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Melbourne Legacy
Document, Legacy Presidents (Bill Cremor, Syd Birrell, Ray Hall, Hugh Brain)
Two page document recording anecdotes about Melbourne Legacy Presidents, including Bill Cremor, Syd Birrell, Ray Hall and Cyril Smith, written by Ray Hall's successor in 1935, H.G. Brain. According to his account relationships were not always smooth; not only did Hall chair a fractious Board in 1934, but in 1931 insults were hurled during a meeting (by no less than Stan Savige) which resulted in the immediate resignation of the then President Smith, later retracted. Brain himself upset Mildura Legacy when he put forward his view to the Mildura Annual Dinner that 'the returned soldier section of the population was big enough ... to carry its own welfare activities, and that it ought not to pound the general populace too hard.' He had inadvertently broadcast his ideas over the national network, thinking that the microphone was only for local hearing assistance. More amusingly Brain also tells a story about Cremor when he ran against Harold Holt for the the House of Representatives seat of Fawkner 'in 1942 (?)', and one about Birrell showing a group of the Women's Nationalist League (a conservative women's organisation established in 1904 to support the monarchy and empire) members around the Flemington Saleyards. The handwritten notation at the end references the funeral of 1949 President Syd Birrell, who died in 1966.Eyewitness account of early Melbourne Legacy presidents, which is indicative of the times and attitudes.2 typed sheets, black on white'Birrell funeral' handwritten in blue ballpoint, tick beside the final paragraph on each sheet.past presidents, history -
Whittlesea Historical Society Inc.
Photograph - Copy, Lindsay Mann, Mayfield Presbyterian Church, Mernda, 2011
Mayfield Presbyterian Church, on Plenty Road Mernda. MAYFIELD PRESBYTERIAN CHURCH The Mayfield Presbyterian Church at Mernda was erected in 1860, and the first service held on 23 October that year. The erection of the Mayfield Church, and others at Janefield and Whittlesea soon after, reflected the relatively large number of Scots in the Plenty Valley in the 1850s. Presbyterian services had been held at Mernda prior to the erection of the Mayfield church. In 1851 and 1852 the Rev. P. Gunn of Campbellfield conducted services at Mr. Radcliffe’s (now the Poplars), a barn at Carome and at Moses Thomas’ newly erected house on Marsh Farm. Mayfield Church was built on an acre of land, apparently donated by Moses Thomas. The block was a 66 feet frontage to Plenty Road. It is not clear who designed and built the Mayfield Church, although it has been generally accepted that it was Moses Thomas. Dr. Richard Ely, the historian who owns the adjacent property The Poplars, believes it was most likely Thomas, given that he possessed both the capacity and resources for the task, as well as a personal interest. For a short time, the newly completed church was called the Guthrie Church, after the prominent Scottish Free Church Leader. Moses Thomas died in 1878. His son Walter, who had joined him on the church committee in 1861, served on it almost until his death in 1932, having been ordained as an Elder in about 1880. During the 1880s he became Superintendent of the Mayfield Sunday School, a task he also performed until shortly before his death. On 15 October 1922 a special service was held at the Mayfield Church to celebrate its recently completed renovation, including the installation of the four still present Gloria lights. Further minor repairs and renovations have been made in recent times. Mayfield Church is the earliest of the five Presbyterian Churches in the City of Whittlesea, predating Kalkallo (1860), Whittlesea (1863), Mill Park (1861) and Epping (1867). Like Mill Park this church was built by Moses Thomas and similarly suffers from differential settlement on the uneven foundations. Here the cracking and movement is less severe than at Mill Park and this building is reasonably sound. It appears to be the design prototype for the more elaborate Mill Park building. It is a simple preaching hall with small gabled porch. The only elaboration occurs at windows where render quoins are formed to reveal and to gable ends, where a bull's eye louvre decorates the gable, and a rendered string course terminates them. The general proportions and the squat rectangular windows give the church a Georgian character clearly based on Scottish precedent. The windows are the dominant feature of the design. They are unusually large for the size of the church and incorporated on the principal entrance facade in similar manner to Mill Park. Whereas at Mill Park the windows are also large, their pointed Gothic form clearly indicates a church. Here the windows have a domestic quality and contribute to the simple “village” quality of the building. The bluestone walls are well executed in coursed random rubble to a much better standard than the Mill Park design. As for the initial Mill Park church (added in later) there is no separate sanctuary or vestry. The interior is remarkably plain and incorporates an altar, lectern and communion rail all within the nave. The gloria lights of 1922 survive apparently in working order. At the rear of the large open site is a stable built c1920 for parishioners' horses. Mayfield Church is historically significant for its association with the “Laird of Mernda”. Moses Thomas and his early effects to create a town at this site. It is architecturally significant for its simple construction probably incorporating Scottish precedents and for the high-quality use of local bluestone. HISTORICAL REFERENCE J.W. Payne, The Plenty, 1985. Mayfield Presbyterian Church Mernda : Historical notes on its origin by R. Ely 1991. City of Whittlesea Heritage Study. Historical building in Mernda.A4 colour copy of a photograph and digital image on HDmayfield presbyterian church, mayfield mernda, bluestone church, guthrie church, laird of mernda, moses thomas, church, red gum tree, stable -
Whittlesea Historical Society Inc.
Photograph, Gwen Hawke, Mayfield Presbyterian Church, Mernda, 20 Oct 2010
Mayfield Presbyterian Church, on Plenty Road Mernda. MAYFIELD PRESBYTERIAN CHURCH The Mayfield Presbyterian Church at Mernda was erected in 1860, and the first service held on 23 October that year. The erection of the Mayfield Church, and others at Janefield and Whittlesea soon after, reflected the relatively large number of Scots in the Plenty Valley in the 1850s. Presbyterian services had been held at Mernda prior to the erection of the Mayfield church. In 1851 and 1852 the Rev. P. Gunn of Campbellfield conducted services at Mr. Radcliffe’s (now the Poplars), a barn at Carome and at Moses Thomas’ newly erected house on Marsh Farm. Mayfield Church was built on an acre of land, apparently donated by Moses Thomas. The block was a 66 feet frontage to Plenty Road. It is not clear who designed and built the Mayfield Church, although it has been generally accepted that it was Moses Thomas. Dr. Richard Ely, the historian who owns the adjacent property The Poplars, believes it was most likely Thomas, given that he possessed both the capacity and resources for the task, as well as a personal interest. For a short time, the newly completed church was called the Guthrie Church, after the prominent Scottish Free Church Leader. Moses Thomas died in 1878. His son Walter, who had joined him on the church committee in 1861, served on it almost until his death in 1932, having been ordained as an Elder in about 1880. During the 1880s he became Superintendent of the Mayfield Sunday School, a task he also performed until shortly before his death. On 15 October 1922 a special service was held at the Mayfield Church to celebrate its recently completed renovation, including the installation of the four still present Gloria lights. Further minor repairs and renovations have been made in recent times. Mayfield Church is the earliest of the five Presbyterian Churches in the City of Whittlesea, predating Kalkallo (1860), Whittlesea (1863), Mill Park (1861) and Epping (1867). Like Mill Park this church was built by Moses Thomas and similarly suffers from differential settlement on the uneven foundations. Here the cracking and movement is less severe than at Mill Park and this building is reasonably sound. It appears to be the design prototype for the more elaborate Mill Park building. It is a simple preaching hall with small gabled porch. The only elaboration occurs at windows where render quoins are formed to reveal and to gable ends, where a bull's eye louvre decorates the gable, and a rendered string course terminates them. The general proportions and the squat rectangular windows give the church a Georgian character clearly based on Scottish precedent. The windows are the dominant feature of the design. They are unusually large for the size of the church and incorporated on the principal entrance facade in similar manner to Mill Park. Whereas at Mill Park the windows are also large, their pointed Gothic form clearly indicates a church. Here the windows have a domestic quality and contribute to the simple “village” quality of the building. The bluestone walls are well executed in coursed random rubble to a much better standard than the Mill Park design. As for the initial Mill Park church (added in later) there is no separate sanctuary or vestry. The interior is remarkably plain and incorporates an altar, lectern and communion rail all within the nave. The gloria lights of 1922 survive apparently in working order. At the rear of the large open site is a stable built c1920 for parishioners' horses. Mayfield Church is historically significant for its association with the “Laird of Mernda”. Moses Thomas and his early effects to create a town at this site. It is architecturally significant for its simple construction probably incorporating Scottish precedents and for the high-quality use of local bluestone. HISTORICAL REFERENCE J.W. Payne, The Plenty, 1985. Mayfield Presbyterian Church Mernda : Historical notes on its origin by R. Ely 1991. City of Whittlesea Heritage Study. Historical building in Mernda.2 colour photographsmayfield presbyterian church, mayfield mernda, bluestone church, guthrie church, laird of mernda, moses thomas, church, red gum tree, stable -
The Mrs Aeneas Gunn Memorial Library
Book, Robert Hall, The insectivorous birds of Victoria : with chapters on birds more or less useful, 1900
... birds more or less useful... The insectivorous birds of Victoria : with chapters on birds more or less ...An ornithological book on Victorian birdsIndex, ill, maps, p.257non-fictionAn ornithological book on Victorian birdsbirds - victoria, birds - australia - guidebook -
The Mrs Aeneas Gunn Memorial Library
Book, George Routledge and Sons, The Ethics of the Dust
... as a friend. The Lectures always fell more or less into the form ...The following lectures were really given, in substance, at a girls' school (far in the country); which, in the course of various experiments on the possibility of introducing some better practice of drawing into the modern scheme of female education, I visited frequently enough to enable the children to regard me as a friend. The Lectures always fell more or less into the form of fragmentary answers to questions; and they are allowed to retain that form, as, on the whole, likely to be more interesting than the symmetries of a continuous treatise. Many children (for the school was large) took part, at different times, in the conversations; but I have endeavored, without confusedly multiplying the number of imaginary speakers, to represent, as far as I could, the general tone of comment and inquiry among young people.Index, notes, p.230.non-fictionThe following lectures were really given, in substance, at a girls' school (far in the country); which, in the course of various experiments on the possibility of introducing some better practice of drawing into the modern scheme of female education, I visited frequently enough to enable the children to regard me as a friend. The Lectures always fell more or less into the form of fragmentary answers to questions; and they are allowed to retain that form, as, on the whole, likely to be more interesting than the symmetries of a continuous treatise. Many children (for the school was large) took part, at different times, in the conversations; but I have endeavored, without confusedly multiplying the number of imaginary speakers, to represent, as far as I could, the general tone of comment and inquiry among young people. john ruskin 1819-1900, ethics -
Ballarat Tramway Museum
Functional Object - Tramcar Internal Roof Ad, State Electricity Commission of Victoria (SECV), "Buy a BRIQUETTE hot water service", about 1960
