These Lithographs were made for the printing and Publishing of the Book entitled "The History of Winchelsea Shire" by Cr. W.L Koenig who was commissioned by the Shire of Winchelsea to collate, Document and present the Pre-Colonial and Colonial History of the Barwon District and in particular the Winchelsea Shire for posterity and public education. The Book was published including the photographs represented by these lithographs as illustrations, and remains the foundation of the historical narrative of the area, and the context of this collection. This Lithograph is one of four depicting indigenous artefacts collected and displayed by Cr. Koenig.Koenigs collection of indigenous artefacts remain as unique in the Surf Coast Shire as a relic of material culture from the district in Pre-Colonial times. These lithographs remain as significant in themselves being the master copy remaining from the publication of Koenig's work. They are aesthetically beautiful as a work of art, and historically (technologically) important in the narrative of printing.Lithograph for printing a Photograph of a collection of indigenous artefacts for publication in the book "History of the Winchelsea Shire" By Cr. W.L. Koenig.NILkoenig, lithograph, illustration, printing blocks, picture, book, indigenous, artefact, image, stone tools, bone, winchelsea, wadda wurrung, witharong, wathaurong, wito wurrung, aboriginal

This is an Aboriginal artwork that depicts a Goanna Totem. Designed by Ballarat-based, Gunditjmara artist Aunty Diana Nikkelson, the design is inspired by the artist’s totem and is a tribute to the first artists of the region, the Wadawurrung people. It acknowledges Aboriginal survival and the dynamic regeneration of the Aboriginal art and culture in the region. The artwork is in-set to the basalt paving along Police Lane by a series of etched footsteps, which evolve from human footprints to goanna prints as viewers approach the rear of the Art Gallery of Ballarat. The artwork was originally located only outdoors and half of it was brought into the Art Gallery of Ballarat in 2011, when the former Federation Plaza was enclosed to form the Art Gallery of Ballarat's McCain Annexe. The artwork was created in 2006 as part of the cultural festival of the Commonwealth Games. The artwork is of cultural and aesthetic significance to the people of BallaratSand blasted petroglyph forms into bluestone on laneway surface. The carved inlay of the Goanna Totem design into the bluestone of Police Lane (beside Art Gallery of Ballarat) continues inside the building.goanna totem ballarat, goanna totem, diana nikkelson, aboriginal, dreaming, nikkelson, gunditjmara

Grand Arch is a five-metre by five-metre steel sculpture by Inge King placed as the centrepiece of Alfred Deakin Place, part of a redevelopment in conjunction with the State Government, City of Ballarat, University of Ballarat and Art Gallery of Ballarat. Grand Arch is representative of King's sophisticated style of abstraction that reflected animal and plant forms through to planets and the cosmos. King was a German-born Australian sculptor who created many significant public commissions including the well-loved Forward Surge (1974) at the Arts Centre, Melbourne. She was at the forefront of the development of non-figurative sculpture in Australia and held more than 26 solo exhibitions and participated in more than 60 group exhibitions in Australia, New Zealand, London and New York over almost 70 years as a practicing artist. The artwork is of artistic significance to the people of BallaratLarge steel sculpture painted matt blackgrand arch, inge king, australian modernism

The imposing white marble statue of William Wallace by Percival Ball stands approximately 8 feet tall with helmet and sward. The statue is mounted on a granite base with a marble plaque inscribed in praise of William Wallace, the Scottish warrior famous for leading the defeat of English forces at the Battle of Stirling Bridge in 1297. The artwork is located in the Botanic Gardens in Ballarat, Victoria and can be seen upon entry from the main gates. Sculpted by Percival Ball of Melbourne and unveiled in 1889, the statue was funded by a £3000 bequest to the gardens by James Russell Thomson, a Scottish miner who made his fortune during the Victorian gold rush. It was intended as a tribute to Thomson’s Scottish origins. The front the statue bears an inscription from Robert Burns’ 1785 sentimental poem ‘The Cotter’s Saturday Night’, which also lauds Wallace as a noble patriot and hero.The artwork is of historic and aesthetic significance to the people of BallaratWhite marble statue of William Wallace on plinthWALLACE Bequeathed to the public of Ballarat by the late James Russell Thomson unveiled 24th May 1889. "Oh thou! who poured the patriotic tide that streamed through Wallace's undaunted heart, who dared to nobly stem tyrannic pride, Or nobly die, the second glorious part, (The patriot's God, peculiarly thou art. His friend, inspirer, guardian, and reward!) Oh never, never, Scotia's realm desert; But still the patriot, and the patriot bard, in bright succession raise her ornament and guard;" (Burns)sir william wallace, statues, statuary pavillion, botanical gardens, lake wendouree, william wallace statue, charles summer, percival ball

Commemorates the tenth anniversary (2012) of the independence of East Timor, achieved on 20 May 2002. The people of the first new nation of the century suffered some of the worst atrocities and trauma of modern times in their struggle for self-determination. Honours the spirit of the East Timorese people and their connection to BallaratThe artwork is of aesthetic and interpretative significance to the people of BallaratCorten metal laser cut sculpture2012 Australia East Timor Association (Ballarat) honours the spirit of the East Timorese People on the tenth anniversary of the restoration of their Independence. Artist, Marqy da Costa, Afalyca Art Baucau, East Timoreast timor, independence

