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

The (logging) truck carries a representation of John Glover’s painted landscapes, which Cox has painted on a solid block of wood. John Glover is one of Australia’s most celebrated colonial landscape painters. Born in England, he was a highly successful water-colourist and painter of landscapes in the tradition of French artist Claude Lorrain. Arriving in Australia in 1831, Glover adapted his picturesque style and luminous technique to his new surrounds, creating naturalistic and atmospheric paintings of Australian nature, settler life, and Aboriginal culture. Working out of doors, Glover developed an understanding of the unfamiliar Australian landscape, especially the twisting forms of native eucalyptus trees. His direct experience of nature, as both pioneer settler and painter, resulted in a new approach using a subtle palette of olive greens, ochres, misty greys and intense blues, and layered glazes of mauve, grey and gold, to portray Australian light and atmosphere. Dale Cox continues the ongoing preoccupation and tradition of landscape painting in the Nillumbik area and our impact on the environment in a contemporary way. The truck creates a playful nexus between painting (representational landscape) and sculpture, purposely bluring boundaries across these traditionally distinct disciplines. ‘Ghost’ seeks to convey the idea that when we remove something significant from a location, like the landscape itself, the remaining ‘place’ changes to become a new ‘place’. This may seem self-evident until we think more deeply about location and landscape. The white truck is a ghost, an ethereal, transient being that spirits away an entire place, forever removed from itself, and forever changed. Logging wild trees can never be like harvesting a ‘crop’. Logging removes a landscape, and changes a place forever. The ‘packaging’ of this painted landscape highlights the anomaly between commodity and our environment. Dale Cox was a local artist and this work was highly commended at the 2012 Nillumbik Prize. White plastic toy (logging) truck with a landscape painting on a wooden block. The landscape painting is reminiscent of paintings by colonial artist John Glover. N/Alandscape, truck, sculpture, environment, john glover, colonial, painting, ghost, nillumbik prize

The P.S. Comet was launched in 1812. Working originally on the River Clyde in Scotland, it was widely recognised as Europe's first commercially successful steamboat service.In 1972 the National Bank used this illustration of Sandridge from Railway Pier, Williamstown, as the illustration for their November 1972 Calendar. It was taken from a work by the colonial artist S.T. GILL and shows the many sailing ships moored of Sandridge Beach as well as the steam vessel 'Comet'. In ink below print -Famous for gold rush sketches. Appeared in Gill's "Victoria Illustrated 1857. Comet was half hourly service to W'Town from 1854 for 8 years owned by Capt GW COLE.(Annotated by Pat GRAINGER) sandridge, williamstown, railway pier, s.t. gill, capt g w cole, p.s. comet, built environment, natural environment - beaches and foreshore

A short history of the Liardet family & the Pier Hotel is part of this document.In 1972 the National Bank used this print of Liardet's Beach and Hotel in their heyday as the illustration for part of their 1978 Calendar. It was taken from a work by the colonial artist W.F.E Liardet and shows his Pier Hotel and the activity at Sandridge Beach when he was a resident of the area in the 1840's. liardet family, natural environment - beaches and foreshore, built environment

Contents: • Next meeting, guest speaker; Peter Williams: The romance of S.T. Gill, colonial artist • July Meeting • President’s Special Report • Eltham Local History Centre – Official Opening • From Eltham to Eltham with Margaret by Clifford Crate (The Eltham Society) • Subscriptions • Various Matters of Interest The Shire of Eltham Historical Society was formed in October 1967. The first newsletter of the Society was issued May 1978 and has been published continuously ever since on a bi-monthly basis. With the cessation of the Shire of Eltham in late 1994, the Society's name was revised to Eltham District Historical Society and this name first appeared with issue No. 103, July 1995. The collection of the Society's newsletters provides a valuable resource on the history of the Society's activities, office bearers and committee members, guest speakers and subjects of historical interest pertinent to the former Shire of Eltham and the Eltham District.A4 photocopied newsletter distributed to membersnewsletter, eltham district historical society, shire of eltham historical society

This is a hard cover book of 224 pages. It contains sections on Acknowledgements, Prologue, five chapters, Epilogue, Abbreviations, Notes, Bibliography, Sources of Illustrations and Index. The cover is cream-coloured with gold lettering and the dust cover has a grey background with a colour image of an artist’s work on the front cover and a colour image of a woman on the back cover. The book has many black and white and colour illustrations. non-fictionThis book gives information on Australian colonial woman artists.women artists in australia, caroline jordan

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

From 'Australia' by Edwin Carton Booth. Thomas Baines joined Augustus Gregory as official artist and storekeeper, in the expedition across northern Australia between 1855-1857 sponsored by the Royal Geographical Society to evaluate the northern area of Australia for suitability as a colonial settlement. The Baines River was named after him.The item is socially and artistically significant as it is a very early image of Northern Australia.Framed black and white etching depicting a cap site located near the ocean.Artist T. Baines - J.J. Crew. From 'Australia' by Edwin Carton Booth. Thomas Baines joined Augustus Gregory as official artist and storekeeper, in the expedition across northern Australia between 1855-1857 sponsored by the Royal Geographical Society to evaluate the northern area of Australia for suitability as a colonial settlement. The Baines River was named after him.print, baines

