Black & white photographnillumbik, chute street, post office, diamond creek

Black & white photographnillumbik, chute street, post office, diamond creek

Black & white photographnillumbik, chute street, post office, diamond creek

Black & white photographnillumbik, chute street, post office, diamond creek

Colour photographnillumbik, chute street, post office, diamond creek

For more information there is a similar envelop with stamps at the Melbourne Museum : https://collections.museumsvictoria.com.au/items/1692627There were five issues in the 'Famous Australians' series released as follows: Issue 1, November, 1968; Issue 2, November, 1970; Issue 3, May. 1973; Issue 4, August, 1975; Issue 5, November, 1976.Have a look at the description from Melbourne Museum: https://collections.museumsvictoria.com.au/items/1692627stamps, first day cover, first day of issue, adam lindsay gordon, famous australians, lachlan macquarie, john duigan, reginald duigan, edward john eyre, philately

This sculpture is a bronze cast of Karl Duldig’s 1956 terracotta sculpture titled 'Moses'. The terracotta sculpture won the 1956 Victorian Sculptor of the Year award, an honor given by the Victorian Society of Sculptors. The National Gallery of Victoria purchased the original terracotta sculpture for the Gallery’s collection in 1956. In 1979 the NGV allowed Karl to cast the original terracotta sculpture in bronze (to a limited edition of 5). The National Gallery of Victoria holds one of these casts and one is in Duldig Studio collection. The original terracotta sculpture was exhibited in 1956 at the Olympic Arts Exhibition in Wilson Hall at the University of Melbourne. Two other works by Karl were also exhibited, a sandstone titled 'Adam and Eve' and a work titled 'Fountain'. The catalogue for the Olympic exhibition, which promoted modernism across a variety of disciplines, noted that Australia’s post war immigration program had given ‘further momentum to the modernist cause’. The identification of émigré artists, such as Karl Duldig, with the acceptance of modernism in Australia became a major theme in any discussion of art and design in the post war period. Ann Carew 2016The subject Moses and the tablets of law is an important theme in the history of art. For example the National Gallery of Victoria collection includes paintings on this topic by the Australian Aboriginal artist, Queenie McKenzie (1991), prints by the Russian-French modernist artist, Marc Chagall (1956), and a painting by 19th century British academic painter, John Rogers Herbert (1870s). Michelangelo’s sculpture of Moses is perhaps the most famous sculptural interpretation of the subject. In Karl’s hands we have a modern interpretation of the theme. His simplification and abstraction of form and attention to surface modeling is masterly. The figure has an emotional intensity and despite its relatively small scale, a ‘forceful monumentality’. The sculpture is aesthetically significant for its craftsmanship, expressive qualities and modernity. It is historically significant because of its associations with the 1956 Olympic Arts Festival. The Duldig Studio’s bronze cast of the sculpture was exhibited in the exhibition '1956: Melbourne, modernity and the XVI Olympiad, Museum of Modern Art at Heide.' Apart from the formal qualities of a work like Moses, its relevance as a motif in Judaism and Christian faiths ensures its place as a work of spiritual significance. Ann Carew 2016Bronze cast from terracotta sculpture. Depicts Moses as in Exodus 32 when he returns from Sinai with the tablets of the law to find his people worshipping the golden calf, in his fury he holds the tablets aloft above his head before crashing them down on the ground.

This bowl is part of a series completed in 1994 on the subject of the sin of 'Vanity' / A smug looking woman flirts coquettishly with a manservant who helps her to put on her shoes / The people depicted on the bowl are dressed in 18th century costumes / The court of Marie Antoinette of France is evoked / The blue and white drawing is in the style of 18th century woodblock prints and was drawn freehand / The bowl is signed and dated on the base / The technique is traditional tin glaze (majolica, maiolica or delft) / Coloured oxides were painted onto a clear glaze which had been opacified with tin oxide, and then fired at 900 degrees / The bowl was exhibited at Christine Abrahams Gallery, Melbourne in 1994 / A bowl from the 'Vanity' series is held in the Collection of the Queen Victoria Museum and Art Gallery in Launceston, Tasmania. Copeland's parents are John and Betty Hipwell, one of the founding members of Potters Cottage (an influential ceramic collective that grew out of Nillumbik) / Copeland grew up surrounded by this artform. Reg Preston (another founding member of Potter's Cottage) introduced her to the Majolica technique which has influenced her ceramic work to this day / This bowl is characteristic of Copeland's speciality and mastery of the Majolica technique. This bowl is hand painted with an image of a couple flirting (man-left side and woman-centre) in 18th century French dress / Decorative circle and polka dot pattern along the rim and underside of the bowl / The bowl is predominantly painted in cobalt blue and orange colour using the Majolica (maiolica or delft) technique; a traditional tinglaze method of application. Coloured oxides are painted onto a clear glaze which has been opacified with tin oxide / The bowl is then fired at 900 degrees.Underside has in colbalt blue artist signature and date / 'A. Copeland . 1.9.1994'.copeland, earthenware, majolica, potters cottage, vanity, bowl, eighteen century, french, marie antoinette

