This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed coloured print showing the upper torso of a gowned and masked figure with hypodermic neefle behind a wire fence. art, artwork, reiner schwartz, ballarat teachers' college collection, etching, coloured etching, colored etching, printmaking, edition

framed coloured etching on paper above image 'London, Pub May 1 1812, at R.Ackermann's repository of Art, 101, Strand Plate 17' under image 'design'd & etch'd by Rowlandson Doctor Syntax drawing after nature,rowlandson, r. ackermann, coloured etching, medical theme, available

Mohammed and the Origami Lightning" was a print I made in 1980, soon after my return from Mossman, north Queensland and a six month stint of studying the metaphysics of Shaik Ibn Arabi with Diane Cilento. The unspeakable omniscience of the prophet is conjured up in the left hand part of the image, and the playfull fantasy of a make believe world in the right hand part. These two realities spliced into the one printed image was what I found very attractive at the time. (March 2021)Jock CLUTTERBUCK (1945- ) Born Edenhope, Victoria Jock Clutterbuck is a sculptor and printmaker of national significance, his prints in colour etchings and aquatints are often from shaped plates and reflect themes found in his sculpture. Known for sophisticated and detailed abstract form, Clutterbuck studied sculpture and drawing at the Royal Melbourne Institute of Technology from 1965 – 1966, where he subsequently taught from 1969 – 1973 before taking up a role as the lecturer in Sculpture at the Victorian College of the Arts from 1974 – 2000. This work is an etching with aquatint and colour stencil on Torinoko An early supporter was Tate Adams, who established the Crossley Gallery to exhibit prints. He urged Jock Clutterbuck to create a series of etchings for Crossley Gallery, a gallery estabished by Tate to exhibit prints. Clutterbuck was awarded the National Gallery of Victoria Society Drawing Prize in 1966, the Australian Print Council Prize in 1969 and 1973, the Geelong Print Prize in 1972, the State Government Bicentenary award for sculpture in 1970, the PCA print prize in 1973, the Fremantle Arts Centre Print Prize in 1976 and the Caulfield Arts Centre Sculpture Award in 1979. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.art, artwork, jock clutterbuck, printmaking, etching, printmaking etching, available

Hand coloured etching Edition 26/50 in lower left corner. Titled 'Paradise Overkill' on bottom centre. Signed and dated 'Treahna Hamm '95' lower right corner.etching, land, spiritual, environment, connection to land, disruption

Hand coloured etchingSigned and dated 'Treahna Hamm '96' lower right corner under printed image. Titled "Soul Freak" centred below bottom of printed image. Edition 28/50, numbered lower left corner under printed image.

GEOFFREY RICARDO (1964- ) Born Melbourne, Australia 1984-86 Bachelor of Arts (Fine Art), Printmaking, Chisholm Institute of Technology, Melbourne 1987-89 Printing Assistant at Bill Young Studios, Editioning intaglio prints, King Valley, VIC 1988 Full-time Studio Technician at Printmaking Department, Chisholm Institute of Technology, Melbourne 1989-90 Graduate Diploma (Fine Art), Printmaking, Monash University, Melbourne 1991 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed coloured etching.geoffrey ricardo, printmaking, available, lobster

English 1792 - 1878Reprint of Coloured EtchingNo plate mark

Hand coloured etchingTitle in margins

Hand coloured etching on paperEdition 39/50 - bottom left corner Titled 'Drought Spirit' on centre bottom of print Signed and dated 'Treahna Hamm '95' - bottom right corner.linework, drought, etching, spiritual, land

Purchased with the assistance of Arts Victoria, 2006Hand-coloured etching on papergippsland, artwork, permanent collection

British 1757 - 1815Hand coloured etching [for the Shakespeare Gallery]Titled and inscribed

