Oakley type life boat detailsSignificant details about the 'self righting' Oakley life boat design & constructionColour photo, Drawings & Written details of the 'self righting' Oakley type life boatReverse - " nil "historical references

Drawings of typical types of tall ships and descriptions on a pamphlet produced by Time Life Books and used to promote their books.Realism, historical, designYellow paper pamphlet showing 4 tall ships and their type and is used to promote their books.On the reverse - "NIL."tall ships, brigantine, sloop, naval sloop, man-o-war

Time-Life Books insert of typical Naval Sloop boatsColoured print of a typical Naval Sloop by Time-Life Books- un-named boatRefer Notes section for detailstypical naval sloop drawing

Time-Life Books insert of typical Sloop style boatsColoured print of a typical Sloop by Time-Life Books- un-named boatRefer Notes section for detailstypical sloop drawing

Time-Life Books insert of typical Man-of-War style boats/shipsColoured print of a typical Man-of-War by Time-Life Books- un-named boatRefer Notes section for detailstypical man-of-war drawing

Time-Life Books insert of typical Brigantine style boats/shipsColoured print of a typical Brigantine by Time-Life Books- un-named boat/shipRefer Notes section for detailstypical brigantine drawing

One Hundred- and four-pages book titled: The Australian scouts' first book. Complete tenderfoot and second-class instructions price 1/9. A drawing of four different scenes of scouts' life on the cover. Aileen and john Ellison Collection.boy scouts, instruction book

Louisa Thomas married Henry Gipps (1837-91)in 1863. They had six sons and two daughters. While Louisa and Henry Gipps were to die in Sussex, two of their sons, Frederick George De Visme Gipps (1867-1953) and Richard Brook Woodthorpe Gipps (c.1872-1946) migrated to Queensland, possibly bringing with them their mother’s sketchbook.The collection of artworks that are included in the sketchbook are often of outstanding aesthetic and artistic significance. In the variety of subject matter and the geographical places represented, it is historically significant as a document recording the postings of Colonel Henry Gipps, 9th Norfolk Regiment, and his wife Louisa to locations in the Mediterranean and West Asia. The large bound sketchbook has a marbled cover with blue binding. The name Louisa Goulburn Thomas and the date 1862 are faintly inscribed in pencil on the front page. However the book contains pen and ink and pencil drawings, watercolours, and photographs, which both predate and postdate 1862. The approximately 75 works are loose-leafed items and [currently] do not form a chronological, geographical or thematic sequence. Creators identified on some drawings and watercolours include Mary Julia Wilder Thomas, JFV Wright, ELG (Edward Louis de Bondell Gipps?), L Nicholson, Bertha Isadore Thomas, and HG (Henry Gipps?). Many of the works are signed and dated, and include rural landscapes and seascapes, archaeological sites, animal studies, and portraits. While most of the works were created in the British Isles, others are scenes of Venice, the Ionian Islands, Cape Town, Hong Kong and Japan. [A number of the ‘oriental’ paintings on silk were probably purchased from local artists.] The art works in the book are at various stages of completion and represent a diverse range of artistic skills. What may be the earliest work in the sketchbook is a drawing of three uniformed soldiers. An annotation on the reverse records that the drawing is of a Group of Soldiers after [Philipp Jakob] de Southerbourg 1830. The birth of Louisa Thomas' oldest son, William Henry Houston Meyrick Gipps (1864-1903) in Corfu perhaps explains why a number of scenes and items in the album are of the Ionian Islands. Louisa is probably the creator of a number of still life and botanical studies in the album. These range from floral studies to a bird’s nest. The painting of objects was to remain a socially ‘approved’ specialty of amateur and professional women artists into the 20th century. The complete contents of the album will be uploaded to accompany this record. Some items may be published separately on Victorian Collections, but will acknowledge their origins in the sketchbook."Louisa Goulburn Thomas / 1862"victorian sketchbooks, manuscripts - kew historical society, 9th norfolk regiment, rosemary (gipps) vaughan smith, vaughan-smith collection

