Edith (Alice) WATSON (1914–2010) Murtoa | Australia Alice Watson studied at the Ballarat Technical Art School (at the School of Mines, Ballarat) from 1930 until 1933. Watson sat several departmental exams, including drawing and painting plant forms from nature, lettering, Composition of Form and Colour and advanced General Design, as well as dressmaking and embossed leatherwork. Her folio applies many Australian native floral elements to design. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths in 1972 and 1988 when she was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio, which was generously gifted to the Federation University permanent Historical Collection by the Watson family. commercial artSeven paintings undertaken by Edith Alice (Alice) Watson at the Ballarat Technical Art School, a division of the Ballarat School of Mines. ballarat technical art school, edith alice watson, ornament, flora, alumni, composition, composition of form and colour, general design, australian flora, light and shade, commercial art

Large printed timetable for Technical School examinations in 1901. Subjects included Chemistry, Geology, Asssaying, Hydraulics, Agriculture, Engineering , Mine Surveying, Algebra, Mineralogy, petrology, Botany, Trigonometry, Euclid, Land Surveying, Steam and gas Engines, Applied Mechanics, Drawing, painting, engineering drawing, building construction, architecture, drapery, modelled design, casting clay models, composition of form and colour, Lettering, Wood Carving, historic ornament, Wood Carving. .1) Trade Subjects .2) Other subjects, including artexaminations, technical schools, trades, art, technical art school, timetable, clay modelling, ceramics

The Ballarat Technical Art School was established in 1907 as a division of the Ballarat School of Mines. Folded brochure with a prospectus for the newly established Ballarat Technical Art School. The principal was Herbert H. Smith. Subjects taught included Dressmaking, Millinery. Ladies Tailoring, Manual training, Carpentry, House Decoration, Signwriting, Lettering, Stenciling, Marbling, Graining, Glass Embossing, Ticket Writing, Art Teachers' Course, Life Classes, State School Teachers' CLasses, Drawing from a Flat Example, Drawing Ornament for the Cast, Practical Geometry, Perspective. Drawing in Light and Shade from the Cast, Modelling Plant Forms, Historic Ornament, Drawing the Antique From Memory, Composition of Form and COlour, Human Anatomy, Design, etc.ballarat technical art school, ballarat school of mines technical art and trade schools, prospectus, herbert h. smith, h.h. smith, f. foster, m. young, g. clegg, j. barber, t.r. pridgeon, albert steane, a.w. steane, e. cornell, art education

Edith (Alice) WATSON (1914–2010) Murtoa | Australia Alice Watson studied at the Ballarat Technical Art School (at the School of Mines, Ballarat) from 1930 until 1933. Watson sat several departmental exams, including drawing and painting plant forms from nature, lettering, Composition of Form and Colour and advanced General Design, as well as dressmaking and embossed leatherwork. Her folio applies many Australian native floral elements to design. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths in 1972 and 1988 when she was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio, which was generously gifted to the Federation University permanent Historical Collection by the Watson family.Twelve drawings undertaken for the 'Drawing the Human Figure from Casts' class at the Ballarat Technical Art School. The works were undertaken by Edith Alice Watson. The full folio of work undertaken while Alice Watson was a student at the Ballarat Technical Art School is held by Federation University Australia.most are signed A.Watson 1932.edith alice watson, alice watson, ballarat technical art school, plaster cast, artwork, alumni, drawing the human figure from casts, visual arts

Edith (Alice) WATSON (1914–2010) Murtoa | Australia Alice Watson studied at the Ballarat Technical Art School (at the School of Mines, Ballarat) from 1930 until 1933. Watson sat several departmental exams, including drawing and painting plant forms from nature, lettering, Composition of Form and Colour and advanced General Design, as well as dressmaking and embossed leatherwork. Her folio applies many Australian native floral elements to design. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths in 1972 and 1988 when she was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio, which was generously gifted to the Federation University permanent Historical Collection by the Watson family.A series of drawings undertaken by Alice Watson when she was studying "Drawing From the Plaster Cast" at the Ballarat Technical Art School. Some drawings are double sided.plaster casts, drawing, ballarat technical art school, alice watson, edith alice watson, alumni, visual arts

Alice Watson studied at the Ballarat Technical Art School (at the School of Mines, Ballarat) from 1930 until 1933. Watson sat several departmental exams, including drawing and painting plant forms from nature, lettering, Composition of Form and Colour and advanced General Design, as well as dressmaking and embossed leatherwork. General Design examinations required only designs on paper, and not the full execution of an object (which was the case for Applied Design exams). Watson's folio applies many Australian native floral elements to design. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths in 1972 and 1988 when she was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio, which was generously gifted to the Federation University permanent Historical Collection by the Watson family.Watercolour painting of a standing woman with short light brown hair, in a green striped sleeveless shirt, a dark green shorts, and green heels, she is at the beach and there are birds in the background.Watermark (1917 UNBLEACHED ARNOLD)alice watson, beach, cape, woman, ballarat technical art school, alumni

Edith (Alice) WATSON (1914–2010) Murtoa | Australia The monogrammed initials on these buttons are for Alice Watson. Alice Watson studied at the Ballarat Technical Art School (at the School of Mines, Ballarat) from 1930 until 1933. Watson sat several departmental exams, including drawing and painting plant forms from nature, lettering, Composition of Form and Colour and advanced General Design, as well as dressmaking and embossed leatherwork. Her folio applies many Australian native floral elements to design. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths in 1972 and 1988 when she was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio, which was generously gifted to the Federation University permanent Historical Collection by the Watson family. Two circular enamelled buttons with dark blue background and gold edging. The initials A W are the design feature. The A is white with gold edging and the W is red with gold edging. The reverse side is gold. They are contained in a small, green, octagonal shaped cardboard box. buttons, edith alice watson, alice watson, enamelled buttons, ballarat technical art school