... advertising Briquettes for Hot Water. "Pay less money for more hot... Briquettes for Hot Water. "Pay less money for more hot water!" Buy ...Heavy cardboard sheet with printed sheet pasted to one side advertising Briquettes for Hot Water. "Pay less money for more hot water!" Buy a BRIQUETTE hot water service" with a tap in the bottom left hand corner, and steam on bottom edge - Birnie Briquette sign & hand holding two sixpences - 1959 or coins.secv, advertisements, briquettes -
Parks Victoria - Point Hicks Lightstation
Lid, Ship tank
The circular cast iron object is a lid that was originally fastened into a ship tank. This particular lid is cast with the name ‘Lancaster & Co Bow London E’ in capitals in a continuous circle on the outer edge of the lid face, and has the words ‘Bow Tank Works’ on the inner circle. It is the same type of round heavy lid that was made by tank manufacturer John Bellamy although it may be a younger example. According to Pearson, the Lancaster & Co firm produced tanks between 1910 and 1930 from their works in Bow, East London. It was possibly preceded by the company, Lancaster & Bawn, which ran between the 1870s and 1890s.Pearson has collected a list of Lancaster & Co tank lids that he and others have sighted at various locations in Australia including Coolgardie, WA; Gulgong Museum, NSW; the Quarantine Station, Sydney NSW; Blundell’s Cottage, NSW; and Woolmers homestead complex, TAS. In addition, Lewis has identified lids at Ayrdale, NSW, and the shearing shed at Murndal homestead, Western Victoria. It is most likely that more than three lids survive in Victoria and more will be identified, however, as noted by Pearson, ‘surviving lids are far less numerous than the tanks themselves, presumably because the uses to which the tanks were put did not require the lid to be retained’.Parks Victoria has identified five tank lids in the lightstation collections. There is another Lancaster & Co lid at Cape Otway and possibly a second example there as well. In addition there are Bellamy lids at Point Hicks and Cape Otway and an unidentified lid at Wilsons Promontory, and a tank without a lid at Wilsons Promontory. The Lancaster & Co ship tank lid has first level contributory significance for its historic values.Circular cast-iron disc, with raised outer ridge with inscription and inner depression with inscription. One metal section forms a handle over an inner depression.Around perimeter of outer edge "BOW LONDON.E LANCASTER & CO " Around inner area "BOW ANK WORK" -
Melbourne Legacy
Article, Bulletin article: Unveiling Stan Savige Memorial, 2006
A bronze bust was erected in Morwell to honour Legacy Founder Sir Stanley Savige. It was unveiled on 31 August 2006 and Legatee Bill Rogers was invited to perform the unveiling. Legatee Rogers says: Savige "was a great humanitarian; he dedicated his life to those who were less fortunate than himself and from a military point of view, was an officer and leader who always cared for the men he commanded". He went on to say that at the event he heard more about Stan Savige and his bravery in saving about 50,000 Assyrian refugees in the first world war. In the event where he protected refugees with only 12 men for six weeks and he was awarded the DSO for delivering these refugees to British lines just north of Baghdad. Document was from a folder of documents donated to the archive by Legatee Bill Rogers that related to his time as President (March 2006 - March 2008).A record of an memorial to Legacy founder Stanley Savige in Morwell.Print out of an article by Legatee Bill Rogers about the unveiling of the Stan Savige memorial in Morwell in 2006.stan savige, statue, memorial, assyrians, dunsterforce -
Unions Ballarat
The astonishing history of Ballarat 1851-1855, Bradby, Doug, 2018
Chapters Chapter 1. 1848-50. The Discovery of Gold in the Port Phillip District. How a shepherd found Victoria’s first gold but failed to produce a goldrush. Chapter 2. The Discovery of Gold in Victoria. How a publican, a squatter, some more shepherds, a doctor, and an ex mailman, found the gold that produced the Victorian goldrush. Chapter 3. The Discovery of Gold at Ballarat. How the Ballarat gold field was discovered by Thomas Hiscock at Buninyong, and by old John Dunlop and young James Regan at Poverty Point, and by Old Tom Brown of Connor’s Party at Golden Point. Chapter 4. The Genesis of Ballarat. How the diggers arrived, mined, lived, and governed themselves at Ballarat. Chapter 5. The Exodus from Ballarat. Why the diggers left Ballarat when they had found less than 1% of Ballarat’s gold. Chapter 6. The Monster Nuggets. Why Sarah Sands from Ballarat was introduced to Queen Victoria at Windsor Castle. Chapter 7. Settling Down on Ballarat. How and why some diggers settled permanently at Ballarat as miners. Mining in the year of Eureka. How the miners tackled the problems of shepherding and the mining consequences of the Eureka Stockade. Chapter 8. The Gravel Pits. How the miners of Ballarat Flat learnt to work ‘in the water.’ Chapter 9. Towards the Tableland. What the miners did when they hit a ‘wall of rock.’Relevance to the history of Ballarat, gold mining, Sovereign Hill and the Eureka Stockade.Paperback book; 176 pages. Front cover: red background; illustration of miners in white; author's and illustrator's names and title. btlc, ballarat trades and labour council, ballarat trades hall, history - ballarat, history - gold mining, eureka stockade -
Ballarat Heritage Services
Photograph - Digital photograph, Dorothy Wickham, Winter's Swamp, Ballarat, January to April 2014
Study of Winter's Swamp commissioned by BEN and completed by BHS. The swamp was named after one of the first European settlers in the district. Winter Swamp LAT -37 32 LONG 143 47, Parish of Dowling Forest, County of Grenville Winter Swamp, on the southwest corner of Ballarat West Town Common, was not included in the original proclamation of the Common in 1861. However, being marshland, it was not considered suitable for grazing, so was added to the Common soon after 1861. Winter Swamp is a large wetland with native and exotic pasture significant for wildlife. John Winter (Jock) was born in Berwickshire, Scotland. He married Janet Margaret Irving the daughter of Robert Irving, advocate, Bonshaw, Dumfries, Scotland. Winter died in Ballarat in 1875 and was buried at the Ballaarat Old Cemetery. He took up the run Bonshaw from 1841; Leigh River Buninyong 1842-46; Junction, Delatite, March 1851 to September 1862; with sons: Carag Carag and Corop, April 1857 to September 1872; Colbinabbin and Stewart’s Plains, April 1857 to December 1872; St Germains February 1867 to March 1871. (The name became Winter-Irving in 1890). Mr John Winter, who died on August 22 at the age of 72, was a man of some note it the mining community of Ballarat. He was a self-made man, and one of our oldest colonists, it being over a quarter of a century age since he took up county about Ballarat and settled at Bonshaw. He died very rich. It is calculated that if he had retained an interest in all his runs, his income must have been not less than £10,000 or £50,000 a year. Some eight or ten years ago he sold his Bonshaw pre-emption to the Bonshaw Gold mining Company for £20,000, and a few years later the ground belonging now to Winter's Freehold Company brought him £50,000 more, the payment being made at the requisition of the deceased in sovereigns. In these relations Mr. Winter has been closely identified with the mining industry at Ballarat. The deceased was a native of Lauder, in Berwickshire, and landed in Victoria several years before the gold discovery.The principle task of this project was the delivery of a report outlining the history of European settlement in the Skipton and Cardigan/Ballarat districts as pertinent to the use of and impact on the natural environment of the two reserves Skipton Common and Winter Swamp. The report was delivered in digital form only. The report, upon completion, was presented to the Network’s Committee in order to discuss the project. The report identified and described the uses of Skipton Common and Winter Swamp, and their impacts. In particular, this report examined farming/grazing (official and informal), mining, vegetation removal (including the removal of woodlands for timber, grasslands for pasture improvement) & use of riparian areas for access to water and timber removal. Recording the more benign and environmentally friendly uses such as picnicking, community activities, nature walks and the roles of organisations such as Field Naturalists’ and Bird Observers’ clubs, school and scout/guide groups will be relevant in helping to depict overall community attitudes towards the reserves; e.g.: has the Common generally been viewed as little more than a grazing paddock and fire hazard; has Winter Swamp always been the unknown natural asset that seems to have been its lot for at least the past 40 years? In this regard, the more contemporary history of actions surrounding the use and management of the reserves is of particular interest, in view of the extant evidence at both reserves; e.g. the actions of the Shire of Ballarat in the 1980s in establishing Winter Swamp as something of a competitor to Lake Wendouree but with a more environmental bent (although almost none of the plants used are indigenous species, but that is part of the story); the trotting track constructed on Skipton Common in the 1960s following representations to Premier Henry Bolte and the cropping of the western section of the Common to raise funds for the town’s new swimming pool, the fertilizing of the land putting an end to the native grassland vegetation. There are obviously multiple sources of information to source in preparing the report, however sources that the contractor is specifically requested to consult are the Skipton Historical Society, the former Skipton Common managers (specifically Graeme Pett), the Cardigan Windermere Landcare Group and the Learmonth Historical Society (believed to hold many of the former Shire of Ballarat’s records pertaining to the Council’s role as the Committee of Management for both Winter Swamp and the Ballarat West Town Common – Winter Swamp was split between 2 separate Crown Land tenures). The contractor is also encouraged but not required to utilise community newsletters, such as the Skipton Community Newsletter, to publicise and seek information about the project. Skipton Historical Society (Mary Bradshaw) contacted on Thursday 12 June 2.30pm. Mary lived on a farm out of Skipton but is currently living in the township. She remembers walking along the creek of the Common especially in spring and autumn in bare feet and that it was a very pretty place. There were a few snakes around the waterway in summer. People put cows and a couple of horses on the commonage to graze. Graeme Pett has always lived close to the Common and would know a lot about it. Other possible contacts would be Nicole Petress, Secretary of the Progress Association, and the Corangamite Council, Camperdown. Digital images of Winter's Swampwinter's swamp, ballarat, john winter, ballarat environmental network, mullawullah -
Flagstaff Hill Maritime Museum and Village
Print - Picture of a Scottish Shepherd and his Two Dogs, A Shepherd and His Friends, 20th Century