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

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

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

BHS CollectionA series of 75 black ink pen drawings on white paper of various sizes showing dance positions for a variety of bush dances. The drawings are detailed, some showing hand positions. There are no artist signature or dates.emu creek bush band, australian colonial dance, bush dance steps, bush dance sequences

James Bryance CONDER (aka James Brycanne CONDER) Artist, poet and four-navy veteran, 1872 - 1954. In 1889 he served in the Merchant Marine Service sailing on the ships ‘Ellora’ and ‘Avenger’. in 1891, aged 19, he joined the Royal Navy in Australia serving on the flagship of the Australian Station, ‘HMS Orlando’, when it escorted ships of the new Australasian Auxiliary Squadron in coastal voyages. After serving 6 months he returned to family in Melbourne rather than sign on for 12 years. Instead he joined the Victorian Colonial Navy and was posted, in succession, to the ‘HMVS Cerberus’, ‘HMVS Nelson’ and the gunboat ‘HMVS Albert’. In 1896 he left the navy, married Victoria Agnes NIHILL and joined the Victorian Police Force. In 1904 CONDOR returned to the sea as part of the Commonwealth Naval Forces, an amalgamation of the colonial navies formed after federation and later becoming the Royal Australian Navy. On his first ship, ‘HMS Katoomba’, as bosun yeoman, he helped train new recruits. He later served on ‘HMS Challenger’ and ‘HMS Psyche’ which included voyages to Fiji, the New Hebrides, Singapore and New Zealand as well as regular cruises to Australian ports. In 1909, CONDER left the Navy and undertook shored-based civilian work until 1913 when he joined the Royal Australian Naval College at Osborne House in Geelong. He remained with the Naval College until 1937 through its moves to Jervis Bay, NSW and then to Crib Point, Victoria training midshipmen according to the practices of the Royal Navy. In later life, CONDER produced two handwritten journals for his family illustrated with his own paintings and drawings. Two original sets were made. One remains in the family while the other is held by the Australian National Maritime Museum in Sydney. PMHPS hold several items relating to James CONDER including photocopies of his journals ‘Notes from a Sailors Log - Under Canvas - Part I The Merchant Service’ (Cat No 2700.01) and ‘Notes from a Sailors Log - Under Steam - Part II The Navy’ (Cat No 2700.02), a photocopy of his Certificate of Service (Cat No 2700.03), a booklet of his life story (Cat No 2700.04) and several digital items (Cat No 2476.01 - 2476.09). Digital copy of b&w photograph of the crew of the 'Katoomba'armed services - navy, hms katoomba, james bryance conder, ran - royal australian navy

James Bryance CONDER (aka James Brycanne CONDER) Artist, poet and four-navy veteran, 1872 - 1954. In 1889 he served in the Merchant Marine Service sailing on the ships ‘Ellora’ and ‘Avenger’. in 1891, aged 19, he joined the Royal Navy in Australia serving on the flagship of the Australian Station, ‘HMS Orlando’, when it escorted ships of the new Australasian Auxiliary Squadron in coastal voyages. After serving 6 months he returned to family in Melbourne rather than sign on for 12 years. Instead he joined the Victorian Colonial Navy and was posted, in succession, to the ‘HMVS Cerberus’, ‘HMVS Nelson’ and the gunboat ‘HMVS Albert’. In 1896 he left the navy, married Victoria Agnes NIHILL and joined the Victorian Police Force. In 1904 CONDOR returned to the sea as part of the Commonwealth Naval Forces, an amalgamation of the colonial navies formed after federation and later becoming the Royal Australian Navy. On his first ship, ‘HMS Katoomba’, as bosun yeoman, he helped train new recruits. He later served on ‘HMS Challenger’ and ‘HMS Psyche’ which included voyages to Fiji, the New Hebrides, Singapore and New Zealand as well as regular cruises to Australian ports. In 1909, CONDER left the Navy and undertook shored-based civilian work until 1913 when he joined the Royal Australian Naval College at Osborne House in Geelong. He remained with the Naval College until 1937 through its moves to Jervis Bay, NSW and then to Crib Point, Victoria training midshipmen according to the practices of the Royal Navy. In later life, CONDER produced two handwritten journals for his family illustrated with his own paintings and drawings. Two original sets were made. One remains in the family while the other is held by the Australian National Maritime Museum in Sydney. PMHPS hold several items relating to James CONDER including photocopies of his journals ‘Notes from a Sailors Log - Under Canvas - Part I The Merchant Service’ (Cat No 2700.01) and ‘Notes from a Sailors Log - Under Steam - Part II The Navy’ (Cat No 2700.02), a photocopy of his Certificate of Service (Cat No 2700.03), a booklet of his life story (Cat No 2700.04) and several digital items (Cat No 2476.01 - 2476.09).Colour digital photograph of of of the original two sets of James CONDER's handwritten and illustrated journals made for his family, '‘Notes from a Sailors Log - Under Canvas - Part I The Merchant Service’ (Cat No 2700.01) and ‘Notes from a Sailors Log - Under Steam - Part II The Navy’ (Cat No 2700.02). Displayed in 'Navy in Port' exhibition Aug/Sept 2008armed services - navy, transport - shipping, james bryance conder, merchant navy, royal naval squadron, victorian colonial navy, ran - royal australian navy

