The 'Paragon' was Keystone's first patented stereoscope. Keystone View Company of Meadville, Pa., was the world's largest producer of stereographs and was in business from 1892 to 1970 on a limited basis. The company was founded by Benneville L. Singley who at one time worked for Underwood. Singley photographed many of the views sold by Keystone. Keystone would eventually purchase almost all of their competitors. The remains of the Keystone Company are housed at the University of California. Singley filed for 2 patents for stereoscopes, the first in 1898, about the time Keystone started producing them. C. L. Pappenhagen, an employee of the company filed for 4 patents for a total of 6 for the company. Here are some examples of the many forms of hand held stereoscopes produced by Keystone. (http://home.centurytel.net/s3dcor/Keystone/Keystone.htm) Timber stereoscope reader with brass fittings, used for viewing stereoscopes (Stereoscope cards contain two separate images printed side-by-side to create three-dimensional illusion)stereoscope, photography, illusion

Blue hard covered book with gold writing and illustrations on front cover, illustrations, 196 pages. Targetted to the general reader of the scientific principles of heat, light and sound topics include heat; light (including reflection and refraction); vision (including vision and optical illusions, the eye, chromatic aberration, spinning tops); optical illusions (including occular estimation, zollner's designs, the thaumatrope, phenakistoscope, zootrope, praxinoscope, the dazzling top); optical illusions cont. (including the talking head, ghost illusions); optical apparatus (including the eye, the streoscope, spectrum analysis, the spectroscope, the telescope and microscope, photography, dissolving views, luminous paint); spectral illusions (including a spectre, ghosts); acoustics (including the harmonograph); acoustics cont (including the topophone, the megaphone, the autophone, the audiphone, the telephone, the phonograph, the microphone). non-fictionscience, science class, scientific recreation series, light, heat, sound, ballarat ironworkers & polytechnic association

Leslie DUMBRELL (14 October 1941 - ) Born Melbourne, Victoria Leslie Dumbrell was a pioneer of geometric abstraction in Australia. After completing a Diploma of Art (Painting) at the Royal Melbourne Institute of Technology (RMIT) in Melbourne in 1962, Leslie Dumbrell adopted the international style of colour field and hard-edged abstraction. She taught alongside Peter Booth, James Doolin and Alun Leech-Jones at RMIT and Prahran College of Advanced Education. In 1966 Dumbrell was appointed to the Prahran College of Advanced Education teacing with Alan Leach-Jones and Jim Doolin. 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.Geometric AbstractionA large painted canvas with precise, brightly coloured geometric patterns on a black background. Dumbrell uses colour and line to create optical effects which often convey the illusion of movement. art, artwork, dumbrell, hard-edged abstraction, colour field, leslie dumbrell

Gwen Cocks has written a book about her early married life titled "An Illusive Fortune".News clipping, black text, colour image.gwen cocks, an illusive fortune, lower plenty

Stereographs consist of two nearly identical photographs paired to produce the illusion of a single three-dimensional image, usually when viewed through a stereoscope. These series of cards are made by one of the Pioneers families of the district who visited Sydney in April 1939.Made by one of the pioneer family in the City of Moorabbin9 Stereographic Cards - black & whiteDescription of each card written on bottomsydney, stereograph card, new south wales, city of moorabbin, sydney zoo, sydney harbour bridge, sydney royal botanic gardens, cronulla, hyde park sydney, shrine of remembrance, paramatta park, blue mountains, katoomba, three sisters, moorabbin

Primarily using the Osaka 70 World Expo, Boyd criticises the lack of depth of information of the event and the illusion each country provides for their audience. Boyd makes suggestions for improving audience engagement with the exhibitions and also for a new type of pavilion architecture which utilises the temporary nature of the buildings.Typewritten (c copy), pencil edits /notes, quarto, 6 pages. (Two copies)One copy annotated markers for slides for a talk or lectureosaka expo 70, japan, melbourne, robin boyd, manuscript, ohm2022, ohm2022_31