Edith (Alice) WATSON (1914–2010) Murtoa | Australia Alice Watson studied at the Ballarat Technical Art School (at the School of Mines, Ballarat) from 1930 until 1933. Watson sat several departmental exams, including drawing and painting plant forms from nature, lettering, Composition of Form and Colour and advanced General Design, as well as dressmaking and embossed leatherwork. General Design examinations required only designs on paper, and not the full execution of an object (which was the case for Applied Design exams). Watson's folio applies many Australian native floral elements to design. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths in 1972 and 1988 when she was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio, which was generously gifted to the Federation University permanent Historical Collection by the Watson family. A folio of thirty three drawings and paintings undertaken by Alice Watson at the Ballarat Technical Art School. The works include including the application of Australian flora to designs, including for pottery, leather and applique. .2) is a design for a table runner to be executed in richelieu work .3) frieze including fish .4) "Design for a border to be executed in stencil". 1932 .12) "Design on the waratah for a bowl to be executed in clay". 1932 .14) "Time test" .12) .17) .15) .18) show the combination of Australian flora with Art Nouveau-inspired designs .9) is a design for a wallet to be executed in raffia showing elevation, side elevation and plan views .11) is a design for a prayer book carrier to be executed in leather work .10) is an example of pencil transfer method of design seen on .11) .18) Design for a fan, image of birds and berries on a blue ground. .25) landscape illustration .27) "development" design based on a correa .29) "Design for a tea cosy based on the Cobia-Scanden to be executed in applique. 1931 (see also .31) .30) "Design for a writing tablet to be executed in embossed leather work and based on the native fuschia" (correa). 1931 .31) a completed doily holder: applique workMost are signed A. Watson 1931 .2) Paper is embossed with stamp of 'Goodall's Bristol Boards' stamp. (Crown depicted in centre) .20 and .22) Paper is embossed with 'Windsor & Newtons Bristol Board' stamp.(Griffin depicted in centre)ballarat technical art school, alice watson, flora, design, artwork, folio, art nouveau, alumni, leather work design, richelieu work, applique, doily holder, doyley holder, general design, edith alice watson

Edith (Alice) WATSON (1914–2010) Murtoa | Australia Alice Watson studied at the Ballarat Technical Art School (at the School of Mines, Ballarat) from 1930 until 1933. These works include commercial art, advertising and catalogue illustrations as well as figure construction and fashion-plate designs. Watson sat several departmental exams, including drawing and painting plant forms from nature, lettering, Composition of Form and Colour and advanced General Design, as well as dressmaking and embossed leatherwork. Her folio applies many Australian native floral elements to design. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths in 1972 and 1988 when she was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio, which was generously gifted to the Federation University permanent Historical Collection by the Watson family. Commercial artA folio of Fashion Drawing by Edith Alice Watson of the Ballarat Technical Art School. .1) Two women dressed in fashionable clothing- lhs tan ensemble and hat; rhs fuschia ensemble with black and white accessories plus fur stole. Signed lrs A.Watson. 1933. .26) The image with three women wearing a hats. This appears to be an example of ticket writing. Signed lrs "A Watson- 2nd term. 1932." .35) The image with a woman wearing a hat appears to be an example of ticket writing. Signed lrs "A Watson--11th-7-32." .23) female figure drawing. Signed lrs A.Watson. 1st Term. 1932 .21) female figure drawing. Signed lrs A.Watson. 2nd Term. 1932 .17) drawing of lips, side view. Signed lrs A. Watson. 1931 .18) drawing of lips,three-quarter view. Signed lrs A. Watson .37) Paper is embossed with 'Windsor & Newtons Bristol Board' stamp.(Griffin depicted in centre)alice watson, ballarat technical art school, art, drawing, figure drawing, alumni, costume drawing, fashion drawing, ticket writing, 1930's fashion, indian ink, edith alice watson, figure construction, advertising, commercial art

Used at the Ballarat School of Mines and the Ballarat Technical Art SchoolThis collection of examinations is significant because of its completeness with the full range of examinations between 1914 and 1950.Large leather bound books, with leather spine, containing all examinations held at the Ballarat School of Mines (including the Ballarat Technical Art School and Ballarat Junior Technical School). The examination papers were supplied and printed by the Education Department, Victoria. Examinations include: Agriculture, Algebra, Architecture, Arithmetic, Applied Mechanics, Assaying, Biology, Botany, Boilermaking, Building Design, Blacksmithing, Bricklaying, Carpentry and Joinery, Coachbuilding, Cabinet Making, Civil Engineering, Cabinet Making, Commercial, Chemistry, Engineering Drawing, Economics, English, Electrical technology, Electricity and Magnetism, Electric Wiring, Electric Welding, Electrical Fitting, Electrical Trades, Food Analysis, Geology, Geological Mapping, Graphics, Geometry, Heat Engines, Heat Treatment, Hydraulics, Hand Railing, Instrument Making, Millinery, Milling and Gearouting, Machine Shop Practice. Metal Founding, Mining, Metallurgy, Mineralogy, Mathematics, Motor Mechanics, Mine Surveying, Mining Mechanics, Petrology, Physics, Painting and Decorating, Pattern Making, Plastering, Plumbing and Gasfitting, Printing, Refrigeration, Spelling, Science , Shorthand, Surveying. Signwriting. Sheet Metalwork, Toolmaking, Ladies Tailoring, Trigonometry, Typewriting, Welding, Commercial Geography. Millinery, Dressmaking, Needlework, Decorative Needlework, Architecture, Building Design and Construction, Art (Composition in Form and Colour), Art (Casting Clay MOdels) Art (Drapery), Art (Drawing the Human Figure From Casts), Art (Drawing the Antique from Memory), Art (Drawing from Memory); Art (Drawing Plant Forms from Nature, Art (Drawing Plant Forms From Memory), Art (Drawing from Models and Objects), (Drawing From a Flat Example). Art (Drawing in Light and Shade from a Cast of Ornament or Lower Nature), Art (Drawing Ornament from the Cast), Art (Drawing from Models or Objects), Art (Drawing fro Dressmakers' and Milliners' Fashions), Art (Drawing With the Brush), Art (Drawing from a Flat Example); Art (Modelled Design), Art (General Design), Art (Embossed Leatherwork), Art (Practical Plane Geometry), Art (Practical Solid Geometry), Art (Geometrical Drawing), Carpentry and Joinery, Art (Human Anatomy), Art (Historic Ornament), Art (House Decoration), Art (LEttering), Signwriting, Art (Light Metalwork), Art (Modelling), Art (Modelling the Human Figure from a Life), Art (Stencilling); Art (Wood Carving) Refrigeration, Teaching, Boilermaking, Blacksmithing, Carpentry and Joinery, Coachbuilding and Carriage Drafting, Electric Wiring, Electrical Fitting, Graining and Marbling, Instrument Making , Machine Shop Practice, Metal Founding, Milling and Gear Cutting, Motor Mechanics, Painting and Decorating, Sheet Metalwork, Toolmaking, Printing, Pattern Making, Plumbing and gasfitting, examinations, ballarat school of mines, ballarat technical art school, trades, education department victoria, agriculture, algebra, architecture, arithmetic, applied mechanics, assaying, biology, botany, boilermaking, building design, blacksmithing, bricklaying, carpentry and joinery, coachbuilding, cabinet making, civil engineering, commercial, chemistry, engineering drawing, economics, english, electrical technology, electricity and magnetism, electric wiring, electric welding, electrical fitting, electrical trades, food analysis, geology, geological mapping, graphics, geometry, heat engines, heat treatment, hydraulics, hand railing, instrument making, millinery, milling and gearouting, machine shop practice, metal founding, mining, metallurgy, mineralogy, mathematics, motor mechanics, mine surveying, mining mechanics, petrology, physics, painting and decorating, pattern making, plastering, plumbing and gasfitting, printing, refrigeration, spelling, science, shorthand, surveying, signwriting, sheet metalwork, toolmaking, ladies tailoring, trigonometry, typewriting, welding., dressmaking, needlework, decorative needlework, architecture, building design and construction, art (composition in form and colour), art (casting clay models), art (drapery), art (drawing the human figure from casts), art (drawing the antique from memory), art (drawing from memory), art (drawing plant forms from nature, art (drawing plant forms from memory), art (drawing from models and objects), (drawing from a flat example), art (drawing in light and shade from a cast of ornament or lower nature), art (drawing ornament from the cast), art (drawing from models or objects), art (drawing for dressmakers' and milliners' fashions), art (drawing with the brush), art (drawing from a flat example), art (modelled design), art (general design), art (embossed leatherwork), art (practical plane geometry), art (practical solid geometry), art (geometrical drawing), art (human anatomy), art (historic ornament), art (house decoration), art (lettering), art (light metalwork), art (modelling), art (modelling the human figure from a life, art (stencilling), art (wood carving), teaching, coachbuilding and carriage drafting, graining and marbling, milling and gear cutting, commercial geography, exams, examination book

