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Geelong Gallery
Decorative object - Sung ware' vase with peacock, ROYAL DOULTON & CO, 1920
Hand painted and glazed stoneware -
Geelong Gallery
Painting - Ocean blue, Lorne, STREETON, Arthur, 1921
Oil on canvas -
Geelong Gallery
Painting - Santa Maria della Salute, grey, STREETON, Arthur, 1908
Oil on canvas -
Geelong Gallery
Painting - An opera house in every home, THANKE, Eric, 1972
Linocut -
Geelong Gallery
Photograph - Untitled (Banksia leaf), THOMPSON, Christian, 2007
C??type print -
Geelong Gallery
Painting - Change takes time, THOMPSON, Ann, 2002
Oil on canvas -
Geelong Gallery
Sculpture - The artist, UNKNOWN SCULPTOR, Late 19th century
Marble and alabaster -
Geelong Gallery
Painting - Aborigines met on the road to the diggings, von GUERARD, Eugene, 1854
Oil on canvas -
Geelong Gallery
Painting - View from Fritz Wilhelmberg, Herne Hill, Geelong (Mr Levien's hut on the Barwon), von GUERARD, Eugene, 1860
Oil on canvas -
Geelong Gallery
Painting - View of Geelong, von GUERARD, Eugene, 1856
Oil on canvas -
Geelong Gallery
Film - Folded space, von STRUMER, Daniel, 2007
Dual screen synchronised DVD -
Geelong Gallery
Photograph - Barwon River and Queen's Bridge, WASHBORNE, Thomas J, 1869-80
Albumen silver photograph -
Geelong Gallery
Drawing - House, WATSON, Jenny, 1978
Coloured pencils -
Geelong Gallery
Sculpture - Moon shadow (black hare), WEAVER, Louise, 2019
hand crocheted synthetic film, Japanese bamboo tape, plastic thread over high density foam, synthetic polymer emulsion, cotton rag paper, wire, hidden talismans -
Geelong Gallery
Sculpture - Moonlight becomes you (silver fox), WEAVER, Louise, 2019
) fox: hand crocheted cotton, lamb�s wool synthetic yarns and reflective tape over high density foam, papier mache, wire, mirrored acrylic, cotton fabric and synthetic fabrics, synthetic polymer emulsion and glass beads; 2 5) various fibres; 6) base: enamel gloss paint on fibreglass -
Geelong Gallery
Painting - Silvering (Moon dust), WEAVER, Louise, 2020
Synthetic polymer emulsion and glitter on linen -
Geelong Gallery
Watercolour - Yarra Street, Geelong, WEBB, Alexander, 1872
Watercolour -
Geelong Gallery
Sculpture - Pelican, WHITELEY, Brett, 1983
Painted bronze -
Geelong Gallery
Painting - Yellow landscape, WILLIAMS, Fred, 1968
Oil on canvas -
Geelong Gallery
Painting - A breezy day off Point Henry, WITHERS, Walter, 1901
Oil on canvas -
Geelong Gallery
Watercolour - The pearl fisher's voyage from Ise Shima to Roebuck Bay, WOLSELEY, John, 1985-89
Sumi ink and watercolour on paper on canvas -
Geelong Gallery
Print - Stoutheart banishes all evil, WOOD, Marjorie, 1932
Linocut -
Geelong Gallery
Decorative object - Pair of 'Hope and Patience' plates from the Duke of Clarence service, WORCESTER, 1790-92
Hand painted (en grisaille) and gilded porcelain -
Geelong Gallery
Watercolour - Buckley acting as interpreter at Indented Head, YOUNG, Blamire, 1901
Watercolour -
Geelong Gallery
Photograph - National Portrait Gallery, London #1, ZAHALKA, Anne, 1992/2010
C-type print -
City of Ballarat
Sculpture - Public Artwork, George Allen, Mother Earth by George Allen, 1952
Mother Earth was created by modernist era sculptor George Allen. It is located in the western median strip at the intersection of Sturt and Raglan Streets. Made from Hawksbury stone on a granite base, the sculptor has created a female figure as the centrepiece, with two reliefs figures at the front and rear depicting a miner and a farmer. The work was created in commemoration of Mr Frank Pinkerton, an esteemed local lawyer in Ballarat. George Allen won the commission to design and execute the Pinkerton Statue in open competition in 1949. The statue is a significant work of one of Victoria's leading sculptors of the mid twentieth century, and controversy at the time surrounding its installation reflects the general attitude of the period to progressive public sculpture.Mother Earth was classified as regionally significant by the National Trust in 2003. The statement of significance below ha been provided by the National Trust, Victoria: The Pinkerton Statue by George Allen is of a simplified female figure which symbolises 'Earth', with smaller figures representing Mining and Agriculture carved in bas-relief at its