Bendigo Art Gallery"Colonial Bendigo", Bendigo Art Gallery exhibition (5th December 1984 - 25th February 1985) which celebrates the rich pictorial history of 19th century Bendigo. Booklet includes twelve B&W prints of early Bendigo development. The exhibition celebrates the rich pictorial history of 19th century Bendigo; linked to Victoria's 150th Anniversary Celebrations. colonial bendigo, exhibition, bendigo art gallery

Pedro J. Lemos was an educator and artist. He was also the editor of the School of Arts Magazine and Director of Stanford University Museum of Fine Arts. He was born in 1882 and died in 1954. This art portfolio contains ten periods of art history: Egyptian, Assyrian, Grecian, Roman, Byzantine, Romanesque, Saracenic, Gothic, Renaissance and Georgian. Some of the images are: The Temple of Luxor in Egypt, Temple of Zeus, the Arch of Titus, Gothic cathedral in Cologne, Assyrian furniture and weapons, Greek architectural decorations, Byzantine costumes, Renaissance weapons and household articles, plus much more. Blue, large, hard cover. Black tape edges and spine. Title is written in orange on front cover. Ribbon ties stitched to the edge of the cover used to close book by tying them together. Loose pages showing coloured and b/w illustrations of the ages of art. Includes fold-out text booklet with five pages. The book has a number of coloured prints of examples of art through the ages, including Egyptian, Assyrian, Grecian, Roman, Byzantine, Romanesque, Saracenic, Gothic, Renaissance and Georgian. Inside the front cover there is a plate titled "Ballarat Techincal Art School Library no. R/400". It is also stamped with the publisher's details. art, art ages, pedro j lemos, historic art, egyptian art, grecian art, roman art, byzantine art, romanesque art, saracenic art, gothic art, renaissance art, american colonial art, assyrian art, ancient costumes, ancient weapons, ancient instruments, ancient household articles, ancient furniture, ancient architectural, textile decorations

This is a book of 85 pages. It has a blue cover with gold lettering on the front cover and the spine. It contains printed text, reproductions of artistic works - sketches, lithographs and jottings. non-fictionReproduction of an early Victorian artist's workvictorian colonial art, william strutt

The Railway Hotel in Creswick later became a hostel for Dutch immigrants just after WW2. It is now demolished.Paintings by William Tibbits are relatively rare. They are valuable as a record of life in Creswick (and other towns) in the colonial period.Watercolour painting on paper by William Tibbits depicting the Railway Hotel, Creswick, in about 1870.william tibbits, railway hotel, creswick, colonial art, watercolour

Booknon-fiction500 works of art by 500 Australian women from colonial times to 1955 with images and commentaries on each work prepared by by 200 curators, critics, family member or the artists herself. Includes images of many works which may never have been reproduced. A biographical section comprises concise entries on these artists.colonial art, craft, competitions, portraiture, furniture, sculpture, indigenous art, museology

Born: Florence, Tuscany, Italy 1844; Arrived Australia 1885; Died: St Kilda, Melbourne, Victoria, Australia 1893ColonialLedger Gift, 1990Figures, haystacks and tree in rural landscape with dramatic clouds and blue sky. Gold gesso on decorative wood moulding frame.Recto: Signed "C Rolando" in red paint l.r.c of composition; Not dated; Not titledlandscape, animals, figure, trees, colonial art, rural, australian art