The owner of the 'Autograph' book was Mary Alys (Gipps) Kirkland, the daughter of Richard Brook Woodthorpe Gipps (c.1872-1946). The family had migrated from Great Britain to Coorparoo, Brisbane, where most of the items in the album were created. In June 1925, The [Brisbane] Telegraph reported the wedding of Richard Gipps to Mary Alys Kirkland at Elvaston, The Righi, South Yarra. The bride, like the groom, was originally from Queensland, but at the time of her marriage lived with her parents at 21 The Righi. The album passed to their daughter Rosemary Alison (Gipps) Vaughan-Smith, and thence by donation to the collection of the Kew Historical Society. While the signatures are interesting, they are not rare. Rather it is the illustrations that dazzle with the surety of their design and execution. In the portraits, one can recognise the debt that Edwardian art and design owed to the Pre-Raphaelites whose serene and poised idealisations of women are exemplified in the drawings, albeit simplified for a new 20th century sensibility. Typical, is a very early portrait from 1906 of Mary Alys Kirkland by a 20-year-old Garnet Agnew (1886-1951). Agnew later became an illustrator for The Brisbane Courier and The Queenslander Illustrated Weekly, creating cover illustrations for these publications between 1926 and 1930. Another pen and ink portrait of Mary Alys Kirkland was created in 1910 by Augusta Frances Isabel Hobday (1884-1961). Augusta, with her brother and sister, Percy Stanhope Hobday and Gladys Hobday, were artists and teachers. Each was involved for many years in the Queensland Art Society. While the album has historic, aesthetic and social significance to Brisbane’s history, as a document, its preoccupations have a wider Australian relevance and importance. Compiled between 1905 and 1922, the 'Autograph' book has considerable aesthetic coherence, even though drawings and text are by different hands. Together, it provides a vivid depiction of social life and values in Brisbane in the period preceding the First World War. Like other autograph albums of the period, it is a compilation of pen and ink sketches, watercolours, quotations, poems, aphorisms and signatures. Most entries are from Queensland, particularly Coorparoo in Brisbane; friends and acquaintances from other Australian States also contributed items. The autograph album predictably contains numerous mementoes of the notable and the forgotten. It includes the signatures of the British contralto Dame Clara Butt (1872-1936) her husband, the baritone R. H. Kennerley Rumford (1870-1957), and that of the Australian actress and singer Nellie Stewart (1858-1931). autograph albums, manuscripts - kew historical society, rosemary vaughan-smith, vaughan-smith collection, dame clara butt, garnet andrew, augusta frances isabel hobday, coorparoo - brisbane, nellie stewart, mary alys kirkland, mary alys gipps (nee kirkland)

Boroondara General Cemetery, often referred to as Kew cemetery, is one of the oldest cemeteries in Victoria, Australia, created in the tradition of the Victorian garden cemetery. The cemetery, located in Kew, a suburb of Melbourne, is listed as a heritage place on the Victorian Heritage Register. Framed pastel drawing, donated to the Kew Historical Society in 1965 of the entrance to Boroondara General (Kew) Cemetery, believed to be drawn by the sister of the artist George Bell. The drawing shows one of the entrances to the Cemetery before the construction of the high brick wall in 1895. This would be consistent with the life of Caroline Bell (1872-1947). The artist's perspective is estimated to be near the west end of the cemetery, perhaps in Victoria Park.caroline ethel bell (1872-1947), boroondara general (kew) cemetery, victoria park

Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Pencil, pen and ink drawing of a Victorian villa in Mountain Grove, Kew by the artist Joy Stewart.Inscription: "Mountain Grove, Kew"joy stewart, artists - kew (vic), mountain grove -- kew (vic.)

Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Pen and wash drawing, set in an external card mount, depicting the south wing of Xavier College, Kew by Joy Stewart.Inscription: "South Wing" - Xavier College." Signed lower right: "JStewart 78".joy stewart, xavier college - kew (vic), schools - kew (vic)

Colour enlargement of a photograph (slide) of Southesk (formerly Ordsall) in Cotham Road, Kew (demolished 1970).The ceilings of and architraves of Ordsall were painted by artists employed by the decorating company, Cullis Hill & Co. The frescos, of which fragments survive, were some of the most important murals used as elements of interior decoration in Melbourne during the Boom Period of the 1880s. These photographs were taken immediately prior to the demolition of the house, and are the best examples of the murals.The most significant decorative aspects of Southesk (formerly ‘Ordsall’) were the murals in the front two rooms. An article in the Melbourne Argus in 1882 records that Mr Vandenbrandt and Signor Rizzi created these under the supervision of Cullis Hill. This fresco from the ceiling of the ballroom is believed to depict ‘Africa’. The article records that: ‘Notwithstanding the large size of the drawings they are often marked by delicate touches, and a minuteness of detail in evident sympathy with nature. The figures have grace, life and animation and the skillful shading of the colours used — chiefly amber, gold, light blue, green, light fawn and brown – is in harmony with the quiet tone of the general furnishing of the rooms.’david carnegie, john halfey, southesk - cotham road - kew (vic), ordsall - cotham road - kew (vic)

Kites created by Helen Bushell, Kew resident for many years, and a pioneer of kite-flying world-wide. Kites are hand-made, mainly by Helen, and many were flown in local parks of Kew. Documents provide some background to the collection, and a set of photographs, which was used in an exhibition at Hawthorn Arts Centre, help to identify the kites and where they were flown. Individual items include: 2019.0047.01 - Make Mine Fly, Vol. 1 - book of instructions for making kites fly 2019.0047.02 - School Kites - book of 14 kite designs 2019.0047.03 - Helen Bushell Reaching for the sky (exhibition catalogue, 2017) 2019.0047.04 - Hansard (Victoria) Documents - statement by Natalie Hutchins, Minister for Local Government 2019.0047.06 - "Evolution" Trefoils - collection of advertisements for kites for sale 2019.0047.05 - Kite event badges on blue cotton sash (20 badges and name-tags) 2019.0047.07- Kite honours and B.A. Deakin plus Original Patents (Australian, British and U.S.) 2019.0047.08 - Helen Bushell, 1922- A Life in Kiting (28 panels mounted on board, showing photographs of Helen Bushell's kites, for exhibition in Hawthorn Arts Centre, 2017) 2019.0047.09 - 1986 Year of Peace Dove - paper pattern (15 copies + dowel rod) 2019.0047.010 - "Peace Dove" pattern August 1995 2019.0047.011 - Collection of drawings, patterns, poem, newsletters, etc. 2019.0047.012 - "Small birds" paper patterns 2019.0047.013 - Remake of old head "Fluted Sled" 2017 HB: nylon kite in heavy cotton bag 2019.0047.014 - Long yellow tail suitable for Rainbow Serpent 1992 2019.0047.015 - Long blue tail for Rainbow Serpent 1992 2019.0047.016 - Moth c. 1975 2019.0047.017 - Hand-held peace dove (used for Helen Bushell's memorial 2017) 2019.0047.018 - "Song for Bill" kite 2019.0047.019 - 7-point clown kite Kites and associated documents belonging to Helen Bushell have local significance for Kew, as many were flown in the area. They have artistic significance in their representation of Australian indigenous, Chinese, New Guinea and other cultural symbols. Among the documents are poems, books on kite-flying written by Helen Bushell, badges and cards from international conferences, and Australian, British and American patents for kite design. One kite shows an aerodynamically-designed keel which helped to improve safety for hang-gliders.Australian Kite Society, Helen Bushell collection of kite-related material, including kites, photographs, documents, badges, etc.australian kite society, helen bushell

