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Robin Boyd Foundation
Slide, 1950
Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Casa Mila (La Pedrera), Barcelona, Spain. (Architect: Antoni Gaudi.)Barcelona / Gaudi / Off, Entrance (All Handwritten)haddon travelling scholarship, haddon, robin boyd, slide -
Robin Boyd Foundation
Slide, 1950
Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Monument to the Fallen in the Nazi Extermination Camps (Monumento ai caduti), Monumental Cemetary, Milan, Italy, 1946 and modified several times later. (Architects: BBPR architecture studio (Banfi, Belgiojoso, Peressutti, Rogers).)haddon travelling scholarship, haddon, robin boyd, slide -
Robin Boyd Foundation
Slide, 1950
Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Casa Batllo, Barcelona, Spain. (Architect: Antoni Gaudi.)Barcelona / Gaudi / Offices in Passeo De Gracia (All Handwritten)haddon travelling scholarship, haddon, robin boyd, slide -
Hume City Civic Collection
Photograph
Since it was built in the 1860s the two storey brick building has had a number of commercial uses including butter and ice making, a general store, an equestrian store, an art gallery, a community Christian centre and a health studio. It has apparently been built in two stages because one section of the brickwork has a smoother finish.A coloured photograph of a two storey brick building with a slate roof. There is a shop front on the ground floor and 5 windows are on the 2nd storey. A verandah extends across the front of the lower storey to the edge of the footpath.butter and ice making, johnston, george, james, william, george evans collection -
Hume City Civic Collection
Container - Bottle, wine, 1985
The bottle was donated to the Council by Hedley Elliott for an exhibition in the Art Gallery (George Evans Museum). Note that Goonawarra is misspelt on the label.Green glass bottle used for 1975 claret and bottled for the first Sunbury Fair. The label is printed in brown and cream and features a sketch of the Goonawarra Winery and surrounding area. There is a brief statement on the back about the winery and the background to production of the wine. On the back is a hand-written label, stuck on with clear tape giving an account of the origin of the bottle of wine, its donor and storage instructions. It has a black metal cap and miscellaneous markings on the flat bottom."Sunbury Fair / Goonawarra Vineyard (above) was established / in Sunbury in 1858 by the / Hon. J. G. Francis, former Premier of Victoria. / This 1975 Claret from the Stanley Wine Co. / was bottled by Emerald Wines especially / for the Sunbury Fair / WINE PRODUCED IN AUSTRALIA F100 750ml". The hand-written label is signed by John McKerrow in 1985.sunbury fair, wines, goonawarra vineyard, stanley wine company, emerald wines, elliott, hedley, mckerrow, john, festivals and celebrations, francis, j.g. (hon.), george evans collection, 1970s -
Melbourne Athenaeum Archives
Video - ABC 7.30 Report: The Athenaeum 's 170th birthday, Athenaeum building celebrates 170 years, 11/11/2009
Transcript: Athenaeum building celebrates 170 years Australian Broadcasting Corporation Broadcast: 11/11/2009 Reporter: Lisa Whitehead Tomorrow marks the 170th birthday of one of the nation's historic cultural landmarks. Melbourne’s Athenaeum building has, in one form or other, provided education and entertainment for the Victorian colony as it became a city; and along the way, documented its growth. Transcript KERRY O’BRIEN, PRESENTER: Tomorrow marks the 170th birthday of one of the nation's historic cultural landmarks. Melbourne's Athenaeum building has, in one form or another, provided education and entertainment. For the Victorian colonies it became a city and along the way documented its growth. The building's original library and theatre still draw devotees and as Lisa Whitehead reports, a loyal band of volunteers. KEVIN QUIGLEY, ATHENAEUM PRESIDENT: There's nothing like us that has been here from day one, four years after the boat pushed ashore, here we are. It's a thread that runs through the life of Melbourne. LISA WHITEHEAD, REPORTER: In the heart of Melbourne's CBD, the Athenaeum is a celebrity in disguise, the oldest cultural icon in the city, but barely noticed. MARJORIE DALVEAN, VOLUNTEER HISTORIAN: People of Melbourne walk past this area and they have no idea what it is. RAY LAWLER, PLAYWRIGHT: It seemed to me to be a place that absolutely, or breathes Melbourne, I suppose, culture. LISA WHITEHEAD: Just four years after Melbourne was founded, the colony built a Mechanic's Institution, one of the first in the world, a place where the working class could meet and learn. KEVIN QUIGLEY: People think of it as Wild West sort of place where these hearty types drank and rushed about, but Melbourne was freely settled. It was a city of people who wanted to better themselves - entrepreneurs. And the Mechanic's Institution was that