Charles Steedman was headmaster of Williamstown Grammar School from 1870-76 and 1885-90. In 1870, under agreement with school trustees, Sir George Verdon and John Courtis, he leased the school under a seven-year lease, effectively saving it from closure. Steedman had previously been manager of Sandridge Baths and a champion swimmer of Victoria. His 1867 book, 'Manual of Swimming', was the first major technical contribution to the sport of speed swimming and water safety, for which Steedman was inducted into the Sport Australia Hall of Fame in 2006. As headmaster of Williamstown Grammar, Steedman initiated a student produced school paper called 'The Schoolboy' (surviving editions can be accessed at the State Library of Victoria), added swimming lessons to the curriculum and opened enrolment to girls in 1885. The book contains nine illustration plates featuring line drawings of a human figure in the positions detailed by Steedman in his text. These drawings are attributed to O.R. Campbell. Oswald Rose Campbell is best known for his appointment (1876-1886) as drawing master of the School of Design, a department of the Public Library, Museums and National Gallery of Victoria. He taught (and famously disagreed with) the likes of celebrated Australian artists, Tom Roberts and Frederick McCubbin. O.R Campbell taught drawing and painting at Williamstown Grammar in the early 1870s.The book holds historic significance for Westbourne Grammar School, having been written by a former headmaster and very important figure in the history of the school. It evokes our early history as an emerging grammar school with links to prominent athletes, artists and gentry of colonial Melbourne. Blue cloth covered case-bound book, with debossed decorative scrollwork in each corner and in the centre of front cover, and gilt lettering on the spine. 270 numbered pages, nine illustration plates (one adjacent to title page, eight as end pages).On title page, handwritten inscriptions in brown coloured ink. Possibly ‘Joshua Saggs Esq. / With the authors compliments’ and below, in different handwriting and darker ink, ‘To dear Flossie from Grandma 1901’. williamstown, sandridge baths, swimming, colonial melbourne, art, williamstown grammar

Born: Vienna, Austria 1812; Arrived Victoria 1852; Died: 1901ColonialBennett Bequest, 1998 Rural landscape with trees, figures, animals, rocks and sky.Recto: Signed and dated "Eugene von Guerard/ Melbourne 1856." in orange paint l.r.c of composition; Not titledlandscape, animals, figures, trees, cattle, mustering cattle, colonial, australian art

Born: Fitzroy, Victoria, Australia 1865; Died: 1915ImpressionismBennett Bequest, 1998 Rural landscape with hill, trees, voluminous white clouds in the sky.Recto: Signed and dated "E. Phillips Fox / 1900" in blue paint l.l.c of composition; Not titledlandscape, rural, hillside, colonial, australian art

Born: Yorkshire, England 1850; Arrived Australia: before 1874; Died: 1908RealismLedger Gift, 1975Rural landscape setting with horse, dogs and a figure heading towards a house. Gold brushed grey painted frame.Recto: Signed “J A Turner / 1889” in black paint l.l.c of composition; Not titledlandscape, figure, animals, house, colonial, trees, australian art

Born Morges, Vaud, Switzerland 1814; Arrived Australia: 1865; Died: Victoria 1888ColonialLedger Gift, 1986Sailing boat on river in middle of landscape and sheep are grazing. Gold painted timber frame.Recto: Signed " L Buvelot/ 1870" in brown paint l.r.c of composition; Not titledwaterscape, boat, river, animals, house, colonial, landscape, australian art

Blind Creek was located between the Abbotsford Convent and what is now the Collins Bridge in Studley Park. In an 1858 map of East Collingwood by Clement Hodgkinson, in the State Library of Victoria, one can see how the creek was originally a significant landmark in Collingwood; remaining vacant land until a barrel drain enclosed it. The area was later filled in, surveyed and developed. The position where Blind Creek entered the Yarra was in the immediate vicinity of Hodgson’s Punt, which had linked Kew to the other side of the Yarra from 1839. The Punt was purchased by the Colonial Government in 1852 and was in use until the opening of the Studley Park Road (Johnston Street) Bridge in 1858 made its continued use redundantThe point of view selected by the artist for the watercolour is from the banks of Blind Creek in East Collingwood, looking across the Yarra to the Kew side of the river.Inscribed verso 'Creek and Old Watering stage, on the Yarra East Collingwood 1854 / Trees, stage, &c have long since disappeared / [Artist Signature] / FT 110 / Creek itself now being filled in 1903.gb richardson, blind creek - abbotsford, yarra river - abbotsford (vic) - kew (vic), colonial artists, australian art - 19th century, george bouchier richardson

Colonial Bendigo Bendigo Art Gallery 5th December 1984 - 25th February 1985 Presented by the Bendigo Art Gallery as part of Victoria's 150th Anniversary Celebrations Organized by Doug Hall and Frank Cusack. 37 pages, with photos, illustrations.Bendigo Advertiserbendigo, buildings, colonial