Open Monument is a contemporary artwork acknowledging the history of Chinese people in Ballarat. The Chinese diaspora was global and many Chinese people came to Ballarat and the Victorian Goldfields. The work details some of the personal Chinese family memories of Ballarat from the goldrush forward. The 33 marble laser-etched panels include found images and texts mounted on a modernist metal architectural feature holding back a grassed hill landscape. Within the side walkway of gravel and composite stone is an etched of local activities relating to the Chinese community achievements that can be added to by the community.Open Monument is of aesthetic and historical significance to the people of BallaratArchitectural artwork consisting of large marble panels on a corten steel frame imbedded into a grassed mount.Inscription on plaque: Open Monument 無極紀念碑 ​/ Artist: John Young ​/ Officially Launched by Mr Yumin Song / Chinese Consul-General to Victoria​ / 6th September 2015​ / Open Monument unearths stories of the Chinese diaspora in Ballarat, a name which means/ “resting place” to the traditional custodians - the Wadawurrung and Dja Dja Wurrung people.​/ The monument comprises of two artworks: Transculture, a granite-panelled work, evoking stories of alternative worldviews, / modernity, leisure and toil. Whilst Timeline traces the major contributions of the Chinese community in Ballarat, every decade / from the 1850s until the present. The timeline then folds out to 2170, anticipating imaginary future contributions.​ / The monument is open to future interpretations of this history. ​/ I thank you for visiting and acknowledging the contributions and memories that meant so much to / those who have gone before us./ - John Young Zerunge​ / Patron: Mr Henry Thai OAM JP​ / President of Ballarat Chinese ​/ Community Association Inc​ / The following generous donors to this project are acknowledged with gratitude​/ City of Ballarat​ Sovereign Hill Museum Association Inc.​ Ballarat Chinese Community Association Inc.​ Mr Henry Thai OAM JP & Mrs Sandra Thai ​ Mrs Shirley Doon & Family in memory of Harry Doon​ Chinese Masonic Association Inc.​ Mr Mean Te and Mrs Meng Khun​ Mr Jack Nguyen MA JP & Mrs My Tang​ Mr Tony and Mrs Elise Yu​ Mr Chang Zhen Zhen & Family​ Australian Lian Jiang Association​ The Federation of Chinese Associations Vic​ The Leesoon Family​ Mr Stephen K.F Ng OAM JP​ Dr Che Sam Lo MD phD JP OAM​ Elderly Chinese Home Inc.​ The Federation of Chinese Org from VN Cambodian and Lao Association of Vic. Inc.​ Bright Moon Buddhist Society​ Nam Pon Soon Club House​ See-Yup Society​ Mr Peter Chong Wai Lo​ Mr Qing Song Lin​ Mr Binh Quoc Mao & Mrs Thuy Cam Thai​ Mr Alexander Mao​ Mr Yuet Lung Kwok JP​ Mr Tai The Tran​ Mr Phillip K. L. Tran​ Mr William K. L. Tran​ Mr Quang Khon Tran JP​ Mr Kouy Taing​ Mrs Kieng Hor Lou​ Mr Bill Chang Piu Au​ Mr Maurice Kwok Leong ​ Mrs Eunice J. Leong​ Mr Vi Minh Tran JP​ Mr Frank Cheng​ Mr David Cheng​ Mr William Thai​ Mr Lizhen Lin​ Mr Phillip Richard Thai​ Mr Hoan Ping Kow​ Mrs Xao Nhu Kow​ Mr Huy Thai​ Mr Yun Kuen Lo​ Mr Chiu Yip & Mrs Yuan Han Cho​ Mrs Jacqueline Louise Thai Greenwood​ Mr Joe Hap Chi Chao & Mrs Rosana Wei Ning Chao​ Charity & Multi Art Association of Victoria Inc.​ Mr Billy Cai​ Miss Nikki Cai​ Miss Su-Ling & Miss Lily Mays-Doon​ Mr Anthony Doon​ Mr H J Moy & Family​ Chinese Australian Cultural Society Ballarat Inc​ open monument chinese, chinese history ballarat goldfields, china, ballarat, goldfields, john young, chinese, mining, multicultural, immigration, tong way, goon, joss house, embroidery, billy butterfly, chinese market gardens, red lion hotel, ah soon, mayor of main road, chinese herbalist, yee lee, james hong, cheok cheong hong, john ah loo, wathawurrung, robe, lowe kong meng, louis ah mouy, tongway, gallipoli, william lung

This is Australia’s first monument to the famous Scottish poet Robert Burns and his dog. It was carved from marble in Italy by sculptor John Udny and is inscribed with quotes from the writer himself and features beautiful patterned tiles at its base. This sculpture tells us much of Ballarat’s Scottish history by placing their most revered poet and ballardier of Auld Lang Syne at the corner of Lydiard and Sturt Streets. The local design was carried out by artist John Undy in Carrara marble and placed with this scene. The proud figure of Burns faces west and is accompanied by his collie dog with a book purposely hanging in his hand and a pencil in the other as his constant companions. Burns is mounted on a plinth engraved with some beautiful Burn’s poetry and surrounded by art deco styled tiling and a cast iron palisade. The statue is of aesthetic and historical significance to the people of BallaratCarved marble statue of Scottish poet Robert Burns and his dogIncludes panels with poems and writings by Robert Burns. Plaque reads - Designed by Thomas Thompson Ballarat Sculptured by John Undy, Carrara, Italy.robert burns, scottish poet