Ann Louden was a resident of Tawonga and attended the Higher Elementary School in Mount Beauty according to the inscriptions on the cover and first page. It was the third book, in a set of four, of a course in reading, observing, speaking and writing.A typical text book of the time as used by students, and in the case of this particular book used by a local girl, to promote comprehension and appreciation of spoken and written composition.A soft covered, grey blue in colour, book of 106 pages. On the cover, at the top, is the name of the author, A.M. Robb and Book Three. The title is 'The Way to English' and at the centre bottom is the publishers name "Longmans". There is an inscription in ink - Ann Dorothy Louden, Tawonga, via Bright, Victoria, Australia. On the first page, written in ink, is 'Ann Louden, Form 1, Mt. Beauty. Vict Aust.' text book, louden, tawonga, mt. beauty, school

Black and white text on these slides features terminology relevant to design such as Contrast, Intensity, Hue, Value, Visual texture, Figure-ground relationship, Form, and Composition. An accompanying group of full colour artworks and photographs, featuring male figures with clasped hands, probably aim to demonstrate the above terms. Please note, scanned images are for archive reference only. Images may appear flipped or rotated, and colours may not be accurate.Series of 12 mounted 35mm black and white text slides (numbered 1 to 12). 9 full colour slides (numbered 16-28, incomplete)."DESIGN" "Lecture" and "1" handwritten on first slideuniversity of ballarat, teaching aid, graphic design, lecture slides

This specimen was recovered from Mica Schist, Canada. Chalcopyrite is a copper iron sulfide mineral with a chemical composition of CuFeS2. Its name derives from the Greek words for copper (chalco-) and brass (pyrite). It can be found in shades of yellow, green and grey, and, when exposed to acid, it can change to purple, blue, violet and yellow tones. Weathering can cause loss of its metallic luster and its brass-yellow colour. Chalcopyrite forms under various conditions, with the most significant deposits being hydrothermal in their origin. It is known globally as the most important ore of copper for thousands of years, and is thus considered a very important mineral formation. Given its golden appearance, it is often confused for the mineral gold, earning it the popular reputation as 'fool's gold' or 'yellow copper'. However, it can be straightforwardly distinguished from gold; the latter is soft, with higher specific gravity and a yellow streak, whereas chalcopyrite is brittle, easily scratched by a nail, and has a greenish grey streak. Copper was the first metal that was used by people. It was discovered by the Neolithic man about 9,000 years ago and it gradually replaced stone as it was easier to be shaped. In Australia, search for copper began after the European settlement, leading to the discovery of substantial deposits, like the one at the Olympic Dam in South Australia, which is regarded as one of the largest copper deposits in the world. Chalcopyrite has been used for copper since smelting processes began approximately five thousand years ago. Although by no means rare, this the specimen of this mineral can be used to reflect a wider history of industrial uses of copper for a significant portion of human history. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A solid hand-sized copper iron sulfide mineral of brass yellow, often with an iridescent tarnish, with greenish-black streak and submetallic luster. Chalcopyrite can be formed in several ways, including crystalizing from accessory minerals in igneous rocks, or from magma or within volcano sulfide deposits. Most commonly, chalcopyrite are found in hydrothermal conditions, where it forms in hydrothermal veins. As a member of the tetragonal crystal system, it often takes the shape of tetra-headed crystals, often with striations along the sides of the crystals. #18 Copper pyrites/(chalcopyrite) in/Laurentian Slate/(page 315 of inventory)/page missing from/descriptive catalogue/ Other label: 81 /fool's gold, chalcopyrite, mineral, rock, geology, geological, hydrothermal, neolithic, european settlement, olympic dam, south australia, stone, deposits, specific gravity, greenish grey streak, brittle, mineral gold, metallic luster, cufes2, greek words