Shepherding is among the oldest occupations, beginning some 5,000 years ago in Asia Minor. Sheep were kept for their milk, meat and especially their wool. Over the next thousand years, sheep and shepherding spread throughout Eurasia. Henri Fleisch tentatively suggested the Shepherd Neolithic industry of Lebanon may date to the Epipaleolithic and that it may have been used by one of the first cultures of nomadic shepherds in the Beqaa Valley. Some sheep were integrated in the family farm along with other animals such as chickens and pigs. To maintain a large flock, the sheep must be able to move from pasture to another pasture. This required the development of an occupation separate from that of the farmer. The duty of shepherds was to keep their flock intact, protect it from predators and guide it to market areas in time for shearing. In ancient times, shepherds also commonly milked their sheep, and made cheese from this milk; few shepherds still do this today. In many societies, shepherds were an important part of the economy. Unlike farmers, shepherds were often wage earners, being paid to watch the sheep of others. Shepherds also lived apart from society, being largely nomadic. It was mainly a job of solitary males without children, and new shepherds thus needed to be recruited externally. Shepherds were most often the younger sons of farming peasants who did not inherit any land. In other societies, each family would have a family member to shepherd its flock, often a child, youth or an elder who couldn't help much with harder work; these shepherds were fully integrated in society. Shepherds would normally work in groups either looking after one large flock, or each bringing their own and merging their responsibilities. They would live in small cabins, often shared with their sheep, and would buy food from local communities. Less often shepherds lived in covered wagons that travelled with their flocks. Shepherding developed only in certain areas. In the lowlands and river valleys, it was far more efficient to grow grain and cereals than to allow sheep to graze, thus the raising of sheep was confined to rugged and mountainous areas. In pre-modern times shepherding was thus centred on regions such as the Middle East, Greece, the Pyrenees, the Carpathian Mountains, Scotland and Northern England. https://en.wikipedia.org/wiki/Shepherd The Shetland Sheepdog, often known as the Sheltie, is a breed of herding dog that originated in the Shetland Islands of Scotland. The original name was Shetland Collie, but this caused controversy amongst Rough Collie breeders of the time, so the breed's name was formally changed. This diligent small dog is clever, vocal, excitable and willing to please. They are incredibly trustworthy to their owners to the point where they are often referred to as "shadows" due to their attachment to family. This breed was formally recognized by The Kennel Club (UK) in 1909. Like the Shetland pony, Shetland cattle and the Shetland sheep, the Shetland Sheepdog is a hardy but diminutive breed developed to thrive amidst the harsh and meagre conditions of its native islands. While the Sheltie still excels at herding, today it is often raised as a working dog and/or family pet. https://en.wikipedia.org/wiki/Shetland_Sheepdog The Rough Collie (also known as the Long-Haired Collie) is a long-coated dog breed of medium to large size that, in its original form, was a type of collie used and bred for herding sheep in Scotland. More recent breeding has focused on the Collie as a show dog, and also companion. The breed specifications call for a distinctive long narrow tapered snout and tipped (semiprick) ears, so some dogs have their ears taped when young. Rough Collies generally come in shades of sable and white (sometimes mahogany), blue merle, tri-coloured, and colour-headed white. There is a smooth-coated variety known as a Smooth Collie; some breed organisations, including both the American and Canadian Kennel Clubs, consider smooth-coat and rough-coat collies to be variations of the same breed. Rough Collies closely resemble the smaller Shetland Sheepdogs or "Shelties", but the two breeds do not have an exclusive linear relationship. https://en.wikipedia.org/wiki/Rough_Collie This picture shows a typical Scottish scene with a shepherd in kilt and his two sheepdogs.Picture, print of old Scotsman sitting on a stone slab with his dogs nearby. Framed, glass covered colour print. Marked "A SHEPHERD AND HIS FRIENDS", "1897" , "Drummonds" (on picture). Marked "A SHEPHERD AND HIS FRIENDS", "1897" , "Drummonds" (on picture). flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, print, picture, wall decoration, shepherd and dogs, a shepherd and his friends, shetland sheep dog, rough collie -
Federation University Art Collection
Work on paper - Artwork - Printmaking, Geoffrey Ricardo, 'Love Street' by Geoffrey Ricardo, 1999
... ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more... ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more ...GEOFFREY RICARDO Born 1964, Melbourne, Australia 1984-86 Bachelor of Arts (Fine Art), Printmaking, Chisholm Institute of Technology, Melbourne 1987-89 Printing Assistant at Bill Young Studios, Editioning intaglio prints, King Valley, VIC 1988 Full-time Studio Technician at Printmaking Department, Chisholm Institute of Technology, Melbourne 1989-90 Graduate Diploma (Fine Art), Printmaking, Monash University, Melbourne 1991 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed intaglio print from Geoffrey Ricardo's 'A Dark City, A Narrative' suite. Donated through the Australian Government's Cultural Gifts Programme by Katherine Littlewood.Under image in pencil '7/25 "Love street" Ricardo 99'geoffrey ricardo, printmaking, artworks, artist -
Mission to Seafarers Victoria
Article, A Woman's Melbourne Letter
A detailed description of the Mission and its activities written by a woman: Western Mail (Perth, WA : 1885 - 1954), Friday 13 December 1918, page 34 A WOMAN'S MELBOURNE LETTER. Melbourne, Dec. 4. There is an idea abroad, which as regards Melbourne, at any rate, is quite erroneous, that our sailors are not as well looked after as our soldiers, and that the noble men of the Mercantile Marine are much neglected ! For once, perhaps, my readers will pardon a letter dealing with only one subject, but the steady, unostentatious work done by the Ladies' Harbour Light Guild, in connection with the mission to seamen in Melbourne could not be adequately explained if dismissed in the usual short paragraph. Some of the most prominent names in Melbourne are associated with this guild and with the Mission Chaplain, and Mrs. Gurney Goldsmith, the members have made the Seamen's Institute a real home for those sailors of the Mercantile Marine, who touch our port. What we as a community owe to those men by their heroism in recent hostilities is certainly more understood by this band of enthusiastic workers than by the community generally. By using their unflagging energies, and influence on the sailor's behalf they endeavour to discharge a debt to which in some way or other we could and should all contribute. Even the most casual person can, if he thinks at all, sum up a few of the things our sailors - other than those belonging to our glorious navy - have done for us. On the spur of the moment we remember that those of the Mercantile Marine, are the men who manned our transports, who carried our wheat and wool, to oversea markets; who kept us in touch with our loved ones abroad; who kept the fires going in the furnaces of the great leviathans, bringing our wounded soldiers home again; who never flinched when self-sacrifice was demanded; who cared, with that tenderness, innate in all sailors, for the women and children, when the passenger ships were struck a dastardly blow by the wicked enemy; who, mocking death, gave up life with a heroism all the more heroic because it was always taken as a matter of course! Is it any wonder, then, that the members of the Ladies' Harbour Light Guild make it their business to provide a bright, homelike, spot in Melbourne, where the sailors are always certain of a cherry welcome ashore? The members of the guild are admirably drafted! The 360 non-workers each pay £1 1s. per annum. The workers, of whom there are between 700 and 800, donate 2s. 6d. and school members - it is confidently hoped that gradually all the schools will take an active interest in the mission - 1s. a year. The knights of the guild - as the men members are designated - are responsible for any sum they wish to name, from 5s. a year upwards. Everything is paid for out of these revenues, with the exception of a small grant from the Home Mission Fund - and such is the organisation, and management, that the entire concern is quite free from debt. The Seamen's Church and Institute, where the "Harbour Lights" gleam so brightly, is situated right in the midst of all the bustle and turmoil of the wharves, at the end of Flinders-street. The building, comprising chapel, and institute under the one red tiled roof, is grey stuccoed, with a small tower, from which flaunts the flag of 'The Flying Angel" - the badge of the guild. A visit to the institute makes one fully appreciate the boon the place must be to the voyage worn, weary, sailor. The atmosphere is eminently social in its best sense. While the architecture imparts an elegance, and quiet dignity which soothes by the very subtlety of its charm. With its comfortable furniture, its wealth of flowers, and the happy, wholesome, feminine influence which prevails everywhere, the quality which stands for the magic word "home" abounds. The Chaplain in the course of conversation said: -"We try to make this really a free club for sailors." But the habitues would probably tell you it was far more than that to them. The Institute is excellently appointed, and every little corner seems to have its particular history. It was built after the model of one of the old mission churches in California, and retains something of the old world attraction, while yet it combines all the advantages of modern, practical, conveniences. On entering the door the first thing, one notices is a huge compass, inlaid upon the floor, evidently to indicate one's proper bearings for it points due north - to the chapel! Only one other seamen's mission in the world boasts such a compass. As the sailor swings through the entrance he finds the office on his right, and there is, here, always a smiling face to welcome the shy, or timid, new comer. Quite a real post office is staffed by members of the guild, and all the letters received are listed alphabetically. Therefore, the expectant sailor has just to run his eye down the list, and he can immediately see whether there is a letter for him or not. If he is fortunate, he comes up to the member in charge, who unlocks the box, and produces the longed for missive. The boys are always encouraged to answer letters - and to write them. Often a few words about their mother, and their own home, will provoke a sleeping memory into activity. The writing room is well stocked with paper, envelopes, pens, and ink. The tables are so divided to ensure the utmost privacy, and through a calculated chain of circumstances, many an anxious mother receives a letter from her sailor lad, who, perhaps, might not have written but for these kindly inducements. The central hall - where social evenings are held every other night besides two special concerts a week - is inviting in the extreme. A handsome piano affords opportunity for those musically inclined. The tables are strewn with papers. The walls are bright with pictures, and here, and there, is a carved model, of a ship. One, of especial interest, is a model of "The Roon" carved, and presented by a French sailor. This German vessel will always be remembered in Australia. For it was across her bows that the first hostile shot was ever fired in Australian waters. In the corner is the canteen. It was fitted up entirely from the proceeds of a quotation calendar compiled by one of the members. The sailors may at any time, get a teapot of tea, or a tray of eatables, at a nominal cost. Before the canteen was in existence they had to go out for refreshments! - and sometimes they did not come back! Groups of sailors sit chatting at the tables. Half a dozen Swedes laugh and talk among themselves, for the simple reason they know no other language than their own. Several British sailors cluster about a dark-eyed Welsh lad - a perfect Celtic type - who, although only about twenty years of age, has been the victim of the Hun five times. Mines and torpedoes sank the ships he was in, either in the Channel or off the English coast, four times; and it is to his fifth experience, when the Inverness was wrecked, that everyone is eagerly listening. "We were in the boats eight days," he was saying, "I was pretty well mangled when they picked me up. The sufferings we endured were awful. At last we managed to reach Rapa, a Hawaiian island. The natives thought we were Germans, and came at us with spears. When they found we were British, they were awfully good to us. They even cried when we left, and the day before the rescue boat arrived they begged us to go into the hills and hide." At another table a Canadian lad - once a sailor - then a soldier, who trained at the Broadmeadows camp - was telling his experiences : - "The voyage which will always stick in my memory," he said, "was to a place which must be nameless. We left the United States not knowing whether we were bound, or what we were going to do. After some weeks we sighted a group of wonderfully beautiful islands, and we headed for the most remote and most lovely of them all. Then, and only then, we learned our mission from the skipper. We were taking their year's supply to a leprosy station! Oh no! I don't blame the skipper for not telling us ! Someone has to do these things, you know. A naval guard saw they didn't come near - and we all got sixty dollars extra. When the job was over we were quarantined on another island for two months, and one little chap - the baby of the crew, not eighteen - developed leprosy, and died before we left. Yes! I'll never forget that voyage, mates! Sometimes, I seem to see Leper's Island yet, with its lavish tropical vegetation and the gorgeous sunsets which stained all the water with blood. Then, too" - here the voice deepened - "there was an English girl - a leper - there. We heard she used to be an actress, and she contracted the disease somehow or other. She was always alone, and always watching us. In the distance we could see her come to the water's edge, and