The Queen Victoria Monument by Australian Sculptor Sir Bertam MacKennal has a granite plinth with 4 bronze picture plates and granite bowl. The work was once a drinking fountain with decorative bronze spouts and taps set into the columned granite base. Queen Victoria died 22 January 1901, this work was commissioned and gifted to the City of Ballarat by the Woman’s Christian Temperance Union. This work marked the end of her long reign on the English throne and as Empress of the British Empire including Australia. This magnificent statue commemorates the reign of Queen Victoria (1837 - 1901), and is located in Sturt Street, Ballarat, just outside the Town Hall. Listed on the Victorian Heritage Database (B7272), the Queen Victoria Monument is significant to the people of Victoria. The Queen Victoria Monument, Ballarat, is a key component of Sturt Street in Ballarat, a notable streetscape of the late Victorian era. It represents a pivotal element in the extensive series of public art forms erected during the late nineteenth century in the heyday of Ballarat and added to during the twentieth century. The Queen Victoria Monument is an over life size statue mounted on a freestone pedestal containing four bronze relief interpretive plaques. It is situated in front of the Ballarat Town Hall, a prominent position on the wide notable picturesque boulevard of Sturt Street. The presence of the monument in the notable Sturt Street gardens precinct together with other significant statues is of importance. The Queen Victoria Monument at Ballarat is historically significant as a fine example of a tribute to the reigning monarch, initiated by citizens, on the occasion of her Diamond Jubilee, prior to her death. It reflects the fervour of the citizens of the town that played an important role in the development of the State of Victoria during the latter half of the nineteenth century. The Monument is important for its aesthetic characteristics in that it displays a combination of excellent examples of the artistry and technical skills of the sculptor E.B. MacKennal. These elements are evident in design, carving, and in casting of relief modelling.Sicilian marble statue of Queen Victoria with hand outstretched holding the Sovereign's Orb with small gold angel figure. Includes granite plinth with 4 bronze elements and granite bowl. Victoria Dei Gratia Britt Regina Fid. Def. Ind. Imp. 1900. Incorporates four fine bronze scenes from her life; Accession to the Throne (1837), Coronation (1838), Diamond Jubilee (1897) and Signing of the Constitution of the Australian Commonwealth (1900).queen victoria

Point to Sky is one of Akio Makigawa’s final works, the commission was completed posthumously. It is the only public artwork by the celebrated Australian-Japanese sculptor of this scale located in regional Victoria. You will see two stainless steel forms, a smaller more rectangle form and the towering geometric form, with seed pod shapes at the peak. These forms represent the house, the artist is expressing that home is a shelter and also a place for gathering. The house form grows into a tower to symbolise the achievements of mankind and the action taken to protect the rights of the community during the Eureka Stockade. The top seed pod is gold, referencing Ballarat as the centre of the gold rush in Victoria, as well as representing the sun as the source of life. The paving of the forecourt was designed in bluestone, typical of the work of Makigawa. Stainless steel panelling and shaping on armature. Set into raised platform of bluestone pavers.Point to Sky, 1999 / Akio Makigawa (1948-1999)/ stainless steel/ Born in Japan, Akio Makigawa arrived in Australia in 1974. He worked as a sail maker in Perth before studying sculpture at the Claremont School of Art and WAIT (now known as Curtin University). He moved to Melbourne in 1981 to do post graduate studies in sculpture at the Victorian College of the Arts and set up his studio. From 1984 he was involved in many public commissions in Victoria and interstate and Japan. / Commissioned by the Victorian Government and the City of Ballarat in 1999. point to sky, akio makigawa, modern, australian sculpture

Old uncle is standing on the mountainside watching over the modern-day empires built on Aboriginal land shaking his head, saying: “they are doing it again, every empire has a rise and fall”. It’s something that has never been learnt over time. — Josh Muir Josh Muir’s work, Roots, was the first temporary artwork to be installed on the Gallery Annex Wall on the approach to Alfred Deakin Place, Police Lane in Ballarat Central. The space is an important site to host this work given that Alfred Deakin Place is commonly used as a place of discussion, engagement, protest and performance.Temporary artwork - printed vinyl application to concrete wallnoneelder, aboriginal and torres strait islander