James Bryance CONDER (aka James Brycanne CONDER) Artist, poet and four-navy veteran, 1872 - 1954. In 1889 he served in the Merchant Marine Service sailing on the ships ‘Ellora’ and ‘Avenger’. in 1891, aged 19, he joined the Royal Navy in Australia serving on the flagship of the Australian Station, ‘HMS Orlando’, when it escorted ships of the new Australasian Auxiliary Squadron in coastal voyages. After serving 6 months he returned to family in Melbourne rather than sign on for 12 years. Instead he joined the Victorian Colonial Navy and was posted, in succession, to the ‘HMVS Cerberus’, ‘HMVS Nelson’ and the gunboat ‘HMVS Albert’. In 1896 he left the navy, married Victoria Agnes NIHILL and joined the Victorian Police Force. In 1904 CONDOR returned to the sea as part of the Commonwealth Naval Forces, an amalgamation of the colonial navies formed after federation and later becoming the Royal Australian Navy. On his first ship, ‘HMS Katoomba’, as bosun yeoman, he helped train new recruits. He later served on ‘HMS Challenger’ and ‘HMS Psyche’ which included voyages to Fiji, the New Hebrides, Singapore and New Zealand as well as regular cruises to Australian ports. In 1909, CONDER left the Navy and undertook shored-based civilian work until 1913 when he joined the Royal Australian Naval College at Osborne House in Geelong. He remained with the Naval College until 1937 through its moves to Jervis Bay, NSW and then to Crib Point, Victoria training midshipmen according to the practices of the Royal Navy. In later life, CONDER produced two handwritten journals for his family illustrated with his own paintings and drawings. Two original sets were made. One remains in the family while the other is held by the Australian National Maritime Museum in Sydney. PMHPS hold several items relating to James CONDER including photocopies of his journals ‘Notes from a Sailors Log - Under Canvas - Part I The Merchant Service’ (Cat No 2700.01) and ‘Notes from a Sailors Log - Under Steam - Part II The Navy’ (Cat No 2700.02), a photocopy of his Certificate of Service (Cat No 2700.03), a booklet of his life story (Cat No 2700.04) and several digital items (Cat No 2476.01 - 2476.09).Colour digital photograph of a drawing of HMVS Cerberus by James CONDER.armed services - navy, transport - shipping, james bryance conder, ran - royal australian navy, victorian colonial navy, royal australian naval college, merchant navy, hmvs cerberus, royal naval squadron

James Bryance CONDER (aka James Brycanne CONDER) Artist, poet and four-navy veteran, 1872 - 1954. In 1889 he served in the Merchant Marine Service sailing on the ships ‘Ellora’ and ‘Avenger’. in 1891, aged 19, he joined the Royal Navy in Australia serving on the flagship of the Australian Station, ‘HMS Orlando’, when it escorted ships of the new Australasian Auxiliary Squadron in coastal voyages. After serving 6 months he returned to family in Melbourne rather than sign on for 12 years. Instead he joined the Victorian Colonial Navy and was posted, in succession, to the ‘HMVS Cerberus’, ‘HMVS Nelson’ and the gunboat ‘HMVS Albert’. In 1896 he left the navy, married Victoria Agnes NIHILL and joined the Victorian Police Force. In 1904 CONDOR returned to the sea as part of the Commonwealth Naval Forces, an amalgamation of the colonial navies formed after federation and later becoming the Royal Australian Navy. On his first ship, ‘HMS Katoomba’, as bosun yeoman, he helped train new recruits. He later served on ‘HMS Challenger’ and ‘HMS Psyche’ which included voyages to Fiji, the New Hebrides, Singapore and New Zealand as well as regular cruises to Australian ports. In 1909, CONDER left the Navy and undertook shored-based civilian work until 1913 when he joined the Royal Australian Naval College at Osborne House in Geelong. He remained with the Naval College until 1937 through its moves to Jervis Bay, NSW and then to Crib Point, Victoria training midshipmen according to the practices of the Royal Navy. In later life, CONDER produced two handwritten journals for his family illustrated with his own paintings and drawings. Two original sets were made. One remains in the family while the other is held by the Australian National Maritime Museum in Sydney. PMHPS hold several items relating to James CONDER including photocopies of his journals ‘Notes from a Sailors Log - Under Canvas - Part I The Merchant Service’ (Cat No 2700.01) and ‘Notes from a Sailors Log - Under Steam - Part II The Navy’ (Cat No 2700.02), a photocopy of his Certificate of Service (Cat No 2700.03), a booklet of his life story (Cat No 2700.04) and several digital items (Cat No 2476.01 - 2476.09).A spiral bound photocopy of a sailor's log; dark red marbled covers; front cover has tan inset with title in and around a sketch of a lifebuoy. Under Canvas - Part I The Merchant Service. See Under Steam - Part II The Navy (Cat No 2700.02)transport - shipping, james bryance conder, merchant navy

