“Queenscliff (three black and white boat/ship themed set), is a depiction of a trio of sailing vessels, and a typical example of Tim Ryan’s process and style / It illustrates three images from separate editions of National Geographic – a much-loved and constantly revisited source of inspiration / Tim has reduced his subject matter to minimal line, managing to capture the form and character of the scene and the people within with delicacy and sensitivity / As is also a common trait, Tim has discarded the idea of a using a title describing the actual scenes in favour of one that holds much greater personal significance / Queenscliff is the site of his family holiday home, hence a place evoking decades of memories connected with water, horizon and water-based activity and interaction.Tim Ryan has worked within the Studio Art Program at Araluen for almost a decade / Araluen is based in the north eastern suburbs of Melbourne (Nillumbik region), that provides accommodation and day services for adults with an intellectual disability / Creating and sharing artwork is one way Araluen participants express their thoughts, personalities and abilities. The art program allows them to develop a sense of achievement and access society as equal and valued participants / Tim puts a great deal of effort into selecting his subject and arranging his page / He immerses himself in the image, studying it thoroughly and sometimes tracing over it with his finger before commencing / He focuses on the different elements and relationships that inspire, bringing out the lines, colours and shapes most fitted for translation into the picture / Favourite references are photo-laden books and magazines covering topics as broad as nature, history, archaeology, exotic foreign lands and all forms of transport.Three black and white drawings of boats/ships in Queenscliff made using watercolor, ink, fine liner, pencil and acrylic on paper. All drawings are black and white in colour with one drawing rendering a boat in warm red/orange and yellow colours. None shown, catalogue label on backdrawings / black & white / ink / boats / ships / queenscliff / araluen / ryan / disability

Local resident Deborah Halpern is a highly recognised and respected contemporary artist with an acclaimed national and international reputation in the arts community. She has a strong artistic connection to the area as her parents were founding members of Potters Cottage - a group of local ceramicists who were influential in the development of ceramics in Australia. Deborah Halpern donated Wayfarer through the Australian Government Cultural Gift Program. A cubist inspired kinetic work in three parts, the artwork depicts a semi abstract figure, a ‘traveller’ made out of reflective mirror and colourful ceramic tiles. Wayfarer is an excellent example of Halpern’s tile construction technique and playful style that she is renowned for. Wayfarer is one of Halpern’s first works exploring kinetics as well as combining mirror with painted ceramic tiles. Sculpture - Kinetic Ceramic, Glass, Fibreglass, Aluminium deborah halpern, wayfarer, nillumbik shire council

A typical Olsen painting combines an implied aerial view with an ambiguous and seemingly unpremeditated figuration. His characteristically quizzical line and irregular squiggles and dots deftly render countless organisms, large and minute. Their environment is conjured through loosely brushed and stained expanses of colour (on canvas or hardboard) and lines which sometimes read as geological mappings. In Olsen's work there is no foreground/ middle ground/ background, nor any sign of European landscape's concern with "human scale." Instead he employs simultaneously the contrary vantages of naturalist and geographer. 'Tropical Rain Shower' by John Olsen forms one of the eight artworks represented in the Bodford Terrace Suite. Eight of Australia's finest artists were brought together to create a folio of lithographic prints to celebrate the restoration of historic Bodford Terrace. Printed at the Druckma Press by John Robinson under the supervision of master printer Jock Abbott. The folio edition was limited to 300 signed and numbered folios. The lithographs were printed on special heavy weight french Arche's paper in accordance with the tradition of this artistic medium. Lithographic print on paper.Signed John Olsen '78, lower right hand corner. Edition 179/300bodfford terrace collection, john olsen, tropical rain shower

