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

Murray is an artist with a renowned reputation within contemporary art practice. This painting was exhibitied in the 1999 Nillumbik Art Award. Oil on linen abstract painting. A painting within a painting. A stretched orange canvas with its back (black wooden support and brace) facing the viewer. It is resting on a pink floor and against a blue wall. Style is quite graphic with strong lines and flat colour. Not signed and not dated. ek prac 2015

Deborah Halpern was raised in Nth Warrandyte. Her connection to the area and the significant contribution that she and her family (founding members of Potters Cottage) have made to the artistic heritage and culture of the Shire is acknowledge with the commission of this piece. Deborah Halpern is a highly recognised and respected local artist with an acclaimed national reputation in the arts community. This work is a gateway piece, welcoming residents and visitors into the Shire from the southern end of the boundary. 'Queen of the Shire' reflects the creative spirit that flows endlessly in the Shire, inspired by the landscape. This work forms part of a series of sculptures that Halpern has created along the banks of the Yarra in Melbourne ('Angel' - Birrarung Marr and 'Ophelia' - Southgate). This sculpture is an excellent example of Halpern’s ouvere and 'tile construction' technique for which she is renowned. Materials: coloured glass tiles, fibreglass, aluminium, steel. A sweeping stylised (female) form covered in bright and colourful tiles held aloft by two steel poles. queen, sculpture, semi-abstract, stylised, glass, tiles, public art, halpern, ek prac 2015

The 'Black Saturday' bushfires were a series of bushfires that ignited across the Australian state of Victoria on and around Saturday, 7 February 2009. It was Australia's worst ever natural disaster. The fires occurred during extreme bushfire-weather conditions and resulted in Australia's highest ever loss of life from a bushfire: 173 people died and 414 were injured as a result of the fires.This work is by a local contemporary artist with a national and international reputation for figurative and portrait works. The 'Black Saturday' series is a powerful investigation of emotion and grief as experienced by many Nillumbik residents during the 2009 'Black Saturday' bushfires. A cluster of bronze figurines either stand alone or embrace in groups. Their expressions and gestures of despair are made more pertinent with the raw like application and surface treatment of the material used. The 'Black Saturday' series is a challenging work, but one that encourages healing, connection and empathy. Two men embrace in despair. One man throws his arms around the other man's shoulders. The other man holds the other's back. Surface treatment is textured. Dark metallic brown colour with figures starting to turn a green patina. Note stuck with tape underside of sculpture 'Savage Art Prize Peter Wegner (phone number) The Embrace 2011'wegner, bronze, figurines, black saturday, sculpture

Sanders was a well-known local potter who worked for a time with David Boyd at the Martin Boyd Pottery, before returning to Melbourne where he had some association with Arthur Boyd, at the pottery in Murrumbeena. Sanders set up a studio in Eltham in the early 1950s and made the first of a series of architectural ceramic murals with painter and print maker Lawrence Daws in 1956. In 1957 he left for Europe and while there was inspired by the Spanish artist Joan Miro’s unconventional painting style and large scale murals, in particular Wall of the Moon (1957). After returning from his travels in Europe to Australia in 1964, he began to work solely on creating ceramic murals, some of which were commissioned for Southland Shopping Centre in Cheltenham, Melbourne, 1968 (now demolished), the National Mutual Centre, Melbourne,1964-5 (now demolished), Dee Why Library, Sydney 1966, Woden Valley High School, ACT, 1967, Tullamarine Airport Melbourne, 1969-70 (now demolished), Perth Concert Hall, 1971 and The University of Melbourne,1975 (with John Olsen). This mural is one of only three remaining in the public realm by Tom Sanders (the others are at the Perth Concert Hall (1971) and at the University of Melbourne (1975). Ceramic mural (earthenware tiles) consisting of a playful/organic abstract design similar in style to the Spanish artist Joan Miro. Shades of blue, yellow and black glazes are layered onto matte black and shiny bronze tiles. N/Amural, public art, earthernware, pottery, ceramics, glaze, eltham, ekphrasis2017, eltham town square, joan miro