innovative idea that had grown up in Edinburgh and London about providing an opportunity for education for the working people. LISA WHITEHEAD: Mark Twain lectured there. Later, other buildings were added and a theatre to host classic plays. And it adopted its more bourgeois friendly title of the Athenaeum. Crucially from the start there was the library, the first to offer affordable lending to the working man. And it still attracts devotees. Former University lecturer Margaret Bowman, 89, comes in every Wednesday, along with her dog to join an enthusiastic band of volunteers sorting through the archives. MARGARET BOWMAN, FORMER UNIVERSITY LECTURER: Doing research is something that I find actually I enjoy more than anything. Every old lady needs to have a project and now I've got a project. MARJORIE DALVEAN: Margaret, Christine has just found out that Alfred Deakin was a member here from 1874 to 1877. This place is not flashy, we've never been flashy. But book lovers walk in here and they know this is the place for them. ARCHIVAL FOOTAGE: Old times and old names. The Athenaeum theatre in Melbourne for more than 40 years has been one of the city's best known cinemas. LISA WHITEHEAD: In the 20th century, the theatre surrendered to the new craze of talking pictures, and one particular fan was famous Australian playwright Ray Lawler. At 13, he dropped out of school to work in a Footscray factory and two years later his first trip to the glamorous Athenaeum cinema hinted at the education he was missing. RAY LAWLER: It just had a style about it which I responded to, I think. I was looking for something and this seemed to be part of it. Ray Lawler went on to write "Summer of the Seventeenth Doll" and found literary fame overseas. About a century after it had started as an educational place for the working man, Ray Lawler had, in effect, become an Athenaeum graduate. RAL LAWLER: If they had been looking for the sort of person that they were hoping to encourage along the way, I suppose I would have been somebody that might have fitted the mould, you know. LISA WHITEHEAD: In time, the cinema was returned to its theatrical roots. FRANK THRING, 1977: It has a great resemblance to the Theatre Royal in Hobart which Larry Olivier has called the best theatre he's ever worked in. And it's almost identical. It is the true Victorian playhouse. The horseshoe shaped thing: stalls, dress circle and gallery. And you're close to the audience and they're close to you. Marvellous feeling. LISA WHITEHEAD: Today, it's still a theatre. But time has brought compromises. The once vaunted art gallery has now covered its windows and become a comedy club and performance space. TV and suburban life have eaten away at the library membership. It offers an online service now, and a recent federal government grant will pay for the upkeep of its gracious interior, including the 1930s elevator Ray Lawler used to ride. For him, it's money well spent on history quietly made and discreetly observed. RAY LAWLER: It's the lack of awareness, I think, that people don't know what they've got here. They've really got the whole history of Melbourne almost. KEVIN QUIGLEY: It was a similar organisation in Sydney but we are the only one that's got a continual lineage on the same spot. We started here and we're still here and we'll be here for another 100 years. KERRY O'BRIEN: Lisa Whitehead on a great Melbourne landmark. © 2010 ABC | Privacy Policy Beginning as the Melbourne Mechanics' Institution in 1839, the Melbourne Athenaeum has a long history that reflects the cultural and social development of Melbourne. It continues to be managed as a not-for-profit organisation by a volunteer board, with a subscription library (maintained since 1839) and a leased theatre.Video broadcast ABC 7:30 Report for 11/11/2009. "Tomorrow marks the 170th birthday of one of the nation's historic cultural landmarks. Melbourne’s Athenaeum building has, in one form or other, provided education and entertainment for the Victorian colony as it became a city; and along the way, documented its growth."athenaeum, australian broadcasting corporation, kerry o’brien, kevin quigley, lisa whitehead, marjorie dalvean, ray lawler, margaret bowman, frank thring. -
Clunes Museum
Book, GALLERY DAYS, 1989
... JAMES WWI JAMES FARRELL RECALLS HIS STUDENT DAYS AT MELBOURNE ...JAMES FARRELL RECALLS HIS STUDENT DAYS AT MELBOURNE NATIONAL GALLERY AND A WARE THAN CHANGED AUSTRALIA IN 1939BOOK WITH DUST COVER COLOUR IMAGE ON DUST COVER OF A TIMER COTTAGE WITH A PICKET FENCE SURROUNDED BY MATURE TREES 64 PAGESnon-fictionJAMES FARRELL RECALLS HIS STUDENT DAYS AT MELBOURNE NATIONAL GALLERY AND A WARE THAN CHANGED AUSTRALIA IN 1939farrell james, wwi -
Duldig Studio museum + sculpture garden
Sculpture, Moses by Karl Duldig 1956 (Bronze Cast 1979), 1956 / 1979