With a glossy cover, this book details the history of Victorian Potteries illustrated by color photographs, maps, diagrams. non-fictionThis book covers the formative years of Victoria's porcelain industry from 1857 to the late 20th century.pottery, dahlke, crockery, hill gregory, springfield pottery, white brothers, commonwealth art pottery and insulator company, springfield road

This trophy was awarded to William Kermode of Mona Vale for the best pair of Merino ewes exhibited at the Southern Tasmanian Agricultural and Pastoral Society in October, 1879. William Kermode formed the Mona Vale flock in 1829 with VDL C. Saxons. In the early 1870s under Kermode, Ercildoun rams were tried, as was a St Johnstone ram. It is well documented that the famous Steiger-blood ram, Sir Robert (out of a Mona Vale ewe), had considerable impact on a number of Tasmania's influential studs. At its height in the late nineteenth century, Mona Vale was regarded as "... one of Tasmania's leading and parent studs, producing robust fine-wool sheep with quality, long-stapled and dense wool." (Massy 1990: p.406). The first agricultural society in Australia was formed in Hobart on 1 Jan. 1822. The trophy was retailed by Walsh Brothers, Melbourne in c.1875. The cup has no makers marks, but has been attributed by Christie's to Edward Fischer, a local Geelong silversmith. This attribution is based upon stylistic criteria. However, Ms Veronica Filmer of the Geelong Art Gallery (curator of "Geelong's Colonial Silversmiths", Geelong Art Gallery, 1988), has suggested that the lack of stamps is unusual (most of Fishcher's work was stamped) and also that it is somewhat heavy for Fischer's work. The trophy originated from the collection of Edward Clark, an antique dealer. Prior ownership of the trophy is uncertain, but it is believed that Clark purchased it in the mid 1990s from descendants of the original prize recipients.Trophy, sterling silver. Circular, stepped base and tapering stem decorated with cartouches of leaves on a matt background. The bowl of the trophy has an applied belt cartouche with an inscription. Within the belt cartouche is an engraved and embossed panel of two sheep with a cottage in the background. There are ribbon tied floral swags on either side of the cartouche, and a presentation inscription with a beaded border on the reverse of the bowl.SOUTHERN TASMANIAN AGRICULTURAL & PASTORAL SOCIETY Presented / to / Joseph Clarke Esq / and awarded to / W.A. Kermode Esq / of Mona Vale / for Best Pair Merino Ewes, / October 1879southern tasmanian agricultural and pastoral society, logo merino: sheep in australian art and design - exhibition (29/07/2000 - 04/02/2001), fischer, mr edward - silversmiths and jewellers kermode, mr william - mona vale stud clarke, mr joseph, mona vale stud, tasmania, awards, trophy

The actual history of this object relating to Warrnambool is unknown at this stageSome photos have been identified as local people from WarrnamboolLeather bound. Brown. Engrave with Gold and Black. Ornate scrolled, embossed work on cover with The words The Colonial Family Album on the front, back and spine engraved. Metal locking clasp is broken. 23 pages. Binding in blue tape. Each page is highly decorated changing on each page, facing pages match each other, colours used are gold, red, blue, pink and green. Photos are taken mid 1870's to late 1880's by photographers from Melbourne, Portland & Ballarat. Sepia photos, 20 large frames of men & women, 20 small oval & round topped oblong frames. Collection of Women, Men, Teenagers and children. Each photo slides in from the bottom of frame through a small slot.album. photographs. photographers. ornate art work., warrnambool historical society

Dr. Anne Beggs-Sunter is an historian who lectures in the School of Arts at Federation University Ballarat in Wathawurrung country. Her major interests are in Australian social, cultural and political history. Her special interests relate to the colonial era, to the history of Ballarat and its heritage conservation, and the significance and commemoration of the Eureka Stockade. Anne is actively involved with a number of cultural institutions, including the Art Gallery of Ballarat, the Gold Museum and the Buninyong Historical Society, and serves on a number of City of Ballarat committees. She has written a number of books, exhibition catalogues and articles for different audiences ranging from specialised academic journals to newspapers.women of note, dr anne beggs-suntar, historian, school of arts, federation university, social cultural political histories, history of ballarat, heritage conservation, eureka stockade, ballarat art gallery, gold museum, author, books articles, lecturer, historical studies