This was the first work de Clario painted during his Australia Council residency in Paretaio, Arthur Boyd's studio in Tuscany. It was painted in an old stable with a vaulted ceiling that reminded de Clario of a cenacolo or supper room. Domenico de Clario has an international reputation, gained particularly through his installation work and collaboration with composers and musicians. De Clario made many irregular shaped, un-stretched paintings during this period. He was involved with Arte Povera, a socialist based art movement where the 'poverty' was reflected in the choice and use of materials. This work was entered into the 1986 Shire of Eltham Art Awards. Painting: oil on canvas mounted on stretched canvas. Semi abstract painting containing out of focus objects within a room.de clario, painting, semi abstract, expressive, painterly, personal, arte povera, paretaio

Isobel Clement has been practising since the 1980's. She completed her post graduate diploma at Phillip Institute (RMIT) in 1990. She paints, draws and uses installation for creative discourse. She has had more than ten solo exhibitions. Her work is included in collections such as National Gallery of Australia, the Australian Print Workshop Archive, Art Bank Australia and The Bundanon Trust. She has been shortlisted for the contemporary painting prize, the Bayside Art Award, on three occasions in recent years and was the winner of the Nillumbik Prize in 2009.Isobel Clement is a local artist who won the 2008 Nillumbik Prize. Painted in monochrome the artwork depicts two vases (with decorative edges) and two cups on a table in a row. Each of the four objects are slightly different in scale and shape and parallel to the picture plane. N/Astill life, nillumbik prize, painting, monochrome, vases, cups

Jock Clutterbuck is a sculptor and printmaker of national significance, known for his sophisticated abstract forms with underlying esoteric mysticism. Clutterbuck overlapped with Baldessin when he studied sculpture and printmaking at the Royal Melbourne Institute of Technology, RMIT (1965-66). He taught at RMIT from (1969-73) before lecturing in sculpture at the Victorian College of the Arts (1974-2000). He is represented in many national and international public art collections and is a recipient of many National prizes and awards. George Baldessin (1939-1978) was a printmaker and sculptor who built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.‘Frosty Night Cartouche’ is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Following a visit to the Press in 2015, Clutterbuck was reminded of a suite of paintings he had produced some thirty years earlier inspired by plein-air drawings of the night sky. This print attempts to capture something of the enchantment, mystery and drama of a frosty rural property where Clutterbuck spent many years. It is a frost dreaming; a subtle personal homage to Baldessin, embodying the reverence of a fellow artist towards an old friend. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Frosty Night Cartouche' (title); right 'Jock Clutterbuck' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)ekphrasis2018, symbols

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

Recipient of the Local Prize, Nillumbik Prize for Contemporary Art 2019. The imprints of eucalyptus ficifolia, eucalyptus polyanthemus, grevilia robusta and casuarina verticillata onto woollen blankets. They tell a story of home and comfort, of legacy and place, of connection and continuity. Large wall hanging comprised of strips of recycled woollen blankets stitched together. Each strip has been printed (eco dyed) with organic matter local to the Shire of NillumbikN/Aeco dying, wool, blanket, wall hanging, environment, botanical printing, nillumbik prize, local prize recipient, eucalyptus ficifolia, eucalyptus polyanthemus, grevilia robusta, casuarina verticillata, nillumbik, karena goldfinch

This painting was sparked by a US studio residency at Yellowstone National Park, shortly after Trump’s election. In America, Chin witnessed conservative nationalism and divisiveness, but also an equal reaction promoting diversity and challenging structural inequality. Developing this work in Australia, Chin examined how a sense of place forms fluidly in the consciousness, to surpass geographic borderlines.Kevin Chin is a local artist. He has been a finalist in the Nillumbik Prize for Contemporary Art (2015, 2019). In this painting Chin explores economic, cultural and social structures that shape the world in which we live, questioning who has built what, who takes ownership, and who has the right to the land. Landscape painting depicting a house (upside down) and a half finished urban structure sitting amongst mountain peaks and land that has been cleared and immersed in fog/smoke.N/Alandscape, kevin, chin, structural, inequality, castle, trump, painting, nillumbik, residency, yellowstone, realism, oils

Vipoo Srivilasa works predominantly in ceramics, creating unique contemporary porcelain sculptures, vessels and figures to transmit a universal message of cross-cultural experience. His works explore similarities between the cultures of homeland, Thailand and his adoptive home, Australia. His work is both a playful, and at times a political, blend of historical figurative and decorative art practices with contemporary culture. For more than 20 years, Vipoo has exhibited both internationally and throughout Australia, including Museum of Fine Arts, Boston; Saatchi Gallery, London; Ayala Museum, Philippines; Yingge Ceramics Museum, Taiwan; Nanjing Arts Institute, China and the National Gallery of Thailand. His work is held in national and international collections including the National Gallery of Australia, the Art Gallery of South Australia, GOMA, and the Craft Council, UK.