A vintage Lenticular (3D) postcard by Wonder Co. The postcard was printed using a Lenticular process which produces images with an illusion of depth, or the ability to change or move as the image is viewed from different angles. The postcard was made by the Wonder Co., Tokyo, Japan. and distributed by Asahi Trading Co. in New York as a souvenir Marysville in Victoria.A vintage Lenticular (3D) postcard by Wonder Co. The postcard was printed using a Lenticular process which produces images with an illusion of depth, or the ability to change or move as the image is viewed from different angles. The postcard was made by the Wonder Co., Tokyo, Japan. and distributed by Asahi Trading Co. in New York as a souvenir Marysville in Victoria.GREETINGS FROM/ Marysville, Vic. CSP - 2 C WONDER CO. TOKYO/ PAT591219 MADE IN JAPANmarysville, victoria, postcard, souvenir, wonder co

This collection of Stereograph card depicts scenes from the Coronation of King George V. Produced by 'The Rose Stereographs. George Rose was born in Clunes, Victoria in 1861 and later worked in his father’s boot-making business in Prahran while studying photography. In 1880 he founded the Rose Stereograph Company and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer. Some of the pioneers of Moorabbin were staunch supporters of the Monarchy of England. This collection of cards was donated by one of the founding pioneer families.Stereograph cards - 25 cards produced by Rose Stereographs. - black and whiteDescription of each card written on bottomcoronation, king george v, england, monarchy, moorabbin, london, westminster abbey, trafalgar square, boy scouts, crystal palace, queen mary

This collection of Stereograph card depicts scenes from various Euopean sites and buildings. Produced by 'The Rose Stereographs. George Rose was born in Clunes, Victoria in 1861 and later worked in his father’s boot-making business in Prahran while studying photography. In 1880 he founded the Rose Stereograph Company and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer.Collection of one of the pioneer families of City of Moorabbin.11 Stereographic Cards - manufactured by The Rose Sterographics - Black and whiteDescription of each card on the bottomeurope, paris, church of mary magdalene, the louvre, cathedral of notre dame, palace of justice, palace of beautiful arts, champs elysees, boulevard du nord, jules anspach fountain, brussels belgium, cathedral of st gudule, brussels, moorabbin, stereograph cards

Eastern bluebirds are well-known song birds that live in eastern North America. They are sexually dimorphic, easily recognised by the male's bright royal blue upper plumage, chest of reddish brown and white abdomen. The females is duller in colour than the male, with greyer upperparts and blue tinges to her wings. These Bluebirds, the European variety, are the most common of the three Bluebird species. When not nesting, these birds fly in small flocks around the countryside. Bluebirds feed on small insects including moths, termites and mosquitoes. They also eat grasshoppers, crickets and caterpillars. The Bluebird can spot caterpillars and other insects in tall grass from a distance of over 45 meters. The Bluebird is commonly identified in numerous cultures as being symbolic as a harbinger of happiness. Often in Russian fairytales, the Bluebird is used as a symbol of hope. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This female bluebird (likely Eastern) has a medium brown head and back, a rufous breast, and a cream belly. The bird has blue-tinged wing and tail feathers. The bill is short and has been stylized with the bill partly open to provide the illusion that the bird is making a call. This specimen stands upon a wooden mount and has an identification tag tied around its leg. The bird's plumage has faded since it was first preserved; females generally have duller colouring than their male counterparts but the colour of this particular specimen is paler than it would have been.Label: 122a. Blue-Bird / Catalogue Page 29. / Metal tag: 107taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, american birds, bluebird

Stereographs consist of two nearly identical photographs paired to produce the illusion of a single three-dimensional image, usually when viewed through a stereoscope. These series of cards are made by one of the Pioneers families of the district who travelled went on a cruise aboard the 'Katoomba' to Papua New Guinea in 1939. The cruise was arranged by the Society of Australasia Methodist Missionary Cruise to Papua New Guinea in April 1939. The Cruise left Brisbane with 370 methodists from Melbourne, Sydney and Brisbane.Many of the early pioneers in the City of Moorabbin were Methodists.43 Homemade black & white - stereograph cards - two identical pictures on cardboard.Description of photo is written on bottom of card.stereograph card, papua new guinea, methodist, missionary cruise, moorabbin, kwato, samarai, katoomba, rabaul, kabakada, vunairima, port hunter, raluana, bronilow memorial church, dohu island, marriott, stereograph cards

