(1880s) at White Hills - mention of Frederick Stuckenschmidt (married Miss Mary Smith), William Mathews (original owner?) - corner brick building with family posed outside alongside horse and light cart;. reproduction of exhibit in Bendigo Spring Show, 1915 , the ''Made in Bendigo Exhibition'' - first prize awarded to Messrs H M Legg & Co. Progress Jams, preserves, tomato sauce, tomatoes products, candied peels etc. (folded and small tear).bendigo, buildings, early bendigo businesses, bendigo stamper grating factory. epsom. j. nankervic ham and bacon curing establishment. golden square. bendigo cornish fuse factory. cornish stores. messrs h. m. leggo and co. abraham roberts. arthur roberts. william roberts. goyne's battery gratings.

Born: London, Middlesex, England 1801; Arrived: Sydney, New South Wales, Australia 1835; Died: Sydney, New South Wales, Australia 1878ColonialGift of Sir Thomas Ramsay, 1975Figures and animal in colonial landscape with tents. Gold leaf on timber frame.Recto: Signed "C Martens" in black pencil, l.l.c of sheet; Titled and dated "Aborigines, Port Stephens – 1845" in black pencil in l.r.c of sheetdrawing, landscape, figures, dog, trees, tents

Born: London, Middlesex, England 1801; Arrived: Sydney, New South Wales, Australia 1835; Died: Sydney, New South Wales, Australia 1878ColonialGift of the family of the late Betty Olive Davies 1979Rural landscape with grass, dam, buildings, trees and clouds.Gold and grey brushed timber frame.Recto: Signed and dated "CM 1858" in grey pencil in l.l.c of composition; Not titleddrawing, landscape, water, building, colonial, trees, clouds

Born: St Petersburg, Russia 1873; Arrived: Sydney, New South Wales, Australia 1887; Lived and worked: England, France, Wales, Egypt, Palestine 1900-1921; Died: Cobbity, New South Wales, Australia 1930InterwarGift of J. Brackenreg, Artarmon Galleries, 1979Drawing of head with short hair, neck and shoulders. Black timber frame.Recto: Signed, titled and dated "G.W.Lambert / J.W.L. McHugh – April 28th / 1925" in grey pencil across lower centre of composition.drawing, portrait, face, man

Born: Morges, Vaud, Switzerland 1814; Lived and worked: Brazil 1835-1852; Arrived: Melbourne, Victoria, Australia 1865; Died: Melbourne, Victoria, Australia, 1888ColonialLedger Gift, 1987Rural landscape with two animals beside a track leading towards buildings and outbuildings surrounded by trees with hills in distance. Timber frame.Recto: Signed "Louis Buvelot" in grey pencil in l.l.c of composition; Titled and dated 'Melbourne Kew 1869' in grey pencil in lower centre of compositiondrawing, landscape, figures, trees, colonial, road, animals

Born: Melbourne, Victoria, Australia 1860; Lived and worked: France 1887-1932, England 1932-1940; Died: Brighton, Sussex, England 1940World War IGift of Mrs E.E. Ledger, 1987Drawing depicting a field hospital with tents and trees lining a snowy field and figures working at sunrise. Limed timber gallery frame with white window mountRecto: Signed, titled and dated 'ISO RAE / ETAPLES Jan 1918 – Tents no I Can. Hos. / fire buckets" in grey pencil in l.l.c of compositiondrawing, landscape, figures, trees, structures, tents, sunrise

Camp 3. made by Gudrun and Isolde Frank, camp 3 c.Black and white sketches for calendar. 1943. 5 sketches (all have 1943 above them): 1 - 3 men with part of hut on left hand side and huts behind. Poles with wire in front of huts; 2 - 5 guards marching with rifles with a big tree to the right of the photo and a fence with 4 posts in front; 3 - part of a hut showing an open door and open window; 4 - wild flowers from in camp; 8 people standing behind a bonfire holding signs. the number 4 top right hand cornercamp 3, gudrun frank, isolde frank, frank zimmer, camp calendars, templers

Hardcover w/ Dust JacketBlack ballpoint pen inscription on first page: 'To dear John - / All my love - / P. / 1985' Printed Christmas card loose insert, from the Governor-General and Lady Stephen, signed, dated Christmas 1986 Hand drawn (by a child?) Christmas card affixed with sticky tape to inside front cover. Front with a reindeer drawing and 'HAPPY CHRISTMAS TRISH'. Inside card inscription: 'LOVE FROM / RUPERT / AMY / BEN / ROBYN and / PENLEIGH'walsh st library