The 'Black Saturday' bushfires were a series of bushfires that ignited across the Australian state of Victoria on and around Saturday, 7 February 2009. It was Australia's worst ever natural disaster. The fires occurred during extreme bushfire-weather conditions and resulted in Australia's highest ever loss of life from a bushfire: 173 people died and 414 were injured as a result of the fires. For most women being part of the Lasting Memories Mosaic Group was a way of reconnecting to the area, friends and neighbours. As the months went by, the idea of creating a gift to the community together was born. The women wanted to artistically express their memories of what they had experienced. Creating a mosaic seat in the heart of St Andrews allowed the group to be 'in control' of building something from the ground up - a symbol of hope, recovery and renewal. All of their experiences and memories have been included into the seat design, which makes it so special. This mosaic seat is proudly positioned outside the St Andrews Hall, which is also the site for the St Andrews market held every Saturday throughout the year.The Lasting Memories Mosaic group began this piece just after the Black Saturday fires in 2009. After the horrific fires ravaged through St Andrews and the surrounding areas, a group of bushfire affected ladies bravely came back to St Andrews to begin their healing in an artistic way. Each woman created something beautiful and meaningful, using remnants of crockery, glass, tiles and bricks salvaged from their own properties. This artworks identifies who they are and tells their personal 'life journey' and family heritage and memories of what they had experienced before, during and beyond Black Saturday. It is also an expression of their love for the St. Andrews area and the nature and people within it. A large concrete seat in the style of an organic chaise lounge covered in mosaic (broken tiles, glass, crockery and ceramics of all shapes and colour). The pieces have been placed to form pictures, words and patterns that tell and recount stories and memories of reflection, hope and love of a group of people who experienced the Black Saturday bushfires. (Click on links to view details of the seat) black saturday, mosaic, art, lasting memories, st andrews, tiles, glass, fire, concrete, cement, chris reade, ekphrasis2017

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

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Colourful painting of chromosome figures playing on a beach.merle parker, 69 smith street gallery, artist-run initiative, artist-run space, painting, chromosome, melbourne galleries

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Blurred vision of a tree against brown landscape and blue/grey sky.jenny gibson, 69 smith street gallery, artist-run initiative, artist-run space, photography, landscape, melbourne art galleries, colour photography, digital photography

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Textual rendering of artist's decision not to provide an image for 69 Smith Street Gallery's anniversary publication.julian di martino, 69 smith street, artist-run initiative, artist-run space, art gallery, biro, paper, melbourne art galleries, conceptual art

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Oil painting and gold leaf on a birch panelnikki d'emden, 69 smith street gallery, artist-run initiative, painting, artist-run space, melbourne art galleries, nikkidemden.com

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Bronze sculpture on a polished granite circular base. Female subject is wearing a long flowing dressclodagh holahan, 69 smith street gallery, artist-run space, artist-run initiative, sculpture, melbourne galleries, clodagh-holahan.com

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Image of two birds sitting on a tree branch with flowers. The background is light blue, the branch is dark blue and the birds and flowers are made from cut-out pieces of metal.e justine cromb, 69 smith street gallery, artist-run initiative, artist-run space, mixed media, birdlife in art, melbourne art galleries

This work is the result of a series of interviews with committee members of 69 Smith Street Gallery, an artist-run gallery that operated in Collingwood between 1998 and 2016. These interviews taken between 2010 and 2011 feature artists who went on to form the creative group known as the 69 Collective.This work was part of The Line exhibition at Collingwood Gallery in 2018. The brief given to participating artists was to present works using the theme of the horizontal line. The artworks, in a range of mediums, were hung with a consistent line travelling through each piece around the perimeter of the gallery space. The line in each work, inferred or explicit, were carefully placed together to make this cohesive whole.oral history, video, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, merle parker, julian di martino, marianne little, 69 collective, jenny gibson, art, video art

Blown and sandblasted glassEngraved on foot of bowl "Tony Hanning '95"

Pencil on paperNot signed, not dated

The world’s most ecologically distinct bird lives in the native grasslands of Victoria - but only just. The plains-wanderer is a small bird that was once widespread across the grasslands of south-eastern Australia. Today there are fewer than 1000 mature birds in the wild. The plains-wanderer is under threat due to habitat loss caused by overgrazing, cropping and suburban sprawl. Unlike most other birds, female wanderers are larger and more colourful and the males take care of the chicks. They are only about 15cm tall and weigh between 40-80g for the male and 55-90g for the female. Their intricate plumage mirrors the colours of their grassland home so they blend in perfectly with their surroundings. The plains-wanderer’s origins date back to when Australia was part of the Gondwana supercontinent over 60 million years ago. They are so biologically distinct that their extinction would result in the loss of a branch of the tree of life. A fussy grass dweller, they like neither too much nor too little grass. That is where sheep grazing can help. After years of low numbers in Victoria, plains-wanderer populations have been increasing in Terrick Terrick National Park in north west Victoria, as sheep grazing maintains the grass in the park at a suitable level. With the right management, this ecologically important bird species is continuing to survive in the native grasslands of Victoria. Managing these habitats for the plains-wanderer can also support the conservation of many other threatened plant and animal species. Object: Nest of plains-wanderers by Mary-Jane Walker, 2020. Outer made from upcycled paper, internal structure steel. Nest of plains-wanderers by Mary-Jane Walker, 2020. Outer made from up cycled paper, internal structure steel. native grasslands, plains-wanderer, terrick terrick national park

