Purchased 1919

Black felt bowler hat donated by Mr. H. Rickard - Hat displayed in glass caseBlack felt bowler hat displayed in Glass Case Trademark on inside of hat "St.Elmo" Superior Manfacture Reg No. 3410 Size 6 7/8 Extra Light" bowler hat, h rickard

BLACK AND WHITE ORIGINAL UNFRAMED THOTOGRAPH OF THREE LADIES, TWO WEARING LIGHT CLOTHING AND ONE IN DARK FROCK WITH A WHITE CROCHET JABOT.local history, photography, photographs, unidentified photograph

THE PHOTO DEPICTS THE UNIFORM OF A LIGHT HORSEMAN IN THE 1914/18 GREAT WAR. FEATURED ARE THE RIFLE AND BAYONET, SHOULDER BANDOLIER, LEATHER LEGGINGS AND PLUMED HAT ALSO BAYONET SCABBARD AND LEATHER BELT.SEPIA ORIGINAL OF W. GILLESPIE.W. GILLESPIElocal history, photography, photographs, military

FROM 1914 TO 1918 MEMBER OF THE 9TH LIGHT HORSE. THE HAT IS THE SLOUCH TYPE, NOT PLUMED, THE SHOULDER BANDOLIER AND CANE ARE FEATURED.BLACK & WHITE ORIGINAL, OF PTE. E. MATHERSON WEARING 1ST. WORLD WAR UNIFORMMATHERSON PTE. E. MATHERSON 9 LIGHT HORSE.local history, photography, photographs, military

ORIGINAL LIGHT SEPIA PHOTOGRAPH OF R. MAYMAN. THE PHOTOGRAPH FEATURES A 1ST WORLD WAR FORAGE CAP AND LEATHER SHOULDER BULLET POUCHESR. MAYMANlocal history, photography, photographs, military

ORIGINAL LIGHT SEPIA PHOTOGRAPH OF H.E. HARVEY OF H.A.B. NO.26640 FEATURES SLOUCH HAT, COLLAR BADGE AND SHOULDER AUSTRALIA BADGE H.A.B. PROBABLY HEAVY ARTILLERY BATTERY.L 2857 H.E. HARVEY R.S.L. OF 2ND H.A.B. NO 26640local history, photography, photographs, military

ORIGINAL LIGHT SEPIA TONED PHOTOGRAPH OF O. POSTLEWAITE STUDIO PHOTO. SUBJECT WEARING A LIGHT HORSE UNIFORM 1ST. WORLD WAR. PLUMED HAT, SHOULDER STRAP, LEATHER BELT AND LEGGINGS, PLUS ARM INSIGNIA.POSTCARD O. POSTLEWAITE.local history, photography, photographs, military

CLUNES TOWN HALL AND COURT HOUSE BUILT 1872-1873BLACK AND WHITE PHOTOGRAPH OF CLUNES TOWN HALL AND COURT HOUSE- GENTLEMAN ON HORSEBACK IN FRONT-GAS LIGHT AND LEAFLESS TREES.local history, photography, photographs, town hall

CLUNES TOWN HALL AND COURT HOUSE IN BAILEY STREET BUILT LAST CENTURY.BLACK AND WHITE PHOTOGRAPH OF CLUNES TOWN HALL AND COURT HOUSE - FLAG POLE ON TOWN HALL - OLD GAS LIGHT IN FRONT OF HALL."Town Hall about 1952" "Ilford" printed on back "No. 88" handwritten in pencilphotography, town hall

EARLY COLOURED PHOTOGRAPH OF CLUNES TOWN HALL AND COURT HOUSE IN BAILEY STREET, CLUNES.COLOURED PHOTOGRAPH OF CLUNES TOWN HALL AND COURT HOUSE - GAS LIGHT AND TWO SMALL LEAFLESS TREES OUT FRONT. TWO MEN IN FRONT OF COURT HOUSE.THE TOWN HALL CLUNESlocal history, photography, photographs, town hall

McDonald Smith is famous for paining in the tradition of tonal impressionism, with most of his works painted in oil. This influence of the European Impressionist art style is clearly seen in his artwork Flower Study. The notion of light, an impressionist theme, is depicted by the use of a tonal colour palette and varied brushstrokes. The depiction of a Japanese dragon vase hints at the art aesthetic of Japonisme in the European Impressionist movement, a possible nod of respect to the movement by McDonald Smith.Rural City of Wangaratta Collection, Wangaratta Art Prize 1997.A rectangular still life painting of a bunch of flowers in a vase painted in oil using shades of white, red, green, blue, and yellow.Obverse: P McDONALD SMITH (bottom right corner)wangaratta art gallery, painting, still life, paul mcdonald smith

Rural City of Wangaratta Collection: Grand Winner 1996 Wangaratta Art Show.An oil landscape of rolling hills and a mountain painted in shades of yellow, blue, brown, and grey.Obverse: RAMON HORSFIELD/ (bottom right corner) 1996 Grand Winner - TOWARDS CATHEDRAL MOUNT/ By - RAMON HORSFIELD/ Judge - PAUL McDONALD SMITH/ (plaque on mounting board)wangaratta art gallery, ramon horsfield, landscape, painting