Winner of Expressions 2008: The Wool Quilt Prize Artist Statement: 'My friend Vriginia named this quilt for me and I thought "of course". A ladder is a means of rising or climbing and I began this work woth a sense of freedom. In this case freedom from entrapment of thought, feeling and creativity.'W7184 'Green Ladder' Catalogue for 'The New Quilt 2003: an exhibition of contemporary quilt textiles' Jo Steele's entry in 'The New Quilt 2003' catalogue Jo Steele's Curriculum Vitae Photocopy from Quilters Guild Magazine, 1998. Jo Steele's 'Eggshells & Iron Bars' Photocopy from catalogue '2002: One step further marvellous minatures', including Jo Steele's entry. Photocopy from '2007 Australian Cotton Fibre Expo'. Jo Steele entry 704. Includes first prize certificate for Section 7: Contemporary Quilting and Patchwork. Certificate awarded to Jo Steele for 'Chill Out!' 2004. Winner 'Fashion Extravaganza' Category. Photocopy from catalogue for 'Territory Craft 30th Alice Craft Acquisition'. Jo Steele entry 133. Photocopy from catalogue for 'The 29th Alice Craft Acquisition'. Jo Steele entries 143 and 144.Jo Steel 34 Neale Street Katoomba 2780 NSW 0413 074 604 'Green Ladder'quilting textile art, steele, ms jo, quilting, textile art

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Painted using acrylics, ink and charcoal on canvas. This abstract image features what looks like two figures merged into one against a red background with sprays of black paint. liza posar, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, painting, graffiti

My name is Deanne Gilson and I am a proud Wadawurrung woman living on my ancestral Country around Ballarat in Victoria. My practise aims to highlight and bring back traditional women’s symbols and ceremonial practises that reference the lived experience of my ancestors. By reviving traditional marks found on artefacts and women’s business, I am forming links with past ancestral knowledge so that is not lost and continues for the future generations. My art practice relies heavily on the use of symbols and form as a metaphor for the body. I have worked as a full-time artist for over thirty-five years. Many artworks tell stories of the spiritual aspects of culture and myths. Dreaming and Songlines, further creating a yarning space, bring the gap towards reconciliation and healing for my people and others through shared sharing stories. A main focus of my art practice tells the birthing tree and scar tree stories and how Wadawurrung women have evolved and survived, since before and after colonisation. The old symbols find new life, connecting to the contemporary ones, further connecting us all to this Country we all call home.Yaluk, Beep, Murrup, meaning Water, Country, Spirit, incorporates the traditional mark of the wave pattern (often found on wooden shields) used by my ancestors, along with the basalt plains across Wadawurrung Country. By depicting the interaction between the Water and Country, I use ancestral knowledges that are not seen but intuitive to myself, while juxtaposing them against the ancestral stone circle knowledges, embedded with the DNA of our stories. The ochre is reclaimed as real, it is marni-beek, meaning Country, in particular the white ceremonial ochre, often seen on the painted-up figure and used today to reconnect back to our ancestral memory. Reclaiming what was lost through colonisation, but still present in our Dreaming that flows on today through the water spirit. Country has no time limits and water connects to our bodies, which are made up of water. We as a clan, are still here today, living and being on Country, our ancestral spirits live on through us. The original painting is a contemporary account of using ochre to reclaim ancestral knowledge and to be part of the ceremony that is yaluk, beep, murrup. wadawurrung, deanne gilson, water, country, spirit, first nations art