Lists all towns and villages with entries in the Victorian censuses between 1841 and 1901. It includes in excess of 1400 entries with the latitude and longitude for each town, numbers males and females in the town, and the number of occupied dwellings (where available). For many of these settlements the only visible trace of them today is in the census results collected by the fledgling governments of Colonial Victoria. It is a comprehensive reference and a fascinating insight into the movements of early populations of new Australians.cities and towns victoria, history 19th century, statistics, ghost towns - victoria, geographical names victoria, victoria census

Colonial Crafts of Victoria. Early settlement to 1921. Examples of early craftwork to make goods for a specific purpose.art, crafts

Copy of a newspaper article titled Colonial Bendigo on display. Date written at the top of the page Dec 1 - 1984. Article mentions an exhibition organised by the Bendigo Art Gallery of the early photographers on the gold field. Wet plate photography was used. Other mediums were also used such as engraving, artists drawings, lithography, water colours and diorama. Artists mentioned are George Rowe, S T Gill, Alex Fox, Nicholas Caire, Wet Plate Photography, Thomas Ham, Edwin Stocqueler and Ludwig Becker. There is also a photo by Nicholas Caire, taken 1875. showing the excavation of quartz reef and mine buildings near Iron bark Hill.bendigo, history, long gully history group, the long gully history group - community focus - colonial bendigo on display, bendigo art gallery, george rowe, s t gill, alex fox, nicholas caire, wet plate photography, thomas ham, edwin stocqueler, the advertiser, ludwig becker, burke and wills expedition, mine buildings near ironbark hill, victoria hill

This Carte-de-viste (CdV) previously belonged to the donor's grandfather, Daniel Mullins who was a Police Officer stationed at Glenrowan soon after the Kelly gang siege. It is unclear; however, whether or not the man depicted in the photograph is Daniel Mullins or a different police officer. The Police Station at Glenrowan depicted in this CdV stood during the events of the Kelly gang's siege. Today, the siege has become an important part of Australian culture and Ned Kelly and the Kelly Gang (comprising of Ned Kelly, Dan Kelly, Steve Hart and Joe Byrne) has become ingrained in Australian history and mythology. A CdV is a sepia toned photograph mounted on card and is generally of a small size. This particular style was first patented by Andre Adolphe Eugene Disdéri (1819-1889) in 1854. In 1857, the CdV was introduced to England and after photographs of Queen Victoria, Prince Albert and their family were taken using CdV in 1860 the popularity of this method reached a peak. This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Items pertaining to the Kelly gang, including photographs like this one which depicts a police officer standing outside of the Glenrowan Police Station, are of great historical significance. Photographs like this can provide valuable information on the architecture, lifestyle and dress of colonial Australia. When studied, photographs have the ability to shed more light on the events of the Kelly gang and colonial Australia. This photograph is also of artistic significance because of the popularity of the CdV during the nineteenth century.A sepia toned photograph mounted on grey card with rounded corners. The image has been captured by an unknown photographer and depicts the outside the Glenrowan Police Station. In front of the Station stands an unidentified policeman and lying on the ground behind the policeman is a medium sized dog with dark colouring. The Police Station depicted in this photograph is a classic example of Australian country colonial architecture typically seen dating to the nineteenth century. It has the typical features of an Australian colonial 'miners' cottage' with the gable roof and a skillion at rear. A white picket fence is stands between the Station and the policeman. A small building is located at the rear of the Station which may have served as a lockup.BMM 8083kelly album, glenrowan, police, police station, photograph, ned kelly, australia, colonial australia, victoria, james bray, william e barnes, daniel mullins

