Three Volumes of The World's Greatest Paintings - Selected Masterpieces of Famous Art Galleries. Large format blue hardcovers with a decorative embossed front cover with an ancient Greek or Roman head bust at the top. The spine has two sets of gold bands at the top and bottom with the title in gold lettering. The work has one hundred fine colour plates of well know pictures with information about each master. Each book has a brown paper dustjacket with the title at the top in black lettering.non-fictionThis work is published in three volumes containing one hundred fine colour plates of well-known pictures from many lands for the general public to enjoy. In addition to the plates there is a brief account of the life and times of each master represented avoiding all discussion of technical matter as far as possible.art books, art, painters, artists, artworks

Bib, index, plates, ill, maps, p.167.non-fictionLovers of gold, wine, and ware, the Celts have no voice because they left no written records. Much of what we know about them comes from their enemies the Romans, who finally crushed them, and from the weapons and ornaments they buried with their dead. From these traces we can now resurrect a sophisticated people who dominated Europe from 500 years. These highly cultured 'barbarians', with their exquisite jewelry and metalwork, were eventually driven to the edges of the known world- yet were destined to shine out once more in the art of Celtic Christianity.civilization - celtic, celts - history

Ill, p.372.non-fictionRuskin argues that recent painters emerging from the tradition of the picturesque are superior in the art of landscape to the old masters. The book was primarily written as a defense of the later work of J. M. W. Turner. Ruskin used the book to argue that art should devote itself to the accurate documentation of natureaesthetics, painting

Paul LAMBETH (15 September 1957- ) Born Melbourne, Victoria This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Followed the Burke and Wills trail while undertaking a Masters of Arts Research, and returning to Ballarat with the beginnings of a body of work. art, artwork, paul lambeth, staffmember, available

This work was purchased from the exhibition "Original French Lithographs in Colour' held at the Joshua McClelland Print Room in 1963. The foreword noted "The twentieth century revival of lithography had its source in Paris, and in this exhibition, the second held in Melbourne, the catalogue includes some beautiful prints by various younger French artists as well as those by the "old masters" of contemporary lithography, Braque Picasso,, Chagall and Dufy. ... These prints form an interesting section of the regular art auctions in Paris and London, and they are eagerly sought by buyers who want an original work of art by artists whose paintings are far beyond their purses. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.art, artwork, garzou, pierre garzou, lithograph, coloured lithograph, colored lithograph, printmaking, edition, available

Celia ROSSER (1930- ) Born Melbourne, Victoria Celia Elizabeth Rosser is a renowned Australian botanical artist, best known for having published The Banksias, a three-volume series of monographs containing watercolour paintings of every Banksia species. She trained in Art at the Melbourne Institute of Technology In 1970, Celia was appointed Science Faculty Artist at Monash University. Four years later she was appointed University Botanical Artist, and began the project of painting every Banksia species. The project took over 25 years to complete, and resulted in the publication of a three volume monograph entitled The Banksias, with accompanying text by Alex George. Publication of the final volume in 2000 represented the first time that such a large genus has been entirely painted. In 1977 Celia Rosser was awarded the Linnaean Society of London's Jill Smythies Award for botanical illustration, and in 1995 was awarded a Medal of the Order of Australia. Monash University awarded her an honorary Master of Science degree in 1981, and an honorary PhD in 1999. Banksia Rosserae is the last banksia species discovered and was named after the artist. Since 2002, the Friends of the Royal Botanic Gardens Melbourne have awarded the "Celia Rosser Medal for Botanical Art" to outstanding exhibitors at their "The Art of Botanical Illustration" exhibition. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Un-numbered limited edition offset photolithograph of Banksia tricuspis.celia rosser, banksia, botanical, gippsland campus

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

'Home' is a symbol of hopes, dreams, comfort, love, family and future. It is both a place and an idea, nor does it remain in time and space. It can also represent a time of sadness , fear and loss. Through the roller-coaster of the past year, I have used a series of homes belonging to family and friends. Each artwork of home tells a different story about its occupants, their story, and what home mean to them. Sarah CANHAM Sarah has had a life-long love of creative arts and a passion for nature she has pursued in her career. She has a Bachelor Applied Science degree from Charles Sturt University, a Masters of Environment from University of Melbourne, and works in natural resource management and conservation. Studying part time Sarah Canham completed a Bachelor of Visual Arts at Federation University Arts Academy in 2021. Her art is an expression of the awe she has for the natural world, and concerns for the future, including for our indigenous culture, and native flora and fauna in Australia. She also reflects on the current and past women and mother artists who have experienced the challenge of juggling art, career and motherhood, and have been under-represented in the arts community for millennia.Three handbuilt, slab construction, stoneware formsceramics, sarah canham, dvc art award, alumni