This particular geological specimen was found in Mount Franklin or Lalgambook in Djadjawurrung, located between Daylesford and Newstead, approximately ninety minutes drive from Melbourne. The mountain is an example of a breached scoria cone (a steep conical hill of loose pyroclastic fragments) which was created by a volcanic eruption about 470,000 years ago, a date which may indicate the age of this geological specimen. The volcanic eruptions of Mount Franklin were most likely witnessed by members of the Dja Dja Wurrung Aboriginal tribe, who referred to this country as the 'smoking grounds'. Mount Franklin and the surrounding area appears to have been a place of considerable religious significance to Aboriginal people, there is evidence which indicates that frequent large ceremonial gatherings took place in the area. Basalt is the most common rock on Earth’s surface, more than 90% of all volcanic rock on Earth is basalt. Basalt is an aphanitic extrusive igneous rock formed from the rapid cooling of low-viscosity lava exposed at or very near the surface of a rocky planet or moon. Specimens are black in colour and weather to dark green or brown. Basalt is rich in iron and magnesium and is mainly composed of olivine, pyroxene, and plagioclase. Olivine is the name of a group of rock-forming silicate minerals with compositions ranging between Mg2SiO4 and Fe2SiO4. Unlike other minerals, Olivine has a very high crystallisation temperature which makes it the first of the minerals to crystallise from magma. As magma cools, the crystals begin to form and settle on the bottom of the lava and form basalts that are abnormally enriched in olivine in the lower part of lava flows. According to H. M. King (on geology.com) "Olivine is thought to be an important mineral in Earth's mantle. Its presence as a mantle mineral has been inferred by a change in the behaviour of seismic waves as they cross the boundary between Earth's crust and mantle". Lava from Mount Franklin and other volcanoes in the area filled valleys and buried the gold bearing streams that became the renowned ‘deep leads’ of the gold mining era. In 1852, as part of the Victorian gold rush, gold was discovered in the immediate area, this gold was created by lava flows during the Newer Volcanic period, which were mined intensively during the nineteenth century. Around 1865 the presence of a deep lead in Mount Franklin was established. Deep lead mining was initially unsuccessful, and it was not until the late 1870s that the Franklinford Gold Mining Company mined at Mount Franklin on a significant scale. A few years later the Mount Franklin Estate Gold Mining Company also struck gold, followed by the Shakespeare and Great Western companies in the mid-1880s. By the late 1880s, however, deep lead mining had ceased in the area. Soon after gold was discovered in 1851, Victoria’s Governor La Trobe wrote to the Colonial Office in London, urging ‘the propriety of selecting and appointing as Mineral Surveyor for this Colony a gentleman possessed of the requisite qualifications and acquaintance with geological science and phenomena’. Alfred Selwyn was appointed geological surveyor in Australia in 1852 which began the Geological Survey of Victoria. In 1853-69 the Geological Survey issued under Selwyn's direction sixty-one geological maps and numerous reports; they were of such high standard that a writer in the Quarterly Journal of the Geological Society of London bracketed the survey with that of the United States of America as the best in the world. During his years spent in Australia, Selwyn collected numerous significant geological specimens, examples of which are held in collections such as the Burke Museum.This geological specimen is an example of basalt and olivine which shows the volcanic lava activity and geographical specific nature of Mt Franklin as a significant volcanic site. According to Agriculture Victoria 'The crater is one of the deepest in the Central Highlands area. It is a major megacryst site with some of the largest known Victorian examples of megacrysts of augite and an orthoclase. The small parasitic mound of Lady Franklin on the western flanks adds to the geological interest of the site'. This specimen also highlights the locality as a significant place for both indigenous activity and Victorian gold rush era mining practices. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.An angular, solid hand-sized piece of grey volcanic Basalt with green/brown Olivine phenocrysts along one flat edge.Olivine in basalt / - label is probably / correct. / C. Willman / 15/4/21burke museum, beechworth, indigo shire, beechworth museum, geological, geological specimen, mineralogy, basalt, igneous rock, igneous-volcanic, volcanic geology, volcanic, olivine, olivine specimen, basaltoid

Amazonite is classed as a Tectosilicate and is part of the Feldspar group of minerals. Amazonite forms in a triclinic crystal structure and its chemical formula is K(AlSi3O8). In appearance, Amazonite can range from shades of green to green blue to blue, and often with white streaks or veining. The greenish colour is believed to come from the small amount of lead contained in its composition. Amazonite is named after the Amazon River due to its colour and similarities to another rock found along the riverbanks, although Amazonite is not actually found at or near the Amazon. Although less commonly used in jewellery today, Amazonite has been mined and used by humans for thousands of years and Amazonite jewellery from at least 2000BCE have been discovered in North Africa. Amazonite is found in many locations around the world including Brazil, Peru, Ethiopia, Canada, Russia, Mozambique, Myanmar, Pakistan, China, Madagascar, and the United States of America. This specimen most probably comes from the U.S.A., Amazonite is found in several US states particularly in Colorado, Virginia, Pennsylvania. This specimen is of both scientific and historic significance as a striking blue green example of Amazonite mined prior to 1868 in the United States of America, most likely from Colorado, Virginia, or Pennsylvania. These three states are all locations of significant Amazonite deposits. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A palm-sized Feldspar mineral specimen from the Tectosilicate class in shades of blue-green with white veining.Existing label: green/blue Feldspar / "amazonite" / possibly USA geological specimen, geology, geology collection, burke museum, beechworth, tectosilicate, amazonite, feldspar, triclinic crystal structure, amazonite usa, amazonite colorado, amazonite virginia, amazonite pennsylvania

Malachite is a copper carbonate hydroxide mineral. It has a chemical composition of Cu2(CO3)(OH)2. It often forms within limestone where a subsurface chemical environment favourable for the formation of carbonate minerals can occur. It is a substance that can be found in many different parts of the world including: Australia, USA, Russia and the Democratic Republic of Congo. Malachite has historically been used to produce copper, with mining of the mineral dating back over a period of four thousand years. Due to its beautiful green colourations, it is also commonly used for aesthetic purposes such as in the production of sculptures and jewellery. This particular specimen was collected from the town of Burra, South Australia as part of a geological survey undertaken during the nineteenth century. The locality (located on Ngadjuri Country) has a long history of mining, particularly in copper mining, as the area is rich in copper deposits. The first significant discovery of this was made in Burra (Burra Burra Mine) in 1845 and, at the time, the mine was the largest and richest of its kind in the world, producing nearly five percent of the total world copper output. This specimen is significant as it is considered to be a rare gemstone, as many of the original deposits for the stones are significantly depleted, leaving behind very few sources. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A solid palm-sized copper carbonate hydroxide mineral with patterns of green colourations Existing Label: MALACHITE / Locality: Burra / S. Aust. Other Label: Confirmed / as Malachite / C. Willman / 15/4/1 / + Bill Birch burke museum, beechworth, geological, geological specimen, malachite, gemstone, green gemstone, burra, burra burra mine, burra south australia, carbonate mineral, copper, copper mining, copper mining burra, carbonate hydroxide mineral, copper carbonate, malachite mining, malachite burra, monster mine

Four page entry form for Portland Camera Club's 7th exhibition of photography, 26th and 27th October 1967. Contains information on classes, judges, general conditions of entry etc. Back page is actual entry form. White paper, green print, Portland Camera Club logo on front.Front: 'Impact, composition, colour' - handwritten, blue biro. Back: 'Name of Exhibitor 'Miss B. Vivian' and details of exhibits - handwritten, blue biroportland camera club