From - theladynelson.org.au T The original Lady Nelson was built at Deptford, in England, in 1799, for service to the Transport Office on the River Thames. She was designed with sliding keels (centre boards), a device invented by Captain John Schank of the Royal Navy to allow surveying in rivers and shallow water ways. On completion she was selected for exploration services in the Colony of New South Wales and sailed for Port Jackson on 18 March 1800 under the command of Lieutenant James Grant. A brig of 60 tons, she carried a crew comprising the commander, two mates and twelve seaman. As she left the River Thames sailors on nearby ships ridiculed her because of her size and shape, calling her, as she sailed past, 'His Majesty's Tinderbox'. At Portsmouth on the 9th February 1800 she was fitted with four brass carriage guns, three to four pounders, in addition to the two guns already on board. Because of the heavy load she was carrying she was very low in the water, having only two feet nine inches freeboard amidships. The ship finally left Portsmouth on 17th March 1800 as part of an East Indian Convoy. From 1800 to 1825 the Lady Nelson operated around the Australian Coast and fulfilled a variety of roles including exploration, surveying, forming settlements, shifting goods and people around the colonies and capturing pirates. She played pivotal roles in the European settlement of Hobart, Northern Tasmania, Melbourne, Newcastle, Port Macquarie and Northern Territory. Those onboard charted much of Bass Strait, Port Philip, Newcastle, Port Macquarie and (with the Investigator) the coasts of northern New South Wales and southern Queensland. She also has links to other locations around the East Coast such as Trial Bay in NSW and the Mt Gambier area of SA. After 25 years of service while trading on the island of Baba the Lady Nelson was overrun by the islanders, the crew was killed and the ship stripped and later burnt and sunk. A replica of the Lady Nelson was built in the 1980s.Image of a tall ship in sail. The ship is flying both the Aboriginal flag and the Australian Flag. It sails on a calm sea. There are figures on the deck - four in total. The image is mounted on cream board and framed in dark timber. Etching, hand coloured,.Front: 'Lady Nelson A/P BT' - hand written, pencil in between etching and mount Back: Artist's business card glued to back of etching, lower left hand corner:ady nelson, femal artists, female artist, women

These cello strings belonged to Edith Jacobs (nee Larwill) who was prominent in music circles in Queensland before her marriage to Henry Jacobs, a Warrnanbool Estate Agent and Auctioneer during the 1940s and 50s. Edith Jacobs featured in many concerts and musical entertainments in Warrnambool during the middle years of the 20th century. Her son, Frank Jacobs was a prominent businessman in Warrnambool in the 70s, 80s and 90s and the wallet was either made by him or for him. These items are of some significance as they belonged to Edith Jacobs, a musician who was prominent in the Warrnambool musical scene in Warrnambool in the 1940s and 50s.This is a light brown leather wallet, hand made with two fringed areas, one on the top covering. There is some machine stitching and some hand stitching (repairs)The wallet is lined with cream-coloured silk and the back of the wallet has an etching of an emu. The opening has two press studs for closing the cover. There are also three paper packets containing cello strings. Two of the strings are loose in the packets. Label stitched on – ‘Frank H. Jacobs’ Etching of emu Strings – ‘Calizi Tru-tested Strings, Cello, G or 3rd, Wound on selected gut, Made in England, J. E D. & S Ltd.’ ‘Conservatoire, Cello, A gut, Reliable and Durable, No. 1620, J.E.D.& S. Ltd’ edith jacobs (larwill), cello, cello strings, warrnambool

No information is available on this particular bottle. The hand-painted flowers may have been added by the owner after purchase. Painting on glass was very popular in the 1880s and 1890s. Perfume bottles were carried by ladies to use when the odours of the surrounds were objectionable or when they needed to freshen up on a journey. This bottle is of some interest as an example of the items carried by a woman in the late 19th and early 20th centuries. It is useful for displayThis is a small glass perfume bottle with a rounded bottom and a silver-coloured metal stopper. The hinged stopper has a chain attached with a metal ring for attachment to a belt or purse. The top of the stopper has an ornate etching on it. There are hand-painted flowers on the side of the bottle (white, orange, green and blue)perfume bottle, warrnambool, 1880 perfume bottle

Card printed for the centenary celebration of Ringwood Primary School 1889-1989. Original site in 1898 Ringwood Street. The school moved to Greenwood Avenue site in 1921.Four buff coloured cards and envelopes with etching in red ink of 1921 Ringwood School no. 2997.Graphic by Nerrelle Williamson

Wooden framed (handmade) etching of a depot depicting many buildings set our on an open field. Road bordering complex sandy beach & ocean waves. All coloured & etailed. Artist Eric R. Garrett.2nd advanced ordance depot, vung tau 1974