Hand drawn Coat of Arms for the soldiers known as the Rats of Tobruk with signatures of those involved in the engagement between 5th April to the 22nd of October 1941 The drawing is signed by artist John DOWIE AM, SX6087 who served with the 2/43rd Battalion Signatories are: VX42389 Eric Hamilton, 2/32 Battalion; VX30189 F.Baldwin, 2/23 Battalion; VX34544, F.J.Mc.Intosh 2/24 Battalion; VX34554 W.Harrison, 2/24 Battalion; WX7281 P.Bone 2/25 Battalion; VX33719 Duke Goldsmith, 2/24 Battalion; VX41179 Harry Frazer, 2/24 Battalion; VX29652 A.R.Stribley, 2/24 Battalion; SX6367 Jack Foley, 2/43 Battalion; VX48340 Harry Jones, 2/23 Battalion; VX42317 Aub Jarrott, 2/24Battalion; VX28869 Rod Deering 2/24Battalion; VX15719 Ian F. Joss 7th Division AASC; VX19723 Len Dauria, 2/12 Field Regiment; NX35852 R.E (Snowy) Cornelius 2/13 Battalion; VX32559 Jim Gray, 2/24Battalion - James Cyril GRAY Born 6/1/1916 in Orroroo South Australia. Enlisted 28/5/1940 at Mildura. Awarded Military Medal for remarkable coolness, bravery and leadership at Tobruk on 24/4 and 1/5/1941. He was promoted to Sergeant on 14/8/1941, Lieutenant in November 1942 then Captain on 9/4/1945. He was wounded in action on 11/9/1943 and discharged on 20/12/1945. He married and had three children. He died on 10/4/1992 aged 76 and buried at Wangaratta Cemetery.This original drawing is by John DOWIE SX6087 who served with the 2/43rd Battalion during the second world war and is signed by the artist and soldiers from the 2/24th Battalion known as "Wangaratta's Own". John Stuart Dowie AM (15 January 1915 – 19 March 2008) was an Australian painter, sculptor and teacher. He was born in the suburb of Prospect in Adelaide, South Australia, and studied architecture at the University of Adelaide. During World War II, Dowie worked in the Military History Unit of the Australian Imperial Force, and as an assistant to Australia's official war sculptor, Lyndon Dadswell. As a soldier, he was one of the Rats of Tobruk. After studying art in London and Florence, Dowie returned to Australia. His work includes over 50 public sculpture commissions, including the "Three Rivers" fountain in Victoria Square, "Alice" in Rymill Park, the "Victor Richardson Gates" at Adelaide Oval and the "Sir Ross & Sir Keith Smith Memorial" at Adelaide Airport. He was made a Member of the Order of Australia in 1981 in recognition of service to the arts as a sculptor and painter. Dowie died on 19 March 2008, aged 93. There is a similiar version of the drawing on page 32 of the book Desert Sand and Jungle Green by Geoffrey Boss-Walker which is an illustrated history of the 2/43rd Battalion.Timber frame containing hand drawn Coat of Arms consisting of "rats" as shield supporters, crest with a swastika in the centre and motto surrounded by signatures.Signatures of artist John Dowie and soldiers engaged at Tobruk. The crest depicts a latrine and the motto reads NON FASCES SED FAECES (Latin translation - "Do not move but the dregs") rats of tobruk, coat of arms, 1941, john dowie

Medal commemorating the Centenary of Government of Victoria and the Discovery of Gold, commissioned by the Victorian Government and gifted to the Shire of Glenlyon. Designed by Andor Mészáros and minted by K.G. Luke, Melbourne, 1951. 1951 marked the centenary of Victoria's separation from the colony of New South Wales. As part of the celebrations, the Victorian Government commissioned this medal from Andor Meszaros. Drawing on his classical background, Mészáros developed the imagery for 'Equality and Justice through Freedom'. The man holding the torch represents equality; the blindfolded woman holding a sword is the symbol of justice, and both are mounted on a horse that has broken its shackles. Features on the reverse a design of a banksia and bottlebrush. There was another version of this medal which depicted a pair of gold prospectors on the reverse.This medal was presented to the Shire of Glenlyon in 1951. For over half a century, sculptors Andor (1900-1973) and Michael (1945- ) Meszaros have created medals that reflect the high points of life in Australia. From major awards and portraits of eminent Australians to artwork celebrating popular culture and the natural world, these objects illuminate our culture and history. Grounded in a centuries-old European art tradition, the medals create connections across disciplines and link such diverse subjects as scientific advances, religious themes, sport, the performing arts and motherhood. Through their public and private commissions and their personal artworks, the Meszaros sculptors have defined the modern Australian medal.Bronze medal with images and text insetObverse Description: Horse bounding left, broken shackles on foreleg, carrying woman holding sword and man holding torch; around, EQUALITY AND JUSTICE THROUGH FREEDOM Artist's name behind horse's tail: A MESZAROS Reverse Description: Stake supporting plant; above, CENTENARY OF GOVERNMENT OF VICTORIA 1851 - 1951; inscribed, Presented to / the Shire of / Glenlyon / 1951 Artist's initials to left of stakeglenlyon, hepburn shire, centenary of government, centenary of gold discovery, history of victoria, victorian governement, meszaros, kg luke, commemorative, commemorative plaque, centenary 1951

Boyd argues that the Australian cultural split between what he perceives to be cultured tastes and artistic achievements and the tastes of ordinary Australians is wider and more polarised than in other countries. He derides commercial radio, popular women's magazines, public commercial streets etc - elements of the Australian ugliness. He praises the growth of local contemporary art, literary magazines and architecture, whilst calling for the development of community pride amongst leaders of commerce and industry, and government control of the ugliness of popular culture. This may have been published in "Walkabout" magazine.Typewritten (c copy), quarto, 11 pagesart, egalitarianism, sidney nolan, australian painting, pop art, phil may, dyson, low, media, cartoons, australian literature, radio, california cultural heritage board, commercial advertising, robin boyd, manuscript