This sculpture is a bronze cast of Karl Duldig’s 1956 terracotta sculpture titled 'Moses'. The terracotta sculpture won the 1956 Victorian Sculptor of the Year award, an honor given by the Victorian Society of Sculptors. The National Gallery of Victoria purchased the original terracotta sculpture for the Gallery’s collection in 1956. In 1979 the NGV allowed Karl to cast the original terracotta sculpture in bronze (to a limited edition of 5). The National Gallery of Victoria holds one of these casts and one is in Duldig Studio collection. The original terracotta sculpture was exhibited in 1956 at the Olympic Arts Exhibition in Wilson Hall at the University of Melbourne. Two other works by Karl were also exhibited, a sandstone titled 'Adam and Eve' and a work titled 'Fountain'. The catalogue for the Olympic exhibition, which promoted modernism across a variety of disciplines, noted that Australia’s post war immigration program had given ‘further momentum to the modernist cause’. The identification of émigré artists, such as Karl Duldig, with the acceptance of modernism in Australia became a major theme in any discussion of art and design in the post war period. Ann Carew 2016The subject Moses and the tablets of law is an important theme in the history of art. For example the National Gallery of Victoria collection includes paintings on this topic by the Australian Aboriginal artist, Queenie McKenzie (1991), prints by the Russian-French modernist artist, Marc Chagall (1956), and a painting by 19th century British academic painter, John Rogers Herbert (1870s). Michelangelo’s sculpture of Moses is perhaps the most famous sculptural interpretation of the subject. In Karl’s hands we have a modern interpretation of the theme. His simplification and abstraction of form and attention to surface modeling is masterly. The figure has an emotional intensity and despite its relatively small scale, a ‘forceful monumentality’. The sculpture is aesthetically significant for its craftsmanship, expressive qualities and modernity. It is historically significant because of its associations with the 1956 Olympic Arts Festival. The Duldig Studio’s bronze cast of the sculpture was exhibited in the exhibition '1956: Melbourne, modernity and the XVI Olympiad, Museum of Modern Art at Heide.' Apart from the formal qualities of a work like Moses, its relevance as a motif in Judaism and Christian faiths ensures its place as a work of spiritual significance. Ann Carew 2016Bronze cast from terracotta sculpture. Depicts Moses as in Exodus 32 when he returns from Sinai with the tablets of the law to find his people worshipping the golden calf, in his fury he holds the tablets aloft above his head before crashing them down on the ground. -
Nillumbik Shire Council
Ceramics (bowl): Mary-Lou Pittard, Decorative Bowl, 1983
... at Devise Gallery in South Melbourne. This objective, she says...Nillumbik Shire Council melbourne Mary-Lou began exhibiting ...Mary-Lou began exhibiting in the mid 1980s and over the years has been involved in producing unique pieces as well as developing a large range of domestic ware. In 1984, six months after graduating from a Bachelor of Fine Arts at Phillip Institute of Technology, Mary-Lou was invited to present a solo exhibition at Devise Gallery in South Melbourne. This objective, she says, compelled her to find a studio and was an incentive to focus on developing her ceramic practice independently.Mary-Lou Pittard holds close ties to the Shire of Nillumbik - living and working within Eltham. Her Eltham North Mudbrick Studio employed 5 assistants until recently when Mary-Lou and partner Chris Pittard have scaled down operations. They now produce everything themselves and find that this enables them to focus on producing unique, sculptural ceramic works. Mary-Lou is currently exploring the fine qualities of porcelain and combining these with her ongoing passion for decorative colour and form. 'Decorative Bowl' is a wheel-thrown/moulded bowl, oblong in shape and has been manipulated by hand. Narrow sections have been incised from the main body, perhaps a practical design feature for air circulation, and the rim has been altered to form a jagged edge. Bold colourful shapes decorate the interior of the bowl. They have been applied directly to the bisque surface and subsequently covered with a transparent glaze which protects them and enhances their permanency.mary-lou pittard, ceramic, chris pittard, eltham, nillumbik -
Nillumbik Shire Council
Ceramics (plate): Mary-Lou PITTARD, Serving platter
Mary-Lou began exhibiting in the mid 1980s and over the years has been known for producing unique pieces of domestic ware influenced by food and traditional ceramic ware of the past.Food and tradition have always played a big part in Mary Lou’s ceramic work. 'Serving Platter' is rich in colour. The decorative designs are inspired by her surroundings in a style reminiscent of the past. Mary-Lou and husband Chris have a studio and gallery attached to their residential property in Eltham North which is open to the public. They also participate in the Nillumbik Artists Open Studios program. Oval platter with bold, stylised flowers glazed in reds, blues and yellows.mary-lou pittard, eltham, nillumbik, ceramic -