base. The statue is carved in Hawkesbury Freestone and mounted on a granite plinth. It is located in a prominent position in central Ballarat. The statue in commemoration of Mr. Frank Pinkerton, an esteemed local lawyer, erected in Ballarat in 1952 is significant for aesthetic and social reasons at a Regional level. The statue is a significant example of the work of one of Victoria's leading sculptors of the mid twentieth century, and the controversy at the time surrounding its installation reflects the general attitude of the period to progressive public sculptures. George Allen won the commission to design and execute the Pinkerton Statue in open competition in 1949 against a large group of his peers. Following this. Allen was again successful in another major competition to design the National War Memorial for the Forecourt of the Shrine of Remembrance in Melbourne in 1951. Allen chose to work in a 'symbolic' manner using simplified forms with little detail, and relying on the strength of composition, 'boldness of statement' and the consideration of material for impact. Because of its lack of realism the Pinkerton Statue engendered much controversy, particularly within the popular press at the time, although it was generally appreciated in artistic circles. Allen had travelled extensively in Europe in the late 1930's, but his work mainly reflected influences from early modem sculptors in the United Kingdom such as Frank Dobson and Eric Gill. The Pinkerton Statue was the first example of modem sculpture to be erected in Ballarat and is an excellent example Allen's own work and the changing artistic culture of the period. Allen himself said that it reflected the "spirit of the time". A large Hawkesbury Freestone statue of a female figure and smaller figures representing Mining and Agriculture carved in bas-relief at its base. The statue is mounted on a granite plinth.CENTRAL FIGURE EARTH EMERGING FROM RELIEF FIGURES REPRESENTING THE INDUSTRIES OF MINING AND AGRICULTURE.pinkerton, mother earth -
Uniting Church Archives - Synod of Victoria
Book, Miller, J. R., D.D, The blessing of cheerfulness, n.d
“We are set in this world to be happy. We should not falter in our great task of happiness, nor move ever among our fellows with shadows on our face when we ought to have sunlight. “We have a mission to others — to add to their cheer. This we cannot do unless we have first learned the lesson of cheerfulness ourselves. We cannot teach what we do not know. We cannot give what we do not have. “In this little book a lesson is set for you, my reader. It may seem a hard lesson to learn; nevertheless, it is one you want to learn, and one you can learn, if you will surrender your life wholly to the great Teacher. – From the Preface by James Russell MillerPale green cover with gold embossed text and floral borders. Black floral decoration on the front cover. 62 pages. The book has a dedication inside and is signed by the members of the band.non-fiction“We are set in this world to be happy. We should not falter in our great task of happiness, nor move ever among our fellows with shadows on our face when we ought to have sunlight. “We have a mission to others — to add to their cheer. This we cannot do unless we have first learned the lesson of cheerfulness ourselves. We cannot teach what we do not know. We cannot give what we do not have. “In this little book a lesson is set for you, my reader. It may seem a hard lesson to learn; nevertheless, it is one you want to learn, and one you can learn, if you will surrender your life wholly to the great Teacher. – From the Preface by James Russell Millere. sprott, sydney road brunswick methodist church -
Kew Historical Society Inc
Booklet, Victorian Railways, Melbourne's Parks and Gardens, c.1941
"A little gallery of pictures revealing the created loveliness of the city's open public spaces ; all on the fringe of the busy metropolis, and all possessing some particular quality - some favoured lawn, tree or flower effect - to hold the lover of growing things"Tourist brochure describing parks and gardens in Melbourne produced and printed by the Victorian Railways in 1941. Mainly Botanic and Fitzroy Gardens. "A little gallery of pictures revealing the created loveliness of the city's open public spaces ; all on the fringe of the busy metropolis, and all possessing some particular quality - some favoured lawn, tree or flower effect - to hold the lover of growing things"melbourne (vic) -- parks and gardens, christian-washfold collection -