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A5 size, 60 pagesnon-fictionThe end of 1964 saw the first edition of The Peninsula School Journal published. It was intended to be not only a record of School activities but also an opportunity for the students to contribute prose, verse, art and photography. The editing was done by the students under the guidance of Mr Laurie Arter, the Senior English Master. The Pen evolved from an A5 sized booklet (1964-71) to an A4 book (1972-80), then came the renaming of the publication, from the Peninsula School Journal to the Pen (1981). Numbering dropped with 1990 issue. The Pen has been published annually 56 times, except for 2020 when schools were in lockdown due to COVID-19.peninsula grammar, the peninsula school

Marshall White is a former Merri-bek resident and artist. He completed a Fine Art diploma at the National Gallery Art School in 1973. After a severe motorcycle accident left him with quadriplegia in 1977, he returned to university, earning a Master in Painting from what is now the Victorian College of the Arts. White is considered a pioneer of digital art in Victoria. He taught art to inmates at Pentridge Prison, which provided him with access to early computers. Using a Commodore Amiga, Marshall pushed the boundaries of digital art. Strip 1 represents an early contribution to what was, at the time, an emergent art form. Inspired by William Blake and Arthur Boyd, White’s work delves into psychological spaces, addressing themes such as the apocalypse and White’s distain of religion. White's work exemplifies resilience and the transformative power of creativity in the face of challenges.Purchased

2002 Excellence in Construction AwardsFramed Award 2002 Excellence in Construction Awards, JA Dodd LTD, Excellence in Construction, (Existing Buildings) Under $2 million, Project: The Royal Mint Building, Architect: Robert Peck von Hartel Trethowan, Location: 280 William Street Melbourne, J A Dodd Ltd's refurbishment of the historic former Royal Mint Building delivered to the client's specification in retaining the features of this historic building, while at the same time providing modern office accommodation with state of the art facilities. New works have been defined by a modern style encompassing glass, stainless steel and flush surfaces, offering a stark departure from the ornate finishes of the original building. Traditional timber mouldings, tiles stonework and intricate paint methods have been used only where repairs to the existing building were required. The judges praised the superb job and made special mention of the exposed roof trusses. 38 master builder awards

Sally MILLER (1949-2015) Sally Miller completed undergraduate and postgraduate studies in Fine Art at the Sydney College of the Arts, and in 1995 a Master of Arts, Visual Arts by research at Deakin University. Miller lectured at the Ballarat University College (later Federation University) School of Arts in Printmaking and Drawing from 1994-1998, where her roles included Coordinator, Honours Program, Coordinator Printmaking, Lecturer in Printmaking and Honours Supervisor. In 2000 Sally Miller was an invited Artist-in-Residence and guest lecturer in Drawing and Printmaking at the School of Art, Australian National University, Canberra. She later became Art Director of Art Unlimited studio for adult artists with disabilities for St Laurence Community Services. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed monoprints showing various depictions of volcanos. art, artwork, sally miller, volcano, available, staffmember, printmaking, monoprint

Cody JOY This work was undertaken while Cody Joy was studying Visual Art in Ballarat. She succesfully completed a practice-led research project for the award of Master of Arts at the Federation University Arts Academy in 2015. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed abstract drawing.art, artwork, cody joy, alumni, dvc art acquisition award

In 1977 Celia Rosser was awarded the Linnaean Society of London's Jill Smythies Award for botanical illustration, and in 1995 was awarded a Medal of the Order of Australia. Monash University awarded her an honorary Master of Science degree in 1981, and an honorary PhD in 1999. Banksia Rosserae is the last banksia species discovered and was named after the artist. Since 2002, the Friends of the Royal Botanic Gardens Melbourne have awarded the "Celia Rosser Medal for Botanical Art" to outstanding exhibitors at their "The Art of Botanical Illustration" exhibition.Unframed photolithograph of Banksia media (Southern Plains Banksia) celia rosser, gippsland campus, botanical, banksia, banksia media (southern plains banksia), flora, churchill