from there she would watch. Just watch . .. . watch . . .watch. ..." "Here come a couple of North Sea chaps," broke in an elderly man after pause. "One of them wounded, too, poor lad." It is not strange that all the sailors flock to the Institute. It is so comfortable, and essentially inviting, besides being full of human interest. The men's quarters comprise reading, writing and dressing rooms - hot and cold baths are always available - billiard room, and a special baggage room, where any sailor may leave his kit for as long as he likes. The payment of 3d. covers its complete insurance. Upstairs are the officers' quarters. These also have their own billiard room, writing and reading rooms, bath and dressing rooms. Just close are the apprentices' quarters - "The Half Deck," as popular parlance has it! The lads also have a billiard room of their own, and indulge in an easy armchair - amongst others - which was a donation from the Milverton School branch of the Guild. It is hoped by the committee to some day utilise the huge empty rooms, which run the length of the whole building. Their ultimate intention is to fit them up as cubicles, or "cabins," as they are to be called. They trust these "cabins" will be donated, either in memory, or in honour, of someone dear to the donor. Another forward movement soon to be put in hand, now that materials are available, is the establishment of "Norla Gymnasium." In a sailors' club such facility for exercise is absolutely essential. The men both need, and miss, exertion. As one boy, who had been backsliding, once said pathetically : -"If only there was something to do to get me into a good sweat, I would be all right." Soon such an one will be helped to swing from the trapese of the Norla Gymnasium into the right track! Sunday is always a fete day at the Institute, for 40 or 50 sailors generally come into tea. The up-to-date kitchen, which is fitted with every labour-saving appliance - all paid for out of working members' half crowns - is then a hive of animation, and methodical order. A formidable row of teapots await filling. Mrs. Goldsmith -, the chaplain's wife - rightly thinks it is far more homely to pour out the tea from a pot, than to serve it straight from the urns. So tea is poured out by a member, who sits at the head of a table gay with flowers, and chats to the guests. These latter are of all nationalities. But the French, the Spanish, Scandinavian, Norwegian - or any other sailor is equally welcome with the British. Two enthusiasts belonging to the Guild actually learnt Norwegian, so that men of this nation would have someone to talk to, and so be less lonely when they reached this, to them, foreign port ! The members of the Guild have their own private suite where they arrange the flow-err and do other necessary odds and ends undisturbed. No one appreciates flowers like a sailor, and the earliest and most beautiful may always be seen adorning the tables and rooms. Teas are served and lectures are held in the "Celia Little Hall," one of the most beautiful portions of the institute. It was erected by the chaplain in memory of his aunt from whom the hall takes its name. The Gothic windows open upon the cloisters, where, in the hot weather, the sailors enjoy their meals out of doors. The cloisters, indeed, form an exquisite spot. They are between a series of sweeping arches which lead to the chapel, and are sheltered by the open balcony of the chaplain's quarters. Grace of contour marks the architecture on every turn. Just around the corner is the chaplain's garden - a patch of green and colour, transformed from a desert waste, by a well-known woman horticulturist. The book room is a department especially valued by the sailors. There are two secretaries, one for home and the other for foreign literature. Books in French, English, Spanish, Scandinavian, Norwegian, and German may be found on the shelves. Each week about 36 convenient parcels of reading stuff are made up. These contain illustrated papers, books in various languages, and magazines. These parcels are eagerly accepted by the sailor with a long monotonous voyage before him. But complete as is every corner of the institute, no part is so well equipped as the memorial chapel erected by the Ladies' Harbour Light Guild, in memory of the officers and men, who have lost their lives during the war. St Peter's - for it is called after the sailor's patron saint - with its hallowed gentle dignity is a veritable sanctuary of peace, perhaps all the more so because it sprang out of war. The fittings are entirely of Australian wood. The pews, given in memory of some loved one by one of the members, are of Tasmanian hardwood. The reredos and altar chairs of carved blackwood. The rich carpet was provided by the members' magical half-crowns. Already this chapel holds memorials of peculiar historical interest. The altar lectern was given in memory of Commander Elwell, who, it will be remembered, was killed at Rabaul, in the early part of the war. The font commemorates two heroes - Nigel Hockley and Fred Hyde, who lost their lives at the hands of the Germans, although they survived the actual torpedoing of their ships, the Galgorn Castle off the coast of Ireland. The mother of one of them wrote out that her son had died as an Englishman should - fighting for the right. This noble sentiment is suitably paraphrased upon the inscription engraved upon the font. Practically every-hing enshrined in the chapel has its own sentimental value. The alms salver of beaten copper, studded with agate, is fragrant with the memory of a saintly woman.The eye of the sailor is caught and held by the pulpit, which is fashioned like a ship's hull and only a twist of rope guides the chaplain up the steps. For the last 13 years the Rev. A. Gurney Goldsmith, M.A., has acted as chaplain to the Seamen's Mission in Melbourne. Before that he and his wife worked in China. Mr Goldsmith visits all the boats and gets in touch personally with the sailor, over whom he has great influence. He is not only their chaplain and friend, but, amongst a wide range of other things, their banker besides. An exchange system exists between the various Missions, and the sailor who has "banked" his money with the chaplain, upon going away, receives a cheque which is cashed - minus exchange - by the chaplain of the next port. Mr. Goldsmith will tell you he has a soft spot in his heart for on old sailor he calls "Paddy." This ancient mariner has been wrecked ten times. It was a long time before the chaplain prevailed upon "Paddy" to partake of the spiritual and secular advantages afforded by the institute. He would not come, he said, until he could do so "with a good heart." Finally he frankly admitted that he had no "friends like those of 'the Flying Angel,' " and that he eventually proved his own "good heart" will be shown in this story. One day he came in to the chaplain and said bluffly, "Well, sir, I've been payin' off some old scores up Carlton way, an' I tells yer, plain, sir, not one of 'em would have seen a penny of their money but for the Mission." The Ladies' Harbour Light Guild has over thirty working suburban branches, and the excellent results achieved at the Institute now will no doubt be considerably augmented in the future. The practical actions of the members do more than anything else to convey the subtle meaning of the name of the Guild. To the visiting sailors the word "ladies" signifies the bread givers; "harbour" safety ; "lights" welcome; "guild" the welding of fraternity, and they one and all tell you the ideals thus embodied are unselfishly carried out by all the ladies who have banded together to care for the sailors' welfare.The article describes the Mission and the use of several spaces a year after its opening and gives details about the daily activities.Digital copy of an article published in the Western Mail on the 13th of December 1918. 717 flinders street, seamen's mission, norla dome, lhlg, reverend alfred gurney goldsmith, celia little room, garden, frederica godfrey -
Eltham District Historical Society Inc
Photograph, Fay Bridge, Moor-rul Viewing Platform, Garden Hill, Kangaroo Ground, n.d
OPENING OF THE VIEWING PLATFORM AT KANGAROO GROUND Nillumbik Council has advised that the viewing platform at Kangaroo Ground 27km NE of Melbourne is to be opened to the public on Wednesday, March 26th 2008 (Melway 271 , G10). The function of the platform is to provide shelter adjacent to the War Memorial Tower whilst allowing all people to enjoy the stunning panoramic views. From the platform you. can see the Dandenongs, the city of Melbourne, the You Yangs, Mount Macedon, the Kinglake Ranges and the Mt Baw-Baw Ranges where the Yarra River starts. This landscape covers all the ancestral lands of the Wurundjeri and some of the wider Kulin nation land. The platform has been given the name Moor-rut, a name which described the fertile soils of the Kangaroo Ground area in contrast to the poorer (Silurian) country of its surrounds, which the Wurundjeri knew as 'Nillumbik' or less rich country. The full 360 degree view can be seen from the adjacent Tower of Remembrance which has 53 stairs. The viewing platform however can be accessed by wheelchair. Inside the viewing platform there are eight double sided interpretive panels giving the history and information regarding this special area. The viewing platform's interpretive panels set out the Aboriginal and European history of the area and also the geology and the local flora and fauna, so that the casual visitor comes away understanding more about this significant part of Victoria. The concept of the viewing platform is part of the refurbishment project for the Kangaroo Ground War Memorial Park which has taken place since 1997 with the active approval and financial assistance of the Nillumbik Shire Council. This project has been guided by an Advisory Committee with volunteer community representatives from the local Historical Societies, the Country Fire Authority, the Returned Services League and the Wurundjeri people. Other allied groups such as the Nillumbik Reconciliation Group have been called upon for their expertise. The initial idea for the viewing platform came from Dean Stewart when he was the caretaker while living at the park. He discussed this idea with local author Mick Woiwod and Harry Gilham of Eltham District Historical Society when they were planning the refurbishment of the War Memorial Park in 1996. When the committee was formalised by the Nillumbik Council in 1997, Nicholas Pelling, representing the CFA and RSL, joined the group. Dennis Ward, local architect, then volunteered to develop the concept plan for the refurbishment of the park and later drew up the plans for the viewing platform. The Kangaroo Ground War Memorial Park and its Tower of Remembrance is located on one of the highest locations in the Yarra Valley. The Tower of Remembrance is a unique war memorial constructed from local stone standing 14 metres high. It was built in the style of a Scottish watchtower reflecting the strong Scottish influence of the first European settlers of the district from the 1840s onward. The park was opened in 1921 and the Tower of Remembrance was dedicated in 1926 recognising the local people who served in the First World War. Those who served in the Second World War were recognised by plaques dedicated in 1951 and more recently those who served in Korea, Borneo, Malaya and Vietnam by plaques unveiled in 2001. Harry Gilham, Advisory Committee Convenor - Eltham District Historical Society Newsletter N0 179 March 2008fay bridge collection, garden hill, kangaroo ground, memorial park, moor-rul viewing platform -
Ballarat Heritage Services
Photograph - Digital photograph, Winter's Swamp surrounds, April 2014