Robin Boyd was involved in creating several TV series for the ABC University of the Air. 'Design in Australia' was an eight part series. (Items D184-D193 contain all the manuscripts except part six titled 'Communications'.) In Part 5, Boyd identifies three styles of interior decoration in Australia. The first, Exhibit A is directly influenced by the fashions of Paris, London and New York and does not integrate the interior with the exterior. Exhibit B is the Australian architectural style of the 1960s. Exhibit C is characterised by practical, cheerful and easy to clean up interior fittings based on colourful plastics. Boyd refers to this style as "Australian pop art". He continues by explaining why Exhibit C came to be the preferred Australian style over Exhibit B. He suggests that the Australian public is ill-informed and misguided, ultimately concluding that Australian interior design reflects the public's lack of taste. (Same content as item D193, differing side notes on left side of pages)This is a draft script for the ABC television program 'University of the Air', subtitled 'Design in Australia', broadcast in 1965.Typewritten (c copy), foolscap, 15 pages (compared to D193, 11 pages) (Two copies)One copy has crisper letters typed over on pages 1 and 5.university of the air, design in australia, australian style, interior decoration in australia, frederick ward, lester bunbury, frances burke, grant featherston, modernage fabrics, manuscript

Robin Boyd was involved in creating several TV series for the ABC University of the Air. 'Design in Australia' was an eight part series. (Items D184-D193 contain all the manuscripts except part six titled 'Communications'.) In Part 5, Boyd identifies three styles of interior decoration in Australia. The first, Exhibit A, is directly influenced by the fashions of Paris, London and New York and does not integrate the interior with the exterior. Exhibit B is the Australian architectural style of the 1960s. Exhibit C is characterised by practical, cheerful and easy to clean up interior fittings based on colourful plastics. Boyd refers to this style as "Australian pop art". He continues by explaining why Exhibit C came to be the preferred Australian style over Exhibit B. He suggests that the Australian public is ill-informed and misguided, ultimately concluding that Australian interior design reflects the public's lack of taste. (Same content as item D188, differing side notes on left side of pages)This is a script for the ABC television program 'University of the Air', subtitled 'Design in Australia', broadcast in 1965. Item D188 is the draft version.Typewritten, foolscap, 11 pages, (compared to D188, 15 pages)university of the air, design in australia, australian style, interior decoration in australia, frederick ward, lester bunbury, frances burke, grant featherston, modernage fabrics, manuscript, ohm2022, ohm2022_30

"A landmark history of Indigenous Australia which accompanies a major nine part Australian television series. It combines the most rigorous academic research with capitvating contemporary story-telling. Richly illustrated book that includes images of the landscape, evocative ninteenth-century photography and Aboriginal art. Written by Australia's leading Indigenous historian and public intellectuals"--Provided by publisher.maps, document reproductions, b&w illustrations, colour illustrations, colour photographs, b&w photographscolonisation, race relations, australian aboriginal history, pictorial histories

The kit is designed for the general public, teachers and students, to give an understanding of Australian Indigenous people and culture and to break down stereotypes that are common in the school system and the wider community. The information presented is about the cultural, spiritual, economic and religious aspects of pre-contact societies. The impact of invasion on traditional societies and the post-colonial history of Australian Indigenous people is explored.Maps, b&w illustrations, b&w photographs, colour photographsculture, history, john batman, batman treaty, coranderrk mission, koorie culture, lake condah mission, kinship systems, aboriginal art, dreaming stories, kulin, gunai/kurnai, mara, wotjobaluk, wudjubaluk, koori

Main Street Shops Patrick Street to St Georges Street - 1998Elders Real Estate, The Top shop Milkbar and three other shop in Patrick Street 2 photos, Big Hill Art & Framing, 2 shops Unknown, Mechanics institute St Vincent De paul Op Shop, Whiting Accountants, Imbros Books, Salvation Army Thrift shop, Curtis & Thomas Charted Accountants, Westpac Bank, Sports Power, Unknown Craft Shop, T.A.B., Perrys Shoes, RetraVision, Kahula Botique, Total Music, Latus Jewellers, Sit of te Bull and Mout Hotel, Earles Festiva Supermarket, Rotunda in the Mall removed when the Mall Was, Boags Cycles and Sports, Haymes Mensland, Gar-El - Attrills Florest, Civic Store, Stawell News Agency, Pleezall Cafe, M ined r Pic, Gold Reef Greeting Cards and Gifts, Public Information Centre, Amcal Chemist, Aquarius Milkbar, Classic Shoes, Sheer Illusions, Gold Reef Chinese Restaurant, Blizzard Optometirist, Toyworld, Post Office Arcade was Post Office Hotel, MItre 10 Timber Yard, David O Jones Mitre 10, Sniff "N" Tell, Unkown Clothing Shop, Think of Me Gift Shop, Stawell Florists, Goodonya Sports, Slavation Army Thrift Shop, Chris & Di's Pies, Salon 74 Hairdresser, Town Hall Sandwich Bar, Rauncy Rooster, Townhall Hotel. Peter Steggall Physiotherapist, Stawell Time News Office, Stawell Bakery, C.E.S , Department of Human Services, Salvation army Citadel, Two Shops Unoccupied at time of Photo.stawell

