Photograph - black and white - Portrait of looks like mum and 2 girls and 2 boys standing outside the front of their home. The home is weatherboard, chimney, grape vine on front verandah.William F.Bond, Landscape Photo Artist, King St.West Bendigo.person, family, family, unknown family. woman and 4 children.

non-fictionAn illustrated autobiography of South Australian artist Barbara Leslie born 1940. Painter and illustrator Leslie charts her life through three sections. Book 1: letters to her best friend Marilyn; Book 2: written to her inner child; Book 3: a diary format after Merilyn's death.south australian bushfires, art school, drawing, family

fictionA satirical illustrated tale of artist Hephzibah Brown who is persuaded by Cedric the Imp of Perversity to follow him to the recently independent Ghana to compose a tourist book he will write and she illustrate. She follows him but changes it to a novel about two tourists, one pragmatic and one an idealistic, a woman, to examine "real life'' being a form of transience.collage, drawing, travelogue, weaving, sexuality, satire, writing

non-fictionTraces three periods of Hanrahan's practice: early development; first major period of printmaking 1963 to 1967 and her second since 1967. Focuses on major themes and motifs and contains a small proportion of images made since 1960, many exploring her family and womens' lives. These themes and the tactile quality of her practice are woven into her 9 published novels, and text often appears in the prints. Includes list of solo exhibitions, a bibliography and biographical details.printmaking, lithography, etching, linocut, screenprinting, wood engraving, writing, sexuality, family, identity, drypoint, popular culture, body, motherhood, ageing, gender

Book non-fictionTraces the social, educational, and psychological barriers for women artists from the Middle Ages to the early 19th century to gain recognition, most relying on relationships with artists in their families to gain success. or conversely denied success through partnerships with male painters. portraiture, flowerpainting, miniaturists, still life

Booknon-fiction500 works of art by 500 Australian women from colonial times to 1955 with images and commentaries on each work prepared by by 200 curators, critics, family member or the artists herself. Includes images of many works which may never have been reproduced. A biographical section comprises concise entries on these artists.colonial art, craft, competitions, portraiture, furniture, sculpture, indigenous art, museology

Cohn Brother's Calendar for December 1938. The Calendar features a painting by the French artist Maurice Levis featuring a painting of a French river flowing through a large castle town, on the left side there is a family of three about to push their boat into the river.. Below the painting has the following text along with the December Calendar itself "Where Life Flows Gently on Its Way From Painting by Maurice Levis For All Ocasionals 6 0'CLOCK LAGER and 7 0'CLOCK STOUT COHN BROS. LTD. Aerated Water and Cordial Manufacturers BENDIGO and SWAN HILL. The Calendar itself also has dates left behind by its first owner such as the anniversary of his Father's death on the 1st and two other dates on the 19th and 20th that are slightly difficult to read.bendigo, history, cohn brothers, cohn brothers, france, maurice levis

Early self portrait of famous painter Lionel Lindsay. Lionel was one of the famous family of artists, which included Norman Lindsay, Percy Lindsay, Daryl Lindsay and Ruby Lindsay.A rare early self portrait by Lionel Lindsay, showing himself in a "Spanish style", before he followed his dream and went to Spain. Lionel became a famous artist in Australia and Europe, especially noted for his Spanish etchings.Watercolour painting on paper of self portrait by Lionel Lindsay.Signed "Lionel Lindsay 1899"lionel lindsay, creswick, etching, watercolour, spain, norman lindsay

Rev. Thomas Williams was grandfather of the Lindsay children. He is credited with encouraging his grandchildren in their artistic talents. Both Lionel and Normam learnt their model making skills from him. Creswick Hospital was foundation stone was laid in 1863. It operated as a hospital until 1911 when it was sold to the government as part of the School of Forestry (now University of Melbourne). The model shows it as a red brick building. In the 1870s it was painted as a white building. The Museum has b/w photos of the building taken prior to rendering. The people of Creswick collected fund for the project and obtained a government grant. The 1857 survey map of the proposed township shows the area at Eastern Hills reserved for a hospital and Benevolent SocietyThe model's unique association with the Lindsay Artist of Creswick. Model of Creswick Hospital before rendering. Made of paper with painted background and framed.model, creswick hospital, rev t. williams, lindsay family