Sports Clubs in Kew in the final decades of the 19th century and in the early 20th century were often umbrella organisations with facilities for a number of sports. Typically in Kew, this included teams in lawn bowls, tennis and croquet. The Kew Bowling Club was formed in 1880 while the privately owned Auburn Heights Recreation Club was opened in 1904. By 1998, the two Clubs decided to amalgamate at the Auburn Heights site in Barkers Road, forming the Kew Heights Sports Club. The combined club was itself taken over by the Melbourne Cricket Club in 2012 becoming MCC Kew Sports Club. In 2017 MCC Kew closed and its landholding was subsequently sold to Carey Baptist Grammar School. Both the Kew and Auburn Heights Clubs assembled important collections. These historically significant and large collections were donated to the Society in 2020. The collections include manuscripts, pictures, trophies, plans, honour boards etc. References Barnard FGA 1910, 'Sports and Pastimes' in Jubilee History of Kew Victoria: Its origin & progress 1803-1910. Nixon NV 1980, The History of the Kew Bowling Club 1880-1980. Reeve S 2012, City of Boroondara: Thematic Environmental History, p.216.The combined collections of the four sporting clubs making up the collection number hundreds of items that are historically significant locally. They are also significant to the sporting history of the greater Melbourne area and to the sports of lawn bowls and tennis in Australia in the 19th and 20th centuries. The collection illuminates two of the Victorian historic themes - 'Building community life' through forming community organisations and 'Shaping cultural and creative life' by participating in sport and recreation.Framed and glazed colour illustration of the Kew Bowling Club crest. The Club celebrated its Centenary in 1980. [The item is part of the large historic Kew Bowling Club collection (1880-1988) gifted to the Kew Historical Society in 2020].kew bowling club - wellington street - kew (vic), clubs - lawn bowls - kew (vic), lawn bowls - clubs - crests

Sports Clubs in Kew in the final decades of the 19th century and in the early 20th century were often umbrella organisations with facilities for a number of sports. Typically in Kew, this included teams in lawn bowls, tennis and croquet. The Kew Bowling Club was formed in 1880 while the privately owned Auburn Heights Recreation Club was opened in 1904. By 1998, the two Clubs decided to amalgamate at the Auburn Heights site in Barkers Road, forming the Kew Heights Sports Club. The combined club was itself taken over by the Melbourne Cricket Club in 2012 becoming MCC Kew Sports Club. In 2017 MCC Kew closed and its landholding was subsequently sold to Carey Baptist Grammar School. Both the Kew and Auburn Heights Clubs assembled important collections. These historically significant and large collections were donated to the Society in 2020. The collections include manuscripts, pictures, trophies, plans, honour boards etc. References Barnard FGA 1910, 'Sports and Pastimes' in Jubilee History of Kew Victoria: Its origin & progress 1803-1910. Nixon NV 1980, The History of the Kew Bowling Club 1880-1980. Reeve S 2012, City of Boroondara: Thematic Environmental History, p.216.The combined collections of the four sporting clubs making up the collection number hundreds of items that are historically significant locally. They are also significant to the sporting history of the greater Melbourne area and to the sports of lawn bowls and tennis in Australia in the 19th and 20th centuries. The collection illuminates two of the Victorian historic themes - 'Building community life' through forming community organisations and 'Shaping cultural and creative life' by participating in sport and recreation.Framed and glazed large illustration by Wells of three luminaries of lawn bowls: Glyn de Bosisto (Vic), Tom Hoey (Tas) and George McKittrick (NSW). [The item is part of the large historic Kew Bowling Club collection (1880-1988) gifted to the Kew Historical Society in 2020].kew bowling club - wellington street - kew (vic), clubs - lawn bowls - kew (vic)

The Springthorpe Memorial is the most important monument in the Boroondara General cemetery. It commemorates Annie Constance Springthorpe (nee Inglis), the wife of Dr. John Springthorpe (1867-1897). Following his wife’s death, Dr john Springthorpe worked with John Longstaff to produce a book, entitled ‘In Memoriam’ for his personal collection, for his children and for immediate family members. Designed by Longstaff, it contained poems, photographs, drawings and idealised memories of Annie and their life together. This is one of two copies of In Memoriam in the collection of the Kew Historical Society. It is believed to be one of eight copies held in public collections. Copies catalogued on Trove include one at the State Library of Victoria and another at the University of Melbourne. As such these two copies are historically, aesthetically, and spiritually significant with the added factor of their rarity. ‘In Memoriam: Annie Constance Springthorpe’ (Verses in memory of Annie Constance Springthorpe), compiled by John William Springthorpe and illustrated by J. Longstaff : 28 p. : ill., ports. ; 26 x 32 cm. non-fictionInscribed on frontispiece to the Misses Moore.john longstaff, annie springthorpe, springthorpe memorial, boriondara general cemetery, john springthorpe