James Bryance CONDER (aka James Brycanne CONDER) Artist, poet and four-navy veteran, 1872 - 1954. In 1889 he served in the Merchant Marine Service sailing on the ships ‘Ellora’ and ‘Avenger’. in 1891, aged 19, he joined the Royal Navy in Australia serving on the flagship of the Australian Station, ‘HMS Orlando’, when it escorted ships of the new Australasian Auxiliary Squadron in coastal voyages. After serving 6 months he returned to family in Melbourne rather than sign on for 12 years. Instead he joined the Victorian Colonial Navy and was posted, in succession, to the ‘HMVS Cerberus’, ‘HMVS Nelson’ and the gunboat ‘HMVS Albert’. In 1896 he left the navy, married Victoria Agnes NIHILL and joined the Victorian Police Force. In 1904 CONDOR returned to the sea as part of the Commonwealth Naval Forces, an amalgamation of the colonial navies formed after federation and later becoming the Royal Australian Navy. On his first ship, ‘HMS Katoomba’, as bosun yeoman, he helped train new recruits. He later served on ‘HMS Challenger’ and ‘HMS Psyche’ which included voyages to Fiji, the New Hebrides, Singapore and New Zealand as well as regular cruises to Australian ports. In 1909, CONDER left the Navy and undertook shored-based civilian work until 1913 when he joined the Royal Australian Naval College at Osborne House in Geelong. He remained with the Naval College until 1937 through its moves to Jervis Bay, NSW and then to Crib Point, Victoria training midshipmen according to the practices of the Royal Navy. In later life, CONDER produced two handwritten journals for his family illustrated with his own paintings and drawings. Two original sets were made. One remains in the family while the other is held by the Australian National Maritime Museum in Sydney. PMHPS hold several items relating to James CONDER including photocopies of his journals ‘Notes from a Sailors Log - Under Canvas - Part I The Merchant Service’ (Cat No 2700.01) and ‘Notes from a Sailors Log - Under Steam - Part II The Navy’ (Cat No 2700.02), a photocopy of his Certificate of Service (Cat No 2700.03), a booklet of his life story (Cat No 2700.04) and several digital items (Cat No 2476.01 - 2476.09).Sepia digital photograph of James CONDER in uniform, sent to family with greeting 'Yours Always, Jim'. This photo is included in the early pages of CONDER's journal ‘Notes from a Sailors Log - Under Steam - Part II The Navy’ (Cat No 2700.02)."Yours always / Jim"armed services - navy, transport - shipping, james bryance conder, ran - royal australian navy, victorian colonial navy

James Bryance CONDER (aka James Brycanne CONDER) Artist, poet and four-navy veteran, 1872 - 1954. In 1889 he served in the Merchant Marine Service sailing on the ships ‘Ellora’ and ‘Avenger’. in 1891, aged 19, he joined the Royal Navy in Australia serving on the flagship of the Australian Station, ‘HMS Orlando’, when it escorted ships of the new Australasian Auxiliary Squadron in coastal voyages. After serving 6 months he returned to family in Melbourne rather than sign on for 12 years. Instead he joined the Victorian Colonial Navy and was posted, in succession, to the ‘HMVS Cerberus’, ‘HMVS Nelson’ and the gunboat ‘HMVS Albert’. In 1896 he left the navy, married Victoria Agnes NIHILL and joined the Victorian Police Force. In 1904 CONDOR returned to the sea as part of the Commonwealth Naval Forces, an amalgamation of the colonial navies formed after federation and later becoming the Royal Australian Navy. On his first ship, ‘HMS Katoomba’, as bosun yeoman, he helped train new recruits. He later served on ‘HMS Challenger’ and ‘HMS Psyche’ which included voyages to Fiji, the New Hebrides, Singapore and New Zealand as well as regular cruises to Australian ports. In 1909, CONDER left the Navy and undertook shored-based civilian work until 1913 when he joined the Royal Australian Naval College at Osborne House in Geelong. He remained with the Naval College until 1937 through its moves to Jervis Bay, NSW and then to Crib Point, Victoria training midshipmen according to the practices of the Royal Navy. In later life, CONDER produced two handwritten journals for his family illustrated with his own paintings and drawings. Two original sets were made. One remains in the family while the other is held by the Australian National Maritime Museum in Sydney. PMHPS hold several items relating to James CONDER including photocopies of his journals ‘Notes from a Sailors Log - Under Canvas - Part I The Merchant Service’ (Cat No 2700.01) and ‘Notes from a Sailors Log - Under Steam - Part II The Navy’ (Cat No 2700.02), a photocopy of his Certificate of Service (Cat No 2700.03), a booklet of his life story (Cat No 2700.04) and several digital items (Cat No 2476.01 - 2476.09).Article, 'One Man's Four Navies', about James CONDER from National Maritime Museum's 'Signals' magazine, Issue 12, 1 June 1990. armed services - navy, transport - shipping, james bryance conder, ran - royal australian navy, royal naval squadron, victorian colonial navy