Nillumbik Shire Council
Drawing (Pastel): Nicholas Nedelkopoulos (b.1955 Melb, AUS), The Sneeze, 1995
Nicholas Nedelkopoulos is an established artist, his work is represented in the Metropolitan Museum of Art, New York, the National Gallery of Australia and in numerous International and Australian Public and Private Collections. His work has been included in major historic exhibitions: the National Gallery of Australia's Federation touring exhibition, The Australian Bicentennial Folio and Victoria's 150th Anniversary exhibition curated at The State Library of Victoria and National Gallery of Victoria. He has a Diploma of Fine Arts from Victorian College of the Arts, a Master of Fine Art from the University of Melbourne (Victorian College of the Arts) and has a Doctorate from Monash University. Nedelkopoulos' work is based strongly in graphic tradition which can be seen throughout all of his media.'The Sneeze' alludes to a feverish response, an irritation, a period of temporary discomfort, or a sign of sickness. On a visit to Eltham in 1995 Nedelkopoulos became aware of the disquiet felt by many residents because local government was not in the hands of elected representatives. 'The Sneeze' is an allegorical work, which serves as a reminder of this period in our municipal history. Nedelkopoulos has constructed an environment similar to a theatre set in which every element is a symbol to be deciphered. Whether you read the red-nosed figure as democracy being challenged by the political circumstance, as representing the unelected commissioners surrounded by the criticism of the community, or as another player in the story, to unravel the meaning of individual elements will provide direction and add weight to your interpretation. Without knowledge of the artist's intention the work can convey quite straightforward messages and responses. For example, the misery of hayfever in Spring, or how germs spread from a single sneeze. Such ideas are relevant and provide the metaphoric basis for a more in-depth analysis.Pastel drawing on paper. Image depicts a small black figure with a small monkey on a lead. The figure has a red nose to which he is holding a tissue. He is walking through what appears to be a flowering forest.nedelkopoulos, the sneeze -
Nillumbik Shire Council
Painting: David ARMFIELD (b.1923 Melb AUS - d. 2010 Melb AUS), Panton Hill, c.1980
David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He has won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1903s on painting trips and used to camp on the banks of the Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires.Oil on canvas painting depicting a Panton Hill bush scape.Signed: D. Armfield in lower right hand corner. Not dated.david armfield, eltham art prize, panton hill -
Nillumbik Shire Council
Painting: David ARMFIELD (b.1923 Melb AUS - d. 2010 Melb AUS), Untitled (Beach), c. 1975
David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He has won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1903s on painting trips and used to camp on the banks of the Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires.'Untitled' by David Armfield an oil on canvas painting depicts sand, sea, distant mountains and various figures scattered about in a typical Armfield landscape. The figures tend to be annonymous, sometimes included more to establish the scale than for a narrative purpose. The figures are well clothed and it could be assumed that it is not a hot summer's day. Depth is established by changing of colours and diminishing the size of the figures.david armfield, beach, eltham, nillumbik shire council -
Nillumbik Shire Council
Painting: David ARMFIELD (b.1923 Melb AUS - d. 2010 Melb AUS), Eltham 1965, 195
David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He has won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1903s on painting trips and used to camp on the banks of the Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires. Painting: oil on canvas. Depicting the desolate aftermath of a bushfire in Eltham. Trees are bare and burnt, foreground is sparse, whilst background is fiery red.david armfield, eltham, bushfire -
Nillumbik Shire Council
Ceramic (plate): Joan Armfield & David Armfield, Platter with dolomite glaze and Grevillia decoration, c.1975
David Armfield: David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1930s on painting trips and used to camp on the banks of Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires.Ceramic stoneware. Reduction fired, dolomite glaze, wax resist decoration over iron. Decorated/painted by David Armfield. Cast by Joan Armfield. -
Nillumbik Shire Council
Clay: Leanne Mooney, Tiles from the Boomerang Studio, 2002