Sketch from which carpet manufacturing pattern is graphed out, prior to preparation of Jacquard card. Genoese (Axminster) 4/4226. Three sketches, gouache, two long and one short designs. The two long sketches are pasted at one end onto backing paper, which contain inscriptions. Floral design in blues, pink, mauves, white, grey and greens.Genoese 4/4226 AL Ingramweaving, carpet, ingram, a l

Invitation to a lunch on the 45th anniversary of Sister City of Matsudo with the City of Whitehorse.1 An invitation to 'Lunch on the Lawn' addressed to the donor from the Mayor Philip Daw which was held on Friday13 May 2010. The occasion was the 45th anniversary of the Matsudo sister city relationship with Whitehorse. . 2 A small square piece of origami included with the invitation, colours of green brown and yellow are used with a centre piece in brown with white spots.documents, invitations, philately, artwork

Shirley Jones is a local artist. Lately she lives in Mingara Croydon.Collage of Schwerkolt cottage as it was in 1960. Constructed in 1970 by Shirley Joneshandcrafts, hand painted

Original art work for the Coat of Arms for the City of Nunawading. Accompanied by letter from Karen Parish, the designer. 3 pages within cardboard protective cover.city of nunawading, parish karen, coat of arms

Canvas embroidery done on canvas with the same stitch through out so as to resemble tapestryCanvas needlework picture. Dog sitting on cushion. Blue background with yellow wound round red border. Backed in red Felt.handcrafts, needlework

Found by David Cooper in an Op ShopSchwerkolt CottageA lino cut print of Schwerkolt Cottage by B M Pritchard, 32 Creek Rd, Mitcham. Black with off white and has a pinky brown xxxxxB.M.Pritchard, 32 Creek Rd, Mitcham 872765 Schwerkolt Cottage - Lino cutschwerkolt cottage, b.m. pritchard

12 pages of various documents including lists, letters, posters and graphicsnon-fictionA history of the Mitcham Scottish Society (1955-2020) by Don Chitts and 3 pieces of artwork For the Society by Yvonne Fitzmauricemitcham scottish society, fitzmaurice malcolm, fitzmaurice yvonne, mitcham scottish dancing society, mitcham scottish society pipe band

A property illustration by Margret Picken Commissioned by the real estate agency Woodards, Camberwell for the purpose of advertising 10 Alfred St., Burwood for sale in 1999. Made by using Rotring ‘Rapidigraph’ drafting pens with Rotring ink on Rapidigraph polyester drafting film, double matte. The suburb lines are believed to have been redrawn, making this property no longer in Burwood, but located in Glen iris. This property is listed as having sold for in 1999 for $380,000 Trained as a cartographic draftsman within the mining industry, Margaret Picken is an artist who worked producing property illustrations for real estate agencies in eastern suburbs of Victoria from 1983-2005. Retiring from the industry as technological changes favoured coloured photography over illustrations, and commissioning companies over sole contractors.This artwork is of Historical Significance as a record of local domestic architecture.A Black ink line drawing on drafters film by Maragret Picken, of 10 Alfred St., Burwood. Depicted is a one-story brick house situated back from a front lawn with a large tree, and a driveway on the right, leading to a connected carport. There to two hole punches just below the upper edge, and a approximately 1cmx1cm tape reside mark left of centre near the bottom edge 10 Alfred St., Burwood Maragret Picken - 99 Woodards - c'wellwhitehorse historical society, schwerkolt cottage, housing, architecture, margaret picken, burwood, glen iris, house, garden

Crayon drawing by Beryl Ashton of (my little hiding house) of Mitcham.Early Mitcham - 1937Crayon drawing in a cream frame of Ruthaven, Mitcham.'See attached sheet detailing back of picture.'mitcham, ashton beryl, picture, crayon, house

13 Olympic Games posters from 1912 - 1972 reproduced by Shell Australia c 1975variousReceipt No 78813 reproduction Olympic Games posters from 1912 - 1972 produced by Shell Australia c 1975.olympic games, sport, poster artwork