Public Record Office Victoria
Letter (item) - Mr Cleal’s Letter to the Chief Commissioner of Police
In October 1901, Mr B. Cleal wrote to the Chief Commissioner of Police complaining about the large number of effeminate young men using ‘various conveniences’ for ‘an evil of the most terrible description’. Mr Cleal’s letter is part of a remarkable collection of documents held by Public Record Office Victoria that are valuable to LGBTIQ+ history and heritage in providing unparalleled insight into where and how beats operated in and around the city at that time. By ‘conveniences’ Cleal meant public toilets, and he listed the busiest of them: the corner of Rathdowne and Victoria streets; Lansdowne Street, East Melbourne; under the viaduct opposite the Customs House in Flinders Street; at the rear of the old City Court in Little Collins Street; and under the viaduct at the foot of King Street. Cleal described in detail how these beats worked: ‘One cannot enter but two or three of the above fellows rush in and on pretence of using same will pass some disgusting remark concerning one’s person etc’. The Chief Commissioner despatched one of his officers, Sergeant Canty, to investigate. Canty’s report provides further detail and description of who he encountered at the public toilets. He reported that men ‘known by the term “Pufters” [sic], are generally well dressed, sober, quiet in their manner and some of them very well connected’. Canty further noted about these men: 'it is often very difficult for the police to catch them offending, and if they do at any time make filthy or indecent overtures to any man, they believe him to be similarly inclined, but should they make a mistake the man insulted never thinks of giving any of them in charge [complaining to the police], but sometimes gives the offender a well-deserved blow or kick instead, of which the recipient never complains.' Sergeant Canty admitted that the problem had existed for some time. But, he added, ‘I don’t think the evil complained of is as great as said in attached [Cleal’s letter]’. In reviewing the file, Canty’s supervisor noted that Cleal, ‘appears to have given these resorts considerable attention’. Much of the evidence for same-sex activity in Melbourne in the early twentieth century comes from court cases and sensationalist news reports. With their eyewitness accounts of the use of local beats, these documents in the collection of Public Record Office Victoria provide a more detailed, understated account, making them some of the more unusual and historically significant records in Melbourne’s queer history. Quoted from "A History of LGBTIQ+ Victoria in 100 Places and Objects" by Graham Willett, Angela Bailey, Timothy W. Jones and Sarah Rood. -
Surrey Hills Historical Society Collection
Photograph, Shop of J H Pollard, House Decorator, at 139 Union Road, Surrey Hills, 1930
This site was later occupied by Mitton's pharmacy. James Henry Pollard appears on the 1903 electoral roll as a painter in Canterbury Road (in one of the buildings that made up Hansen's Terrace.)The Union Road shops are covered by a City of Boroondara Heritage Overlay. This particular shop has changed very little with some alteration to the upper storey when it was repurposed for residential dwelling.Black and white photo of James Henry Pollard's shop at 139 Union Road, Surrey Hills in 1930. It is a 2 storey brick building with 2 glass display windows either side of the door and a corrugated iron roofed verandah supported on 3 posts. Above is a dwelling with 2 sash windows and an interior balcony within an arch. A wooden paling fence adjoins on the left. The side of the building and the front pediment carry advertising for the business. From this it appears that James Henry Pollard was an insurance agent for Guardian Assurance Company as well as being a house painter and decorator. There is a deciduous tree in the front of the shop.businesses, shops, mitton's pharmacy, guardian assurance company, union road shops, james henry pollard, painter, decorator