'Tiles from the Boomerang Studio' is a prototype of the work 'Year 2052', created while Mooney was an Artist in Resident at Laughing Waters in the Boomerang studio in 2002. Records of flora were collected in and around the Gordon Ford garden in Laughing Waters Road. The work 'Year 2052' is made up of '77' tiles and was acquired by Geelong (Regional) Art Gallery in 2003. Whilst working at the Boomerang studio, local based artist Mooney noticed that “a battle raged in the bush between non-indigenous plants and indigenous plants”. She also noticed how humans “invade” land, changing the surrounding environment and causing irreversible damage. This work is an interpretation of the fragility and value of Nillumbik’s indigenous flora and of its conflict with introduced species. The title of the work (Year 2052) and look of these ‘fossilised specimens’ asks viewers to cast themselves into the future and to look back at today. “These tiles have been found; an incomplete record of flora collected in and around the Gordon Ford garden in Laughing Waters Road. The tiles appear to have been made at the beginning of the millennium. The viewer is asked to contemplate which species are missing”. Mooney works with collected indigenous items to emphasis the beauty of their natural shapes, while at the same time introducing selected materials of contrast or sympathy. Her work creates a great sense of “stillness and peace, of simplicity and connection with the natural world as well at the vanishing Australian bush.”This work is made up of seven handbuilt earthenware oval/round clay 'tiles' - (eight pieces - with one tile intentionally broken), brown in colour and bisque and blackware fired, giving a matt black ash coating on each of the tiles' surface. Each tile has an imprint of a floral specimen indigenous to the Laughing Waters area in Eltham. Each tile has an imprint of the following specimens: tiles, earthenware, flora, indigenous, bisque, boomerang, ford, laughing waters -
Nillumbik Shire Council
Work on paper - Print (etching), Graham FRANSELLA, Beach I (figure), 1985
A finalist in the Shire of Eltham Art Awards in 1985. Born in Harrow, England, Graham Fransella studied at the Bradford School of Art, Yorkshire. He came to Australia in 1975. Graham Fransella lives and works in Melbourne and is represented by galleries across Australia.Fransella is an artist (printmaker) of national significance. “A feature of Fransella’s art is that it has an immediate visual simplicity, sometimes possessing the lucidity of graffiti-like directness, but this is attained through the most complex and intricate means. The surface on which he works is the arena in which he performs with an endless layering of marks, surfaces and signs. It seems that he surrenders to an intuitive process, one in which chance serves as an active collaborator. Ultimately his practice engages with the theory of the artist’s subconscious being allowed unbridled freedom of expression.” Sasha Grishin AM FAHA, in 'Gorgeous simplicity in signature themes: Graham Fransella', Sydney Morning Herald, April 5, 2014This etching depicts a busy and carefree day at the beach in bright colours of red and blue. The figures are drawn with spontaneity and simplicity, which is characteristic of Fransella's style. Figures are positioned in states of relaxation or bounce around beach scenes in joyful exuberance. eltham art award, etching, print, beach, figures -
Nillumbik Shire Council
Sculpture: Jane ANNOIS, Evolution, 2006
Jane Annois had a long involvement with Potters Cottage in Warrandyte, where she taught for many years. Potters Cottage was established in the late 1950s in Warrandyte as an artist co-operative. Founding members included Reg Preston, Phyl Dunn, Gus McLaren, Artur Halpern, Sylvia Halpern and Elsa Ardern. These talented artists had the ingenuity and foresight to create a teaching studio, gallery shop and restaurant to experiment, make, promote and sell predominantly domestic wares of the time. These activities helped financially sustain each member’s individual creative practice. Potters Cottage was influential in the development of contemporary ceramics, building and developing practices that experimented with traditional ceramic processes, raw materials and locally sourced clay. The group mentored and nurtured many interested in the art of ceramics, producing alumni and teachers such as Peter Laycock, John Dermer, Greg Daly and Jane Annois. Jane Annois is a ceramic artist who has lived and worked locally in Warrandyte for many years. She focuses primarily on exploring the art of Japanese raku, adapting the technique to develop the typical characteristics of crackle glazes and lustres, with contrasting areas of black. Jane also applies a fine slip called terrasigillata which gives soft, warm ochre colours. This technique was once used by the Greeks over 2000 years ago to seal and