A proposal letter written by Mark Strizic for a grant from the Commonwealth Art Advisory Board to fund a series of art books. Strizic proposes a series of books illustrated by Strizic's own photography, under the series title Expressions. Strizic seeks a grant of $4900 from the board for the publication of two books, one of furniture maker Schulim Krimper, another on John Perceval's Cherubs. Budgets for these books are included, proposing to use the profit from sales to fund subsequent books, including one on the Centre 5 group of sculptors and one with Australian poets with graphics by artist Stan Ostoja-Kotkowski.Typewritten, carbon copy, foolscap, 4 pagesRobin Boyd pencil noterobin boyd, meriel wilmot-wright, myer foundation, mark strizic, schulim krimper, brian lewis, margaret garlick, inge king, clifford last, lenton parr, teisutis zikaras, julius kane, centre 5, time riders, john perceval, vincas jomantas, stan ostoja kotkowski, judith wright, roland robinson, kenneth slessor, max harris, claude wischik, commonwealth art advisory board, andrew grimwade, national gallery of victoria, joseph brown, brian stonier

Trench art WWITrench Art cribbage board made from a drilled brass plate mounted to a polished wooden base with 4 brass wood screws.trench art, cribbage board

One of a group being an example of home art-craft work in the form of a bookmark popular in 1935, with Christmas Greetings inscribed on the reverse. Seasons Greetings written on the reverse with names, Melbourne address and the date of 1935.art board, craft, bookmark

In the style of trench art possibly made from shell casing in the shape of a triangular cribbage board with the image of Sir John Monash who was the Commanding Officer of the Australian Imperial Force during the first world war.Brass triangle featuring embossed image/bust of Sir John Monash in the centre of triangle.engraved "Sir John Monash" image of Sir John Monashsir john monash, trench art, cribbage board

Arthur William Pulfer was born on 18 April 1918, in Bendigo, Victoria, Australia, his father, Harold Victor Pulfer, was 30 and his mother, Elsie Maud Rumball, was 26. He married Norma Stewart in Bendigo, Victoria, Australia. He died on 6 March 2001, in his hometown, at the age of 82, and was buried in the Bendigo Cemetery.Many images from by Arthur Pulfer copied to slides. Twenty Slides of Bendigo images: 7795.3a Stramit Board Works - Allingham Street Golden Square Bendigo 1957 7795.3b Stramit Board Works - Allingham Street Golden Square Bendigo 1957 7795.3c Stramit Board Works - Allingham Street Golden Square Bendigo 1957 - Wilkins Transport unloading hay 7795.3e Youth Sunday Bull Street Bendigo 1957 7795.3f Youth Sunday Bull Street Bendigo 1957 7795.3g Youth Sunday Bull Street Bendigo 1957 - Teacher's Training College 7795.3h Penna's starting gates Bendigo 1958 7795.3i 7795.3h Penna's starting gates Bendigo 1958 - the builders of the gates - Albert and Bill 7795.3j Part Les Penna's Plane February 1970 7795.3k Les Penna's Plane February 1970 7795.3l Bendigo Conservatory Gardens Autumn Flowers Easter 1957 7795.3m Bendigo Conservatory Gardens Autumn Flowers Easter 1957 7795.3n Bendigo Conservatory Gardens Autumn Flowers Easter 1957 7795.3o Bendigo Conservatory Gardens Autumn Flowers Easter 1957 7795.3p 'Music to the People' Rosalind Park Bendigo 1956 7795.3q Bendigo Art Gallery View Street 1957 7795.3r View from the lookpout in Rosalind Park Bendigo 1957 7795.3s Charing Cross Bendigo March 1972history, bendigo, james lerk collection, bendigo conservatory, brass bands bendigo, rosalind park bendigo, bendigo art gallery, stramit board works bendigo, les penna's plane, penna starting gates, conservatory gardens bendigo, arthur pulfer