Milagros is inspired by the Mexican tradition of pinning ‘ex-votos’ or ‘milagros’ onto the robes of Patron Saints when requesting a miracle. Ex-votos or milagros are votive offerings of small metal shapes which represent a visual form of people’s prayers. The central question in this piece is:If the creatures of the river could, which ones would be asking their Patron Saints for a miracle or two? Most of the wetland and river fauna which are depicted in Milagros are listed as endangered or vulnerable and are recorded as belonging to the area of the Ovens River stretching from Wangaratta to the Murray.Wangaratta Art Gallery CollectionA rectangular sculpture that features a light wood beam with a brown fabric hang from it, with small golden animal pendants attached to the fabric.rose wedler, sculpture, milagros

Wangaratta Art Gallery Collection. Acquired with the assistance of The Robert Salzer Foundation.A small tapestry featuring dark blue and white rippling lines on a light blue and aqua background.tim gresham, tapestry, weaving, textile

Karl Duldig’s ceramic bowl is a particularly interesting example of Karl’s ability to creatively respond to a new environment with a fresh visual repertoire, in this case, the flowering Eucalyptus in a design reminiscent of traditional European folk art. The bowl is an excellent example of the utilitarian and decorative studio pottery produced by Karl and his wife Slawa Horowitz-Duldig between 1944 and 1960. Clay was an important medium for Karl. When he was forced to flee Austria for Switzerland, working with clay became a convenient medium; and he continued to expand his use of clay in Singapore. In Australia his work in clay extended from domestic hand-made pottery to public sculptures and architectural reliefs. In 1944 Duldig purchased a kiln, which was installed in the garage of the family’s St. Kilda flat, soon after a pottery wheel was acquired. It was the beginning of a cottage industry that supplemented the family income during the war years and beyond. Duldig initially sold his decorative ceramic wares through a local florist in St. Kilda, and subsequently through shops such as the Chez Nous French Art Shop (Howey Place) and Light and Shade (Royal Arcade), and the Primrose Pottery shop in Collins Street. The Primrose Pottery shop was an extremely important commercial outlet, and hub, for emerging artists, potters and designers from 1929 until 1974. Its proprietors Edith and Betty MacMillan worked closely with their suppliers, commissioning and taking items on consignment. In the post war period important Melbourne studio potters such as Allan Lowe, Arthur Boyd, John Perceval and Neil Douglas exhibited and sold domestic wares in the Primrose Pottery shop. The Duldigs studio pottery provides a counterpoint to the ceramics produced at Arthur Merric Boyd Pottery in Murrumbeena, which was established in 1944 by Arthur Boyd, John Perceval and Peter Herbst. The emphasis on painterly decoration was important and the AMB potters also produced simple household wares decorated with Australian flora and wildlife, for example Neil Douglas also made small bowls decorated with the fairy wrens, lyrebirds, gumnuts and eucalypts. Ann Carew 2016The Duldig Studio’s collection of ceramics has national aesthetic and historic significance. It contains a representative sample of works of art in ceramics created by Karl Duldig during his lifetime, including small sculptures, as well as functional and novelty items for the tourist market during the 1956 Melbourne Olympic Games. The artist’s working methods and the development of his practice are comprehensively demonstrated in the collection. This in-situ collection demonstrates the philosophy of the Vienna Secession and its inheritors that handcrafted, simple functional domestic wares might enrich both the lives of the maker and the user. This bowl is part of a collection of ceramics that has national historic significance in providing a rich illustration of an immigrant and artistic experience, and touching on the themes of settlement adaptation of artistic practice. The collection is also associated with places of cultural and historical significance in Melbourne such as the Primrose Pottery Shop, and the story of Australian studio ceramics in the post-war years. Ann Carew 2016Cream earthenware bowl with flowering gum motif and sponged green background.Duldig in script incised under.

Tadich spends time observing night time phenomena, the light from the moon, street lights and other sources; atmospheric states, fog and dampness and the nature of surfaces, vegetation, road, vehicles and buildings. She uses photographs and sketches before settling on the final idea for a work.This painting is typical of Tadich's recent work. She continues her exploration of the Australian landscape (most often the local, Nillumbik Shire). It is 'a dramatic interplay between narrative, landscape and the binaries of light/dark and the known/unknown of local landscape. The swathes of darkness within the work(s) pose questions about our inscribed fears and tensions, both cultural and existential'. (catalogue, 'Silent Space' Ex. 2006) Tadich's early experiences of fireworks, simple fireworks and bonfire in the surrounding bush of her outer Melbourne home, caught her imagination. She was inspired to investigate the issues surrounding nights in the bush. In this painting the narrative is ambiguous, the pinpricks of light, in this case from the car headlights provide a critical element. We can distinguish familiar features, a road, trees and a car that suggest human presence. However, what is going on is unclear. The resulting tension can leave us unsure, unsettled and anxious.Oil on canvascamilla tadich, nillumbik shire council, kangaroo ground

Light blue booklet with dark blue letteringArcadian Wool Arcadian Wool Brokers LTD. Tally Book. Geelong. Portland.arcadian wool, tally book, wool

Light blue booklet with dark blue letteringArcadian Wool. Arcadian Wool Brokers LTD. Shed Book. Geelong. Melbourne. Portlandarcadian wool, shed book, geelong, melbourne, portland