The inks used were fabric printing inks and two colours were applied at the one time on the same roller, the roller being inked with green on one side and red on the other. The roller was a sponge paint roller 100mm wide. The technique used was 'soft bed release'. This is where the fabric is placed over a soft bed (woolen blanket with cotton overlay) and the inked block is placed on top of the fabric, then body weight is applied to the back of the block by placing the hands on the block and transferring weight through the body and into the hands. The block is then lifted and the process starts allover again.Rural City of Wangaratta CollectionA repetitive pattern of gum blossoms that has been printed on a rectangular piece of pure silk twill in green and red ink by a lino block.wangaratta art galley, print, lino block, flora, gum, christine upton, textile, australian flora

Upton has used the traditional technique of Indonesian batik to create 'Gumnuts Galore'. Batik has a long history in the world and is believed to have originated on the island of Java in Indonesia. The designs traditionally used in batik are imbued with meaning and powerful symbolism to reflect the culture and beliefs of the place where it was made and for whom it was made for. Upton has instilled her piece such meaning and symbolism by depicting eucalyptus leaves and gumnuts which evokes a sense of belonging and pride.Rural City of Wangaratta Collection, purchased with funds from the Wangaratta Art CouncilA rectangular design of gumnuts on silk created through the batik technique using natural dyes in shades of red, brown, and greenwangaratta art gallery, christine upton, batik, gumnuts, flora, australian flora, textile

The Wiener Werkstätte (Viennese workshops) established by Josef Hoffman and Kolomon Moser in 1903 are today celebrated for their work in promoting the involvement of artists, designers and craftspeople in the manufacture of home furnishings; however Sigmund Járay’s firm was also an important, although today lesser-known, Viennese manufacturer of Kunstmöbel (art furniture). An Austro-Hungarian designer of Jewish descent, Sigmund Járay (1838-1908) established his Kunstmöbelfabrik (art furniture factory) in Vienna in the 1870s in partnership with his brother Sándro Járay (1845-1916), a sculptor. The firm with its team of cabinet makers, modellers, sculptors, upholsterers, painters and gilders, manufactured bespoke furnishings and decorated interiors for public and private clients, including the Imperial court. Such was the prominence of the work of this factory, that in 1899 one of the first purchases of the newly formed Austrian Museum of Applied art was a suite of furniture designed by Sigmund Járay for a married worker. In commissioning the furniture, Slawa was adopting the custom of Viennese couples to furnish their homes with bespoke furniture from the interior design firms that flourished in early 20th century in Vienna. Comparative material is held in the National Gallery of Victoria collection; a suite of furniture by Josef Hoffman commissioned by the Gallia family in 1912; and a suite of furniture by Adolf Loos commissioned by the Langer family in 1903. Ann Carew 2016The bedroom suite is aesthetically significant for the quality of its craftsmanship and design. It is a significant example of domestic interior design in Vienna during the 1930s. The bedroom suite is intact, and has been preserved in its entirety – double bed and side tables, wardrobe and linen press, stool and day bed. It has the potential to be displayed in situ in the place where it was last in use. It is of historical significance. Many Jewish families had all their possessions lost or destroyed during the war years. The story of the furniture’s journey from Austria to Australia is relevant to the study of the experience of émigré families during the Holocaust, and the importance of return of their property. It is rare, as it and the furniture in the living and dining room, are the only known examples in Australia of furniture manufactured by the firm of Sigmund Jàray. The provenance of the furniture is excellent, and is demonstrated by photographs taken in Vienna; correspondence with the donor’s sister, Rella; and the quotation from Sigmund Járay Kunstmöbelfabrik. It is in excellent condition. Ann Carew 2016Bedroom suite consisting of a double bed, two side tables, an upholstered stool and upholstered day bed, and a wardrobe and linen press. Made of Maple and Rosewood. Designed by the firm of Sigmund Jaray with Slawa Horowitz-Duldig.

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

Nicholas Nedelkopoulos is an established artist, his work is represented in the Metropolitan Museum of Art, New York, the National Gallery of Australia and in numerous International and Australian Public and Private Collections. His work has been included in major historic exhibitions: the National Gallery of Australia's Federation touring exhibition, The Australian Bicentennial Folio and Victoria's 150th Anniversary exhibition curated at The State Library of Victoria and National Gallery of Victoria. He has a Diploma of Fine Arts from Victorian College of the Arts, a Master of Fine Art from the University of Melbourne (Victorian College of the Arts) and has a Doctorate from Monash University. Nedelkopoulos' work is based strongly in graphic tradition which can be seen throughout all of his media.'The Sneeze' alludes to a feverish response, an irritation, a period of temporary discomfort, or a sign of sickness. On a visit to Eltham in 1995 Nedelkopoulos became aware of the disquiet felt by many residents because local government was not in the hands of elected representatives. 'The Sneeze' is an allegorical work, which serves as a reminder of this period in our municipal history. Nedelkopoulos has constructed an environment similar to a theatre set in which every element is a symbol to be deciphered. Whether you read the red-nosed figure as democracy being challenged by the political circumstance, as representing the unelected commissioners surrounded by the criticism of the community, or as another player in the story, to unravel the meaning of individual elements will provide direction and add weight to your interpretation. Without knowledge of the artist's intention the work can convey quite straightforward messages and responses. For example, the misery of hayfever in Spring, or how germs spread from a single sneeze. Such ideas are relevant and provide the metaphoric basis for a more in-depth analysis.Pastel drawing on paper. Image depicts a small black figure with a small monkey on a lead. The figure has a red nose to which he is holding a tissue. He is walking through what appears to be a flowering forest.nedelkopoulos, the sneeze