Clifton Banks is the name given to a bank on the Hopkins River Estuary, about one kilometre upstream from Proudfoots Boathouse. It is at the foot of the property, Clifton, which dates from 1850s. There are several works of art and photographs of Clifton Banks dating from the late 19th and early 20th centuries. Mary Norman (later known as Mary Norman=Bail) came to Warrnambool in 1901, residing with Canon and Mrs McGeorge. She studied art with Samuel Pearce Fuller and later taught art at Fuller's studio and at a local private school. She produced several seascapes and landscapes while she was in Warrnambool, leaving the town in 1905. She devoted the rest of her life to art as an artist and teacher. In 1922 she married Jess Bail. This art work of Clifton Banks won first prize at the 1902 Annual Ararat Art competitions. It was reported at the time that the work was not a copy but had been drawn from nature. The Warrnambool and District Historical Society has five of Mary Norman-Bail's art work.This is a most significant item as it is one of Mary Norman's art works and she was known in the early 20th century as a competent artist and a member of the Victorian Artists' Society. This art work also has historical significance as one of a number of Clifton Banks representations still surviving. Mary Norman also had an impact on the cultural life of Warrnambool during her short stay in the town. She also returned to teach in the town several times for short periods during the summer vacation times.This is a water colour mounted on art board and with a gilt framed and three outer layers of wooden gilded ornamental frames. The sides of the frames are broken in places and the guided material is somewhat discoloured. There are Les O'Callaghan handwritten notes and some typed material on the back giving information on Mary Norman and the art work. The back is sealed with pasted paper and there are both string and wire attached for hanging the pictureBack of art work: 'Diamond Bros, Photo Enlargers, Importers of Mouldings, Mounting Boards, Albums, Mirrors etc, Picture Framers. Mount Cutters and Plush Workers, Studio - 27 Bridge Road, Melbourne, Factory- 45 and 47 Duke Street, Richmond, Armstrong Street, Ballarat, Pirie Street, Adelaide, Brisbane, & Freemantle W.A.'mary norman, clifton banks, warrnambool

Pano Dellas and Bill Benias were attending the art exhibition organised by the Ithacan Philanthropic Society to celebrate its 75th anniversary in 1991. Members of the society were invited to submit art works. A coloured photograph of two men standing in front of a board displaying art works.

Clifton Banks is the name given to a bank on the Hopkins River Estuary, about one kilometre upstream from Proudfoots Boathouse. It is at the foot of the property, Clifton which dates from the 1850s. There are several works of art and photographs depicting Clifton Banks which date from the 19th and early 20th centuries. This oil painting is believed to be the work of Emma McGeorge, the wife of Canon Samuel McGeorge, the Vicar of Christ Church, Warrnambool form 1899 to 1905. It is surmised that Emma McGeorge was encouraged by the artist Mary Norman to take up painting as a pastime or to continue with her art interests. Emma McGeorge may have been a pupil of Samuel Pearce Fuller and Mary Norman. She was successful as an exhibitor and entrant in art exhibitions in Warrnambool in the early 1900s. She died in Warrnambool in 1933. This is a highly significant art work as it has artistic merit and is one of the depictions of Clifton Banks on the Hopkins River and so has historical value. It is an example of the high standard of art work that was being produced, especially by women, in the late 19th and early 20th centuries in Warrnambool. It was bought at an auction sale in Camperdown by Les O’Callaghan in 1997. This is an oil painting, probably by Emma McGeorge, on art board of Clifton Banks on the Hopkins River. It has a gilt wooden frame with multi-tiered highly-ornamented outer frames in a gold colouring. The lower frame is discoloured (perhaps by smoke from a fire place) and there is a small piece of wood missing on the lower frame. All the gilding is slightly discoloured. The back has been sealed with pasted paper and there are old tacks and old wire for hanging the picture. There is a label on the back from W. Hickford, the Warrnambool picture framer and handwritten information on the artist and the artwork by Les O’Callaghan.Front: ‘E.Mc.G.’ Back: ‘W. J. Hickford, Picture Dealer, Framer and Gilder, Liebig Street, Warrnambool, Mounting and Repairing, Old Frames Re-gilt, Oakley Printer’ ‘603’ clifton banks, emma mcgeorge, warrnambool, hopkins river estuary