decorate their pots. She is also strongly onfluenced by the French potters, particularly in the style of terre vernissee, a decorative form of terracotta tableware. Three piece stoneware and raku fired ceramic sculpture. The first piece is a hollow, dome shaped object. It is orange (terracotta slip) in colour with a copper metallic band and a black edge on one side with a small yellow glazed rounded triangle and metallic strip of colour on the otherside. The second piece is shaped like a traditional vase. It is orange (terracotta slip) in colour with white crackle on the inside. It has a yellow slip edge with a dark glazed square on one side and on the other side a black thick edge that mirrors the contour of this shape. The third piece is shaped loosley in the form of the letter 'z'. It compliments the second piece with a yellow slip edge and black glazed square to its lower left side and top right as well as on its' other side a black thick edge that mirrors the contour of this shape. This piece has a very small skewed square opening at its' top. All three pieces have elements of crazing and variations of colour and lustre, caused by the raku process. 2006.52.1VA has the artist name/signature 'J. Annois' inscriped small (with fine point ceramic tool?) on the front of the piece, bottom right; 2006.52.2VA has the artist name 'Jane'? inscribed (unlegible - with fine point ceramic tool?) underneath; 2006.52.3VA has the artist name/signature 'Jane Annois' inscriped (with fine point ceramic tool?) inside its hollow form. evolution, raku, stoneware, terrasigillata, terracotta, glazes, slip, terre vernissee -
Nillumbik Shire Council
Painting: John DUDLEY, Night Predators, 1960s/70s
John Dudley was a well-known local artist who lived in the Shire during the 50s, 60’s and 70s. He was represented by Wiregrass Gallery in Eltham. Formerly two separate galleries: The Eltham Gallery and The Wiregrass Gallery. The Wiregrass Gallery opened on 4th February 1977 at Station Entrance, Eltham, Victoria and closed on the 19th November 1989 when its lease expired. The gallery then moved in early 1990 to 559 Main Road Eltham, the premises of the Eltham Gallery and from then on operated under the name Eltham Wiregrass Gallery. This work is of the local environment and an excellent example of the artist’s work practice.A visual language of shape, form and colour (abstract) to create a composition referencing the physical and emotional experience of landscape. Blended colours of dark blues in background and warm yellows in foreground. Signed 'Dudley' red paint, lower left.landscape, abstract, eltham -
Nillumbik Shire Council
Painting: Lesley SINCLAIR (b.1901 - d.1999 AUS), Montsalvat
... art at the National Gallery School in Melbourne in the 1920s ...Lesley Sinclair studied art at the National Gallery School in Melbourne in the 1920s, and lithography at the Royal Melbourne Institute of Technology. She became a member of the Melbourne Society of Women Painters and Sculptors, but rarely exhibited her work. She was a student of Justus Jorgensen and a founding member of the Montsalvat group in Eltham. She lived at Montsalvat and taught painting until her death. -
Nillumbik Shire Council
Drawing: Ian BOW (b.1914 - d.1989 AUS), Templestowe Pub
Ian Bow studied at the Melbourne Technical College. He is best known both as a painter and as a sculptor. His works are represented in several state and provincial galleries. -
Nillumbik Shire Council
Painting - Alan MARTIN (b.1923 - d.1989 AUS), Portrait of Alan Marshall, 1956
Alan Martin studied under Max Meldrum, at the National Gallery School and the Royal Melbourne Institute of Technology. He later established his own art school. He has won several prizes and is represented in several provincial collections. Alan Marshall was the author of more than fifteen books, and lived much of his life in Eltham. He became a central figure in the area's arts community of writers, artists, sculptors, film makers, actors and musicians. He contracted polio when he was young is considered one of Australia's most successful and loved authors. His most famous book, 'I Can Jump Puddles' is based on his life story and the obstacles he faced as a child in trying to overcome his disability. The portrait of Alan Marshall was exhibited as a finalist at the 1956 Archibald Prize. -
Nillumbik Shire Council
Painting: Isobel CLEMENT, Two Vases and Two Cups, 2008
Isobel Clement has been practising since the 1980's. She completed her post graduate diploma at Phillip Institute (RMIT) in 1990. She paints, draws and uses installation for creative discourse. She has had more than ten solo exhibitions. Her work is included in collections such as National Gallery of Australia, the Australian Print Workshop Archive, Art Bank Australia and The Bundanon Trust. She has been shortlisted for the contemporary painting prize, the Bayside Art Award, on three occasions in recent years and was the winner of the Nillumbik Prize in 2009.Isobel Clement is a local artist who won the 2008 Nillumbik Prize. Painted in monochrome the artwork depicts two vases (with decorative edges) and two cups on a table in a row. Each of the four objects are slightly different in scale and shape and parallel to the picture plane. N/Astill life, nillumbik prize, painting, monochrome, vases, cups -