The swamp was named after John (Jock) Winter. John Winter (Jock) was born in Berwickshire, Scotland. He married Janet Margaret Irving the daughter of Robert Irving, advocate, Bonshaw, Dumfries, Scotland. Winter died in Ballarat in 1875 and was buried at the Ballaarat Old Cemetery. He took up the run Bonshaw from 1841; Leigh River Buninyong 1842-46; Junction, Delatite, March 1851 to September 1862; with sons: Carag Carag and Corop, April 1857 to September 1872; Colbinabbin and Stewart’s Plains, April 1857 to December 1872; St Germains February 1867 to March 1871. (The name became Winter-Irving in 1890). Mr John Winter, who died on August 22 at the age of 72, was a man of some note it the mining community of Ballarat. He was a self-made man, and one of our oldest colonists, it being over a quarter of a century age since he took up county about Ballarat and settled at Bonshaw. He died very rich. It is calculated that if he had retained an interest in all his runs, his income must have been not less than £10,000 or £50,000 a year. Some eight or ten years ago he sold his Bonshaw pre-emption to the Bonshaw Gold mining Company for £20,000, and a few years later the ground belonging now to Winter's Freehold Company brought him £50,000 more, the payment being made at the requisition of the deceased in sovereigns. In these relations Mr. Winter has been closely identified with the mining industry at Ballarat. The deceased was a native of Lauder, in Berwickshire, and landed in Victoria several years before the gold discovery. BHS were commissioned by Ballarat Environment Network for a project on Winter's Swamp and Skipton Common. Winter's Swamp was part of Ballarat West Common. The principle task of this project was the delivery of a report outlining the history of European settlement in the Skipton and Cardigan/Ballarat districts as pertinent to the use of and impact on the natural environment of the two reserves Skipton Common and Winter Swamp. The report was delivered in digital form only. The report, upon completion, was presented to the Network’s Committee in order to discuss the project. The report identified and described the uses of Skipton Common and Winter Swamp, and their impacts. In particular, this report examined farming/grazing (official and informal), mining, vegetation removal (including the removal of woodlands for timber, grasslands for pasture improvement) & use of riparian areas for access to water and timber removal. Recording the more benign and environmentally friendly uses such as picnicking, community activities, nature walks and the roles of organisations such as Field Naturalists’ and Bird Observers’ clubs, school and scout/guide groups will be relevant in helping to depict overall community attitudes towards the reserves; e.g.: has the Common generally been viewed as little more than a grazing paddock and fire hazard; has Winter Swamp always been the unknown natural asset that seems to have been its lot for at least the past 40 years? In this regard, the more contemporary history of actions surrounding the use and management of the reserves is of particular interest, in view of the extant evidence at both reserves; e.g. the actions of the Shire of Ballarat in the 1980s in establishing Winter Swamp as something of a competitor to Lake Wendouree but with a more environmental bent (although almost none of the plants used are indigenous species, but that is part of the story); the trotting track constructed on Skipton Common in the 1960s following representations to Premier Henry Bolte and the cropping of the western section of the Common to raise funds for the town’s new swimming pool, the fertilizing of the land putting an end to the native grassland vegetation. There are obviously multiple sources of information to source in preparing the report, however sources that the contractor is specifically requested to consult are the Skipton Historical Society, the former Skipton Common managers (specifically Graeme Pett), the Cardigan Windermere Landcare Group and the Learmonth Historical Society (believed to hold many of the former Shire of Ballarat’s records pertaining to the Council’s role as the Committee of Management for both Winter Swamp and the Ballarat West Town Common – Winter Swamp was split between 2 separate Crown Land tenures). The contractor is also encouraged but not required to utilise community newsletters, such as the Skipton Community Newsletter, to publicise and seek information about the project. Skipton Historical Society (Mary Bradshaw) contacted on Thursday 12 June 2.30pm. Mary lived on a farm out of Skipton but is currently living in the township. She remembers walking along the creek of the Common especially in spring and autumn in bare feet and that it was a very pretty place. There were a few snakes around the waterway in summer. People put cows and a couple of horses on the commonage to graze. Graeme Pett has always lived close to the Common and would know a lot about it. Other possible contacts would be Nicole Petress, Secretary of the Progress Association, and the Corangamite Council, Camperdown. Mary can’t remember any photos in the Skipton Historical Society that pertain to the Common. Digital photos of Winter's swamp surrounds, later known as Mullawullah.winter, winter's swamp surrounds, winter's swap, john winter, ballarat environmental network, ballarat, mullawullah -
Glen Eira Historical Society
Album - Album page, Labassa Conservatory, 21 Manor Grove, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. WHAT IS SIGNIFICANT? [From Victorian Heritage Database citation for Former Labassa Conservatory - H2005 Victorian Heritage Register http://vhd.heritage.vic.gov.au/places/result_detail/12504 (25/01/2021)] The former Labassa Conservatory is believed to have been built as part of the extensive reworking of the Labassa estate in c1890 for the new owner Alexander Robertson, proprietor of the Cobb and Co line. Robertson commissioned the architect JAB Koch to remodel the house, and Koch may have been responsible for the conservatory as well. Alternatively, the conservatory may have been imported. The gates installed at Labassa in 1890 were manufactured by the MacFarlane foundry of Glasgow, Scotland, a firm known to have manufactured conservatories. Around 1917 the glass house from 'Labassa', Caulfield was offered for sale to Malvern Council for its own gardens but the offer was declined. Following subdivision of the Labassa estate in the 1920s the conservatory was converted into a residence. The structure has a simple rectangular plan, with a brick base and superstructure of cast iron columns and roof trusses. The hipped roof is surmounted by an elaborately decorated gable structure. Most of the original glass has been replaced by metal sheeting. The decoration comprises pressed metal fascias including an egg and dart style cornice moulding, mullion mouldings and gable end panels with a rising sun motif. Cast iron ridgework and finials add to the lively roof form. Internally the floor appears to have been raised as part of the conversion work to a residence, and stained timber panelling introduced to provide room spaces. Boilers probably heated the conservatory in the colder months, but these do not survive.From Victorian Heritage Database citation for Former Labassa Conservatory - H2005 http://vhd.heritage.vic.gov.au/places/result_detail/12504 (25/01/2021) HOW IS IT SIGNIFICANT? The former Labassa Conservatory is of historical and architectural significance to the State of Victoria. WHY IS IT SIGNIFICANT? The former Labassa Conservatory is historically significant for its associations with the Labassa estate. Subdivision of the estate separated a number of outbuildings from the mansion. The former conservatory is significant as part of the large scale improvements carried out to the estate in the 1890s. The nineteenth century was the great age of conservatory designs, enabled by technological developments in heating, glazing and iron. Whilst conservatories were common in botanical gardens and universities, where they were primarily used for cultivating, studying, and experimenting with plants, they had also become an accessory of the wealthy on private estates. The former Labassa conservatory is architecturally significant as a rare example of a building type. Many Victorian mansion houses had attached conservatories, but detached conservatories were much less common. The only other detached example associated with a residence known to survive on its original site in Victoria is an earlier example at Warrock homestead, near Casterton. Conservatories attached to nineteenth century mansions are far more numerous. The Labassa example is very ornate, and its decoration draws on the versatility of pressed metal and cast iron. This highlights the dual purpose of the conservatory, as both a functional structure and a picturesque building on the Labassa estate. This building is unusual as an example converted to residential use. Page 130 of Photograph Album with one portrait photograph of Labassa's conservatory.Handwritten: "Labassa" conservatory 21 Manor Grove [top right] /130 [bottom right]bracketed eaves, caulfield north, labassa, balaclava road, orrong road, sylliott hill, alexander william robertson, ontario, john a. b. koch, john boyd watson, mouldings, 1920's, la bassa, manor grove, st kilda east, architects, john koch, greenhouses, gardens, plants, land subdivisions, gates, macfarlane foundry, brick, cast iron work, hipped roofs, gables, 1890's -
Flagstaff Hill Maritime Museum and Village
Clothing - Petticoat, late 19th century to early 20th century
This petticoat was one of several items donated from the estate of Susan Henry OAM nee Vedmore (1944 - 2021). It is in very good condition and appears to be from the Edwardian era - early 20th century. A petticoat is a lady's undergarment - worn under a skirt or dress. They provided warmth, modesty and shape to the dress. In the middle of the 19th century, petticoats were worn over hoops, bustles or in layers. Petticoats varied according to the style of the outside skirt or dress. Plain petticoats tended to be worn with everyday wear whilst better dresses (party dresses or silk gowns) were worn with petticoats that often had more trim and embellishments. Edwardian petticoats had less volume than Victorian era petticoats and they had a "dust ruffle" or lining under a lace flounce. The "dust ruffle" protected the lace flounce and gave the petticoat more flare at the bottom, greater freedom when walking as well as saving the flounce (which was often made of finer material) from everyday wear and tear. Tucks are another feature of Edwardian petticoats - when the lace at the bottom became worn, it could be cut off and the tucks released. This extended the life of the petticoat. This petticoat features an intricate trim of broderie anglaise. Although broderie anglaise was a lace that could be made by hand, it was very time consuming to make. St Gallen was a city in Switzerland that had become known for producing quality textiles. At the beginning of the 19th century, the first embroidery machines were developed in St Gallen. Factories used embroidery machines but people also had them in their homes. They were able to produce broderie anglaise for export. By the early 20th century, machine made lace, fabric, ribbons etc. were being sold in drapers shops all over England and Wales to women who were making clothes and furnishings for their families. It is highly likely that the lady who made this petticoat brought the lengths of broderie anglaise already made to embellish and personalise her petticoat. Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up in 2010 to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community.This item is an example of the needlework skills of women in the late 19th century - creating pintucks and adding lace to personalise and embellish a practical item of clothing. It is also significant as an example of a practical solution to the difficulties that women of this era faced with regard to the washing of clothes and household linens.A white lawn petticoat with a 22.5 cm opening that fastens with 2 small buttons and a drawstring tie. It is decorated with two wide pintucks followed by two gathered frills (or flounces) - one decorated with three rows of narrow pintucks and a single row of broderie anglaise and the bottom frilled hem finished with 3 rows of broderie anglaise in a flower design. The two bottom frills are lined with plain white cotton fabric.flagstaff hill maritime museum and village, great ocean road, petticoat, lady's petticoat, undergarment, lady's undergarment, lingerie, edwardian petticoat, broderie anglaise, lace, machine made lace, hand sewn, machine sewn, draper's shop, susan henry oam, vedmore foundation -
Flagstaff Hill Maritime Museum and Village
Craft - Ship Model, S.S. Nelson, 1877 - 1984