Daryl Lindsay was born and grew up in Creswick, one of the famous Lindsay family of artists. He had a love of horses and this was his favourite. He often did portraits of horses for famous owners.Daryl Lindsay became a noted international artist and the Director of the National Gallery of Victoria. He had a very considerable influence on Australian art, particularly from the 1940s to the 1970s.Oil painting on canvas by Daryl Lindsay of his favourite horse, "Pompey".Signed Daryl Lindsay on front. On the back is written "Daryl Lindsay painted his favourite horse Pompey c. 1930 at Mulberry Hill, Baxter. Presented to the Creswick Museum by Joan Lindsay May 1977.daryl lindsay, painting, horse, pompey, creswick, ngv

Typed notes briefly telling of the life of Arthur T. Woodward and mentions some of his pupils. Also mentions his family.document, arthur t woodward - artist and poet, school of mines, agnes goodsir, madge freeman (mrs lanfear thompson), george h freeman, bendigo high school, tom bone, adelaide national gallery, miss ola cohn, women's pioneers' memorial, fairy tree in the fitzroy gardens melb, mrs dorothy carroll, royal historical society of victoria, bendigo art gallery, princess margaret rose, kurmala, 'songs from a studio', mccoll rankin & stanistreet, central nell gwynne mine, 'roselands', ida woodward, lt col claude robertson, isola woodward, mr richard harvey, bendigo art gallery, w a dargie, 'the miser', baron von mueller

Colour acrylic or oil painting of a signals radio room. The painting depicts an operator facing the artist whilst tuning in a frequency.The operator is in a Green uniform with two bars and two chevrons on his sleeve is a Raeme Lad - Ziggy. The painting is set in an ornate Gold frame.Donated to the N.V.V.M. Phillip Island. In memorry of Dr. Zygmunt A Gizyckide Gozdawa. MDDS ( Poznan - Poland B.D Sc (Melb) L.D.S. (Vic) By Gizycki De Gozdawa Family Heritage Foundation Ziggy @ Raeme Lad Radio Wksp. 7 BN RAR 1st Tour NUI DAT.1967.painting, signals, gizycki

An original painting called "We Are Stardust" features John Ward, Harry Riemersma, Len Curd and John Godfrey in Vietnam 1968. the original photograph of the aforementioned was taken the month and year of my birth (the artist). A snapshot of the world as it was when I was new to it. the dog tags depict some of the boys whose remains never came home to the embrace of family, and who were repatriated between 2007 - 2009.painting, vietnam lest we forget, vietnam

sculpture, australian artist, female artist, alien, young family, family, mother, motherhood, babies, baby, feeding, genetic modification

Artist's statement: I chose to make these afikoman pouches even though they may not be familiar to or used by all Jewish families. In these little pouches, a small piece of matzah would be placed in the pouch and then hidden in the house for the children to find during the Passover meal. On finding it, a gift is given. The story of Passover and Judaism in general have been kept alive over the centuries. I wanted to honour the passing down of the Torah through the generations, and, in particular, the role of children in its transmission. I have used the Australian desert as a metaphor for the great wilderness crossed by the People of Israel. A recent trip to Broken Hill and beyond inspired me to work with the subtle colours and textures of that landscape and I have incorporated into the work found objects, stones and beads collected there. (2007, New Under the Sun: Australian Contemporary Design in Jewish Ceremony III)machine embroidered

The pram was made by Otto Gottlieb, for his daughter Ruth's fifth birthday. Otto and family were internees in camp 3. Artwork by unknown artist. Originally had a hood but this is missing.Timber pram on metal rectangular "Wheels". Red metal handles. Sides are painted grey and trimmed in red. Hand painted animals, sea creatures, boats and a lighthouse. otto gottlieb, ruth gottlieb, internment camp wood work

Painted and used at Internment camp 3.Watercolour painting of "Cairo Courtyard" on wooden board, wide brown wooden frameC. Rippert. On back: "Numurkah Butter Factory, Victoria, Australia. 54 lbs nett. Produced in the district of Numurkah. "Pure Creamery Butter". G. Glockemann - Hornsby. On a sticker "Gemalde" Von Frau Rippert Ruckseite Des Bildes Von Historischem Interesse. Frau Charlotte Rippert, the artist, was a German Lutheran Missionary in Egypt in the 1930's. Interned by British in Cairo and transported to Australia on the Queen Elizabeth, arriving in Sydney, 31 August 1941.c. rippert, internment camp 3, internment camp artists, glockmann family, charlotte rippert