The quilt was purchased from the Wool Quilt exhibition held at the National Wool Museum in 1995. It was subsequently exhibited in the Expressions 2000: The Wool Quilt Prize exhibition in the 'Invited exhibitors' section of the show. (Jan Irvine wrote the catalogue essay for this exhibition.) The quilt is part of the "Running Stitch" Collection. This quilt is titled "Sure as Night follows Day" and was made by Jan Irvine from worn and recycled woollen blankets with wool batting. The quilt has been crazy pieced, air brush dyed and hand quilted. The quilt was exhibited in the Running Stitch Contemporary Wool Quilt Exhibition held at the National Wool Museum in 1995 and was purchased for $1800 from this exhibition. The quilt was catalogue entry no. 18. It was later exhibited in "Expressions 2000: the wool quilt prize" from 16 Sept. to 3 Dec. 2000 (extended until 2/2/2001, catalogue entry no. 26).Catalogue entry from "Expressions 2000" Catalogue, held 16th September to 3 December 2000. Introduction to exhibition "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery. Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 6 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 7 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 8 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 9 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 10 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5SURE AS NIGHT FOLLOWS DAY DESIGNER + MAKER: JAN IRVINE NSW AUSTRALIA MADE:1995...quilting, handicrafts, textile art, running stitch group, blankets, running stitch collection, irvine-nealie, ms jan

Example of WWI French Art, using found material.Contemporary label, Whimsical article made from weapons (hand grenade + Bullet casing) + uniform buttons.Example of WWI French Art consisting of hand grenade "bird" mounted on wooden base using .303 calibre cartridges as pivot surrounded by 4 British Buttons as "fence".Contemporary label: The Egg-Bird" found in "No-Man's Land"french art - mounted with contemporary label..

Arthur LINDSAY (1912-1990) Born Melbourne Arthur Lindsay, a relative of the Lindsays of Creswick, studied informally under Rupert Bunny, and John Munro in 1933, and held his first Exhibition in 1938, with Peter Cox, at Riddell Galleries. In 1939, he left Australia to tour Japan, but stayed on, accepting a position with a publishing company in Hong Kong. He served with the Hong Kong Medical Corp during World War Two and was interned at Pootung Camp, Shanghai, from 1941 – 45. He held an exhibition of his internment paintings in Melbourne in 1946. Lindsay returned to Hong Kong after the War, and supervised an Advertising Agency in Singapore, Kuala Lumpar, and Bangkok. In the 1950’s he travelled to Europe, United Kingdom, Spain and France. Returning to Australia Lindsay moved to Castlemaine in 1969. A Retrospective of his Art was held at Castlemaine Art Gallery in 1991.AbstractFramed abstract painting by Arthur Boydarthur lindsay, painting, abstract

Arthur LINDSAY (1912-1990) Born Melbourne Arthur Lindsay, a relative of the Lindsay family of Creswick, studied informally under Rupert Bunny, and John Munro in 1933, and held his first Exhibition in 1938, with Peter Cox, at Riddell Galleries. In 1939, he left Australia to tour Japan, but stayed on, accepting a position with a publishing company in Hong Kong. He served with the Hong Kong Medical Corp during World War Two and was interned at Pootung Camp, Shanghai, from 1941 – 45. He held an exhibition of his internment paintings in Melbourne in 1946. Lindsay returned to Hong Kong after the War, and supervised an Advertising Agency in Singapore, Kuala Lumpar, and Bangkok. In the 1950’s he travelled to Europe, United Kingdom, Spain and France. Returning to Australia Lindsay moved to Castlemaine in 1969. A Retrospective of his Art was held at Castlemaine Art Gallery in 1991.Framed abstract painting by Arthur Boydarthur lindsay, painting, abstract

Interpretation of the Gervasoni farms at Yandoit Creek using a fauvist colour palette.Lisa J. GERVASONI Born Melbourne, Victoria Graduating from Royal Melbourne Institute of Technology where she received a Bachelor of Applied Science-Planning, and the University of Melbourne with a Master of Environmental Studies Lisa Gervasoni's artwork reflects her passion for the landscape and built form. Lisa Gervasoni specialises in photography, embroidery and acrylic paintings on canvas. Many of her works have the theme of interpretation of heritage and cultural spaces. Dedicated to recording cultural heritage in situ Lisa Gervasoni has used photography to document urban areas, heritage sites and natural resources of Australia.She has provided over 70,000 images to the National Library of Australia Trove database via the Flickr portal. In 2004 Lisa Gervasoni won the Daylesford Small Art Prize for an embroidered depiction of the Savoia Hotel in Hepburn Springs, and in 2022 she was shortlisted in the Harden Landscape prize. Her art mediums are photography, embroidery and acrylic on canvas. Many of her works have a theme of interpretation of heritage and cultural spaces. abstract, modernPainted stretched canvas depicting an abstract aerial oblique of Yandoit Creek, Victoria.gervasoni farm yandoit creek, lisa gervasoni, yandoit creek, italo-australians