This beautifully made ship model is a side relief of the steam ship “S.S. Nelson”, which was launched in 1877. The model’s case stands out because of its ornately carved internal frame. Relief models of ships, sometimes called half models, were often built by the shipbuilders as an exact scale model of the finished ship. The shipbuilders would use the model to ensure that the design was balanced. They would use the model as a point of reference during building. Also, ship models were used to demonstrate the designs to prospective buyers. It is not known whether this model of the “S.S. Nelson” was made for these purposes. HISTORY of the “S.S. Nelson” During the period 1840-1890 shipping was the cheapest and most practical means of carrying produce and goods to and from coastal towns such as Warrnambool. In the 1850s regular domestic steamer services began and by 1870 the passenger trade was booming. Passengers were taken to the ship’s side in small boats called lighters, which took it to ships at anchorage in Lady Bay, then climbed aboard up ladders or gangways. Their fare covered accommodation Saloon/Cabin section (higher class and more expensive) or the Steerage section (lower class and less expensive, below deck level). Produce included livestock such as pigs and fowls, and dairy products, bales of wool, and potatoes. The goods were loaded from the Warrnambool Jetty into the lighters. The S.S. Nelson was built by Messrs Blackwood and Gordon of Port Glasgow for a cost £25,000 in 1877. She was an iron screw steamer with an overall length of 200 feet, beam 25.5 feet and a depth of hold of 19.4 feet, which gave her a gross measurement of 649 tons. Her engines gave her a best speed of 13 knots and a maintainable speed of 12 knots. She was described as a handsome, star decked, efficient steamship, fitted with accommodating for 75 first class passengers in a saloon, and 40 second class passengers in a cabin. The S.S. Nelson arrived in the colony of Victoria on March 9th, 1877. She was first registered in Warrnambool by the Warrnambool Steam Packet Company under the management of Mr William Evans, and employed in the coastal trade of south west Victoria. She was very popular in 1878, registered under the new ownership of the Western Steamship Navigation Company, trading between Melbourne, Warrnambool and Portland. Captained John Nicholson commanded the S.S. Nelson after the previous captain, Thomas Smith, was suspended in 1882 for six months by the Victorian Steam Navigation Board following the collision between the S.S. Nelson and the S.S. Julia Percy. Other Captains include S Drewet and John Thompson. The S.S. Nelson was sold to Messrs. Huddart, Parker and Co. and re-registered in Melbourne on June 23rd, 1890. The new owners intended to use her for their Bass Strait crossing between Melbourne, Victoria and Launceston, Tasmania. On the night of Friday, June 27th 1890, under the command of Captain Carrington, she was on her way to Launceston on her first crossing for her new owners. She had no passengers and very little cargo and was to return to Melbourne with passengers the following morning. She was only 21 hours out of the dock when she struck Porpoise Rock in the Tamar River. All crew of 25 were saved but the bulkheads gave way and she rapidly filled before keeling over and disappearing in approximately 130 feet of water. The new owners had fully insured the almost 14-year-old S.S. Nelson with the Australian Alliance Insurance Company and she had only been in their possession for four days. This ship model of the S.S. Nelson is significant for its connection with the steam screw ship S.S. Nelson, one of a fleet of vessels owned by the Warrnambool Steam Packet Company. The S.S. Nelson was specifically built and purchased for the Victorian coastal trade business of the late 19th century, when shipping was the cheapest and most practical means of transporting goods and passengers between Victoria’s coastal towns and the major port at Melbourne. Once the railway came to Warrnambool in 1889, the steam shipping industry began to decline.Ship model; relief of the S.S. Nelson, showing deck superstructure, ventilators and single funnel. Ship's name is painted on the bow "NELSON". Wood model, varnished finish over natural wood and black painted areas. Timber case with ornate edging and glass front and sides."NELSON" painted on bowflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, s.s. nelson steam ship 1877, screw steamer, 1877 vessel, ship model s.s. nelson, blackwood and gordon port glasgow, warrnambool steam packet company, western steam navigation company, south west coast trader, sea transport melbourne to portland, victorian steam navigation board, s.s. julia percey, captain john nicholson, captain thomas smith, captain s drewet, captain john thompson, captain carrington, huddart, parker and co, bass strait crossing 1890, sea transport melbourne to launceston, porpoise rock tamar river, australian alliance insurance company, ship model making, vessels, victorian coastal trader -
Flagstaff Hill Maritime Museum and Village
Machine - Fusee Clock Mechanism, early 20th Century
The origin of the fusee is not known. Many sources credit clockmaker Jacob Zech of Prague with inventing it around 1525. The earliest dated fusee clock was made by Zech in 1525, but the fusee appeared earlier, with the first spring-driven clocks in the 15th century. The idea probably did not originate with clockmakers, since the earliest known example is in a crossbow windlass shown in a 1405 military manuscript. Drawings from the 15th century by Filippo Brunelleschi and Leonardo da Vinci also show fusee mechanisms. The earliest existing clock with a fusee, also the earliest spring-powered clock, is the Burgunderuhr (Burgundy clock), a chamber clock whose iconography suggests that it was made for Phillipe the Good, Duke of Burgundy about 1430. Springs were first employed to power clocks in the 15th century, to make them smaller and portable.[1][5] These early spring-driven clocks were much less accurate than weight-driven clocks. Unlike a weight on a cord, which exerts a constant force to turn the clock's wheels, the force a spring exerts diminishes as the spring unwinds. The primitive verge and foliot timekeeping mechanism, used in all early clocks, was sensitive to changes in drive force. So early spring-driven clocks slowed down over their running period as the mainspring unwound. This problem is called lack of isochronism. Two solutions to this problem appeared with the first spring-driven clocks; the stack freed and the fusee. The stack freed, a crude cam compensator, added a lot of friction and was abandoned after less than a century. The fusee was a much more lasting idea. As the movement ran, the tapering shape of the fusee pulley continuously changed the mechanical advantage of the pull from the mainspring, compensating for the diminishing spring force. Clockmakers empirically discovered the correct shape for the fusee, which is not a simple cone but a hyperboloid. The first fusees were long and slender, but later ones have a squatter compact shape. Fusees became the standard method of getting constant force from a mainspring, used in most spring-wound clocks, and watches when they appeared in the 17th century. Around 1726 John Harrison added the maintaining power spring to the fusee to keep marine chronometers running during winding, and this was generally adopted. The fusee was a good mainspring compensator, but it was also expensive, difficult to adjust, and had other disadvantages: It was bulky and tall and made pocket watches unfashionably thick. If the mainspring broke and had to be replaced, a frequent occurrence with early mainsprings, the fusee had to be readjusted to the new spring. If the fusee chain broke, the force of the mainspring sent the end whipping about the inside of the clock, causing damage. The invention of the pendulum and the balance spring in the mid-17th century made clocks and watches much more isochronous, by making the timekeeping element a harmonic oscillator, with a natural "beat" resistant to change. The pendulum clock with an anchor escapement, invented in 1670, was sufficiently independent of drive force so that only a few had fusees. In pocketwatches, the verge escapement, which required a fusee, was gradually replaced by escapements which were less sensitive to changes in mainspring force: the cylinder and later the lever escapement. In 1760, Jean-Antoine Lépine dispensed with the fusee, inventing a going barrel to power the watch gear train directly. This contained a very long mainspring, of which only a few turns were used to power the watch. Accordingly, only a part of the mainspring's 'torque curve' was used, where the torque was approximately constant. In the 1780s, pursuing thinner watches, French watchmakers adopted the going barrel with the cylinder escapement. By 1850, the Swiss and American watchmaking industries employed the going barrel exclusively, aided by new methods of adjusting the balance spring so that it was isochronous. England continued to make the bulkier full plate fusee watches until about 1900. They were inexpensive models sold to the lower classes and were derisively called "turnips". After this, the only remaining use for the fusee was in marine chronometers, where the highest precision was needed, and bulk was less of a disadvantage until they became obsolete in the 1970s. Item is an example of clock mechanisms used until 1910 for many different styles of clocks and went out of fashion in the 1970s due to improvements in clock and watch making.Brass fusse clock movement, It has very heavy brass plates and wheels, high-count machined pinions, and a fusee. The mounting of the pendulum is missing and It has a recoil escapement. A fusee is a conical pulley driven through a chain by the spring barrel. As the spring runs down, the chain acts at a larger and larger radius on the conical pulley, equalising the driving torque. This keeps the rate of the clock more even over the whole run. It has motion work to drive an hour hand as well as a minute hand and the centre arbor is extended behind the back plate to drive some other mechanism.Inscription scratched on back"AM 40" flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, clock mechanism, fusee mechanism, horology -
Federation University Art Collection
Work on paper - Artwork - Printmaking, Geoffrey Ricardo, 'Dummy Throw' by Geoffrey Ricardo, 2000
... ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more... ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more ...GEOFFREY RICARDO (1964- ) 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 coloured aquatint on paperUnder image in pencil '4/20 "Dummy Throw" Ricardo 2000' geoffrey ricardo, framed print, printmaking, available, available framed, sport -
Federation University Art Collection
Work on paper - Artwork - Printmaking, Ricardo, Geoffrey, 'Veneer Deer' by Geoffrey Ricardo, 1997
... ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more... ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more ...GEOFFREY RICARDO (1964- ) Born Melbourne, Australia 1984-86 Bachelor of Arts (Fine Art), Printmaking, Chisholm Institute of Technology, Melbourne 1987-89 Printing Assistant at Bill Young Studios, Editioning intaglio prints, King Valley, VIC 1988 Full-time Studio Technician at Printmaking Department, Chisholm Institute of Technology, Melbourne 1989-90 Graduate Diploma (Fine Art), Printmaking, Monash University, Melbourne 1991 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed coloured aquatint.geoffrey ricardo, printmaking -
Flagstaff Hill Maritime Museum and Village
Letter - William Ferrier, 14th November 1905
The letter to William Ferrier of South Warrnambool from the Prime Minister and the Parliament of the Commonwealth recognised the significance of William’s brave and courageous lifesaving act to the people of Australia; “They all feel that your conduct was worthy of the best deeds done by British sailors in the past and they are proud to know that Australia can produce such as you.” The story of that brave rescue follows on below … The ship from which the sailors were rescued was the three-masted, iron and steel barquentine the La Bella, built in Norway in 1893. She was one of two iron and steel ships by Johan Smith, The company was one of the leading shipping families in Tvedestrand, Norway. She was significant to Norwegian shipping, being one of only 27 iron and steel ships ever built in Norway. She was registered in New Zealand and engaged from 1902 in inter-colonial trading of timber in the Pacific, between New Zealand and Australia and was often in Port Phillip Bay, Victoria. On 5th October 1905, the twelve-year-old La Bella left Lyttleton, New Zealand carrying a cargo of timber bound for Warrnambool, Australia. She was manned by a crew of twelve: the Master, (Captain Mylius, previously 1st Mate of La Bella, appointed Captain to La Bella on 6th February 1903) 2 Mates, Cook, six able seamen, one ordinary seaman and a boy. Bad weather en route caused her to shelter at Burnie on Tasmania's North West coast. On November 10th, the 37th day of her journey, La Bella approached Warrnambool. Captain Mylius steered her towards Lady Bay Channel in heavy south-west seas and evening mist. He ordered the helmsman to steer for the light. As the ship came round, a tremendous sea struck her on the port quarter, causing her to breach broadside in a north-westerly direction into breakers. The helm was brought round twice more, but each time heavy seas broke over her, the third time throwing the La Bella on to a submerged reef in Lady Bay now known as La Bella Reef (about 100 yards from the Warrnambool breakwater). The sea was so rough that it even wrenched a one-and-a-half ton anchor from its fastenings and into the sea. As Captain Mylius headed to the steel wheelhouse, intending to send up a rocket flare, a huge sea slammed the steel door into him (resulting in massive bruising front and back) Despite his injuries he still managed to set off a