Wedding photograph of Wilhelm Kuebler and his first wife Johanna Kaltenbach. They were both internees in Camp 3 at Rushworth during WW2.Black and white photograph of a man and woman posing in front of a backdrop of trees and shrubs. Lady dressed in long white dress and man in long jacket and suit pants. Photograph has been laminated.Wedding photo: Artist Wilhelm Kuebler and his first wife Johanna Kaltenbach. Computer image created by Horst Blaich, Bayswater 3153. Tel.: (03) 9720 2658 October 2001 round emblem underneath with side on head. Around the edge: Albert Blaich Family Archive 1970-2000wilhelm kuebler, johanna kaltenbach, johanna kuebler, camp 3 rushworth

Material collected and donated Material relating to Camp 3 and the Internees from Palestine. Sketch map of Camp 3 Memorium to Dieter Ruff, former Head of the Temple Society. Photo of steam passenger train at Rushworth Station. Various group photos. Copy of sketch of hut by Winkler. "in the Internment Camp Tatura" by K.M. Pfander Copy of talk given to her former pupils by Gudrun Gollong, in 1978. Poem written in Camp by Annie Lorenz. Poem by unknown writer "Life's Daily Routine" Interview with Babette Kirsch. Copy of children's learning book in German. Photos of toys and craft made for Kaltenbach family. Copy of Kaltenbach barracks by Cesare Vagarini. Story of Wilhelm Kuebler. Photos of wooden boxes made for Sgt. Cubbin. Copy of letter in German confirming the death in Camp of the two Stuerzenhofecker children. Copy of records Theo Stoll. School records Waltraud Doster Copy of Marriage Certificate Vollmer/Zollinger, August 1946. Recollections of Private Ashworth, guard at Camp 3. Photo taken 2001 by John Wepner of pump which supplied water to Camps 3 & 4 from No. 9 channel. Sketch of canoe made in camp from a sheep drinking trough by the Haering family. "From the Holy Land to the Home of the Kangaroo", by Hedwig Schnerring, translated by Peter Hornung, donor- Guenther Schnerring. "The Long Arm of the Third Reich" by Christine Winter. Photocopied extract of Walter Odorich Stenner's diary account of the transportation from Haifa to Australia. Research - Tatura WW2 Internment Camp 3, Annie Leschen Copy of map showing pump sites for water for Camps 3 and 4 Copy (laser) of a painting donated by Frieder Vollmer, artist "D 1943"? Adalbert Stern, Sir Nicholas - Son of Dunera boy "Adalbert Stern Copies of photos (4) of 2 cakes of Lux soap with pictures of "Roll Call, Tatura 1941" on one side and "Lux Toilet Soap" on the other Newspaper Article from "The Age" 14/04/1999 re Vagarini Exhibition Camp 3TaturaBlack 3 ring folder with printed matter and photos in plastic sleeves.documents, reports

In 1938, Robin Boyd's grandfather Arthur Merric Boyd offered Robin his first commission, a studio for Robin's first cousin Arthur Boyd on the family property at Murrumbeena. This painting by Arthur Boyd was part of Ralph Madder’s estate and inherited by his daughter, Patricia, Robin Boyd's wife. Ralph Madder (1892 - 1986) was Arthur Boyd’s uncle and employed the young Arthur in his calcimine paint factory and bought the occasional painting to help the young artist. This painting dates from a later time when Arthur was living with, and looking after, his aged grandfather Arthur Merric at Rosebud (see the book “The Boyds” by Brenda Niall pages 188-9). “Wheat fields behind Rosebud” did not come to 290 Walsh Street until after Ralph Madder’s death in 1986. Note: Robin Boyd's uncle Merric Boyd (1888-1959) married Patricia’s aunt Doris Gough. This means that Arthur Boyd was a first cousin to both Robin Boyd and Patricia Madder. Landscape in gold wooden frameA.M.B Boyd 1938 on lower right hand sidearthur boyd, arthur merric boyd, robin boyd, walsh st artwork, ohm2022, ohm2022_1