Arthur LINDSAY (1912-1990) Born Melbourne Arthur Lindsay, a relative of the Lindsay family of Creswick, studied informally under Rupert Bunny, and John Munro in 1933, and held his first Exhibition in 1938, with Peter Cox, at Riddell Galleries. In 1939, he left Australia to tour Japan, but stayed on, accepting a position with a publishing company in Hong Kong. He served with the Hong Kong Medical Corp during World War Two and was interned at Pootung Camp, Shanghai, from 1941 – 45. He held an exhibition of his internment paintings in Melbourne in 1946. Lindsay returned to Hong Kong after the War, and supervised an Advertising Agency in Singapore, Kuala Lumpar, and Bangkok. In the 1950’s he travelled to Europe, United Kingdom, Spain and France. Returning to Australia Lindsay moved to Castlemaine in 1969. A Retrospective of his Art was held at Castlemaine Art Gallery in 1991.AbstractFramed abstract painting by Arthur Boydarthur lindsay, painting, abstract

Arthur LINDSAY (1912-1990) Born Melbourne Arthur Lindsay, a relative of the Lindsay family of Creswick, studied informally under Rupert Bunny, and John Munro in 1933, and held his first Exhibition in 1938, with Peter Cox, at Riddell Galleries. In 1939, he left Australia to tour Japan, but stayed on, accepting a position with a publishing company in Hong Kong. He served with the Hong Kong Medical Corp during World War Two and was interned at Pootung Camp, Shanghai, from 1941 – 45. He held an exhibition of his internment paintings in Melbourne in 1946. Lindsay returned to Hong Kong after the War, and supervised an Advertising Agency in Singapore, Kuala Lumpar, and Bangkok. In the 1950’s he travelled to Europe, United Kingdom, Spain and France. Returning to Australia Lindsay moved to Castlemaine in 1969. A Retrospective of his Art was held at Castlemaine Art Gallery in 1991.abstractUnframed abstract painting by Arthur Boydarthur lindsay, painting, abstract

Dr. Frances Mary Burke (1907 - 1994) was a textile designer and printer, businesswoman, artist and Australian design advocate and retailer. Burke’s modern abstract textile designs incorporated motifs and colours inspired by Australian Indigenous art, Pacific Island cultures, Australian flora and fauna, English gardens, and the sea and its wildlife. Following Burke’s death in 1994, her life-long companion Miss Fabie Chamberlain donated the contents of Burke’s studio to RMIT University.Single colour screenprint, white fabric with chartreuse coloured print of positive large format design featuring large stylised canna leaf motif.Printed on selvedge 'CANNA LEAF' a "Frances Burke" UNIT COLOUR DESIGN'textile, australian flora, rmit design archives

Portrait semi-abstract painting presented to Wangaratta Technical School in 1967 by the Australian Natives Association for having the most improved school grounds.

Asher Bilu, Untitled (Abstract) 1978, resin, enamel and pigments on composition board, 91.5 x 91.5 cm. Bayside City Council Art and Heritage Collection. Purchased 2022resin, enamel and pigments on composition board

This work was painted following Rob McHaffie’s Australia Council Residency at Cité Internationale des Arts in Paris in 2007. Despite Paris being a beautiful city, McHaffie also found the experience challenging and felt that on a bad day, the city was no more than an ornately decorated concrete jungle. In this painting a monkey looks out from a green building onto an imagined scene abound with art historical references. A classical European figurative sculpture is surrounded by flowers from Monet’s gardens, while a contemporary sculpture by Franz West dominates the foreground of the work. McHaffie questions the so-called evolution of cultured humanity in comparison to the imagined contentedness of our pre-evolved species.oil on linenmonkey, sculpture, painting, rob mchaffie, paris, flowers, franz west

oil on boardabstract, painting, robert jacks, garden, geometric

oil on boardabstract, painting, robert jacks, garden, geometric