The Bendigo School of Mines was established in 1872 for the purpose of providing instruction and training in the principles of science with their application to the various industries. Brown soft covered book of 62 pages. Contents include: Office Bearers, Art Department, Board and Residence, Certificate Courses, Examination Results, Employment, Graduates, Laboratory Work, Library, Pharmacy, Railway concessions, Rules, Scholarships and Prizes, University Concessions An photographic image of the building, Turning and Fitting Workshop, Woodwork, and the Science Laboratory are reproduced. bendigo school of mines, l. lansell, r.h.s. abbott, john veale, george davey, a.e. thorne, john quick, w.c. vahland, o. penfold, j.r.v. anderson, w.h. walter, john e grant, woodcarving, arthur t. woodward, bendigo junior technical school, university concessions, carola cohn, schools of mines, pharmacy, school of design and applied art, geoffrey abbott

On the cover 'The National Capital Planning Committee 10th meeting Canberra 11,12 September, 1969'. Mr John Overall, the inaugural Commissioner of the National Capital Planning Committee (1957-1972), sits at the Head of the table. Robin Boyd is on the right of John Overall. At the far right is Sir Daryl Lindsay, Chair of the Commonwealth Art Advisory Board and past the Director of National Gallery of Victoria. The architect Sir Osborn McCutcheon is on the far left.Black and white photograph (190mm H x 245mm W) in a presentation folder. Liquid splashes on top right.the national capital planning committee, mr john overall, robin boyd, sir osborn mccutcheon

From Portland Town Council Art Programme. Sponsored by PTC's Art Program, the Theatre Board of the Australian Council, Portland 150th Anniversary Committee, Portland CEMA and the Myer Foundation.Poster for theatrical production. The central image is a retouched photograph of a group of people (men and women) outside a building. The building is made of wood. The people are standing in front of the building and on its roofless verandah. They are dressed in clothing of c1910's. The image is black and white with some items of clothing hand coloured in with red, orange and yellow. The entire poster is covered with approximately 61 signatures. On lower left is a reproduced newspaper clipping of paper addressing a welcome home ceremony for Gallipoli soldiers. In pale yellow in background is a map of Portland Bay. In orange mount in black and gold frame. Below image are the words: "Portland Bay Swells! Devised by Ken Harper and the Portland Community." Below this are details of performance times and ticket details. Mounted in peach matt. Black wooden frame with glass.Front: (no inscriptions) Back: (no inscriptions)

The school badge was hand-painted on a wooden Art drawing board by an unknown student after the Higher Elementary School had been upgraded to a High School in 1948. The latin inscription, "Acti labores lucundi", can be freely translated as "Finished work is pleasant." The school badge, with its stalk of maize was designed by Clarke Cowell who was in the first Senior Class at Orbost Higher Elementary School in 1912. Clarke Cowell followed teaching as a career and was the first head teacher of the Corringle School, No. 4909, which opened on Feb 7 1921 and operated as a half-time school with the Marlo School No. 3433.Orbost High School / Orbost Secondary College has played a significant part in the education of senior students in the Orbost district . It is the sole senior educational institution. This uniform is representative of its history.A wooden rectangular plaque with a hanging wire attached to the back. It has an oval-shaped painted school emblem on a stained wood background. Around the circumference are the words ORBOST HIGH SCHOOL painted in yellow with the motto ACTI LABORES LUCUNDI. In the middle on a pale blue background is a painted gold stalk of maize. orbost-high-school education

Sepia photograph, stained yellow. Large group of adult males seated in auditorium. Five figures in balcony (three males, two females). In foreground, part of table covered with documents. Inscriptions: On board - 'Silver Art Studio, Vincent Street, Daylesford'. On back - 'ANA Convention, Daylesford. Cr. JH Curnow second left in front row? Convention. History: Previous Acc. No. GP79, James Lerk, 19/11/1999 'ANA Convention at Daylesford including Bendigo Delegation. JH Curnow, second left in front row.Silver Art Studio, Vincent St, Daylesfordperson, group