Penelope Aitken lives and works in Melbourne, Australia. She makes paintings and installations about relationships: between people, between things and between people and things. Recurring subjects include friendship, genealogy, romantic liaisons, and cross-cultural exchange as well as gardening, craft and landscape design. 'I am interested in the social, psychological and aesthetic motives behind organisation, belonging and displacement and I often make work that investigates such arrangements.' She has held regular solo exhibitions since 1995 and has been represented in group exhibitions since 1989. These have included shows in public and commercial galleries, artist run spaces, outdoor projects and festivals in Melbourne, Sydney, Perth, Brisbane, Bundaberg, Kuala Lumpur, Taipei, Tokyo and Famagusta, Northern Cyprus. Aitken has previously worked at the Australian Centre for Contemporary Art and at Asialink at the University of Melbourne. From 2006 - 2009 she was a board member of the Melbourne artist run gallery, West Space and she has also curated and coordinated numerous exhibitions and written and edited catalogues, articles and essays. She holds a Bachelor of Arts and a Bachelor of Education (Visual Arts) both from The University of Melbourne and completed her Masters of Fine Art at the Victorian College of the Arts in 2004. In 1997 Aitken was selected to be a studio artist for two years at Gertrude Contemporary Art Spaces, Melbourne and in 2000 she undertook an Australia Council Studio at the Taipei National University of the Arts, Taiwan. More recently she spent two months in 2007 at the Laughing Waters Residency, Birrarung, in Eltham, Victoria. There she began her current interest in the rocks used in the landscape designs of Gordon Ford. Paintings of Ford's rocks made since 2007 as well as glacial erratics, meteors, and other natural and displaced rocks were exhibited in March 2011 at the Light Factory Gallery in Eltham in a show called My History of here, and Second Nature, one work from this exhibition, was awarded first prize at Eltham Masterworks 2011. Other work made about rocks in nature and culture include: the project, A dark archive, as well as in two installations: You seem so settled for one that doesn't belong held at West Space in 2009 and Gathering these things to remind me of home shown in 2010 at the Bundaberg Regional Art Gallery, Queensland. In July and August 2007 Aitken undertook an arts recidency at Birrarung, a house and garden designed by Gordon Ford and managed as the Laughing Waters Artist in Residence Program by the Shire of Nillumbik Victoria. The rocks depicted in the painting 'Mapping Mass & Void 10' are all taken from the garden at Birrarung. Aitken has made reference to those rocks and the way in which Ford thought of the rocks as individuals that need to be handled and placed with consideration to show off their best aspects.oil and acrylic on linen ek prac 2015

Eltham was a creative hub during the twentieth century, attracting innovative visual artists, architects, writers and film makers to collaborate, forging lifelong friendships and artistic legacies. Skipper produced this bronze sculpture of friend, Composer George Dreyfus for the then Shire of Eltham Art Award. Matcham Skipper (b.1921 NZ - d. 2011 Melb.) was a renowned local sculptor, jeweller and builder and an accomplished teacher, designer, ironworker, and photographer. His work is held by many museums and public collections in Australia and overseas. He was a long term resident of Montsalvat in Eltham with his family deeply involved in the building and evolution of this artists colony, which was the vision of architect and painter Justus Jorgensen. George Dreyfus (b.1928 Germany - arrived 1939 Aus) is an Australian contemporary classical, film and television composer. He has composed numerous film and television scores, including Tim Burstall's 'The Adventures of Sebastian the Fox' (1963), 'A Steam Train Passes' (1974), 'Rush' (1974), 'Dimboola' (1979) and 'The Fringe Dwellers' (1986). It was the score for 'Rush' which brought him wider recognition. He has written four operas, two symphonies, chamber music and film scores spanning five decades. Dreyfus is well known for having worked with the late director, writer and producer Tim Burstall, a key figure in Australian postwar cinema and local who lived in Eltham. Burstall was instrumental in rebuilding the Australian film industry in the 60s, creating groundbreaking Australian films including 'Stork' and 'Alvin Purple'. Figurative bronze bust of well known Australian composer George Dreyfus. He is wearing a shirt underneath a sweater. His left arm/hand is placed over his chest. His eyes are half closed as if immersed in the music. A green patina can be seen in areas on the sculpture. Signature and date cast (incised with tool) onto the back shoulder blade: 'MATCHAM SKIPPER 1987'ek prac 2015, montsalvat, eltham, george dreyfus, matcham skipper, bronze, bust, tim burstall, sculpture, rush