James Bryance CONDER (aka James Brycanne CONDER) Artist, poet and four-navy veteran, 1872 - 1954. In 1889 he served in the Merchant Marine Service sailing on the ships ‘Ellora’ and ‘Avenger’. in 1891, aged 19, he joined the Royal Navy in Australia serving on the flagship of the Australian Station, ‘HMS Orlando’, when it escorted ships of the new Australasian Auxiliary Squadron in coastal voyages. After serving 6 months he returned to family in Melbourne rather than sign on for 12 years. Instead he joined the Victorian Colonial Navy and was posted, in succession, to the ‘HMVS Cerberus’, ‘HMVS Nelson’ and the gunboat ‘HMVS Albert’. In 1896 he left the navy, married Victoria Agnes NIHILL and joined the Victorian Police Force. In 1904 CONDOR returned to the sea as part of the Commonwealth Naval Forces, an amalgamation of the colonial navies formed after federation and later becoming the Royal Australian Navy. On his first ship, ‘HMS Katoomba’, as bosun yeoman, he helped train new recruits. He later served on ‘HMS Challenger’ and ‘HMS Psyche’ which included voyages to Fiji, the New Hebrides, Singapore and New Zealand as well as regular cruises to Australian ports. In 1909, CONDER left the Navy and undertook shored-based civilian work until 1913 when he joined the Royal Australian Naval College at Osborne House in Geelong. He remained with the Naval College until 1937 through its moves to Jervis Bay, NSW and then to Crib Point, Victoria training midshipmen according to the practices of the Royal Navy. In later life, CONDER produced two handwritten journals for his family illustrated with his own paintings and drawings. Two original sets were made. One remains in the family while the other is held by the Australian National Maritime Museum in Sydney. PMHPS hold several items relating to James CONDER including photocopies of his journals ‘Notes from a Sailors Log - Under Canvas - Part I The Merchant Service’ (Cat No 2700.01) and ‘Notes from a Sailors Log - Under Steam - Part II The Navy’ (Cat No 2700.02), a photocopy of his Certificate of Service (Cat No 2700.03), a booklet of his life story (Cat No 2700.04) and several digital items (Cat No 2476.01 - 2476.09).A spiral bound photocopy of a sailor's log; dark red marbled covers; front cover has tan inset with title in and around a sketch of a lifebuoy. Under Steam - Part II The Navy. See Under Canvas - Part I The Merchant Service (Cat No 2700.01)transport - shipping, hmvs cerberus, james bryance conder, armed services - navy, ran - royal australian navy

James Bryance CONDER (aka James Brycanne CONDER) Artist, poet and four-navy veteran, 1872 - 1954. In 1889 he served in the Merchant Marine Service sailing on the ships ‘Ellora’ and ‘Avenger’. in 1891, aged 19, he joined the Royal Navy in Australia serving on the flagship of the Australian Station, ‘HMS Orlando’, when it escorted ships of the new Australasian Auxiliary Squadron in coastal voyages. After serving 6 months he returned to family in Melbourne rather than sign on for 12 years. Instead he joined the Victorian Colonial Navy and was posted, in succession, to the ‘HMVS Cerberus’, ‘HMVS Nelson’ and the gunboat ‘HMVS Albert’. In 1896 he left the navy, married Victoria Agnes NIHILL and joined the Victorian Police Force. In 1904 CONDOR returned to the sea as part of the Commonwealth Naval Forces, an amalgamation of the colonial navies formed after federation and later becoming the Royal Australian Navy. On his first ship, ‘HMS Katoomba’, as bosun yeoman, he helped train new recruits. He later served on ‘HMS Challenger’ and ‘HMS Psyche’ which included voyages to Fiji, the New Hebrides, Singapore and New Zealand as well as regular cruises to Australian ports. In 1909, CONDER left the Navy and undertook shored-based civilian work until 1913 when he joined the Royal Australian Naval College at Osborne House in Geelong. He remained with the Naval College until 1937 through its moves to Jervis Bay, NSW and then to Crib Point, Victoria training midshipmen according to the practices of the Royal Navy. In later life, CONDER produced two handwritten journals for his family illustrated with his own paintings and drawings. Two original sets were made. One remains in the family while the other is held by the Australian National Maritime Museum in Sydney. PMHPS hold several items relating to James CONDER including photocopies of his journals ‘Notes from a Sailors Log - Under Canvas - Part I The Merchant Service’ (Cat No 2700.01) and ‘Notes from a Sailors Log - Under Steam - Part II The Navy’ (Cat No 2700.02), a photocopy of his Certificate of Service (Cat No 2700.03), a booklet of his life story (Cat No 2700.04) and several digital items (Cat No 2476.01 - 2476.09). 'James Conder - A Maritime Life - 1872-1954', A5 booklet 20 pp incl cover, 'developed by Robert Murphy for the many family members descended from James Conder'.armed services - navy, transport - shipping, police, arts and entertainment - visual arts, hmvs cerberus, james bryance conder, ran - royal australian navy, victorian colonial navy, victoria police, royal australian naval college, robert murphy, painting, royal naval squadron