blue light, which he held up in his hands. La Bella’s lifeboats were filled with seawater and broke up on their chocks. The blue light was the first indication to people on the shore that there was a ship in distress. The Harbour Master, Captain Roe (who lived in the Harbour Master’s House opposite Flagstaff Hill), organised a group of volunteers to crew the lifeboat because the trained crew was unavailable; the crewmen were working on a steamer in Port Fairy at the time. He then poured oil onto the water to try and smooth the sea. At around 11 pm three of the crew took shelter in the steel forecastle but the sea crashed into it and broke it up. While the rest of the crew and onlookers watched helplessly in the moonlight the bodies were washed away into the sea, never to be seen again. Some of the crew lashed themselves to the weather rail to keep from being washed away. Watson, the ordinary seaman, became tangled in the rigging lines and was too weak to move, so the 2nd Mate, Robertson, put a line onto him so that he wouldn’t wash off. Around 11 pm three of the crew were unconscious from exhaustion. The situation on La Bella was becoming dangerous. The 2nd Mate moved to the ‘house’ and soon afterwards the ship slipped in the heavy sea. The lashings of the 1st Mate and the ‘boy’ Denham had kept them safe until about 2 am when they were washed overboard; no one was able to help. One by one, the exhausted crew were being washed overboard, too weak to hold on any longer. During the night the La Bella had broken into two and the deckhouse ran out towards the sea. Two more men drowned when trying to reach the lifeboat. By sunrise, the only survivors of the twelve were the Master, 2nd Mate and three seamen. Early in the morning, Captain Roe used the rocket apparatus on shore to try and shoot a line to the ship for a safer rescue but each attempt fell short of the target. Several attempts were made by the lifeboat to rescue the stricken sailors, but the rough conditions made this difficult for the boat to get close enough to the ship and the lifeboat had to return to shore. During a final attempt to reach the ship Captain Mylius ordered his men to jump into the sea. Leonard Robertson, 2nd mate, jumped and swam towards the lifeboat, taking hold of the boat hook offered to him. Oscar Rosenholme managed to reach the boat floating on a piece of timber from the ship’s load and a third survivor, Noake, also made the boat. Along with the lifeboat rescue crew, 25-year-old William Ferrier rowed his small dingy through the heavy seas and managed to rescue the Captain, whom he landed on the breakwater. Ferrier then returned to the ship to attempt a final rescue, losing his oars and rowlocks into the high sea. Using just a spare paddle he skulled towards the La Bella, reaching her stern in time to cut loose the lone surviving sailor, Payne, from the lashing that held him to the ship; the terrified sailor dropped from the ship and into the dingy. Shortly after the last man was rescued, the La Bella was lifted by a huge wave and crashed back down on the reef; she broke up and sank. The ordeal had lasted ten hours. The survivors were taken to the nearby Bay View Hotel and gratefully received warm food and clothing, medical attention and a place to sleep. In the following days, an unidentified body of a young person has washed ashore; it was either Watson or Denham. The body was buried in the Warrnambool cemetery with an appropriate gravestone and inscription. William Ferrier became a national hero as news of the daring rescue spread. In recognition of his bravery in the two daring rescues, he was awarded the Silver Medal for Bravery by the Royal Humane Society and was honoured in the letter from the Prime Minister and the Parliament of the Commonwealth, telegrams and a cheque for £20 from the Governor-General, over £150 subscribed by the public, including Warrnambool and district and readers of The Argus, and a gold medal from the Glenelg Dinghy Club of South Australia. Ferrier’s rescue efforts are one of the most heroic in Victoria’s shipwreck history. (William Ferrier’s son, Frank, received a similar award almost fifty years later when he helped rescue four members of the crew on the yacht Merlan after it ran on to a reef near the Point Lonsdale Lighthouse. ) The wreck of La Bella now lies on her port side in 13 metres of sheltered water inside the reef she struck. The bow section is relatively intact and part of the stern has drifted north-easterly towards the mouth of the Hopkins River. The reef the La Bella struck now bears its name. Those five rescued from the La Bella were Captain George Mylius, Leonard Robertson (2nd Mate, 21 years old), R. Payne, Oscar Rosenholme and Jack Noake. Those seven who lost their lives were Mr Coulson (1st mate), Charles Jackman (cook) Gustave Johnson, Pierre Johann and Robert Gent (all able seamen), Harry Watson (ordinary seaman) and Jack Denham (ship’s boy), Captain Mylius was found guilty of careless navigation; he had sailed into the bay without the services of a pilot. His Master Certificate was suspended for twelve months. Later he was also charged with the manslaughter of one of the crew who had died when the La Bella was wrecked but found not guilty. The event’s adverse publicity and damage to his career took a toll on his health and he died of a heart attack six months after the wreck; he was only thirty-seven. His body was buried in the Melbourne General Cemetery. The La Bella was “the best documented of all sailing ships owned in New Zealand”. Her record books, ship logs, correspondence and supporting papers are still available. At the time of the tragedy, she was owned by Messers David C.Turnbull and Co. of Timaru, New Zealand timber merchants and shipping agents, who had purchased her on 13th December 1901. A detailed account of the last journey of La Bella can be read in “Leonard Robertson, the Whangaroa & La Bella” written by Jack Churchouse, published in 1982 by Millwood Press Ltd, Wellington, NZ. As well as this letter, Flagstaff Hill’s La Bella Collection includes a photograph of the wrecked La Bella, a brass rail holder and a postcard of William Ferrier with four of the survivors. Some 15 – 17 ships are believed to have sunk in Lady Bay, but only two have been discovered on the seafloor; the “La Bella” and the “Edinburgh Castle”. Both wrecks are popular diving sites and are preserved as significant historical marine and marine archaeological sites. This original congratulatory letter sent to William Ferrier by the Prime Minister and Government of Australia demonstrates the importance attached to his efforts for Victoria and to Australia. The letter is part of the La Bella Collection and is significant at both a local and state level. Its connection to the La Bella shipwreck and the rescue of five survivors highlights the dangers of Victoria’s Shipwreck Coast. The letter to William Ferrier from the Australian Government acknowledges the bravery of ordinary Australians who risked their lives to save victims of shipwrecks along the coast. The letter is significant to the history of Warrnambool as it honours William Ferrier, a local fisherman whose descendants continue to live in the area. It highlights the way of life of people who lived in coastal towns in 19th century Victoria and the effects of shipwrecks upon them. The letter connects to the postcard of William Ferrier with four of the five rescued crew, the photograph of the wreck of the La Bella and the artefact from the wreck, the rail holder. This letter is significant because of its association with the sailing ship “La Bella”. The “La Bella” is of local and state and national significance. It is one of the only two shipwrecks discovered in Lady Bay, Warrnambool, out of the 15-17 shipwrecks in the bay. Letter to William Ferrier of South Warrnambool from the Prime Minister and Members of Parliament commending him on his bravery. The printed letterhead includes a coat of arms in the top centre and the official address. The letter is very neatly hand written in black pen and includes 4 signatures of Members of Parliament. The rectangular paper is cream coloured with some yellow/brown discolouring. It has the letterhead on the right hand side of it and the written letter begins below the letterhead. The paper has been folded so that the right side becomes the cover page of the letter. The writing is continued onto the inside right hand page of the folded paper and the writing ends here. There is more recent writing on the bottom right hand corner of the back page. The paper has been officially folded in half a total 3 times and there is heavy discolouration on the sections that form the front and back of the folded letter. There is a 4th fold line that is less pronounced that the other folds and would make the paper the size to fit into a pocket. At several fold creases the paper has worn through. The edges of the paper have minor tears. The printed coat of arms is that of the House of Representatives. Underneath is printed “The Parliament of the Commonwealth, / Parliament House / Melbourne”. The hand written, letter is dated “14th November, 1905” and addressed to “Mr. William Ferrier / South Warrnambool” The letter begins “The Speaker, the Prime Minister and Members of the Ministry and its supporters, the Leader and Members of the Opposition, the Leader and Members of the Labour Party, being all the Members of the House of Representatives of the Federal Parliament of Australia” … It continues “desire to express to you their appreciation of your bravery in skulling out to the wreck of the “La Bella” at Warrnambool on Saturday, 11th November, 1905, and recovering therefrom two of the crew who were in imminent danger of their lives. They all feel that your conduct was worthy of the best deeds done by British sailors in the past and they are proud to know that Australia can produce such as you.” The letter is “Signed on behalf of the Members – Speaker (Frederick Holder ), Deputy Leader of the Opposition (Joseph Cook ), Prime Minister (Alfred Deakin), Leader of the Labour Party ( J.C. Watson)” On the back of the letter is blue ink handwriting “OWNER / G. FERRIER / TO. BE. PHOTOGRAPHED / 27-4-76”la bella, william ferrier, bill ferrier, lady bay, 1905, 10th november 1905, 11th november 1905, parliament of the commonwealth, prime minister, australian government, new zealand, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village -
Federation University Art Collection
Work on paper - Artwork - Printmaking, Geoffrey Ricardo, 'Monkeyshine' by Geoffrey Ricardo, 2000
... ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more... ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more ...GEOFFREY RICARDO (1964- ) Born Melbourne, Australia 1984-86 Bachelor of Arts (Fine Art), Printmaking, Chisholm Institute of Technology, Melbourne 1987-89 Printing Assistant at Bill Young Studios, Editioning intaglio prints, King Valley, VIC 1988 Full-time Studio Technician at Printmaking Department, Chisholm Institute of Technology, Melbourne 1989-90 Graduate Diploma (Fine Art), Printmaking, Monash University, Melbourne 1991 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed coloured aquatint on paper. Donated through the Australian Government's Cultural Gifts Programme by Katherine Littlewood.Under image in pencil ' T/P "Monkeyshine" Ricardo 2000'geoffrey ricardo, framed print -
Federation University Art Collection
Work on paper - Artwork - Printmaking, Geoffrey Ricardo, Not known (Geoffrey Ricardo), 1997
... ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more... ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more ...GEOFFREY RICARDO (1964- ) Born Melbourne, Australia 1984-86 Bachelor of Arts (Fine Art), Printmaking, Chisholm Institute of Technology, Melbourne 1987-89 Printing Assistant at Bill Young Studios, Editioning intaglio prints, King Valley, VIC 1988 Full-time Studio Technician at Printmaking Department, Chisholm Institute of Technology, Melbourne 1989-90 Graduate Diploma (Fine Art), Printmaking, Monash University, Melbourne 1991 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Etching with aquatint on paper depicting a group of people pulling along a giant inflatable cow. Donated through the Australian Government's Cultural Gifts Programme by Katherine Littlewood.Lower left "State Proof" Lower right "Ricardo '97"geoffrey ricardo, printmaking, balloon, cow -
Federation University Historical Collection
Photograph - Photograph - Sepia, Ballarat School of Mines Cadets, 1916, c1916