The Springthorpe Memorial is the most important monument in the Boroondara General cemetery. It commemorates Annie Constance Springthorpe (nee Inglis), the wife of Dr. John Springthorpe (1867-1897). Following his wife’s death, Dr john Springthorpe worked with John Longstaff to produce a book, entitled ‘In Memoriam’ for his personal collection, for his children and for immediate family members. Designed by Longstaff, it contained poems, photographs, drawings and idealised memories of Annie and their life together.This is one of two copies of In Memoriam in the collection of the Kew Historical Society. It is believed to be one of eight copies held in public collections.‘In Memoriam: Annie Constance Springthorpe’ (Verses in memory of Annie Constance Springthorpe), compiled by John William Springthorpe and illustrated by J. Longstaff : 14 p. : ill., ports. ; 26 x 32 cm.Presentation copy: Name scratched outdr. john springthorpe, springthorpe memorial, john longstaff, annie springthorpe, boroondara cemetery, kew cemetary, crypt

Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Preliminary ink sketch on paper of architectural features by the artist Joy Stewart. Unsigned. c.1978architectural features, joy stewart 1925-2018, drawings

Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Two preliminary sketches of the terrace houses at 7 and 9 Doona Avenue, Kew. See 1980.0024 for a more complete monochrome drawing. Signed: "JStewart".joy stewart, doona avenue (kew)

Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Preliminary sketch of 'Roberts House' [Trinity Grammar School] by the artist Joy Stewart. Inscription: "Roberts House". Another ink drawing by the artist of Roberts House is 1980.0037. A finished watercolour is 1980.0018. Signed by the artist: "JStewart".roberts house (trinity grammar school), joy stewart

Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Pencil, pen and ink drawing of Victorian buildings that comprise Trinity Grammar School - Merritt House, Roberts House and Roxeth House by the artist Joy Stewart. c.1978Inscription: Trinity Grammar School". Unsigned.joy stewart, roxeth house, roberts house, merritt house, trinity grammar school

Norma Bull in a window of 'Medlow', 1920s Her brother (Ronald) Richard was a keen photographer and is believed to have taken the photographs of the family and in the grounds of 'Medlow'. Norma Catherine Bull (7 September 1906 – September 1980) was an Australian painter, printmaker and etcher best known for the paintings and sketches she made in Britain during World War II. Norma was the daughter of Richard Joseph Bull (1874-1927) and Catherine Grace Perrier (1884-1972). Her father was the Director of Bacteriology at Melbourne University. Richard and Catherine had 2 children. Norma was born in Hawthorn in 1906 and her brother Ronald Richard was born in Surrey Hills in 1912, where in 1911 Richard bought a property at 42 Warrigal Road, Surrey Hills developed by Colonel William Cairncross, known as ‘Willcyrus’ and renamed ‘Medlow’ by the Bulls. As a child, Norma was a high achiever both intellectually and artistically. She was educated at Fintona, where she matriculated as Dux of the School and winner of an exhibition in French. She won a scholarship to attend the University of Melbourne where she studied French, Zoology, Philosophy, English and History, leading to a Bachelor of Arts in 1929. Following this she studied painting and drawing at the National Gallery Art School for seven years. Whilst most of the students of the 1930s were inspired by Modernism, Norma followed more traditional styles and became known for her etchings and realistic depiction of urban scenes. Her work was strongly influenced by the conservative nature of the National Gallery Art School under Bernard Hall, and she remained a traditionalist all her life. In 1938, she was awarded the Sir John Longstaff Scholarship in Fine Art. This enabled her to travel to England to study at the Royal Academy in London. She arrived in April 1939 and after the outbreak of war, she worked as a volunteer at a First Aid Clearing Station and applied to become a war artist. In 1941, she was given a sketching permit by the War Artists Advisory Committee to record bomb damage in the Bristol area. In 1947, an exhibition of her 205 wartime works entitled “Two Hemispheres”, opened at Australia House in London. Many were acquired for major collections in England including the Victoria and Albert Museum, the Imperial War Museum and the Royal Collection. The “Two Hemispheres” exhibition toured Australia in 1948 and for over twelve months she followed Wirth’s Circus around the country, painting aspects of circus life. From then on she lived at Medlow’, From 1960 she was secretary of the Fellowship of Australian Artists. She was a finalist in the Archibald Prize on 2 occasions and is remembered through a biennial Art Prize, ‘The Norma Bull Portraiture Scholarship’ which is administered by The Victorian Artist’s Society. She continued to paint landscapes and seascapes in her traditionalist style. She had holiday homes at Anglesea and Bright. After she died in September 1980, 31 of her works were bequeathed to Bright Art Gallery. A black and white photograph of a lady holding a sun umbrella and sitting in a window frame.miss norma bull, medlow, house names, warrigal road, surrey hills, mr ronald richard bull