A DECK GALLERY FOR JAPANESE PRINTS. A unique exhibition of Japanese Prints was opened yesterday on Japanese ship Kamo Maru.These pictures are the property of the captain of the Kamo Maru Captain T. Takahata, and are displayed in a specially arranged gallery on the deck of the ship now berthed at No. 13 Victoria Dock. A picture on board yesterday after noon. (Inset) - One of many fine works by Utaguard Toyokuni who died in 1825. Photographer notations on slide: "B21" Published: 23 February 1934 Published title: A DECK GALLERY FOR JAPANESE PRINTS. Published caption: A unique exhibition of Japanese Prints was opened yesterday on Japanese ship Kamo Maru.These pictures are the property of the captain of the Kamo Maru Captain T. Takahata, and are displayed in a specially arranged gallery on the deck of the ship now berthed at No. 13 Victoria Dock. A picture on board yesterday after noon. (Inset) - One of many fine works by Utaguard Toyokuni who died in 1825. Trove article identifier: http://nla.gov.au/nla.news-article203376863 Description: Japanese woodblock prints, probably belonging to Captain Takahata of the Japanese passenger and cargo ship Kamo Maru, who displayed his Japanese Woodblock prints in a special on-board gallery when it visited Melbourne during 1933 and 1934. Research by project volunteer, Louise McKenzie: Plate MCK025 shows a number of Japanese woodblock prints. Three are of traditional “samurai” or Kabuki-style Japanese men in traditional dress and hairstyle; one is a composite of four different prints: two men and two women (samurai/geisha) in traditional dress. There are also several prints appearing to depict traditional scenes of indoor and outdoor life in Japan in the Edo period. An article appeared in The Age in February 1934, covering the visit to Melbourne of Captain T Takahata on the Japanese ship the Kamo Maru. An accompanying photo shows several women, in coats and hats, and a man, closely inspecting a gallery hang of Japanese woodblocks. Inset is a single image of a Kabuki theatre performer, a detail from the full photograph as shown in our slide. This work is attributed to Utagawa Toyokuni (1769-1823), who was mostly known for his prints relating to kabuki theatre and the actors’ dramatic postures. Japanese Kabuki theatre features heavily stylised performances, glamorous, highly decorated costumes and elaborate make-up worn by its performers. It was particularly popular in the Edo period (1615-1868), as was woodblock printing, after its earlier introduction from China around 150 years earlier. Woodblock printing in Japan is a technique best known for its use in the ukiyo-e artistic genre of single sheet images (although books were also created) which flourished from the 17th through 19th centuries. Its artists produced woodblock prints and paintings of such subjects as female beauties; kabuki actors and sumo wrestlers; scenes from history and folk tales; travel scenes and landscapes; flora and fauna, and erotica. The term ukiyo-e translates as 'picture[s] of the floating world'. This expression could be confusingly translated as meaning ‘a world of sorrow and grief’, 'erotic’ or ‘stylish’, and later came to describe the hedonistic spirit of the lower classes of the 17th century. Asai Ryōi celebrated this spirit in the novel Ukiyo Monogatari (Tales of the Floating World), c. 1661: “[L]iving only for the moment, savouring the moon, the snow, the cherry blossoms, and the maple leaves, singing songs, drinking sake, and diverting oneself just in floating, unconcerned by the prospect of imminent poverty, buoyant and carefree, like a gourd carried along with the river current: this is what we call ukiyo.” (Wikipedia: 'Ukiyo-e') Mass production of woodblocks during the Edo period was due to high literacy rates: 100% for samurai and 50-60% for farmers. Consequently, cheaper books were produced in large numbers. In the 18th century, Suzuki Harunobu established the technique of multicolor woodblock printing called nishiki-e and greatly developed Japanese woodblock printing culture such as ukiyo-e. Ukiyo-e influenced European Japonisme and Impressionism. Yoshitoshi was called the last great ukiyo-e master, and his cruel depictions and fantastic expressions influenced later Japanese literature and anime. However today the best known exponents from the period are probably Hokusai and Hiroshige.The price of one ukiyo-e at that time was about 20 mon, and the price of a bowl of soba noodles was 16 mon, so the price of one ukiyo-e was several hundred yen to 1000 yen in today's currency. 'Wikipedia: Ukiyo-e' states: “Japanese art, and particularly ukiyo-e prints, came to influence Western art from the time of the early Impressionists. Early painter-collectors incorporated Japanese themes and compositional techniques into their works as early as the 1860s: the patterned wallpapers and rugs in Manet's paintings were inspired by the patterned kimono found in ukiyo-e pictures, and Whistler focused his attention on ephemeral elements of nature as in ukiyo-e landscapes. Van Gogh was an avid collector, and painted copies in oil of prints by Hiroshige and Eisen. Degas and Cassatt depicted fleeting, everyday moments in Japanese-influenced compositions and perspectives. ukiyo-e's flat perspective and unmodulated colours were a particular influence on graphic designers and poster makers. Toulouse-Lautrec's lithographs displayed his interest not only in ukiyo-e's flat colours and outlined forms, but also in their subject matter: performers and prostitutes. He signed much of this work with his initials in a circle, imitating the seals on Japanese prints. Other artists of the time who drew influence from ukiyo-e include Monet, La Farge, Gauguin, and Les Nabis members such as Bonnard and Vuillard. French composer Claude Debussy drew inspiration for his music from the prints of Hokusai and Hiroshige, most prominently in La mer (1905). Imagist poets such as Amy Lowell and Ezra Pound found inspiration in ukiyo-e prints; Lowell published a book of poetry called Pictures of the Floating World (1919) on oriental themes or in an oriental style.” An awareness of and interest in this style of art seems to have been well established by the time Captain Takahata brought his sailing gallery to Australia in the 1930s. The Age article “Colour Prints from Japan” on 22 February 1934 p. 13, consists predominantly of a sophisticated curatorial assessment of the woodblock style and detailed artist and style information, which is remarkable for its in-depth analysis. The writer even draws attention to the existence of female woodprint artists. It has been difficult to verify those noted in this article, but worth drawing attention to the work produced by the daughter of Hokusai, Katsushika Oi, which is documented and has gained attention within Japan and elsewhere. Captain Takahata may have been quite the ambassador: adverts in Australian quarterly magazine, The Home, promoted regular cruises out of Melbourne and Sydney via Queensland, Thursday Island, Phillippines and Hong Kong to Japan at a cost of £90 for a round trip via Yokohama.(The Home, 1 August 1936, pages 76 and 79). It is reported in one of the many newspapers articles printed during 1933/1934 about Captain Takahata and his collection, that he inherited it, and it was not for sale even at an offered £10,000. However, one article makes mention of him scouring antique shops in rural Japan to add to the collection! And even enlisting the help of his children in the hunt. The collection totalled 11,000 prints and apparently 1,500 travelled with him when he sailed. These numbers do differ between reports, but his collection was undoubtedly large, and Captain Takahata enjoyed lecturing on the subject, explaining that each print was handmade. It took painstaking work over months to create the delicate colour tones, with a block being created for each colour used, and transferred onto specially prepared paper. Many of the designs are symbolic, and even those representing figures and scenes have a narrative basis, or represent traditional incidents in the life and history of Japan. (See Japanese Prints, The Sydney Morning Herald, 14 July 1934). In Brisbane in October 1934, The Courier Mail noted that Captain Takahata, now on the Yusen Kaisha steamer ‘Atsuta Mam’ (a sister ship to Kamo Maru) arrived with another 100 prints in his possession, and that he spent his spare time mounting and cataloguing his treasures. One of his new additions dated from 1787 and Captain Takahata “said that it was the only woodcut to depict eyelashes, and with the aid of a magnifying glass, he showed the extremely fine lines around the eyes of the three Japanese ladies on the print.” References: COLOR PRINTS FROM JAPAN. (1934, February 22). The Age (Melbourne, Vic. : 1854 - 1954), p. 13. Retrieved February 29, 2024, from http://nla.gov.au/nla.news-article20338088 A DECK GALLERY FOR JAPANESE PRINTS. (1934, February 23). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved February 29, 2024, from http://nla.gov.au/nla.news-article203376863 JAPANESE WOOD-CUTS. (1934, July 14). Daily Commercial News and Shipping List (Sydney, NSW : 1891 - 1954), p. 4. Retrieved February 29, 2024, from http://nla.gov.au/nla.news-article161150580 JAPANESE PRINTS. (1934, July 14). The Sydney Morning Herald (NSW : 1842 - 1954), p. 12. Retrieved February 29, 2024, from http://nla.gov.au/nla.news-article28024038 RARE WOOD-PRINTS FROM JAPAN (1934, July 16). The Herald (Melbourne, Vic. : 1861 - 1954), p. 20. Retrieved March 2, 2024, from http://nla.gov.au/nla.news-article243171208 JAPANESE WOODPRINTS. (1934, July 14). The Sydney Morning Herald (NSW : 1842 - 1954), p. 16. Retrieved March 2, 2024, from http://nla.gov.au/nla.news-article28023902 11,000 RARE WOODCUTS (1934, October 11). The Courier-Mail (Brisbane, Qld. : 1933 - 1954), p. 18. Retrieved March 2, 2024, from http://nla.gov.au/nla.news-article35647690 A DECK GALLERY FOR JAPANESE PRINTS. (1934, February 23). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved March 2, 2024, from http://nla.gov.au/nla.news-article203376863 RARE JAPANESE PRINTS (1934, July 11). The Courier-Mail (Brisbane, Qld. : 1933 - 1954), p. 10. Retrieved March 2, 2024, from http://nla.gov.au/nla.news-article36723139 Wikipedia: 'Ukiyo-e', https://en.wikipedia.org/wiki/Ukiyo-e Wikipedia: 'Woodblock printing in Japan', https://en.wikipedia.org/wiki/Woodblock_printing_in_Japan Wikipedia: 'Utagawa Toyokuni', https://en.wikipedia.org/wiki/Utagawa_Toyokuni Wikipedia: 'Kabuki', https://en.wikipedia.org/wiki/Kabuki 'Digital Humanities and Japanese History',https://dh.japanese-history.org/2020-spring-women-in-japanese-history/japanese-women-artists-of-the-edo-period/ '25 Famous Painters in Japanese Art', https://dh.japanese-history.org/2020-spring-women-in-japanese-history/japanese-women-artists-of-the-edo-period/ 'Nyk Kamo Maru', https://blog.shipwatcher.com/index.php/nyk-kamo-maru/ The Home : an Australian quarterly Retrieved March 4, 2024, from http://nla.gov.au/nla.obj-386036987 : Volume 17, No. 8, 1 August 1936.Photographer notations on slide: "B21".japan, prints, ships, art