430 pp. on art paper. approx 60 illustrations, photos, sketches, all B&W. Extensive appendices according to the trades the ships engaged in. Long index, examples of log entries, mapsnon-fictionFrom the Preface: "In this book I have attempted to give some account of the beautiful sailing ships which played so great a part in the development of the great British Dominions under the Southern Cross. It is written specially for the officers and seamen of our Mercantile Marine, and I have endeavoured to avoid such a criticism as the following:—“Heaps about other ships, but my old barkey was one of the fastest and best known of them all and he dismisses her with a line or two.” I have made rather a point of giving passage records, as they are an everlasting theme of interest when seamen get together and yarn about old ships. The memory is notoriously unreliable where sailing records are concerned, so I have been most careful to check these from logbooks and Captains’ reports. Even Lloyd’s I have found to be out by a day or two on occasions. A great deal of my material has been gathered bit by bit through the past 25 or 30 years. Alas! many of the old timers, who so kindly lent me abstract logs and wrote me interesting letters, have now passed away. The illustrations, I hope, will be appreciated, for these,viii whether they are old lithographs or more modern photographs, are more and more difficult to unearth, and a time will soon come when they will be unprocurable. Indeed, if there is any value in this book it is because it records and illustrates a period in our sea history, the memory of which is already fast fading into the misty realms of the past. To preserve this memory, before it becomes impossible, is one of the main objects, if not the main object, of my work."clippers, basil lubbock, loch vennachar, loch gary, loch ryan, loch sloy ship, hobsons bay, mermerus

Index, bibliography, notes, ill, p.179.non-fictionHistory, artifact and art combine to evoke a time in colonial Australia when the Motherland, and the British Army in particular, loomed large. Challenges our understanding of Australia's military history and the primacy of the Anzac legend.australia - history - military, australia - relations - great britain

BHS CollectionCopy of an Advertiser Article titled Colonial Bendigo on display. The article mentions an exhibition organised by the Bendigo Art Gallery to celebrate Victoria's 150th anniversary. Mentioned are the artists George Rowe and S T Gill. The photographers Alex Fox and Nicholas Caire. Thomas Ham introduced engraving in a commercial capacity. Edwin Stocqueler and Ludwig Becker are also mentioned. Written above the article is: Mining on Victoria Hill, also known as Ironbark Hill. Dec 1 - 1984. On the back glass plates are mentioned. Also S T Gills water colours, lithographs and engravings. There is a photograph by Nicholas Caire, taken in 1875, showing the excavation of quartz reef and mine buildings, popper legs and chimneys near Ironbark Hill.bendigo, history, long gully history group, the long gully history group - colonial bendigo on display, bendigo art gallery, george rowe, s t gill, alex fox, nicholas caire, thomas ham, edwin stocquelerthe advertiser, ludwig becker, burke and wills, victoria hill, ironbark hill

A book titled ' Louis Buvelot. The Father of Australian Landscape Painting.' Bendigo Art Gallery, 31 March - 30 May, 1988. This exhibition is assisted by the Ministry for the Arts under the Victorian Government Exhibitions Indemnification Scheme. Bottom left corner of the front cover has a number sticker, 0136 THO.artwork, landscape, book, books, louis buvelot, artist, person, male, landscapes, paintings, australian painters, australian art work, art, david thomas, jocelyn gray, exhibition, catalogue, colonial art.bottom left corner of the front cover has a number sticker, 0136 tho.

Photocopies. 12 x A4 size photocopies of scenes of early Bendigo. Includes, Randell's Café, Queen Victoria statue Rosalind Park, Francis Bros Beehive Stores, Colonial Bank of Australasia, Favalaro's Pall Mall, Gold Office (Wm Harris) Finlay & Co., R O Henderson, Alexandra Fountain, Art Gallery, Scenes of Charing Cross, Original Post OfficeVariousphotograph, buildings, randell's café, queen victoria statue, francis bros, colonial bank, favaloro, charing cross, r o henderson, alexandra fountain, jackson's gold office, original post office.

Large cream, black and red certificate awarded to Mary Foster for Pianoforte Playing from the London College of Music Great Marlborough St. W. At the top is the London College of Music Coat of Arms. It was founded in 1887. Listed at the top are the Patrons, Board of Examination, Examiners and Examiners (Colonial and Foreign Centres). Certificate dated 26th May 1909. Ernest Wood, Examiner and T. Weekes Holmes, Secretary. Decorative artwork consisting of leaves, scrolls, angels and flowers around the edge. A red College seal is in the lower right corner. A black border around the edges. Certificate printed by McCorquodale & Co. Ld. London. On the back is a label: From D. C. Coope & Son, Picture Frame Manufacturers. The Fine Art Gallery. Mitchell Street, Bendigo. Established 1871.document, certificate, music, foster & wilson collection, piano certificate, london college of music, mary foster, ernest wood, t weekes holmes