Pugh was one of many artists who brought an Australian experience to attention. This work reveals the colour, textures, harshness and inhabitants of the natural bush, with the angular forms found on the ‘black birds’ dominating the composition with dramatic effect. Shanahan, Albert Tucker, Frank Werther and Fred Williams have at one time settled and or work there. Untitled (Black Birds) from the Bodford Terrace Suite 1978, created by Clifton Pugh - a celebrated Australian artist known for his landscapes and portraiture as well as (three-time) winner of Australia’s Archibald Prize. This piece plays a significant role within the Nillumbik Shire Collection due to Pugh’s strong connection to the local land where he settled in Cottle’s Bridge in 1951, purchasing 15 acres and named it Dunmoochin. Artists, potters and others settled at Dunmoochin and formed the Dunmoochin Artists Co-operative in order to collectively protect the land. Numerous renowned artists worked or resided at Dunmoochin including: Rick Amor, Fred Williams, Albert Tucker, Frank Hodgkinson, Mirka Mora, John Olsen, John Percival and John Howley amongst others. Upon his death in 1990 he left an art collection and extensive properties at Dunmoochin to be appreciated and utilised by artists for years to come lithographic print on French Arches paper. Dynamic and expressive depiction of black birds in flight on far left of composition, cropped elements of Australian landscape in blue and red in the background (trees, shrubs, rocks). Inscribed lower right 'Clifton'; 1:1; 179/300clifton pugh, bodford suite, dunmoochin

Pugh was one of many artists who brought an Australian experience to attention. His landscapes reveal the colour and textures of the natural bush, often with a dramatic emphasis. His reference to the harshness of the bush consistently arises, with angular forms dominating the composition. White Choughs in the Landscape is typical of his representations of the bush as a dynamic environment. White Choughs in the Landscape, 1958, created by Clifton Pugh - a celebrated Australian artist known for his landscapes and portraiture as well as (three-time) winner of Australia’s Archibald Prize. This piece plays a significant role within the Nillumbik Shire Collection due to Pugh’s strong connection to the local land where he settled in Cottle’s Bridge in 1951, purchasing 15 acres and named it Dunmoochin. Artists, potters and others settled at Dunmoochin and formed the Dunmoochin Artists Co-operative in order to collectively protect the land. Numerous renowned artists worked or resided at Dunmoochin including: Rick Amor, Fred Williams, Albert Tucker, Frank Hodgkinson, Mirka Mora, John Olsen, John Percival and John Howley amongst others. Upon his death in 1990 he left an art collection and extensive properties at Dunmoochin to be appreciated and utilised by artists for years to come White Choughs in the Landscape is typical of Pughs' representations of the bush as a dynamic environment. The brittleness and fragility of the landscape is recorded in the surface of the work, where paint is applied in thin layers.Signed 'Clifton Sept. 1958'clifton pugh, dunmoochin, white choughs

Alma Shanahan (1924-2015) was a Victorian potter who came to live at Clifton Pugh's Dunmoochin art colony at Cottlesbridge, on Melbourne's outskirts in 1953. Unable to join the co-operative proper, as she was a potter, not a painter, she built her house at the top of the hill, 135 Barreenong Road, Cottles Bridge. The c.1953 house is historically, aesthetically and architecturally significant because it is a good example of the design and ethos of mud brick dwellings synonymous with Eltham and features the extensive use of recycled materials, which was characteristic of the 'Eltham style' of architecture. Like the others in the artist community, Alma Shanahan built her own residence in stages out of local materials. Shanahan was later joined by neighbours and Dunmoochin potters Peter and Helen Laycock. She trained for a term with Peter Laycock but was otherwise self-taught, basing her practice on the teachings of Bernard Leach. After Pugh's death in 1991 she became the longest standing Dunmoochin resident. Her works are incised with her full name. Alma Shanahan was a part of the Dunmoochin Artist's community whose (other) members (Kevin Nolan, John Howley, John Olsen, Mirka Mora, Peter Laycock, Helen Laycock, Peter Wiseman and Chris Wiseman) made an important contribution to Victoria's cultural history. From the mid 1950s Pugh persuaded a number of other painters, as well as potters and other artists, to come and live at Dunmoochin and they formed one of Victoria's most important artist communities. She started potting around 1961 (aged 37). "Horse Power" was made using Chullora clay, which indicates it was made during her first seven years of production. Horse Power is about man's search for "energy" and how the "energy" can turn around. Made from Chullora (Sydney) clay. Glazed stoneware plates (x2) with brush decorations resting on hand made ceramic stands. Plate one: 2006.64.1VA (Horse Power + stand) shows a figure on horse back with blue foliage in background. Plate two: 2006.64.2VA (Flip Side + stand) shows a horse with figure under it's hooves. Hand painted signature in brown/black on back of both plates; "Alma Shanahan"shanahan, stoneware, glaze, plates, horse, dunmoochin

acrylic and enamel on composition boardLower right, rose paint 'SERLE SEPT 66'