1. Musical and linguistic perspectives on Aboriginal song Allan Marett and Linda Barwick Song brings language and music together. Great singers are at once musicians and wordsmiths, who toss rhythm, melody and word against one another in complex cross-play. In this paper we outline some initial findings that are emerging from our interdisciplinary study of the musical traditions of the Cobourg region of western Arnhem Land, a coastal area situated in the far north of the Australian continent 350 kilometres northeast of Darwin. We focus on a set of songs called Jurtbirrk, sung in Iwaidja, a highly endangered language, whose core speaker base is now located in the community of Minjilang on Croker Island. We bring to bear analytical methodologies from both musicology and linguistics to illuminate this hitherto undocumented genre of love songs. 2. Iwaidja Jurtbirrk songs: Bringing language and music together Linda Barwick (University of Sydney), Bruce Birch and Nicholas Evans (University of Melbourne) Song brings language and music together. Great singers are at once musicians and wordsmiths, who toss rhythm, melody and word against one another in complex cross-play. In this paper we outline some initial findings that are emerging from our interdisciplinary study of the musical traditions of the Cobourg region of western Arnhem Land, a coastal area situated in the far north of the Australian continent 350 kilometres northeast of Darwin. We focus on a set of songs called Jurtbirrk, sung in Iwaidja, a highly endangered language, whose core speaker base is now located in the community of Minjilang on Croker Island. We bring to bear analytical methodologies from both musicology and linguistics to illuminate this hitherto undocumented genre of love songs. 3. Morrdjdjanjno ngan-marnbom story nakka, ?songs that turn me into a story teller?: The morrdjdjanjno of western Arnhem Land Murray Garde (University of Melbourne) Morrdjdjanjno is the name of a song genre from the Arnhem Land plateau in the Top End of the Northern Territory and this paper is a first description of this previously undocumented song tradition. Morrdjdjanjno are songs owned neither by individuals or clans, but are handed down as ?open domain? songs with some singers having knowledge of certain songs unknown to others. Many morrdjdjanjno were once performed as part of animal increase rituals and each song is associated with a particular animal species, especially macropods. Sung only by men, they can be accompanied by clap sticks alone or both clap sticks and didjeridu. First investigations reveal that the song texts are not in everyday speech but include, among other things, totemic referential terms for animals which are exclusive to morrdjdjanjno. Translations from song language into ordinary register speech can often be ?worked up? when the song texts are discussed in their cultural and performance context. The transmission of these songs is severely endangered at present as there are only two known singers remaining both of whom are elderly. 4. Sung and spoken: An analysis of two different versions of a Kun-barlang love song Isabel O?Keeffe (nee Bickerdike) (University of Melbourne) In examining a sung version and a spoken version of a Kun-barlang love song text recorded by Alice Moyle in 1962, I outline the context and overall structure of the song, then provide a detailed comparative analysis of the two versions. I draw some preliminary conclusions about the nature of Kun-barlang song language, particularly in relation to the rhythmic setting of words in song texts and the use of vocables as structural markers. 5. Simplifying musical practice in order to enhance local identity: Rhythmic modes in the Walakandha wangga (Wadeye, Northern Territory) Allan Marett (University of Sydney) Around 1982, senior performers of the Walakandha wangga, a repertory of song and dance from the northern Australian community of Wadeye (Port Keats), made a conscious decision to simplify their complex musical and dance practice in order to strengthen the articulation of a group identity in ceremonial performance. Recordings from the period 1972?82 attest to a rich diversity of rhythmic modes, each of which was associated with a different style of dance. By the mid-1980s, however, this complexity had been significantly reduced. I trace the origin of the original complexity, explore the reasons why this was subsequently reduced, and trace the resultant changes in musical practice. 6. ?Too long, that wangga?: Analysing wangga texts over time Lysbeth Ford (University of Sydney) For the past forty or so years, Daly region song-men have joined with musicologists and linguists to document their wangga songs. This work has revealed a corpus of more than one hundred wangga songs composed in five language varieties Within this corpus are a few wangga texts recorded with their prose versions. I compare sung and spoken texts in an attempt to show not only what makes wangga texts consistently different from prose texts, but also how the most recent wangga texts differ from those composed some forty years ago. 7. Flesh with country: Juxtaposition and minimal contrast in the construction and melodic treatment of jadmi song texts Sally Treloyn (University of Sydney) For some time researchers of Centralian-style songs have found that compositional and performance practices that guide the construction and musical treatment of song texts have a broader social function. Most recently, Barwick has identified an ?aesthetics of parataxis or juxtaposition? in the design of Warumungu song texts and musical organisation (as well as visual arts and dances), that mirrors social values (such as the skin system) and forms 'inductive space' in which relationships between distinct classes of being, places, and groups of persons are established. Here I set out how juxtaposition and minimal contrast in the construction and melodic treatment of jadmi-type junba texts from the north and north-central Kimberley region similarly create 'inductive space' within which living performers, ancestral beings, and the country to which they are attached, are drawn into dynamic, contiguous relationships. 8. The poetics of central Australian Aboriginal song Myfany Turpin (University of Sydney) An often cited feature of traditional songs from Central Australia (CA songs) is the obfuscation of meaning. This arises partly from the difficulties of translation and partly from the difficulties in identifying words in song. The latter is the subject of this paper, where I argue it is a by-product of adhering to the requirements of a highly structured art form. Drawing upon a set of songs from the Arandic language group, I describe the CA song as having three independent obligatory components (text, rhythm and melody) and specify how text is set to rhythm within a rhythmic and a phonological constraint. I show how syllable counting, for the purposes of text setting, reflects a feature of the Arandic sound system. The resultant rhythmic text is then set to melody while adhering to a pattern of text alliteration. 9. Budutthun ratja wiyinymirri: Formal flexibility in the Yol?u manikay tradition and the challenge of recording a complete repertoire Aaron Corn (University of Sydney) with Neparr? a Gumbula (University of Sydney) Among the Yol?u (people) of north-eastern Arnhem Land, manikay (song) series serve as records of sacred relationships between humans, country and ancestors. Their formal structures constitute the overarching order of all ceremonial actions, and their lyrics comprise sacred esoteric lexicons held nowhere else in the Yol?u languages. A consummate knowledge of manikay and its interpenetrability with ancestors, country, and parallel canons of sacred y�ku (names), bu?gul (dances) and miny'tji (designs) is an essential prerequisite to traditional leadership in Yol?u society. Drawing on our recordings of the Baripuy manikay series from 2004 and 2005, we explore the aesthetics and functions of formal flexibility in the manikay tradition. We examine the individuation of lyrical realisations among singers, and the role of rhythmic modes in articulating between luku (root) and bu?gul'mirri (ceremonial) components of repertoire. Our findings will contribute significantly to intercultural understandings of manikay theory and aesthetics, and the centrality of manikay to Yol?u intellectual traditions. 10. Australian Aboriginal song language: So many questions, so little to work with Michael Walsh Review of the questions related to the analysis of Aboriginal song language; requirements for morpheme glossing, component package, interpretations, prose and song text comparison, separation of Indigenous and ethnographic explanations, candour about collection methods, limitations and interpretative origins.maps, colour photographs, tablesyolgnu, wadeye, music and culture