Reinis Zusters OAM was born 15 October 1918 in Odessa, Ukraine, of Latvian parents. Zusters’ father died before he was two years old and he was raised in an orphanage from an early age. He had one sister. He studied Art at the Riga Technical College, Latvia, from 1935 to 1940. He married Aldija Kapteinis, and they had a daughter, Rudite (born 1942 in Riga). After World War II the Zusters family were refugees. They reached Western Australia in 1950, where they stayed for 6 months before moving to Canberra, ACT. In 1952, Zusters moved from Canberra to Pennant Hills in Sydney with his second wife, Arija Biks. Their daughter Laura was born in Sydney in 1956. In 1966, Zusters met his future third wife, Venita Salnajs. In 1969, Zusters bought a house in Greenwich, Sydney. He married Venita on September 17, 1976, and they moved to Wentworth Falls in the Blue Mountains. Zusters died on 8 October, 1999 at Wentworth Falls, and was cremated at Rookwood Crematorium, Sydney. His ashes are buried in the Latvian section of Rookwood Cemetery. Zusters studied at the Technical College of Riga (Latvia), and at East Sydney Technical College, Australia. He was influenced by his Latvian cultural heritage, and admired the artist Voldemars Tone (1892-1958). Shortly after arrival in Australia, Zusters became a draughtsman with the Department of Works and Housing in Canberra. Later he was appointed chief designer with the Australian-American architectural firm Austin-Anderson, at St. Leonards, Sydney. Zusters practised as a full-time professional artist from 1968. Zusters was a prolific painter, predominantly in oils. He produced many large landscapes, including triptychs of the Blue Mountains. His landscapes were mountain scenes prepared in the manner of Jackson Pollock and completed with washes and pale glazes of colour. His cityscapes featured a rich paint surface and sharp-edged thickness of paint applied with a palette knife, layer upon layer. He painted urban scenes of Sydney, inland Australian scenes, and several major portraits including Sir Winston Churchill’s gardener (purchased by Art Gallery of NSW). He made many small informal portrait-drawings of friends. His usual signature was “Zusters”. His work is represented in numerous public and private collections in Australia and abroad. He won numerous prestigious awards in Australia, Japan and USA and was honoured with the Order of Australia Medal in 1994.

Nillumbik Prize finalist (2018, 2016, 2015, 2014). The artist lives and works in Nillumbik. Abstract sculpture inspired by the artist attending a local ceremony in Nillumbik to harvest tubers of the Murnong (yam daisy), a traditional staple of the Wurundjeri people. Wirth was also inspired by the writing of Bruce Pascoe. Wirth works intuitively with awareness that meaning may be deciphered through the combination of material/mediums/techniques that she uses randomly. Through the process of experimentation and automatism Wirth allows her work to evolve organically. Wirth is represented in public art collections including: Victorian College of the Arts, Victorian Performing Arts Centre and Ararat Regional Gallery. She also completed a residency at Laughing Waters in 2012. Yellow abstract sculpture woven into a vessel with long tentacles using cotton yarn. N/Afinalist, nillumbik prize, abstract, textile, yellow, vessel, yam

Charles Steedman was headmaster of Williamstown Grammar School from 1870-76 and 1885-90. In 1870, under agreement with school trustees, Sir George Verdon and John Courtis, he leased the school under a seven-year lease, effectively saving it from closure. Steedman had previously been manager of Sandridge Baths and a champion swimmer of Victoria. His 1867 book, 'Manual of Swimming', was the first major technical contribution to the sport of speed swimming and water safety, for which Steedman was inducted into the Sport Australia Hall of Fame in 2006. As headmaster of Williamstown Grammar, Steedman initiated a student produced school paper called 'The Schoolboy' (surviving editions can be accessed at the State Library of Victoria), added swimming lessons to the curriculum and opened enrolment to girls in 1885. The book contains nine illustration plates featuring line drawings of a human figure in the positions detailed by Steedman in his text. These drawings are attributed to O.R. Campbell. Oswald Rose Campbell is best known for his appointment (1876-1886) as drawing master of the School of Design, a department of the Public Library, Museums and National Gallery of Victoria. He taught (and famously disagreed with) the likes of celebrated Australian artists, Tom Roberts and Frederick McCubbin. O.R Campbell taught drawing and painting at Williamstown Grammar in the early 1870s.The book holds historic significance for Westbourne Grammar School, having been written by a former headmaster and very important figure in the history of the school. It evokes our early history as an emerging grammar school with links to prominent athletes, artists and gentry of colonial Melbourne. Blue cloth covered case-bound book, with debossed decorative scrollwork in each corner and in the centre of front cover, and gilt lettering on the spine. 270 numbered pages, nine illustration plates (one adjacent to title page, eight as end pages).On title page, handwritten inscriptions in brown coloured ink. Possibly ‘Joshua Saggs Esq. / With the authors compliments’ and below, in different handwriting and darker ink, ‘To dear Flossie from Grandma 1901’. williamstown, sandridge baths, swimming, colonial melbourne, art, williamstown grammar