The Buddhist monk Guangqia visited Karl Duldig’s studio on two consecutive days, in the company of the noted Chinese writer, Professor Yu Dafu, a friend of Karl’s. Karl made two portraits of the monk, the first depicting him sitting, and the second in a standing pose. The portraits were drawn using a Chinese brush and Indian ink. Surviving sketches in the Studio’s collection indicate that Karl thought about creating a life-size sculpture later on, but this was not realised. Guangqia added inscriptions in his own hand to both drawings and stamped them with a red seal. The seated drawing has an inscription in which he quoted from a Buddhist poem, ‘A Contented Mind’ by the scholar Lingfeng of Mt Tiantai. In the summer I went to visit the Austrian sculptor Duldig with Professor Yu Da Fu. My virtue is slight – I cannot accept your offerings and gifts; I am amply rewarded by the clouds and springs. Rather than a table laden with pearl-like rice, I prefer the wind and leaves falling on my bed. Sitting quietly on my meditation cushion Is sweeter than the wheat offered by a thousand families. The pity is that I am gradually growing old; My bitter journey is not worthy of your offerings. The second drawing has a quote from a Buddhist poem on the study of Chán (Zen) Buddhism, by the famed Chán master, Dàjiàn Huìnéng (638–713): The portrait, with its figure positioned on a scroll-like ground and inscription is reminiscent of traditional Zen Buddhist portraiture. In this school of portraiture, which stretched back to at least the thirteenth century, monks were depicted sitting or standing facing the viewer, and typically the monk added an autographic inscription to the portrait. The portraits were often passed from master to disciple, continuing the disciples’ journey of spiritual enlightenment and were revered for their association with remarkable or holy priests. The Buddhist monk, Guangqai who added his inscription and stamp to the drawings would most certainly have been aware of this tradition. It is likely that Karl was aware of this tradition, one of the points where the studio’s collections of art works from Singapore intersect with the earlier Viennese collections can be found in the Library where a catalogue of an exhibition, 'Ausstellung Ostasiatischer Malerie und Graphik' is held. The Viennese Friends of Asian Art and Culture and the Albertina Museum staged this exhibition of East Asian painting and graphic works in 1932. Such was the internationalism of Duldig’s education in Vienna, that adaption to a new environment and culture in the Straits Settlement was swift, and he was able to interpret the artistic traditions of the place, and make them his own. It is part of the strength of the collection, that in many cases contemporary supporting documentation for the works of art is available. In this case there is a photograph of the Monk with Yu Ta-fu, and Karl and Eva Duldig, outside the studio at the time the drawings were made. Ann Carew 2016The portraits of Guangqai have national and international aesthetic significance. The works of art demonstrate the artist’s skill in capturing the physical appearance and demeanour of his subject, and his ability to adapt his working methods to incorporate traditional Asian materials and cultural practices. The portrait is one of few examples in Melbourne of a central European modernist artists working in, and engaging with Asia, during this period and it is culturally and aesthetically significant for this reason. The portraits are also historically interesting in documenting the life and experiences of Karl Duldig in the Straits Settlement (Singapore). Ann Carew 2016Brush drawing in chinese ink on paper. Seated Buddhist Monk. Chinese calligraphy hand written in black ink. Two red stamps under calligraphy.Signed Karl Duldig in l.r. corner. Dated Singapore 1940 in l.l. corner.

The influence of Symbolist art is clear in Slawa's early folios of drawings and paintings where familiar themes of dream-like states, apparitions and mythological creatures are used. Later drawings such as Head of a Woman with closed eyes, c.1921 show a boldness and psychological intensity reminiscent of notable member of the Vienna Secession, painter Egon Schiele whose final exhibition took place in Vienna in 1918. Signed Slawa Horowitzsymbolism