Rippon Lea mansion and garden was created for Sir Frederick Sargood, a wealthy Melbourne businessman, politician and philanthropist. This is why the program notes that the event was 'By kind permission of Liert. -Col. Sir Fred. Sargood, K.C.M.G.' The event was in support of the Boer War and the program sets out the names of performers, dignitaries, sponsors and organisers and gives details of activities including songs, recitations, a display of pictures of the war, illuminations etcWhite coloured paper, folded and printed both sides in blue and red (being the program for the event) plus a smaller page printed in pink (being words of choruses sung)Front of program shows emblem of Empire Patriotic Fund and iconic images of the British Empire, and a photograph of Rippon Lea estate. The back page has an etching of a cannon. The Words of Choruses include words to A Prayer for Our Soldier, Comrades Song of Hope, and A Prayer - Lest We Forget.rippon lea, boer war, empire patriotic fund, 1900

Drink coaster from I.W.T.O conference in Perth, 1989. Collected by Wilhelm Eckels who attended the conference.Gold coloured drink coaster with wording above large etching of a cartoon sheep. Rear of coaster is blue Felt with metallic silver sticker on the top left corner. Coaster is inside of a plastic pocket.Front, Wording: 58th I.W.T.O CONFERENCE 30 APRIL - 5 MAY 1989 PERTH - AUSTRALIA Image: Drawing of sheep Rear, attached sticker. Wording: Hand Crafted In Australia Goodwill Productsi.w.t.o conference, 1989, perth

Belong to Evelyn OSborne, mother of donor, Barbara Keene. A gift from Spain.Tortoise shell ribs with gilt etchings. Linen centre with coloured spanish design edged with cream nylon lace. Gilt metal loop handle.costume accessories, female

Richard SPARE (1951- ) Born and lives England Richard John Spare studied at Maidstone College of Art (1971-1974). Primarily a printmaker who draws directly onto copper plate before creating a dryplate etching which is then hand coloured.Framed limited hand coloured drypoint of three red flowers. flowers, poinsettia, printmaking, richard scarce, available

Richard SPARE (1951- ) Born and lives England Richard John Spare studied at Maidstone College of Art (1971-1974). Primarily a printmaker who draws directly onto copper plate before creating a dryplate etching which is then hand coloured. Framed limited edition print. Donated through the Australian Gifts Programme by Katherine Littlewood.37/125richard spare, printmaking, boat

Richard SPARE (1951- ) Born and lives England Richard John Spare studied at Maidstone College of Art (1971-1974). Primarily a printmaker who draws directly onto copper plate before creating a dryplate etching which is then hand coloured. Framed limited edition print of a boat. Donated through the Australian Gifts Programme by Katherine Littlewood.AP 6/15richard spare, printmaking, boat, sailing

Richard SPARE (1951- ) Born and lives England Richard John Spare studied at Maidstone College of Art (1971-1974). Primarily a printmaker who draws directly onto copper plate before creating a dryplate etching which is then hand coloured.Framed limited edition hand coloured drypoint of a leek. Donated through the Australian Gifts Programme by Katherine Littlewood.Edition 3/75richard spare, printmaking, vegetable, leek, available

Councillor Joseph Haweil spoke to a Legacy Comradeship Luncheon on 27 June 2023. Cr Haweil is Mayor of Hume City and a member of the Assyrian community in Melbourne. He spoke about the actions of Stanley Savige during World War 1 that lead to him saving over 50,000 Assyrian refugees in Persia. After the speech he presented President Kerry Jenke with this artwork by Mr Furat Yosip.The artworks shows that the Assyrian Community are grateful for the life of Stan Savige.Wooden board with burnt etching of Stanley Savige with a gold coloured plaque.Plaque says "Presented to Melbourne Legacy / In Eternal Gratitude and Remembrance of Lieutenant General Sir Stanley George Savige, KBE CB DSO MC / By the Assyrian Community of Victoria at the Assyrian Martys Day Commemoration, Coolaroo - 5 August 2018 / Artist: Mr Furat Yosip"stan savige, assyrians

An antique green hardcover Edwin Landseer and Animal Painting in England book - Vere Foster Series with the title printed in gold lettering at the top right hand corner with a large head of a stag with black and brown lines in the bottom left hand corner.There is a thin black line surrounding the edge of front cover. The spine and back cover are plain green. There is gilt on the edges of the pages. Inside are guidelines for drawing and painting animals as suggested by Landseer and other well known English artists of the time with several reproductions of coloured plates as well as black and white engravings. Stephen T. Dadd gives practical hints. At the back are lists of Vere Foster's water-colour books and Blackie Publications.Pp 84.non-fictionA useful book for artists wishing to learn the techniques of drawing and painting animals by Edwin Landseer and other notable English artists in the early 1890's. The reproduced coloured plates and engravings support the text and advice.painting, art, art books, artists, artworks, etchings