This is an invitation to the launch of the conservation and publication project for the Warrnambool Pioneer Honour Board. The invitation was sent out in the name of Lilian Foyle, the Warrnambool photographer and artist who produced the portraits and some of the sketches on the board. A person representing Lilian Foyle welcomed those who came to the launch. The Pioneer Honour Board, initiated by Edward Vidler, was first assembled in 1907 to mark the 60th anniversary of the founding of Warrnambool. It has the portraits of 204 pioneer men of Warrnambool and district and is one of the best examples of a pioneer honour board in Victoria. It now requires extensive conservation work and an appeal has been launched to cover the cost of this. A publication with biographies of the 204 men is also being prepared. This invitation is of great interest as it is connected to the Warrnambool Pioneer Honour Board which is one of the most important historical items in the city of Warrnambool and a work of art in its own right.This is a buff-coloured piece of paper with black printing and a black and white photograph of Lilian Foyle. There are also two ornamental patterns on two corners of the printing. ‘Lilian Foyle, photographer and artist, invites you to meet the men on the Warrnambool Pioneers Board at the launch of the conservation & publication project to be held at HeritageWorks on Sunday 17 September at 2.30 pm’warrnambool pioneer honour board, lilian foyle, edward vidler

A4 size book with photograph of 7 women and 3 children in c1890sworking clothing and long white aprons, sitting and standing in front of a hedge with washing draped over the hedge. The two girls on the right are wearing wide-brimmed hats. The title is in white print on a band of dark blue across the middle. The bottom third features an early image of Warrnambool and the author's name in dark blue.non-fictionA history documenting the lives of women in Warrnambool and district between 1840 and 1910.warrnambool, history of warrnambool, 19th century women, women pioneers, silent lives, elizabeth o'callaghan, cover design james colquhoun

The following extract written by Karen Tyers Warrnambool Family history group explains the journey and background of the Warrnambool Pioneer Board. Warrnambool is fortunate to have a photographic record of some of its pioneers. They are commemorated on the Pioneers’ Board. The Pioneers’ Board with its elaborate frame measures approximately 2 metres by 3 metres and holds 204 photographs of Warrnambool’s early pioneers. In 1907 Edward Vidler, secretary of the Warrnambool & District Progress League and Chamber of Commerce and Industry, invited descendants of those who arrived in Warrnambool before 1860 to send photographs of their pioneer ancestors to commemorate the Diamond Jubilee of Warrnambool’s foundation in 1847. A charge of £1 for each photograph was set. Lillian Foyle of Foyle’s photographic studio, was engaged to colour the photographs and undertake the associated artwork. By December 1907 the honour board was on exhibition in Bernard’s Gallery, Melbourne. Unfortunately Vidler left Warrnambool in 1907 with the honour board expenses unpaid. The Progress League refused to take responsibility for the debt and the honour board remained with Foyle’s Studio for 17 years. In 1922 subscriptions were called for and £43 16s 6d was acknowledged. After a final determined effort was made in 1924, the £100 debt was collected and Charles Foyle, Lillian’s brother, accepted settlement of the debt. On 2 May 1924 the honour board was moved from Foyle’s Studio to the Art Gallery. For many years the honour board was in the entrance passage to the public library. After the library was demolished in 1975 the pictures were removed to the Art Gallery where it was restored by the Director of the Art Gallery, Jack Welsh. The board was later stored in an empty front room at Murweh and the dismantled frame stored in an outbuilding. By 1982 the honour board was in the foyer of the City Council offices. During the renovations of the interior of the council offices in 1997 the honour board was moved to the library where it remained until moved to HeritageWorks in March 2014. For a full list of names go to http://www.warrnamboolhistory.org.au/warrnambool-history/pioneers-board/ The Warrnambool pioneer Board is one of those rare items which can claim significance on most if not all of the primary and comparative significance criteria. As a collection of early pioneers in the district it provides a valuable resource for historians and researchers. It gives light to a social scene in the district much of which can be verified from diaries and other items held by the historical society and also available on websites such as Trove. It has relevance to this day with many family historians enquiring of people included on the board. The collation of the board is a story of great interest in itself. While there are images of 204 men on the board the only reference to a woman is Lillian Foyle the artist who was responsible for much of the artistic work on the board. It compares well in size and quality with a number of montages, and collations of images from around the state of Victoria. It is by no means a complete list of pioneers of the district but there are many well- known ones included. They come from a wide range of backgrounds and as such presents a cross section of our earliest settlers in the district from 1840's to 1860’s.Cardboard folder with black and grey mottled cover with 3 metal studs along spine and white paper label with the word negative printed in black on front cover. Inside is a printed index of pioneers with reference relating to board number and negative number. There are three loose strips of negatives and 20 pages with pockets to hold strips of negatives. Up to page 13 have negatives strips inserted. There are 15 large and one small print of some of the pioneers from the board.This negative album was prepared by John A Welsh MBE JP Dip M Eng Director Warrnambool Art Gallery 1/7/1975 to 11/12/1977.There are a number of grey lead notations possibly corrections against some of the names in the index.warrnambool, warrnambool pioneer board, jack welsh, warrnambool art gallery, pioneers of warrnambool, foyles photography, lillian foyle, bernard framers, w mcaree,