Pugh was one of many artists who brought an Australian experience to attention. This work reveals the colour, textures, harshness and inhabitants of the natural bush, with the angular forms found on the ‘black birds’ dominating the composition with dramatic effect. Shanahan, Albert Tucker, Frank Werther and Fred Williams have at one time settled and or work there. Untitled (Black Birds) from the Bodford Terrace Suite 1978, created by Clifton Pugh - a celebrated Australian artist known for his landscapes and portraiture as well as (three-time) winner of Australia’s Archibald Prize. This piece plays a significant role within the Nillumbik Shire Collection due to Pugh’s strong connection to the local land where he settled in Cottle’s Bridge in 1951, purchasing 15 acres and named it Dunmoochin. Artists, potters and others settled at Dunmoochin and formed the Dunmoochin Artists Co-operative in order to collectively protect the land. Numerous renowned artists worked or resided at Dunmoochin including: Rick Amor, Fred Williams, Albert Tucker, Frank Hodgkinson, Mirka Mora, John Olsen, John Percival and John Howley amongst others. Upon his death in 1990 he left an art collection and extensive properties at Dunmoochin to be appreciated and utilised by artists for years to come lithographic print on French Arches paper. Dynamic and expressive depiction of black birds in flight on far left of composition, cropped elements of Australian landscape in blue and red in the background (trees, shrubs, rocks). Inscribed lower right 'Clifton'; 1:1; 179/300clifton pugh, bodford suite, dunmoochin

Pugh was one of many artists who brought an Australian experience to attention. His landscapes reveal the colour and textures of the natural bush, often with a dramatic emphasis. His reference to the harshness of the bush consistently arises, with angular forms dominating the composition. White Choughs in the Landscape is typical of his representations of the bush as a dynamic environment. White Choughs in the Landscape, 1958, created by Clifton Pugh - a celebrated Australian artist known for his landscapes and portraiture as well as (three-time) winner of Australia’s Archibald Prize. This piece plays a significant role within the Nillumbik Shire Collection due to Pugh’s strong connection to the local land where he settled in Cottle’s Bridge in 1951, purchasing 15 acres and named it Dunmoochin. Artists, potters and others settled at Dunmoochin and formed the Dunmoochin Artists Co-operative in order to collectively protect the land. Numerous renowned artists worked or resided at Dunmoochin including: Rick Amor, Fred Williams, Albert Tucker, Frank Hodgkinson, Mirka Mora, John Olsen, John Percival and John Howley amongst others. Upon his death in 1990 he left an art collection and extensive properties at Dunmoochin to be appreciated and utilised by artists for years to come White Choughs in the Landscape is typical of Pughs' representations of the bush as a dynamic environment. The brittleness and fragility of the landscape is recorded in the surface of the work, where paint is applied in thin layers.Signed 'Clifton Sept. 1958'clifton pugh, dunmoochin, white choughs