Celia ROSSER (1930- ) Born Melbourne, Victoria Celia Elizabeth Rosser is a renowned Australian botanical artist, best known for having published The Banksias, a three-volume series of monographs containing watercolour paintings of every Banksia species. She trained in Art at the Melbourne Institute of Technology In 1970, Celia was appointed Science Faculty Artist at Monash University. Four years later she was appointed University Botanical Artist, and began the project of painting every Banksia species. The project took over 25 years to complete, and resulted in the publication of a three volume monograph entitled The Banksias, with accompanying text by Alex George. Publication of the final volume in 2000 represented the first time that such a large genus has been entirely painted. In 1977 Celia Rosser was awarded the Linnaean Society of London's Jill Smythies Award for botanical illustration, and in 1995 was awarded a Medal of the Order of Australia. Monash University awarded her an honorary Master of Science degree in 1981, and an honorary PhD in 1999. Banksia Rosserae is the last banksia species discovered and was named after the artist. Since 2002, the Friends of the Royal Botanic Gardens Melbourne have awarded the "Celia Rosser Medal for Botanical Art" to outstanding exhibitors at their "The Art of Botanical Illustration" exhibition. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Un-numbered limited edition offset photolithograph of Banksi incana.celia rosser, banksia, gippsland campus, botanical, churchill, flora

Celia Rosser (1930- ) Born Melbourne, Victoria Celia Elizabeth Rosser is a renowned Australian botanical artist, best known for having published The Banksias, a three-volume series of monographs containing watercolour paintings of every Banksia species. She trained in Art at the Melbourne Institute of Technology In 1970, Celia was appointed Science Faculty Artist at Monash University. Four years later she was appointed University Botanical Artist, and began the project of painting every Banksia species. The project took over 25 years to complete, and resulted in the publication of a three volume monograph entitled The Banksias, with accompanying text by Alex George. Publication of the final volume in 2000 represented the first time that such a large genus has been entirely painted. In 1977 Celia Rosser was awarded the Linnaean Society of London's Jill Smythies Award for botanical illustration, and in 1995 was awarded a Medal of the Order of Australia. Monash University awarded her an honorary Master of Science degree in 1981, and an honorary PhD in 1999. Banksia Rosserae is the last banksia species discovered and was named after the artist. Since 2002, the Friends of the Royal Botanic Gardens Melbourne have awarded the "Celia Rosser Medal for Botanical Art" to outstanding exhibitors at their "The Art of Botanical Illustration" exhibition.Un-numbered limited edition offset photolithograph of Banksia spinulosa.celia rosser, banksia, botanical, gippsland campus, flora, banksia spinulosa