Field Marshal Viscount Kitchener of Great Britain was invited by Prime Minister Deakin in 1909 to visit Australia and advise on the best way to provide Australia with a land defence. Kitchener’s report echoed the bill, introduced to Parliament in 1909 and supported by the Opposition Labor Party at its 1908 conference, to introduce compulsory military training in peace time (referred to as universal training). On 1 January 1911, the Commonwealth Defence Act 1911 (Cth) was passed as law and all males aged 12 to 26 were required to receive military training. Men were divided according to age, with junior cadets comprising boys 12-14 years of age, senior cadets comprising boys 14-18, and young men aged 18-26 assigned to the home militia defence. The support of schools was vital to the success of the scheme, since the system of cadet training began in the primary schools, with physical training prescribed by military authorities. Junior cadet training was entirely in the hands of school teachers, who had first been trained by military officers. This early training was less military in nature than focused on physical drill and sport. It also acted to inculcate boys with the notions of loyalty to country and empire. At this age, uniforms were not worn, although there were schools with pre-existing uniformed cadet units, who continued to do so. Senior Cadets were organised by Training Areas, administered by Area Officers. If a school had at least 60 senior cadets, they could form their own units. Unlike their junior counterparts, Senior Cadets were issued uniforms, a rifle, and learned the foundations necessary for service in any arm of the defence forces. Boys and men could be exempted from compulsory training if they lived more than five miles from the nearest training site, or were passed medically unfit. Those who failed to register for training were punished with fines or jail sentences, and the severity of this punishment generated some of the strongest opposition to the scheme. While institutions such as the political parties and most churches generally supported universal training, some in the broader labour movement were less enthusiastic, as evidenced in the Daily Herald newspaper’s editorials and letters. Universal military training persisted after the conclusion of World War 1, with the Junior Cadet scheme the first to go, in 1922. Senior cadets and service with the militia was suspended in November 1929. (http://guides.slsa.sa.gov.au/content.php?pid=575383&sid=4788359, accessed 29/10/2015) According to Neil Leckie, Manager of the Ballarat Ranger Military Museum: * Originally 12 – 14 year olds went to Junior Cadets attached to their school. * From age 14 – 17 they were Senior Cadets attached to the local militia unit. * After 1 July of the year a Cadet turned 18, the Cadet left the Senior Cadets and became a member of the Citizen Military Force. * In October 1918 the AIF, Militia and Cadets were renamed to give some connection to the AIF battalion raised in the area. Ballarat saw: 8th Australian Infantry Regiment comprising: * 8th Battalion AIF renamed 1st Battalion 8th Australian Infantry Regiment * 70th Infantry Militia renamed 2nd Battalion 8th Australian Infantry Regiment * 70th Infantry Cadets renamed 3rd B, 8th Australian Infantry. 39th Australian Infantry Regiment comprising: * 39th Battalion AIF renamed 1st Battalion 39th Australian Regiment * 71st Infantry Militia renamed 2nd Bn, 39th Australian Infantry Regiment * 71st Infantry Cadets renamed 3rd Bn, 39th Australian Infantry Regiment Prior to the reorganisation in 1918 the 18th Brigade was the 70th, 71st and 73rd Infantry. It is thought that the 18th Brigade Cadet units in 1920 were those that came from the old: * 69th Infantry (Geelong/Queenscliff) * 70th Infantry (Ballarat/Colac) * 71st Infantry (Ballarat West) * 72nd Infantry Warrnambool) * 73rd Infantry (NW Vic) The next name change came in 1921!Mounted sepia photograph of 21 young males. They are the Ballarat School of Mines Cadets on a training camp at Lake Learmonth. Back row left to right: Harold Wakeling; ? ; T. Wasley; H. Witter; H.V. Maddison (staff); Lieutenant S.J. Proctor, Joe ? ; ? ; B.C. Burrows. Centre left to right: Howard Beanland; ? ; F.N. Gibbs; H. Siemering; P. Riley; ? : E. Adamthwaite. Front row left to right: Albert E. Williams; Francis Davis (RAAF Dec.); A. Miller; W. Shattock; T. Rees From the Ballarat School of Mines Magazine, 1916 "Our Competition Team, 1916 At a parade, held on the 25th August competition teams were called from from the three colleges - Ballarat College, St Patrick's College, and the School of Mines. In each case, a large muster was obtained, twenty-nine volunteering fro the School of Mines. On account of the number in a team being limited to 21, some had to be weeded out. The team decided to have a camp at Learmonth in the vacation for the benefit of training for the coming competitions. The tents, within our baggage, were brought to the Junior Technical School at 10 a.m. on Monday, 11 September. Everything was carted to the station on a lorry, which was very kindly lent by Mr C. Burrow. ... Arriving at our camp, which was in the Park, we first raised the tents. This was done in record time. Three large tents, A.B.C., were pitched one behind the other. We also pitched a smaller one to act as a provisions tent. The provisions supplied by each cadet were placed in this tent. Dinner was ready by 3.30, and was prepared by the three senior non-coms., who also acted as orderlies. Things went alright Monday night, the two senior non-coms. acting as sentries for the first two hours. On Tuesday morning Reville sounded at 7. There was no need for it, however, as nearly all the cadets were up before daylight, owing to their beds being too hard. After physical exercises were gone through we had breakfast. We then had rifle exercises until Messrs A.W. Steane and F.N. King arrived. The former put the team through the table of physical exercises set down for competition work, many valuable points being obtained. The visitors remained for dinner, afterwards returning to Ballarat. Wednesday was uneventful, until the soldiers arrived at about 11 a.m., stopping at the park for lunch. As we handed over the coppers, etc., to them, our lunch was delayed. Two more visitors arrived after lunch, and after taking a few photos returned home. That night we had a "Sing-a-long" in C Tent until "Lights out" sounded at 9.30. After physical exercises ad breakfast on Thursday, we went for a six mile route march round the lake, doing skirmishing on the way. In the afternoon we practised rifle exercises and the march past. A concert was arranged for that night, the chief singers being cadets H. Siemering and W. Shattock. Supper was served at the end of the entertainment. On Friday, Reveille sounded at 6.30 instead of 7, and, as usual, we had physical exercises before breakfast, after which the team went through skirmishing at the reserve. In the afternoon, section drill and the march past were practised. Friday night, being our last night in camp, leave was granted until 10 p.m., "lights out" sounding at 11. Reveille sounded on Saturday at 4.30, the reason being that all kits, tents, etc., had to be packed away ready to catch the 8.15 train to Balalrat. At 7.30 we were all ready to leave for the station. We had a very enjoyable time in the train, each cadet having a chip in at the patriotic songs. On arriving at Ballarat, we found the lorry awaiting us. The luggage was carted to the Junior Technical School, the team following. The team were here dismissed, everyone feeling that he had had a very good time. F.G. Davis"Written in ink on front 'cadet camp at Lake Learmonth about 1916. Training for South Street Competitions. ballarat school of mines, cadets, ballarat school of mines cadets, lake learmonth, world war one, boomerang, camp, cadet camp, h.g. wakeling, harold wakeling, f.g. davis, albert w. steane, f.n. king, h. siermering, w. shattock, francis davis, harold wakeling, t. wasley, h. witter, h.v. maddison, s.j. proctor, b.c. burrows, howard beanland, f.n. gibbs, h. siemering, p. riley, e. adamthwaite, albert e. williams; francis davis, a. miller, w. shattock, t. rees, photography, foto, boxing gloves -
City of Greater Bendigo - Civic Collection
Book - Street Directory, McConnell Publisher, The Street Finder
General district street, business and services directory aimed less at the tourist market and more at the Bendigo and Eaglehawk population. Includes advertising. Index is extensive and includes services such as child care centres, cemeteries, theatres and schools.Thirty two page, printed and bound street and business directory for Bendigo, Eaglehawk and district. Grey card front cover with grey cardboard back cover. Printed in red and black ink. Includes Index for trades, streets and services such as banks, baths, sporting clubs and police stations. Majority of content is text and advertising and the only map included in the publication is printed inside the back cover.The Street Finder / for the municipalities of / Bendigo, Eaglehawk / & District. city of greater bendigo commerce, city of greater bendigo community groups, city of greater bendigo tourism, borough of eaglehawk, making a nation exhibition -
Royal Australian and New Zealand College of Obstetricians & Gynaecologists (RANZCOG)
Tool - Guy's tongue forceps used by Dr Mitchell Henry O'Sullivan, 1930 (approximate)
During surgery under general anaesthetic, these forceps were used to pull the tongue forward to keep the patient's airways clear from obstruction. This tool was in general use from the 1930s onwards in teaching hospitals, and became a standard piece of equipment on all anaesthetic trolleys. In the majority of teaching hospitals, the blades of these forceps were smooth and wide to cause less trauma to the tongue. This particular style of tongue forceps is known as Guy's tongue forceps.Dr Mitchell Henry O'Sullivan worked in the Victorian country town of Casterton as a general practitioner from 1919 until his death in 1977. He also practiced obstetrics. His son, Dr David More O'Sullivan donated his obstetric bag and its contents to the College in 1999. The bag and contents are a unique time capsule of the type of instruments and pharmaceuticals used in the inter-war period.Pair of metal forceps. Similar in appearance to a pair of scissors, and other surgical forceps, but with rounded teardrop shaped tips. There is also a notch clip for the handle to keep the forceps open. Inner aspect of both forceps blades engraved with the number '3'. The left hand blade is also engraved with the letter 'P'.anaesthesia -
Royal Australian and New Zealand College of Obstetricians & Gynaecologists (RANZCOG)
String used by Dr Mitchell Henry O'Sullivan
This type of string, or twine, was frequently used by obstetricians to tie the umbilical cord after the delivery of a baby. Thicker string was favoured because there was less chance of cutting through the soft cord tissue surrounding the umbilical vein. Dr Mitchell Henry O'Sullivan worked in the Victorian country town of Casterton as a general practitioner from 1919 until his death in 1977. He also practiced obstetrics. His son, Dr David More O'Sullivan donated his obstetric bag and its contents to the College in 1999. The bag and contents are a unique time capsule of the type of instruments and pharmaceuticals used in the inter-war period.Brown string, possibly made of hemp, in two separate lengths. obstetric delivery -
Federation University Art Collection
Artwork - bookplate, Geoffrey Ricardo, Ex Libris Geoffrey Ricardo, not dated
... ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more... ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more ...GEOFFREY RICARDO (1964- ) Born Melbourne, Australia 1984-86 Bachelor of Arts (Fine Art), Printmaking, Chisholm Institute of Technology, Melbourne 1987-89 Printing Assistant at Bill Young Studios, Editioning intaglio prints, King Valley, VIC 1988 Full-time Studio Technician at Printmaking Department, Chisholm Institute of Technology, Melbourne 1989-90 Graduate Diploma (Fine Art), Printmaking, Monash University, Melbourne 1991 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed bookplategeoffrey ricardo, bookplates, kangaroo -
Federation University Art Collection
Work on paper - Artwork - Printmaking, Geoffrey Ricardo, "The Urbane Heart" by Geoffrey Ricardo, 1999
... ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more... ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more ...GEOFFREY RICARDO (1964- ) Born Melbourne, Australia 1984-86 Bachelor of Arts (Fine Art), Printmaking, Chisholm Institute of Technology, Melbourne 1987-89 Printing Assistant at Bill Young Studios, Editioning intaglio prints, King Valley, VIC 1988 Full-time Studio Technician at Printmaking Department, Chisholm Institute of Technology, Melbourne 1989-90 Graduate Diploma (Fine Art), Printmaking, Monash University, Melbourne 1991 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed intaglio print from Geoffrey Ricardo's 'A Dark City, A Narrative' suite'. Donated through the Australian Government's Cultural Gifts Programme by Katherine Littlewood.Under image in pencil ' artists proof "The Urban Heart" Ricardo 99,geoffrey ricardo, printmaking, framed print, intaglio