James Bryance CONDER (aka James Brycanne CONDER) Artist, poet and four-navy veteran, 1872 - 1954. In 1889 he served in the Merchant Marine Service sailing on the ships ‘Ellora’ and ‘Avenger’. in 1891, aged 19, he joined the Royal Navy in Australia serving on the flagship of the Australian Station, ‘HMS Orlando’, when it escorted ships of the new Australasian Auxiliary Squadron in coastal voyages. After serving 6 months he returned to family in Melbourne rather than sign on for 12 years. Instead he joined the Victorian Colonial Navy and was posted, in succession, to the ‘HMVS Cerberus’, ‘HMVS Nelson’ and the gunboat ‘HMVS Albert’. In 1896 he left the navy, married Victoria Agnes NIHILL and joined the Victorian Police Force. In 1904 CONDOR returned to the sea as part of the Commonwealth Naval Forces, an amalgamation of the colonial navies formed after federation and later becoming the Royal Australian Navy. On his first ship, ‘HMS Katoomba’, as bosun yeoman, he helped train new recruits. He later served on ‘HMS Challenger’ and ‘HMS Psyche’ which included voyages to Fiji, the New Hebrides, Singapore and New Zealand as well as regular cruises to Australian ports. In 1909, CONDER left the Navy and undertook shored-based civilian work until 1913 when he joined the Royal Australian Naval College at Osborne House in Geelong. He remained with the Naval College until 1937 through its moves to Jervis Bay, NSW and then to Crib Point, Victoria training midshipmen according to the practices of the Royal Navy. In later life, CONDER produced two handwritten journals for his family illustrated with his own paintings and drawings. Two original sets were made. One remains in the family while the other is held by the Australian National Maritime Museum in Sydney. PMHPS hold several items relating to James CONDER including photocopies of his journals ‘Notes from a Sailors Log - Under Canvas - Part I The Merchant Service’ (Cat No 2700.01) and ‘Notes from a Sailors Log - Under Steam - Part II The Navy’ (Cat No 2700.02), a photocopy of his Certificate of Service (Cat No 2700.03), a booklet of his life story (Cat No 2700.04) and several digital items (Cat No 2476.01 - 2476.09). Photocopy of James CONDER's Certificate of Servicearmed services - navy, transport - shipping, james bryance conder, ran - royal australian navy, royal naval squadron, victorian colonial navy, merchant navy, victoria police, police

James Bryance CONDER (aka James Brycanne CONDER) Artist, poet and four-navy veteran, 1872 - 1954. In 1889 he served in the Merchant Marine Service sailing on the ships ‘Ellora’ and ‘Avenger’. in 1891, aged 19, he joined the Royal Navy in Australia serving on the flagship of the Australian Station, ‘HMS Orlando’, when it escorted ships of the new Australasian Auxiliary Squadron in coastal voyages. After serving 6 months he returned to family in Melbourne rather than sign on for 12 years. Instead he joined the Victorian Colonial Navy and was posted, in succession, to the ‘HMVS Cerberus’, ‘HMVS Nelson’ and the gunboat ‘HMVS Albert’. In 1896 he left the navy, married Victoria Agnes NIHILL and joined the Victorian Police Force. In 1904 CONDOR returned to the sea as part of the Commonwealth Naval Forces, an amalgamation of the colonial navies formed after federation and later becoming the Royal Australian Navy. On his first ship, ‘HMS Katoomba’, as bosun yeoman, he helped train new recruits. He later served on ‘HMS Challenger’ and ‘HMS Psyche’ which included voyages to Fiji, the New Hebrides, Singapore and New Zealand as well as regular cruises to Australian ports. In 1909, CONDER left the Navy and undertook shored-based civilian work until 1913 when he joined the Royal Australian Naval College at Osborne House in Geelong. He remained with the Naval College until 1937 through its moves to Jervis Bay, NSW and then to Crib Point, Victoria training midshipmen according to the practices of the Royal Navy. In later life, CONDER produced two handwritten journals for his family illustrated with his own paintings and drawings. Two original sets were made. One remains in the family while the other is held by the Australian National Maritime Museum in Sydney. PMHPS hold several items relating to James CONDER including photocopies of his journals ‘Notes from a Sailors Log - Under Canvas - Part I The Merchant Service’ (Cat No 2700.01) and ‘Notes from a Sailors Log - Under Steam - Part II The Navy’ (Cat No 2700.02), a photocopy of his Certificate of Service (Cat No 2700.03), a booklet of his life story (Cat No 2700.04) and several digital items (Cat No 2476.01 - 2476.09).Colour digital photograph of the title page handdrawn by James GONDER from ‘Notes from a Sailors Log - Under Canvas - Part I The Merchant Service’ (Cat No 2700.01).armed services - navy, transport - shipping, james bryance conder, ran - royal australian navy, victorian colonial navy, royal australian naval college, merchant navy, royal naval squadron