Great Hall at Montsalvat built 1938-52, designed by Justus Jorgensen Covered under National Estate, National Trust of Australia (Victoria) State Significance, Victorian Heritage and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p129 At first glance, Montsalvat, the artists’ community at Hillcrest Avenue, Eltham, could belong to another time and place. The French provincial Gothic-style buildings blend picturesquely with the introduced and native trees and farm animals on the five hectare property. But Montsalvat belongs very much to today’s Eltham, having inspired much of its creative activity and style. The use of mud-brick and recycled building materials, for which Eltham is so well-known, was largely popularised by Montsalvat. Montsalvat – unique in Victoria and probably in Australia – is registered by the National Trust and National Estate.1 Montsalvat, named after the castle of the Knights of the Holy Grail, has attracted artists and intellectuals since it was founded in 1934. For years at weekends, artists, lawyers, philosophers, politicians and others, who shared a love for what Montsalvat stood for, gathered for a meal and stimulating discussion. The focus for this gathering of talent was Justus Jörgensen, an eccentric man with vision and charisma. It was Jörgensen’s foresight that saw the creation of Montsalvat, which in 1975 was formed into a trust to benefit the Victorian people. The property was then valued at about three million dollars. It is now visited by thousands of people annually. Born in 1894 and brought up a Catholic, Jörgensen had trained as an architect. He later studied painting at the National Gallery School under artist, Frederick McCubbin, then joined the studio of artist Max Meldrum. In 1924, Jörgensen married medical student Lillian Smith, and with artist friends they travelled to Europe to study the great masters. In London Jörgensen exhibited in several major galleries. One of his still life paintings was included in the book The Art of Still Life by Herbert Furst, which featured 100 of the greatest ever still life paintings.2 In 1929, Jörgensen returned to Melbourne where Lil, now qualified, worked as an anaesthetist at St Vincent’s Hospital. They bought a small house in Brighton and Jörgensen rented a large building in Queen Street for his studio until the Royal Automobile Club of Victoria bought it in 1955. While designing and overseeing the building of a studio for his friend the famous cartoonist Percy Leason, in Lavender Park Road, Jörgensen decided to buy land for a country retreat in Eltham. So the building of Montsalvat began. Jörgensen gathered around a dozen of his friends and students from his Queen Street studio. They set to work, first at weekends then some decided to live permanently on the site. Jörgensen had seen mud-brick buildings in Spain and recognised that Eltham’s clay soil was ideal for mud-bricks and although labour intensive, it was a very cheap way of building. Jörgensen’s students and friends worked under his direction with the help of local tradesmen, including carpenter, Len Jarrold and later stone mason, Horrie Judd. In return Jörgensen would give the students a painting lesson or two. It was the Great Depression when many were out of work. Jörgensen also inspired people to give generously of money and materials. With their help Jörgensen found second-hand materials for building. Friends donated slate for roofing, discarded firebricks were used for flooring and windows and doors and a cast-iron circular staircase came from a wrecker. The students’ day started at 7am with building and domestic chores, shared equally between the sexes. The first building was used by his friends at weekends and then became a home for his wife Lil. It consisted of three rooms and an attic under a high-pitched roof. Jörgensen then built a similar structure with the same high-pitched roof as a more permanent home for his students. The two buildings were joined together with a tower and a studio for Jörgensen. While excavating for the studio a reef of yellow mud-stone was found and then used in construction. The next building was the Great Hall, to be used for dining, exhibitions and meetings and completed in 1958, after a halt during the war. Whelan the Wrecker donated the stone-framed windows from the building that housed the Victorian Insurance Co. in Collins Street, which had been demolished in the 1930s. The swimming pool was donated and cubicles were built for the students with their initials marked in tiles on each doorstep.1 One of Jörgensen’s great abilities was to recognise how to use material which harmonised. He would comb through wreckers’ yards for what he needed. Regarding his buildings as sculptural pieces, his first consideration was for the aesthetic quality of a building and only then for its functionality.2 At Montsalvat, Jörgensen found he was able to put his ideas into practice without compromise and those who worked with him had to conform to his ideas. With the Jörgensens, the colony’s original nucleus consisted of the Skipper family – Mervyn and wife Lena, daughters Helen and Sonia and son Matcham,who was to become an eminent jeweller and sculptor represented in National Gallery collections throughout Australia and in European museums.3 Other members were Arthur Munday, Lesley Sinclair, Helen Lempriere, Ian Robertson, John Smith, George Chalmers, John Busst and Sue Van der Kellan; also Jörgensen’s three sons – Max, Sebastian and Sigmund – and Saskia, Sonia Skipper and Arthur Munday’s daughter. Montsalvat went through some hard times when local gossips spread rumours of sexual shenanigans at Montsalvat. However Montsalvat also had many local supporters – especially amongst the local tradespeople. The colony was certainly unconventional – with Jörgensen’s wife Lil (and son Max) and life-time partner Helen Skipper, (mother of Sebastian and Sigmund) living at Montsalvat. Sonia Skipper says in her biography that the group were ‘very conscious of their responsibilities to each other and a desire to make their relationships work’.4 By World War Two many buildings around the Great Hall were completed. Jörgensen was a pacifist, as were most of his students. Some of the Montsalvat community enlisted while others engaged in essential services like dairy farming and market gardening for the war effort. It was then that Jörgensen constructed farm buildings. After the war many well-known personalities such as Clifton Pugh, landscape gardener Gordon Ford, and builder Alistair Knox, were drawn to Montsalvat. They learnt that building was not a ‘sacred cow’ only for professionals, but that anyone who was willing to get their hands dirty could do it. The post-war shortage of materials also encouraged builders to follow Montsalvat’s lead in reusing materials. When Jörgensen died in 1975, his influence did not – thanks largely to the vigilance of his son, Sigmund, who became its administrator. The weekend dinners have gone, but in 2008 about 14 artists still work at Montsalvat – some living there – including a couple who have been there since its early days. Under Sigmund’s direction Montsalvat further expanded its activities which included festivals, art exhibitions, concerts and weddings. Sigmund completed the Chapel, then the Long Gallery next to the pool, After the barn burnt down, he replaced it in 1999 (the builder was Hamish Knox, Alistair’s son) with a new gallery and entrance and added a restaurant. Sigmund has been careful that any new building blends in with the character of Montsalvat. In 2006 Montsalvat was restructured for its continued financial viability and with the help of Arts Victoria a new executive officer was appointed. A representative board from the wider community was established, which includes members from the former Montsalvat Trust including Sigmund Jörgensen – who is now the heritage and arts adviser to the new company Montsalvat Ltd.5 Today, visiting Montsalvat one still sees artists, students and visitors enjoying the unique and beautiful surroundings.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, great hall, montsalvat