This painting was purchased at an exhibition at Australian Galleries in 1968. It originally hung in Robin Boyd's office in East Melbourne, and was only brought to Walsh St after he died in 1971. The Australian Galleries was established by Tam and Anne Purves in June 1956. Robin Boyd designed the Purves family home in Kew in 1967. Two figures (one seemingly with three hands) partially hidden by an artist's easel.Woods '68 in lower right cornertony woods, purves, australian galleries, robin boyd, walsh st artwork, ohm2022, ohm2022_7

1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

Mawul Rom Project: Openness, obligation and reconciliation Morgan Brigg (Universtiy of Queensland) and Anke Tonnaer (University of Aarhus, Denmark) Aboriginal Australian initiatives to restore balanced relationships with White Australians have recently become part of reconciliation efforts. This paper provides a contextualised report on one such initiative, the Mawul Rom crosscultural mediation project. Viewing Mawul Rom as a diplomatic venture in the lineage of adjustment and earlier Rom rituals raises questions about receptiveness, individual responsibility and the role of Indigenous ceremony in reconciliation efforts. Yolngu ceremonial leaders successfully draw participants into relationship and personally commit them to the tasks of cross-cultural advocacy and reconciliation. But Mawul Rom must also negotiate a paradox because emphasis on the cultural difference of ceremony risks increasing the very social distance that the ritual attempts to confront. Managing this tension will be a key challenge if Mawul Rom is to become an effective diplomatic mechanism for cross-cultural conflict resolution and reconciliation. Living in two camps: the strategies Goldfields Aboriginal people use to manage in the customary economy and the mainstream economy at the same time Howard Sercombe (Strathclyde University, Glasgow) The economic sustainability of Aboriginal households has been a matter of public concern across a range of contexts. This research, conducted in the Eastern Goldfields of Western Australia, shows how economically successful Aboriginal persons manage ?dual economic engagement?, or involvement in the customary economy and the mainstream economy at the same time. The two economies sometimes reinforce each other but are more often in conflict, and management of conflicting obligations requires high degrees of skill and innovation. As well as creating financially sustainable households, the participants contributed significantly to the health of their extended families and communities. The research also shows that many Aboriginal people, no matter what their material and personal resources, are conscious of how fragile and unpredictable their economic lives can be, and that involvement in the customary economy is a kind of mutual insurance to guarantee survival if times get tough. Indigenous population data for evaluation and performance measurement: A cautionary note Gaminiratne Wijesekere (Dept. of Families, Housing, Community Services and Indigenous Affairs, Canberra) I outline the status of population census counts for Indigenous peoples, identifying information on Indigenous births and deaths, and internal migration estimates. I comment on the ?experimental? Indigenous population projections and question the rationale for having two sets of projections. Program managers and evaluators need to be mindful of limitations of the data when using these projections for monitoring, evaluating and measuring Indigenous programs. Reaching out to a younger generation using a 3D computer game for storytelling: Vincent Serico?s legacy Theodor G Wyeld (Flinders University, Adeliade) and Brett Leavy (CyberDreaming Australia) Sadly, Vincent Serico (1949?2008), artist, activist and humanist, recently passed away. Born in southern Queensland in Wakka Wakka/Kabi Kabi Country (Carnarvon Gorge region) in 1949, Vincent was a member of the Stolen Generations. He was separated from his family by White administration at four years of age. He grew up on the Cherbourg Aboriginal Reserve in the 1950s, when the policies of segregation and assimilation were at their peak. Only returning to his Country in his early forties, Vincent started painting his stories and the stories that had been passed on to him about the region. These paintings manifest Vincent?s sanctity for tradition, storytelling, language, spirit and beliefs. A team of researchers was honoured and fortunate to have worked closely with Vincent to develop a 3D simulation of his Country using a 3D computer game toolkit. Embedded in this simulation of his Country, in the locations that their stories speak to, are some of Vincent?s important contemporary art works. They are accompanied by a narration of Vincent?s oral history about the places, people and events depicted. Vincent was deeply concerned about members of the younger generation around him ?losing their way? in modern times. In a similar vein, Brett Leavy (Kooma) sees the 3D game engine as an opportunity to engage the younger generation in its own cultural heritage in an activity that capitalises on a common pastime. Vincent was an enthusiastic advocate of this approach. Working in consultation with Vincent and the research team, CyberDreaming developed a simulation of Vincent?s Country for young Aboriginal and non-Aboriginal persons from the Carnarvon Gorge region to explore Vincent?s life stories of the region. The use of Vincent?s contemporary paintings as storyboards provides a traditional medium for the local people to interactively re-engage with traditional values. Called Serico?s World, it represents a legacy to his life?s works, joys and regrets. Here we discuss the background to this project and Vincent?s contribution. A singular beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land RG Gunn (La Trobe University) and RL Whear (Jawoyn Association) Samples from a beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land were analysed for radiocarbon and dated to be about 150 years old. An underlying beeswax figure was found to be approximately 1100 years old. The Dreaming Being Namarrkon is well known throughout Arnhem Land, although his sphere of activity is concentrated around the northern half of the Arnhem Land plateau. Namarrkon is well represented in rock-paintings in this area and continues to be well represented in contemporary canvas-paintings by artists from the broader plateau region. We conclude that representations of Namarrkon in both painted and beeswax forms appear to be parallel manifestations of the late Holocene regionalisation of Arnhem Land. ?Missing the point? or ?what to believe ? the theory or the data?: Rationales for the production of Kimberley points Kim Akerman (Moonah) In a recent article, Rodney Harrison presented an interesting view on the role glass Kimberley points played in the lives of the Aborigines who made and used them. Harrison employed ethnographic and historical data to argue that glass Kimberley points were not part of the normal suite of post-contact artefacts used primarily for hunting and fighting or Indigenous exchange purposes, but primarily were created to service a non-Indigenous market for aesthetically pleasing artefacts. Harrison asserted that this market determined the form that these points took. A critical analysis of the data does not substantiate either of these claims. Here I do not deal with Harrison?s theoretical material or arguments; I focus on the ethnographic and historical material that he has either omitted or failed to appreciate in developing his thesis and which, in turn, renders it invalid. The intensity of raw material utilisation as an indication of occupational history in surface stone artefact assemblages from the Strathbogie Ranges, central Victoria Justin Ian Shiner (La Trobe University, Bundoora) Stone artefact assemblages are a major source of information on past human?landscape relationships throughout much of Australia. These relationships are not well understood in the Strathbogie Ranges of central Victoria, where few detailed analyses of stone artefact assemblages have been undertaken. The purpose of this paper is to redress this situation through the analysis of two surface stone artefact assemblages recorded in early 2000 during a wider investigation of the region?s potential for postgraduate archaeological fieldwork. Analysis of raw material utilisation is used to assess the characteristics of the occupational histories of two locations with similar landscape settings. The analysis indicates variability in the intensity of raw material use between the assemblages, which suggests subtle differences in the occupational history of each location. The results of this work provide a direction for future stone artefact studies within this poorly understood region.document reproductions, maps, b&w photographs, colour photographskimberley, mawul rom project, 3d computer game, storytelling, vincent serico, beeswax, namarrkon, artefact assemblages, strathbogie ranges, groote eylandt, budd billy ii