This work was completed during Harper's Laughing Waters residency at Boomerang House, 2001. The Laughing Waters Artist in Residence Program was run by Nillumbik Shire Council (in partnership with Parks Victoria) 2001-2015. "This painting is a part of a series based on Rudolph Steiner form drawings. The lines are meant to be drawn in a single continuous and rhythmic movement. I have made the composition a bit more complicated by dividing up the painting into small blocks. The 'form drawing' is the organic looping shape that is a continuous organic line. It becomes meshed into small coloured blocks almost disguising the form." Melinda Harper was the first artist-resident at Boomerang House through this program. Formerly the house was the home and studio of Sue Ford and Gordon Ford. "My painting is about colour and form, and their relationship. I am interested in what one colour does to another colour, the weight of a colour and the feeling of a colour. Colour is very complex; I am looking and responding to what I see and what interests me." Melinda Harper in Artist Profile journal article by Melissa Pesa, 2015.The painting is representative of Harper's artistic practice and the vivid colours and abstraction particular to her work. Small-medium sized oil painting of vivid, bold, coloured shapes arranged in a kaleidoscope pattern. There is an array of colours each placed in proximity to each other to create a vibrant, lively atmosphere. Anna Schwartz sticker on back of canvas. harper, untitled, 2002, contemporary, laughing waters, boomerang, abstract

John Dudley was a well-known local artist who lived in the Shire during the 50s, 60’s and 70s. He was represented by Wiregrass Gallery in Eltham. Formerly two separate galleries: The Eltham Gallery and The Wiregrass Gallery. The Wiregrass Gallery opened on 4th February 1977 at Station Entrance, Eltham, Victoria and closed on the 19th November 1989 when its lease expired. The gallery then moved in early 1990 to 559 Main Road Eltham, the premises of the Eltham Gallery and from then on operated under the name Eltham Wiregrass Gallery. This work is of the local environment and an excellent example of the artist’s work practice.A visual language of shape, form and colour (abstract) to create a composition referencing the physical and emotional experience of landscape. Blended colours of dark blues in background and warm yellows in foreground. Signed 'Dudley' red paint, lower left.landscape, abstract, eltham

Colour transparency (slide) created in June 1976 during a tour by the Junior National Trust, which was led by members of Kew Historical Society. The collection of 21 slides reveals that the tour covered all parts of Kew, but focused understandably on heritage buildings and sites.Image of an historic place in Kew that can be dated to an exact time and place. The images, albeit amateurish in composition, frequently reveal aspects of important buildings and sites that have changed over time.35mm colour transparency of Studley House in Nolan Avenue, Kew, now part of Xavier Primary School. The Victorian Historic Buildings Register describes the building as: ""Studley House", 15 Nolan Avenue Kew is an early house, extensively added to, which is of architectural importance in its present form and has important historical associations with John Hodgson, an early settler in the district and with subsequent owners. The first part of the house is an early and particularly fine example of the Italianate style in Victoria. The later additions dwarf the original house but are of interest in their own right. Plaster and woodwork internally and some stained glass are notable."historic houses -- kew (vic.), nolan avenue -- kew (vic), xavier college -- kew (vic.), studley house -- nolan avenue -- kew (vic.)

Colour transparency (slide) created in June 1976 during a tour by the Junior National Trust, which was led by members of Kew Historical Society. The collection of 21 slides reveals that the tour covered all parts of Kew, but focused understandably on heritage buildings and sites.Image of an historic place in Kew that can be dated to an exact time and place. The images, albeit amateurish in composition, frequently reveal aspects of important buildings and sites that have changed over time.35mm colour transparency of Studley House in Nolan Avenue, Kew, now part of Xavier Primary School. The Victorian Historic Buildings Register describes the building as: ""Studley House", 15 Nolan Avenue Kew is an early house, extensively added to, which is of architectural importance in its present form and has important historical associations with John Hodgson, an early settler in the district and with subsequent owners. The first part of the house is an early and particularly fine example of the Italianate style in Victoria. The later additions dwarf the original house but are of interest in their own right. Plaster and woodwork internally and some stained glass are notable."historic houses -- kew (vic.), nolan avenue -- kew (vic), xavier college -- kew (vic.), studley house -- nolan avenue -- kew (vic.)

Colour transparency (slide) created in June 1976 during a tour by the Junior National Trust, which was led by members of Kew Historical Society. The collection of 21 slides reveals that the tour covered all parts of Kew, but focused understandably on heritage buildings and sites.Image of an historic place in Kew that can be dated to an exact time and place. The images, albeit amateurish in composition, frequently reveal aspects of important buildings and sites that have changed over time.35mm colour transparency of Studley House in Nolan Avenue, Kew, now part of Xavier Primary School. The Victorian Historic Buildings Register describes the building as: ""Studley House", 15 Nolan Avenue Kew is an early house, extensively added to, which is of architectural importance in its present form and has important historical associations with John Hodgson, an early settler in the district and with subsequent owners. The first part of the house is an early and particularly fine example of the Italianate style in Victoria. The later additions dwarf the original house but are of interest in their own right. Plaster and woodwork internally and some stained glass are notable."historic houses -- kew (vic.), nolan avenue -- kew (vic), xavier college -- kew (vic.), studley house -- nolan avenue -- kew (vic.)

Documentary evidence records that the first occupier of this substantial two-storey residence was Harry Karlbaum, a sharebroker and although the owner's name is not listed in the Rate Books for this first year, it appears in 1893 as Robert Crawford Anderson, a merchant, The property was given an initial N.A.V. of £150 in 1892 while by 1900 it was listed as having eleven rooms. (Kew Conservation Study, 1988)Colour photographic positive of one of 'Prague House'. The house is clad in render and is typical of the late Victorian period with an asymmetrical composition that has a loggia of stilted segmental arches at both levels that turns the corner of the house, and a polygonal bay window on one side of the front facade. The application of colonettes across the facade, the square piers to the loggia. and the lift in the eave to form a gable unit are less typical. (Kew Conservation Study, 1988)prague house -- sackville street -- kew (vic.), dunboe -- sackville street -- kew (vic.)

Documentary evidence records that the first occupier of this substantial two-storey residence was Harry Karlbaum, a sharebroker and although the owner's name is not listed in the Rate Books for this first year, it appears in 1893 as Robert Crawford Anderson, a merchant, The property was given an initial N.A.V. of £150 in 1892 while by 1900 it was listed as having eleven rooms. (Kew Conservation Study, 1988)Colour photographic positive of one of 'Prague House'. The house is clad in render and is typical of the late Victorian period with an asymmetrical composition that has a loggia of stilted segmental arches at both levels that turns the corner of the house, and a polygonal bay window on one side of the front facade. The application of colonettes across the facade, the square piers to the loggia. and the lift in the eave to form a gable unit are less typical. (Kew Conservation Study, 1988)prague house -- sackville street -- kew (vic.), dunboe -- sackville street -- kew (vic.)