This book was written by C. Frusher Howard in 1874 and this copy is the 1892 edition. C. Frusher Howard was the alias of Joseph Ostler (‘Frusher’ was his mother’s maiden name) and he was the first district secretary of the Moorabbin Roads Board. He absconded with its funds in 1867. After some time in the goldfields of U.S.A. and a bigamous marriage he published ‘The Art of Reckoning’ which was highly successful in Britain and U.S.A. He was able to pay back the money he had embezzled. He advertised that he was a Fellow of the Society of Science, Letters and Art, London, but this was a profit-making society owned by an individual and enabled members to wear academic dress and use the title of ‘Professor’. Ostler had in reality no academic qualifications. In the early 1890s he lectured on his ideas on mathematical calculation and publicized his four books in India, Egypt, Palestine and South Africa. In 1896 he returned to Australia and at the 1896-7 Warrnambool Industrial and Art Exhibition Howard gave daily lectures on mathematical calculations and illustrated these with the aid of a blackboard. The inscription in this book does not appear to have any local significance but the book is of interest because the author, C. Frusher Howard, was a lecturer at the Warrnambool Industrial and Art Exhibition of 1896-7. This is a soft cover book of 142 pages. There are several pages at the back of the book advertising other books published by Cassell and Company. The cover is brown with an ornate border on the front cover and black printing on the front cover, spine and back cover. The lettering on the spine has been mostly worn away. The first page has a black and white sketch of the author, C. Frusher Howard, in academic dress. The inscription is handwritten in black ink. ‘C.F. Hamilton, South Heathcote, 1893’ c. frusher howard (joseph ostler), joseph ostler, c. frusher howard

Refer Cat No. 1280. "JACK GRINTON No. 1043, " 38th Bn - Refer Cat No. 1280 for Service History. "BERT GRINTON No. 5024" 38th Bn - Refer Cat No. 1320P for Service History.Story Board - framed. Story board - black print on white and pale blue background on synthetic paper adhered to backing board. Illustrated - one black and white photograph, one colour photograph. Frame - metal with wood backing board."A CAMERA ON THE SOMME" "Life after 1919" Photographs - black and white - "Grinton family: Jack, Bert and Fred (back), and Arthur, May, Hughina and Emily (front) Tragowel 1920", Colour - "38th Battalion reunion hosted by the Grintons"framed accessories, camera on the somme, ww1, 38th bn, grinton