Nillumbik Shire Council
Print (sugarlift etching): Jan SENBERGS (b.1939 Lativia, arrived AUS 1950), Jan Sensbergs, 'New Jersey - rust belt' from the 'Baldessin & Friends' commemorative folio, 2016
Jan Senbergs was born in Riga, Latvia, in 1939 and came to Australia when he was ten. Senbergs’ work has been characterised by a simple and bold aesthetic. From lush landscapes to barren urban spaces, his body of work signifies an artist who has continually experimented with shape, form and motif, a fundamental humanist vision, a finely-honed sense of the absurd, and a rigorous studio practice spanning printmaking, drawing and painting. Senbergs is Baldessin's exact contemporary. He was also born in Europe and fled his homeland because of the war, arriving in Melbourne in 1950. Like George, Senbergs also worked at the RMIT and in 1973 represented Australia at the Bienal de Sao Paulo. Senbergs first met George when he was living in St. Kilda. George asked if he could screen print his 'Argus' catalogue for a show at the gallery in the Argus building. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'New Jersey - rust belt' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print finds its' origins in the time Senbergs spent at Harvard in America in 1989-90. In the context of Baldessin it explores an industrial urban surreal vision that was common to both artist. The image captures the life force of the city revealing the keen and observant eye of Jan Senbergs. Similar in sensibility to his large scale charcoal drawings of the 1990s, the artwork is not only a record of what the artist sees, but of what interest him. By following the movement of each line the viewer can witness the artist's eye travelling through, over and around each element of the urban landscape. The scale is deceptive with the image bled to the full-size of the sheet of paper like a microcosm of a much bigger whole. sugar lift etching of an urban (cityscape - New Jersey) scene - bridges, roads, buildings, in thick black brushstrokes. The image is busy; full of energy and movement. A bleed print in which the paper barely contains the city scape. In pencil (handwritten): top centre: left '14/25' (edition); centre 'New Jersey-Rustbelt' (title); right 'Jan Senbergs' (signature); print, sugarlift etching, urban landscape, ekphrasis2018, new jersey, line, rust belt -
Nillumbik Shire Council
Ceramic, Vipoo Srivilasa, We Come In Peace III, 2017
Vipoo Srivilasa works predominantly in ceramics, creating unique contemporary porcelain sculptures, vessels and figures to transmit a universal message of cross-cultural experience. His works explore similarities between the cultures of homeland, Thailand and his adoptive home, Australia. His work is both a playful, and at times a political, blend of historical figurative and decorative art practices with contemporary culture. For more than 20 years, Vipoo has exhibited both internationally and throughout Australia, including Museum of Fine Arts, Boston; Saatchi Gallery, London; Ayala Museum, Philippines; Yingge Ceramics Museum, Taiwan; Nanjing Arts Institute, China and the National Gallery of Thailand. His work is held in national and international collections including the National Gallery of Australia, the Art Gallery of South Australia, GOMA, and the Craft Council, UK. -
National Wool Museum
Clothing - Knitted Outfit, 1998
Made by Inge Cammans in 1998 initially to see if she could create an outfit made entirely of wool. The outfit was then entered in the National Wool Awards competition in 1999 and won first prize.Hand knitted cream and brown outfit consisting of a skirt (kilt), jumper, hat (beret), scarf, socks and bag. Outfit is made using hand spun wool from local East Gippsland area, Perendale and Mohair. An artist tag and rosette award accompany the outfit.tag [front]: [handwritten] SCOTTISH OUTFIT / DESIGNED HAND- / SPUN + KNITTED OUT / OF PERRIDALE + / MOHAIR BY / Inge Cammans / [printed] BUCHAN / BLACK MARBLE HUT / GALLERY / Main Street, Box 9, / Buchan, Vic. 3885 / (051) 55 9296 / AUSTRALIA tag [back]: Theo Cammans / is an exceptionally talented individual. / He is responsible for not only / the beautiful paintings and / woodwork throughout the / shop, but also fashions the / unique Buchan Marble / into many varied and / stunning designs. / Inge Cammans / using her own hand spun / wool she has made multi / award winning garments / and wall hangings. / Each item in unique and / renowned world wide / She has taken first prize at - / National Wool Awards, / Melbourne, Lakes, Bairnsdale, Omeo / Paris Exhibitor front [rosette]: OMEO & DIST. A.&P. SOCIETY / WOOL DESIGN AWARDS / 1stknitting handicrafts, cammans, mr theo, knitting, handicrafts, east gippsland -