James Bryance CONDER (aka James Brycanne CONDER) Artist, poet and four-navy veteran, 1872 - 1954. In 1889 he served in the Merchant Marine Service sailing on the ships ‘Ellora’ and ‘Avenger’. in 1891, aged 19, he joined the Royal Navy in Australia serving on the flagship of the Australian Station, ‘HMS Orlando’, when it escorted ships of the new Australasian Auxiliary Squadron in coastal voyages. After serving 6 months he returned to family in Melbourne rather than sign on for 12 years. Instead he joined the Victorian Colonial Navy and was posted, in succession, to the ‘HMVS Cerberus’, ‘HMVS Nelson’ and the gunboat ‘HMVS Albert’. In 1896 he left the navy, married Victoria Agnes NIHILL and joined the Victorian Police Force. In 1904 CONDOR returned to the sea as part of the Commonwealth Naval Forces, an amalgamation of the colonial navies formed after federation and later becoming the Royal Australian Navy. On his first ship, ‘HMS Katoomba’, as bosun yeoman, he helped train new recruits. He later served on ‘HMS Challenger’ and ‘HMS Psyche’ which included voyages to Fiji, the New Hebrides, Singapore and New Zealand as well as regular cruises to Australian ports. In 1909, CONDER left the Navy and undertook shored-based civilian work until 1913 when he joined the Royal Australian Naval College at Osborne House in Geelong. He remained with the Naval College until 1937 through its moves to Jervis Bay, NSW and then to Crib Point, Victoria training midshipmen according to the practices of the Royal Navy. In later life, CONDER produced two handwritten journals for his family illustrated with his own paintings and drawings. Two original sets were made. One remains in the family while the other is held by the Australian National Maritime Museum in Sydney. PMHPS hold several items relating to James CONDER including photocopies of his journals ‘Notes from a Sailors Log - Under Canvas - Part I The Merchant Service’ (Cat No 2700.01) and ‘Notes from a Sailors Log - Under Steam - Part II The Navy’ (Cat No 2700.02), a photocopy of his Certificate of Service (Cat No 2700.03), a booklet of his life story (Cat No 2700.04) and several digital items (Cat No 2476.01 - 2476.09).Colour digital photograph of a drawing by James CONDER showing the sail configuration for a sailing ship.armed services - navy, transport - shipping, james bryance conder, ran - royal australian navy, victorian colonial navy, royal australian naval college, merchant navy, royal naval squadron

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.

Press Cuttings. Three manila folders containing articles of historical interest: A. Life in Australia's capital cities in colonial days. Six 'Dear Diary' articles by Margaret Carlyon in 'New Idea' from Oct 1967 to Aug 1968. B. The Artie Fadden Story. A series of 12 newspaper articles told by Sir Arthur Fadden to Elgin Reid of the Melbourne Herald. July 1968. C. 'Men at Work' stories by Anthony Hill, artist Gerry Lants of the Melbourne Herald, Aug to Nov 1968. Fourteen articles on various occupations. The compiler of these 3 folders is not identified.Details of articles handwritten in ink on the cover of each foldernewspaper, margaret carlyon, elgin reid, anthony hill, colonial life, arthur fadden, occupations

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

This framed print of the famous clipper ship “Schomberg” is associated with Flagstaff Hill’s collection of artefacts from the wreck of the “Schomberg”. The original was painted in 1992 by maritime artist Philip J. Gray. This limited edition print is number 9/1000. ABOUTH THE SUBJECT – “Schomberg” The Schomberg was a luxury ship built in 1855 to bring immigrants from the UK to Australia in superior comfort. The voyage could take three months or longer but Captain ‘Bully’ Forbes thought that he could sail the Schomberg from Liverpool to Melbourne in a record time of 60 days. On October 6th 1855 the Schomberg left Liverpool on its maiden voyage. She carried 430 passengers plus 3000 tons cargo including rail lines for Geelong and iron for a bridge in Melbourne. After 78 days at sea, on December 27th, Schomberg ran aground near Peterborough, Victoria. All on board were rescued the next day by the passing steamer SS Queen. Gray is well known for his depiction of maritime history. His meticulous attention to detail shows the enormity of the immigrant clipper with its huge billowing sails compared to the tiny figures at work on the deck. The busy crew can be seen attending to the rigging, as can a group of sailors working on the bow under supervision. He identifies the company logo of the Black Ball Ship Line by the flapping white flag with its black circle. Divers from Flagstaff Hill including Peter Ronald (former director) salvaged artefacts and personal effects from the wreck, to be preserved and displayed. Amongst these is the famous Schomberg Diamond ring. ABOUT THE ARTIST – Philip James Gray “Philip is one of Australia’s leading maritime artists and his meticulous research and social commentary paintings of ships, such as, the Loch Ard and Schomberg form an important part of Warrnambool’s Flagstaff Hill Maritime Museum.” [ref. Dr Marion Manifold, Artist and Art Historian, 2014] Philip James Gray was born in London but has lived most of his life in Australia. He graduated from a London school of art as an illustrator, specialising in technical and scientific illustration as well as other commercial and applied art. He was also a student for a time of Fyffe Christie - British figurative artist, mural painter and humanitarian – who had a great influence on his career. Philip has always worked as a professional artist and illustrator. Many publications on maritime history have featured his work. His paintings have been released and sold all over the world as limited edition prints. The State Library of Victoria’s ‘Latrobe Collection’ holds two of his paintings. His street painting of ‘The Ashes Contest’ decorates the brick wall of Old Bakery Laneway in Sunbury and a Sunbury café owner commissioned him to paint the ‘Sunbury Pop Festival’ as a remembrance of local history. [ref. Sunbury Leader, Nov 15 2013] Philip has been an active member of the Sunbury Art Society in Victoria for several years, serving on the committee for some of that time and being involved in exhibitions. He enjoys helping new artists and sharing his skills and experience. The subject of the sailing ship “Schomberg” is significant for is connection with the 1800s vessel “Schomberg” and the historic role the ship, and other similar ships, played to transport migrants and goods into Australia. The print is significant as it is a limited edition of an Australian maritime artist. Print in gilt timber frame. "The Colonial Clipper Schomberg" by Australian maritime artist Philip J Gray, 1992. Signed and numbered, Limited Edition print 9/1000. Depicts clipper ship “Schomberg”, in full sail at sea with land in background. Backing of frame has illegible adhesive label and pencilled text. Stamp In pencil “FLAGSTAFF HILL” and “FLAGSTAFF C”. Illegible text on adhesive label. Signature [Philip J Gray] Stamped as a limited edition of SCHOMBERG Handwritten edition "9/1000"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, sailing ships, schomberg, clipper ship, colonial clipper, limited edition print, 9/1000, philip j gray, marine artist