Refer Cat No.1280 for Jack Grintons service history.Story board - framed. Story Board - black print on white and pale blue background on synthetic paper adhered to backing board. Frame - metal with wood backing board."The Grinton Collection" "A Camera on the Somme". framed accessories, camera on the somme, ww1, 38th bn, grinton

Refer Cat No. 1280 for Jack Grintons service history.Story board - framed. Story Board - black print on white and pale blue background on synthetic paper adhered to backing board. Frame - metal with wood backing board."A CAMERA ON THE SOMME" "Photography and the FIRST WORLD WAR"framed accessories, camera on the somme, ww1, 38th bn, grinton, photography

Refer Cat No. 1280 for Jack Grintons service history. "BERT GRINTON NO. 5024" 38TH BN - refer cat no 1320P for his service history.Story board - framed. Story Board - black print on white and pale blue background on synthetic paper adhered to backing board. Frame - metal with wood backing board."A CAMERA ON THE SOMME". "Living behind the lines". Photograph - "Bert Grinton and two soldiers in a trench 1916-1919". framed accessories, camera on the somme, ww1, 38th bn, grinton

Jack Grinton. Refer Cat No.1280 for his service history.Story board - framed. Story Board - black print on white and pale blue background on synthetic paper adhered to backing board. Frame - metal with wood backing board." A CAMERA ON THE SOMME' "The Burden of War". Photographs top left - "Damaged windmill, France or Belgium 1916-1919" Top right "Guns and human bones marking field graves, France or Belgium 1916-1919" Middle right "Bomb damaged cathedral, France or Belgium 1916-19" Bottom right "Military Cemetery, France 1919" framed accessories, camera on the somme, ww1, 38th bn, grinton

Refer Cat No. 1280 "Jack GRINTON No 1043", 38th Bn - Refer Cat No. 1280 for his service history.Story Board - framed. Storyboard - black print on white and pale blue background on synthetic paper adhered to backing board. Illustrated - three black and white photographs, one colour photograph and copy of - handwritten letter on yellow paper. Frame - metal with wood backing board."A CAMERA ON THE SOMME" "Trip of a Lifetime" Photographs; Top left: in colour "Postcard sent by Jack Grinton to his family, Cape Town, 5 July 1916" Top right: "Paris Opera, France 1919". Middle right: " La Madeline Church, Paris 1919" . Bottom right: " Jack Grinton with captured German Artillery, Paris 1919". Handwritten letter: "From Jack".framed accessories, camera on the somme, ww1, 38th bn, grinton

Refer Cat No. 1280. "JACK GRINTON No. 1043, 38th Battalion - refer Cat No. 1280 for his service history.Story Board - framed. Story board - black print on white and pale blue background on synthetic paper adhered to backing board. Illustrated - four black and white photographs. Frame - metal with wood backing board."A Camera on the Somme". "Portraiture and Remembrance", Photographs - Top left - "Jack Grinton, France 1918 - 19" Top Right - "Australian soldiers and French civilians 1918-19". Middle Right "Field grave of Lance Corporal Risbey (38th Battalion) killed in action 29 September 1918, France 1919". Bottom right - "Vaire Wood field cemetery, France 1919"framed accessories, camera on the somme, ww1, 38th bn, grinton, risbey

Refer Cat No. 1280, Grinton collection.Story Board - framed. Story board - black print on white and pale blue background on synthetic paper adhered to backing board. Illustrated - three black and white photographs. Frame - metal with wood backing board."A CAMERA ON THE SOMME" "Quota 45: The Journey Home". Photographs - Top - "Troops on deck of HMAT Karmala, at sea 1919". Middle "Workers on board HMAT Karmala, at sea 1919". Bottom "Washing drying, soldiers wrestling and relaxing on HMAT Karmala, at sea 1919."framed accessories, camera on the somme, ww1, 38th bn, grinton, hmat karmala

Plaque, Silver coloured art work 23 x 15 mm affixed to 18 x 25 mm rectangular wooden board./ Artwork de[picts badge of 1 NZ Scottish RegimentMakers label on backplaque, plaque