Westbourne Grammar Heritage Collection
Book - Charles Steedman, 1867, Manual of Swimming, 1867
Charles Steedman was headmaster of Williamstown Grammar School from 1870-76 and 1885-90. In 1870, under agreement with school trustees, Sir George Verdon and John Courtis, he leased the school under a seven-year lease, effectively saving it from closure. Steedman had previously been manager of Sandridge Baths and a champion swimmer of Victoria. His 1867 book, 'Manual of Swimming', was the first major technical contribution to the sport of speed swimming and water safety, for which Steedman was inducted into the Sport Australia Hall of Fame in 2006. As headmaster of Williamstown Grammar, Steedman initiated a student produced school paper called 'The Schoolboy' (surviving editions can be accessed at the State Library of Victoria), added swimming lessons to the curriculum and opened enrolment to girls in 1885. The book contains nine illustration plates featuring line drawings of a human figure in the positions detailed by Steedman in his text. These drawings are attributed to O.R. Campbell. Oswald Rose Campbell is best known for his appointment (1876-1886) as drawing master of the School of Design, a department of the Public Library, Museums and National Gallery of Victoria. He taught (and famously disagreed with) the likes of celebrated Australian artists, Tom Roberts and Frederick McCubbin. O.R Campbell taught drawing and painting at Williamstown Grammar in the early 1870s.The book holds historic significance for Westbourne Grammar School, having been written by a former headmaster and very important figure in the history of the school. It evokes our early history as an emerging grammar school with links to prominent athletes, artists and gentry of colonial Melbourne. Blue cloth covered case-bound book, with debossed decorative scrollwork in each corner and in the centre of front cover, and gilt lettering on the spine. 270 numbered pages, nine illustration plates (one adjacent to title page, eight as end pages).On title page, handwritten inscriptions in brown coloured ink. Possibly ‘Joshua Saggs Esq. / With the authors compliments’ and below, in different handwriting and darker ink, ‘To dear Flossie from Grandma 1901’. williamstown, sandridge baths, swimming, colonial melbourne, art, williamstown grammar -
Melbourne Athenaeum Archives
Flyer/ brochure, The BZW Collins Street Grand Musical Promenade(music variety)by BZW Saturday 11 of November 1995
... antiquarian book shop gallery 101 melbourne town hall reception area... melbourne the bzw colins street grand music promenade athenaeum ...coloured brochures 750 outstanding musicians 130 extraordinary concerts 35 magical venues including: Melbourne town hall assembly hall athenauem theatre 1 athenauem theatre 2 Basement discs baptist church Cathedral room-ANZ Gothic Bank the melbourne club rauquet courts melbourne town hall council chambers miettas lounge gold vaults old treasury building 101 collins Street Scots Church 333 collins street capitol cinema city square kay croddocks antiquarian book shop gallery 101 melbourne town hall reception area mitre tavern novetel on collins micheals brasssere JJclark room 120 collins street reserve bank foyer the bzw colins street grand music promenade, athenaeum theatre one, the australian art orchestra, athenaeum theater two, the aspern papers, that, geoffrey tozer piano, roger woodward piano, nathan waks cello, stephen mcinytre piano, rita reichman piano -
Emerging Writers' Festival
2007 Festival Photographs
The 2007 Emerging Writers' Festival was programmed by Steve Grimwade and ran from Friday, 25 May to Sunday, 27 May 2007, at the Melbourne Town Hall, State Library Victoria and Federation Square. Special events in 2007 included: - Friday night launch featuring a keynote speech by Waleed Ali on issues key to emerging writers - The 48-Hour Play Generator - Scrabble - the best in wordplay – the Festival's Saturday night party - Independent Press and Zine Fair – all day Sunday in the Atrium - RMIT Gallery art/text exhibition from May 1 - Speed Dating for writers and editorsA collection of digital photographs, taken at various events associated with the 2007 Emerging Writers' Festival.2007 emerging writers' festival, steve grimwade, literary programming, the wheeler centre, emerging writers', literary, festival, melbourne -
Emerging Writers' Festival
Book, Rich Text
Rich Text was a partnership between the Emerging Writers' Festival in 2007 and RMIT Gallery. It consisted of an exhibition of text, from which this book was produced.A gold and black book with Rich Text in cursive script on the frontemerging writers' festival, literary programming, the wheeler centre, rmit gallery, 2007