This bowl is part of a series completed in 1994 on the subject of the sin of 'Vanity' / A smug looking woman flirts coquettishly with a manservant who helps her to put on her shoes / The people depicted on the bowl are dressed in 18th century costumes / The court of Marie Antoinette of France is evoked / The blue and white drawing is in the style of 18th century woodblock prints and was drawn freehand / The bowl is signed and dated on the base / The technique is traditional tin glaze (majolica, maiolica or delft) / Coloured oxides were painted onto a clear glaze which had been opacified with tin oxide, and then fired at 900 degrees / The bowl was exhibited at Christine Abrahams Gallery, Melbourne in 1994 / A bowl from the 'Vanity' series is held in the Collection of the Queen Victoria Museum and Art Gallery in Launceston, Tasmania. Copeland's parents are John and Betty Hipwell, one of the founding members of Potters Cottage (an influential ceramic collective that grew out of Nillumbik) / Copeland grew up surrounded by this artform. Reg Preston (another founding member of Potter's Cottage) introduced her to the Majolica technique which has influenced her ceramic work to this day / This bowl is characteristic of Copeland's speciality and mastery of the Majolica technique. This bowl is hand painted with an image of a couple flirting (man-left side and woman-centre) in 18th century French dress / Decorative circle and polka dot pattern along the rim and underside of the bowl / The bowl is predominantly painted in cobalt blue and orange colour using the Majolica (maiolica or delft) technique; a traditional tinglaze method of application. Coloured oxides are painted onto a clear glaze which has been opacified with tin oxide / The bowl is then fired at 900 degrees.Underside has in colbalt blue artist signature and date / 'A. Copeland . 1.9.1994'.copeland, earthenware, majolica, potters cottage, vanity, bowl, eighteen century, french, marie antoinette

Geoff Davidson arrived at Dunmoochin around 1968 and began living and working as an apprentice to the potter Robert Main, who was working in a studio rented to him by Clifton Pugh on the Dunmoochin property. When Robert left, Geoff moved into the studio and began collaborating with Clifton Pugh on many projects for a period of 25 years whereby Clifton would decorate pots made by Geoff. Geoff produce the ceramic panels for Leda and the Emu. He mixed and identified the glazes for Clifton, then fired the panels once he had finished painting. Three or four murals were produced in this way, one of which was purchased by Don Dunston (ex-Premier of South Australia) as a gift to his dying wife.Dunmoochin derives its cultural and artistic heritage from the collaborative efforts of a group of artists who purchased land in Cottles Bridge in the early 1950’s. These artists (Pugh) pioneered one of the first artistic communes in Australia and created a lasting vision of how a community can gain knowledge and inspiration from living in a close relationship with nature. Pugh had explored the ‘Leda and the Swan’ mythological themes previously during the sixties in etchings and paintings, although he was more interested in referencing the original myth as allusions to other truths. Pugh was drawn to the Greek myth ‘Leda and the Swan’ in which Zeus transforms into a swan to seduce Leda. Pugh Australianised the myth so that Zeus transformed into an Emu rather than a Swan, and makes a gentle satirical comment on the sexual behaviour of the Australian male, whereby he sees a parallel between this and the proud yet awkward movements and naivety of our national bird. This particular theme was prevalent in Pugh's work right through the 60s and 70s. Leda and the Emu is a work by two prominent local artists (Clifton Pugh and Geoff Davidson) with a national and international reputation.Flat red background, black foliage. Leda is naked and sleeping with head resting in hand. Emu is to the left watching Leda. Drawing style is typical of Pugh’s work: linear, flat and gestural.Signed 'II Clifton'

Displays postcards of the time. Could be hand drawn but unsigned.Significant in that these advertise the Peterborough Hotel. Also that they are an example of humorous correspondence of the time. Two postcard sized drawings affixed to black card. Depicting activities in Peterborough and each displaying a sign for Peterborough Hotel. Postmarked 1935Stamp and postmark visible on each postcard.james irvine ii, peterborough hotel, peterborough historic postcards, historic postcard

Original concept drawing of the board game Squatter by Mr Robert Lloyd. Squatter is a wool themed board game. With more than 500,000 games sold in Australia as of 2007, it is the most successful board game ever produced in Australia. NOTE THIS IS THE ORIGINAL ATTEMPT /I MADE TO PUT DOWN ON PAPER/ MY ORIGINAL CONCEPT OF/ THE AUSTRALIAN FARMING GAME/ SQUATTER,,(SIGNED) Robert Lloyd/ 24th January 1980 (THIS WAS 6 YEARS BEFORE / PUBLICATION OF ....15/11/91sheep stations - management wool growing squatters, lloyd, mr robert, australia, sheep stations - management, wool growing, squatters, squatter board game

Pen and Ink Drawing on PaperSigned and dated recto l.l. ink "Victor Cobb. 1922" Titled l.r. ink "Harvesting Gippsland"landscape. gippsland.

Collection of Latrobe Regional GalleryCURTIS, J.W. Born England 1839 Died Australia 1901Signed l.r., ink "JCW". Not datedlandscape with horse and cart

RealismDrawing (study) of an emuNo signed. Not dated.

Pencil on paperSigned l.r cnr within image "R Forbes '84"paperboys, newspaper, bicycle

Pencil on paperSigned and dated l.r. corner in pencil "FORBES 83"brids, trees, lovers, police, prisoner