The Queen: The Ladies Newspaper and Court Chronicle or simply The Queen was a magazine created in 1864 in London. The title became "Queen in the 1950s, then "Harpers and Queen" in the UK and then part of the British Harper's Bazaar. In 1861 Samuel Orchart Beeton ("Mrs Beeton"'s husband) had founded a paper named "The Queen" about fashion and culture for upper class women of society. Edward William Cox bought the title the following year and at the same time he bought the Queen's rival that was named "The Ladies' Paper". He merged the two publications into "The Queen: The Ladies Newspaper and Court Chronicle" in 1864. The Queen, The Lady's newspaper was delivered to Australia from UK during colonial times. The fashion page shows designs of dresses that were worn in late 19th century.A rectangular hardboard with a page from a newspaper atatched to one side of it, and a very small one line cut out from a newspaper glued to the other side. There are marks from sticky tape and old paper around the page. The page is of 3 fashion design drawings, titled Smart Autumn Gowns, sketched by our artist at Messrs Redmayne's, 19 , new bond street, w. flagstaff hill maritime museum and village, great ocean road, shipwreck coast, the queen, the lady's newspaper, fashion drawing, messrs redmayne, 1891

Image of a Charles Conder painting on front of soft covered book titled The Artists' Camps: Plein Air Painting In Melbourne 1885-1898. FOREWORD by Margaret Plant - Department of Visual Arts, Monash University. The paintings of the 'Heidelberg school" are the best loved group of works in Australian art. The affection is linked in the national mind with a recognition that the authentic Australian landscape had been discovered and colonial bonds broken. The painting activity of the 1880s and 1890s was by no means confined to Heidelberg. Helen Topliss painstakingly presents the variety of sites around Melbourne, in the bush and on the coast, reconstructing their original character and the history of their accessibility. The major figures are well known — Roberts, McCubbin, Streeton and Conder — but there were a number of 'minor' artists associated with the various painting spots that have been too long neglected. A research programme is here initiated in the hope that some of these figures might be more fully returned to us. The restoration of the sites provokes a more extensive roll-call of artists involved in the plein air phenomenon. Various expressions of nationalism in the late nineteenth century have been accorded attention: the painters contributed in varying degrees. But it is, finally, the quality of the painting, the freshness, the particularity of nuance, the calculated aesthetic angles that have governed response and inspired affection. The elegant relaxation themes of many of the paintings have in fact been overlooked in the intellectualization of the quest for 'national identity'. The orchards and the beaches, the ladies promenading a la mode on the beach at Mentone or in the grasses of Box Hill are as important to our artistic tradition and social history as the shearers of rams.

From Victorian Heritage: The single storey mansion house with enclosed glass verandah, Burswood was built in 1853 on a site overlooking the Portland Bay for English born pioneer colonist Edward Henty. John Barrow of Adelaide was the architect for this exceptional Australian regency style residence which he designed as a central block of fine axed basalt ashlar and slate roof (now replaced) with flanking brick wings forming an enclosed rear courtyard. Burswood is the most important early mansion house in western Victoria, being an exceptional Australian regency design by distinguished colonial architect James Barrow. Edward Henty, a member of one of Australia's most remarkable colonial families and the founder of Portland, established the first permanent settlement in Victoria on 19th November 1834, and Burswood is testimony to his success as an early colonist. Henty lived in his mansion for 17 years in a semi-regal state. Burswood has been little altered since completion in 1853. A glasshouse conservatory to the side of the present enclosed verandah was demolished prior to 1895 and the slate roof replaced with iron. Johnstone, O’Shannessy & Co was a leading photographic studio located in Melbourne, Victoria, Australia. It was active from 1865 to 1905. Henry James Johnstone was also an artist and studied at Louis Buvelot's school and with Thomas Clark.Painting of a sandstone coloured building. A grand house with a driveway and well-kept gardens to the front. There is a horse and cart with a man standing to the side of it. There is a female figure exiting the building and another female and a man further along the driveway with a dog. The building has a glass conservatory attached to the side. The sky is blue with several fluffy clouds.Bottom right: Johnstone O'Shannessy & Co Melbourne (in white paint)homestead, henty, historic buildings, colonial, burswood house