Tim Walker’s work is an eye-catching array of shipwreck artefacts and associated items. They help tell the story of the 19th century ships that travelled across the world full of people and cargo that are now part of our history. The work was commissioned especially for Flagstaff Hill and highlights the famous story of the 1878 ‘Loch Ard’ shipwreck. The images also include two small items from the 1981 ‘Fiji’ shipwreck. Local professional artist Timothy “Tim” Walker was born in Britain in 1970. He was self-taught had the desire to use his talents for full-time work. He specialised in painting local scenes, landscape and people of Warrnambool and district after he moved there in 1990. As he worked at the location of his subjects, people often told him interesting and amusing stories. He soon became involved in the Warrnambool and District Artists’ Society, where he has served for a period as President. In 2010 Warrnambool Art Gallery hosted an exhibition “Nine Lives” with works from nine local artists including Tim Walker. The ‘LOCH ARD’ 1873-1878 - brief history The clipper ship ‘Loch Ard’ was a built in Scotland in 1873. In 1978 the ship was sailing to Melbourne with 54 people on board as well as a mixed cargo of items, some of which were bound for the 1880 International Exhibition in Melbourne. On June 1st 1878 it was very close to its destination when it crashed into Mutton Bird Island, east of Port Campbell. Only two people survived. The wreck was re-discovered in 1967, almost a century later, and the site continues to provide evidence of the range of goods imported into the Colony of Victoria in the post-Gold Rush era. Flagstaff Hill divers in the 1970s reported finds of “Bottles of champagne, window panes, rolls of zinc, barrels of cement, iron rails, clocks, lead shot, corrugated iron, lead, marble, salad oil bottles, ink bottles, copper wire, gin bottles, rolls of carpet, floor tiles, copper rivets, gas light fittings, pocket knives, toys, crystal chandeliers, beer mugs, cutlery, candles sticks, wick scissors, cow bells, and sauce bottles.” The famous Loch Ard Peacock was also on board. The ‘FIJI’ 1875-1891 – brief history The barque ‘Fiji’ was built in Ireland in 1875. The sailing ship left Hamburg in May 1891, bound for Melbourne with a crew of twenty-five plus the captain. The ‘Fiji’ had almost reached her destination after a trip of 100 days at sea when, on September 5th 1891, she struck rock 300 metres from the shore at Moonlight Head, near Cape Otway. Eleven men lost their lives but with the help of locals including members of the Rocket Rescue Crew, the rest of the men were saved. In anticipation of Christmas, the cargo had included a wide variety of children’s toys, amongst which were dolls with china limbs, wooden rocking horses, miniature ships, and red and white rubber balls. There were also cases of dynamite, pig iron, steel goods, spirits, sailcloth, tobacco, fencing wire, concrete, 400 German pianos, concertinas and other musical instruments, artists’ supplies, porcelain, furniture, china and candles. This artwork has historical significance as it shows a small sample of the variety of items on board the late 19th century ships bound for Australia in the Colonial and late God Rush period. The cargo contained personal luggage, items intended as gifts, and goods ordered for domestic, commercial or industrial use. The wreck sites of both vessels, ‘Loch Ard’ and ‘Fiji’ are classified on the Victorian Heritage Register as significant and are now protected by government law. The sites are popular with divers and provide interpretive material regarding social and maritime history. Framed poster of a watercolour painting by Tim Walker, gilt frame, behind glass. Subject is a group of objects, most of which are connected with the 1878 shipwreck Loch Ard, such as items recovered from the shipwreck and the famous ‘Loch Ard Peacock’. Two items are from the wreck of the ‘Fiji’. Inscriptions on ingot, a handwritten letter, bell, clear bottle, and small plaque.On ingot: “PONTIFEX & WOOD. LONDON”. On letter: “Presented to Mr. Thomas Pearce”. On small ingot: “TIM WALKER”. On bell: “LOCH ARD”. On clear bottle “THE SINGER MANUFACTURING COMPANY“. On plaque: TIM WALKER”.warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, flagstaff hill, loch ard, fiji, watercolour, timothy walker, tim walker, warrnambool & district artists’ society, warrnambool art gallery, poster, henna street picture framers, cargo, print