Christian Den Besten was Born 1972. Through art Christian interprets his community - the current affairs, infrastructure, and people that affect his everyday life. He is a prolific artist and often works with an accumulation of small components in creating his artworks. Christian is an artist living with an intellectual disability. He takes pleasure in drawing the beautiful buildings that dot Geelong’s cityscape. He exhibits and sells his work regularly.Denny’s Lascelles building Geelong by Christian Den Besten, 2019.

xxi, 283 p. : ill., facsims., map, ports. ; 23 cm. Includes index and bibliographical references: p. 264-273.non-fiction'I'm your half-brother and I'm here to stay. This is my home.' With these words Wilmot Abraham sought refuge with his white relations. 'Did you ever read your history?': Mrs. Mary Clarke remembers p. 1 'An old hand': Jim Cain p. 12 'I'm your half-brother, and I'm here to stay': Wilmot Abraham p. 36 The Three Pompeys The Written Record p. 48 Banjo Clarke's Stories p. 62 'Why did they take them away?': Lizzie and Henry McCrae p. 74 In Defence of Framlingham: Collin Hood p. 79 Double Dispossession: King David p. 107 James Dawson's Informants p. 137 'Why are we kept prisoners here?': Ernest and Maggie Mobourne p. 148 'The old ones, they wouldn't tell us nothing': Mrs. Connie Hart's memories p. 181 'Breaking the cycle is the hard thing to do': Geoff Rose, a stolen child p. 200 Epilogue: James Dawson, Camperdown George and the Obelisk p. 220 The Hood Family p. 238 The Mobourne Letters p. 241 Abbreviations p. 252 Notes p. 252 Bibliography p. 264 Index p. 274 western district (vic.) -- colonization., aboriginal australians -- victoria -- western district -- history., aboriginal australians -- victoria -- western district -- interviews, race relations - racial discrimination., child welfare - child / parent separation - stolen generations., history - biographies - indigenous., book

Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sansom who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An academic portrait of Federation University Australia Vice Chancellor Helen Bartlett.academic portrait, helen bartlett, graeme drendel, portrait, vice chancellor, academic regalia

Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sansom who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which often inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. This work is one of a substantial body of limited edition prints donated by the artist to Federation University in 2022 covering work from Graeme Drendel's earliest years as a student, through to more recent etchings. A etching of a woman with hair braids.graeme drendel, printmaking

Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sanson who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which often inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. This work is one of a substantial body of limited edition prints donated by the artist to Federation University in 2022 covering work from Graeme Drendel's earliest years as a student, through to more recent etchings. A etching of two men carrying a mattress.graeme drendel, printmaking, mattress