Graham Masters is a potter based at Sweenies Creek, just outside Bendigo, Victoria who specialises in a patented technique of low relief stoneware depicting Australian animals and landscapes. He obtained a Diploma of Art and Design in Ceramics from the Bendigo Institute of Technology in 1973, then operated a pottery for a year in Bendigo, before becoming an employee, then a partner at Maldon Pottery, Victoria with Neville Wilson and Thomas Metcalf. He left Maldon to set up his own pottery at Sweenies Creek in 1984. (1.) (Judith Pearce). Built in 1869, the (former) Strathfieldsaye Shire Hall is one of The City of Bendigo's earliest surviving public buildings. Designed by George Steane and built by George Pallett in 1869 the Strathfieldsaye Shire Hall has aesthetic significance as a purpose built Shire Hall designed in the Free Classical manner. It is also of importance as an early example of the novel system of cavity wall construction. The building is largely intact and unaltered. Other important elements include the arched portico of the main entrance with brick arched features on either side; the brick quoining and dressings to the round arch windows; the three gabled roof; and the matching chimneys that reinforce the symmetrical design. The Hall has social significance as a temporary schooling facility in the 1870s and as a flood refuge in 1889. The Strathfieldsaye Shire Hall is a brick building designed in the Free Classical manner. This style was favoured by the Public Works Department for a number of public buildings including Shire Halls and courthouses. The form includes a central taller volume flanked by matching smaller gables. In the case of the Shire Hall these would be occupied by the Shire Secretary and Shire Engineer whilst the larger volume was the council chamber. The portico at the front is designed with a flat arch in the centre and matching smaller arches each side. The face red brick is unadorned apart from a plain string course at the roof springing point, brick quoining and dressings to the round arch windows. There are matching chimneys that are located to reinforce the symmetrical design and the original roof is believed to have been slate but is now corrugated iron. Large wheel thrown ceramic platter with a shallow well, broad flaring ledge and raised on a high foot rim. Rim decorated with slab rolled gum trees protruding on centre left and right sides of plater. which reflect the low relief image of trees and the Strathfieldsaye Shire Hall on the surface of the plate. Glazed with golden brown and cream. Front centre top; 'Shire of Strathfieldsaye'. Front lower centre '1866 - 1991 - 125 Years'. Signed 'G Master / 1991' on rim centre right. Reverse; signed 'G Master' / 1991. Bendigo Pottery stamp.shire of strathfieldsaye, bendigo pottery

Deborah WILLIAMS (1967 - ) Printmaker Deborah Williams completed a Masters by Research at the National Art School, Sydney in 2011. She later worked at RMIT in the Visual Arts TAFE program teaching Printmaking and is the Advanced Diploma Coordinator, and sessional lecturer in the Drawing and Printmedia department at the Victorian College of the Arts, School of Art. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed etching exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection.Edition 2/36deborah williams, parallel prints, artist, artwork, printmaking etching, dog, animal, shadow

Celia ROSSER (1930- ) Born Melbourne, Victoria Celia Elizabeth Rosser is a renowned Australian botanical artist, best known for having published The Banksias, a three-volume series of monographs containing watercolour paintings of every Banksia species. She trained in Art at the Melbourne Institute of Technology In 1970, Celia was appointed Science Faculty Artist at Monash University. Four years later she was appointed University Botanical Artist, and began the project of painting every Banksia species. The project took over 25 years to complete, and resulted in the publication of a three volume monograph entitled The Banksias, with accompanying text by Alex George. Publication of the final volume in 2000 represented the first time that such a large genus has been entirely painted. In 1977 Celia Rosser was awarded the Linnaean Society of London's Jill Smythies Award for botanical illustration, and in 1995 was awarded a Medal of the Order of Australia. Monash University awarded her an honorary Master of Science degree in 1981, and an honorary PhD in 1999. Banksia Rosserae is the last banksia species discovered and was named after the artist. Since 2002, the Friends of the Royal Botanic Gardens Melbourne have awarded the "Celia Rosser Medal for Botanical Art" to outstanding exhibitors at their "The Art of Botanical Illustration" exhibition. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007..1) Framed photolithograph of Banksia ornata (Desert Banksia) by Celia Rosser. .2) Unframed photolithograph of Banksia ornata (Desert Banksia) by Celia Rosser.art, artwork, celia rosser, rosser, botanical, banksia, gippsland campus