Memories of permanent residents and holiday makers and some extracts from newspapers, dating from 1860's. Includes extract from James Meek's diary. 1865-2000Collections of memories of the town which would otherwise be lost.Looseleaf plastic pocket folder containing transcriptions of verbal memories of Peterborough, collected by Rosemary (Posie) Durhamgraeme murfett, todd sloane, james meek, a warren (wokka) moore, prue holden, staughton, annette breton, owen moore, jane dyson, james irvine iii, margaret hamilton, frank corlett, captain a.s. brown, peterborough house, andrew chirnside, moyle breton, tess jarvis, ross paton, virginia (bardie) mercer, ruth grimwade, rod (wumpty) chirnside, sir stanley argyle, joan densley, margery levine, mafe tabart, rosemary (posie) durham, belgian babies fund, bill cumming, ronald cumming, daniel curdie, jane hallows, jane coy, presbyterian church peterborough, john bartlam, sue graansma, sue joyce, palmyra peterborough, the holidays at peterborough, l'inconnue, 16 january 1917, warrnambool standard, warrnambool examiner

Advertisement for the significant local building of the time for the Peterborough Hotel. Also contains detailed map of the local roads.The Peterborough Hotel was a significant local building until it burned down in the 1960's.A4 copy of a Broadbent Map which includes an advertisement for the Peterborough Hotel. Approx 1950-1960.peterborough hotel, broadbents guide, peterborough hotel advertisment, john wiber, james irvine

The school in Peterborough was operating out of the hall at that time. This is probably the last group of students at the Peterborough school as the Timboon Consolidated School was opened in 1948.Shows the small school and names of local students at that time. Peterborough school was incorporated into the Timboon Consolidated School.Two copies of original photographs, one of a group of school students in front of the hall, the other is a picture of the front of the hall, circa 1947Handwritten on the back are the names of the students and the date. the picture of the hall also has the name and date.peterborough, peterborough hall, peterborough school, geoff mckenzie, ron staghorn, pat barling, john barling, joan wiber, margaret barling, yvonne barling, ray lane, danny barling, jenny irvine, bill barling

Collection of items donated by Barry Jenkins, key personality in the community and in the Fire Brigade. Fires were a regular occurrence in the timber buildings in times gone by, so was a welcome addition to the community services.Volunteer Fire Brigade was and still is an important asset to the community.Collection of various items, documents and photos including the 'Country Fire Authority Act 1958' and copies of newspaper articles about various fires attended by the Peterborough Fire Brigade. Photographs include different fire trucks and of members of the brigade over the years.cfa, peterborough, fires, peterborough cfa, country fire authority act 1958, bruce fennell, barry jenkins, terry mulder, ronald irvine, gavin delaney, castle fimmel, gordon cumming, kathy burl, tups ryan, lorna bourke, bill saunders, frnak hughes, don bradshaw, john irvine, graham bourke, mick schroeter, ned ryan

The fishing spot known as The Lodge was accessed, for many years, via private property. This article is about an on site meeting, who attended and what was said in regards to the upgrading of a road for access to the river. Includes a letter to the Editor from Ronald Irvine stating their position. Enquiries made on March 11th 2021 with Ronald Irvine revealed that the road had deteriorated and vehicles were becoming bogged, requiring the farmer to pull them out with a tractor. Council were reluctant to fund repairs and the result was that the gate was locked and public access no longer available.Significant because it is a record of community and government discussion about community access to a popular fishing location on the Curdies River.Two page newspaper article from the Cobden Times March 5 1986peterborough, curdies river, the lodge, ronald irvine, the lodge fishing, timboon anglers club, john irvine, the cobden times, 5 march 1986

Mr Meek was the first person to build a house in Peterborough prior to 1858. Born in England in 1815 and came to Australia in 1838. this catalogue showcases his artistic skill. The art exhibition was curated by Joan Luxemburg as part of her PHD.Mr Meek is credited with building the first house in Peterborough. He was an artist and had a varied and interesting life and this book mentions the dates he was in Peterborough (Curdies Inlet, as it was then known) and his activities in Peterborough. 85 page soft cover catalogue of an exhibition held at the Art Gallery of Ballarat in 2015mr james mckain archibald john meek, calligraphy, calligraphic works, graphic arts, joan luxemburg, peterborough, curdies inlet

Found in Audrey Lascelles Barwon Heads house.Ledger, bound in brown leather, marbled end papers, "Ledger" embossed on spine. First pages alphabetically tabed, remaining 170 pages printed blue and red lines. Entries are a personal record of expenses of the Dennys family 1879-1882wool stores wool sales, dennys, lascelles limited, lascelles, mr edward harewood dennys, mr charles john, wool stores, wool sales

Reference letter from Chief Designer of Retsol Mils, Geelong, Mr JW Callander about Mrs Anna Kiricenkovs, dated 3rd September 1975.Reference letter from Chief Designer of Retsol Mils, Geelong, Mr JW Callander about Mrs Anna Kiricenkovs, dated 3rd September 1975.textile industry textile mills, returned soldiers and sailors mill, callander, mr john - returned soldiers and sailors mill, textile industry, textile mills