After a quiet period, interest in bookplates in Australia began to increase in the early 1970s, Entrepreneurial art and book collectors such as Edwin Jewell and others commissioned multiple Bookplate designs from a range of well known fine artists. At a 1997 meeting in Melbourne of the Ephemera Society of Australia Edwin Jewell and others announced the formation of the Australian Bookplate Society. The society was instrumental in promoting the art of the bookplate through establishment of the Australian Bookplate Design competition. The competition includes a design award for secondary schools students.Venetian prince set against eastern buildings, seas, gondolas and ships with eastern architecture, symbols and camels. A dragon and elephant in prince's diadem and hair. Library details surrounding sun and moon either side of main figure all in bi-coloured inks.Inscribed beneath image, "The Secrets of the Silk Road" Ex Libris Biblioteca Bodio Lambnago - Etching Natalija 2019

This book was a prize given by the Warrnambool Baptist Sunday School to Richard Petterd in 1888. The Warrnambool Baptist Church was established in 1864 in a small cottage in Kinross Avenue in Warrnambool at the home of Mr and Mrs Andrew Griffiths. In 1869 a church was built in Koroit Street and enlarged in 1974. From time to time more improvements were made and the church still operates from the same site today. A Sunday School was established in 1865. Richard Forrester Petterd, born in 1878 in Warrnambool, was the son of George Petterd and Mary Ann Petterd, nee Warn. He married Susanna McConnell in 1903 and died in 1935. A daughter, Muriel, married Frederick Wooles in 1933 and it was their son, Kenneth from whose estate this book has come to be added to the Society’s collection.This book is most significant as it is a rare memento from the early days of the Warrnambool Baptist Sunday School and it belonged to Richard Petterd whose family was involved in businesses in Warrnambool as picture framers, stationery and fancy goods shop proprietors and estate commission agents. The book is a very attractive example of Victorian-era children’s books. This is a hard cover book of 80 pages It has a multi-coloured front cover depicting three children reading a book with a window behind them and floral decorations and two birds surrounding the three girls. The red binding is somewhat torn. The back cover has black and white etchings of flowers and children and advertisements for other books available. The book has several black and white drawings in grey tonings.‘Warrnambool Baptist Sunday School, Fourth Class United, Third Prize awarded to Richard Petterd, April 10th 1888.’warrnambool baptist church, richard petterd, kenneth wooles

This is a soda syphon for holding soda water used by the aerated waters business of Reeves of Warrnambool (possibly bottled in the 1970s or 80s). It is a Fletcher bottle. John Davis established a cordial business in Warrnambool in 1859 and this business was taken over by John Fletcher. Ralph Reeves purchased the Fletcher business from the estate of the late John Fletcher in 1931 and continued to use the Fletcher bottles. The business of Reeves soft drinks continued in Koroit Street until the 1980s.This soda syphon is of considerable importance as it links two prominent soft drinks makers in Warrnambool – Fletcher and Reeves. It will be useful for display as it tells of a time when this sort of soda syphon was in use.This bottle is a soda syphon with an oblong-shaped glass base and a metal spout. It has a solid glass base and a pink-coloured tube inside the bottle. It has a chip on the base and the spout is a little corroded. The name and logo (scrolls and patterns) of J. Fletcher of Warrnambool is etched into the glass. There is also a red and cream paper label of Reeves.Paper label: ‘Reeves soda water’ Glass etching: ‘J. Fletcher, Warrnambool, F. Trade Mark’ john fletcher, reeves family

Art CollectionImage depicts a black background featuring two white squares on top of one another. The white squares have rust-coloured lines and circles in them, as well as blue circles and lines. These blue lines are much thicker. The frame is wooden and has a white mount and glass.Front: 8/10 (lead pencil, lower left) Sentinel (lead pencil, centre) Stephen Spurrier 68 (lead pencil, lower right) Back: Stephen Spurrier "Sentinel" (1969) Silk Screen and Etching (printed on white strip, clear plastic cover)