This gum leaf painting is one of a pair displayed on foil in the same frame. It is typical of many paintings by the self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.An oil painting on gum leaf by the well-known Australian artist Alfred William Eustace. He was a self-taught artist during the 19th and early 20th century and a prominent resident of Chiltern. Oil painting on gum leaf by Alfred William Eustace. A scene of a log cabin on Black Dog Creek Road, Chiltern, with Skeleton Hill in the background. The canvas is a juvenile Red Box (Eucalyptus polyanthemos) leaf. It is one of a pair of Eustace gum leaf paintings mounted on gold foil, under glass in a brown frame. Inscription on back. Labels on back: Rehoused by The Centre for Cultural Materials/ Conservation, University of Melbourne "Oil on Gum Leaf"/ by Alfred William Eustace/ Donor:- Cam & Connie Boadle/ Wales U.K. Crescent/ MUSEUM/ GRADE/ 24 OCT 1998/ CONSERVATION BOARD ALBURY/ PICTURE FRAMERS/ Shop 15 & 16/ AMP Lane,/ Albury, 2640/ Ph: 02 6021 7088black dog creek, chiltern, alfred eustace, skeleton hill, gum leaf, painting, eustace

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist and taxidermist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape, with creek and grassland in foreground surrounded by bushland and hill in distance, by A.W. Eustace, under glass in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, oil painting, landscape, chiltern

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape with creek and surrounding trees by A.W. Eustace, under glass, in original dark brown timber frame with beige matte and a twist wire stand. One of 3 miniatures. Sticker on back: 188 (original Registration number)alfred eustace, chiltern, oil, landscape