Silver plaque with black writing mounted on board inside black frame, and silver plaque with black writing. Both list the companies that financially supported the Newcastle office for Vision Australia (formerly the Royal Blind Society of New South Wales). The first plaque reads: Vision Australia Blindness and low vision services Vision Australia is proudly supported in the Hunter by: Ian Paul Prime Television Hunter Readymixed Concrete Pty Ltd Port Waratah Coal Services Limited Blue Illusion - Hamilton Newcastle Permanent Building Society Australian Hotels Association Sandalyn Wilderness Estate AmpControl Colleen Praniess Lidbury Retirement & Financial Services Passmores Business College Maitland Black & White Committee Belmont 16ft Sailing Club Cessnock Supporters Club The Boulevard on Beaumont Sydney Junction Hotel Gallipoli Legion Club VDB Chartered Accountants Salvation Army - McIntosh Trust The second plaque reads: Royal Blind Society vision to share This Client Service Centre was made possible thanks to generous support from Ian Paul as well as the following organisations Prime Television Newcastle Knights Hunter Water Western Suburbs (Newcastle) Leagues Club Management Advisors Corporation Drayton Building & Construction The Plan Centre Hunter Land2 images of plaques displayed at the Newcastle officeVision Australia Blindness and low vision services Vision Australia is proudly supported in the Hunter by: Ian Paul Prime Television Hunter Readymixed Concrete Pty Ltd Port Waratah Coal Services Limited Blue Illusion - Hamilton Newcastle Permanent Building Society Australian Hotels Association Sandalyn Wilderness Estate AmpControl Colleen Praniess Lidbury Retirement & Financial Services Passmores Business College Maitland Black & White Committee Belmont 16ft Sailing Club Cessnock Supporters Club The Boulevard on Beaumont Sydney Junction Hotel Gallipoli Legion Club VDB Chartered Accountants Salvation Army - McIntosh Trust Royal Blind Society vision to share This Client Service Centre was made possible thanks to generous support from Ian Paul as well as the following organisations Prime Television Newcastle Knights Hunter Water Western Suburbs (Newcastle) Leagues Club Management Advisors Corporation Drayton Building & Construction The Plan Centre Hunter Landvision australia, royal blind society of nsw, plaques

Boyd designed the exhibition for the opening of the Australian Chancery in Washington DC held in June 1969. He designed six cylindrical clear acrylic display cases. One of these exhibits used an anamorphic optical illusion, using compressed images which had normal proportions when viewed through a lens of the half-cylindrical display cases. These bookends were designed as a small scale model for the Chancery exhibition. Placing the disc (item F158) underneath the adjacent two half-cylindrical bookends demonstrates how the bookends behave as a lens.Two half cylindrical acrylic prismsaustralian chancery, walsh st furnishings, robin boyd, ohm2022, ohm2022_3

Sha Sarwari is a multidisciplinary artist who works in sculpture, installation, photography, and performance. A Moth to a Flame is a commentary on the often-tragic dilemma that refugees encounter when escaping their country of origin to seek asylum. This piece comes from a series of works, also titled A Moth to a Flame, where this metaphor is used to show how the hopefulness of a new life can result in a dangerous, sometimes fatal illusion. In this work, Sawari aims to give a voice to the refugee experience, to reconcile cultural identity, new belonging and resilience in the face of trauma.

Boyd designed the exhibition for the opening of the Australian Chancery in Washington DC held in June 1969. He designed six cylindrical clear acrylic display cases. One of these exhibits used an anamorphic optical illusion, using compressed images which had normal proportions when viewed through a lens of the half-cylindrical display cases. The bookends (item F157) were designed as a small scale model for the Chancery exhibition. Placing the disc (item F158) underneath the adjacent two half-cylindrical bookends (item F157) demonstrates how the bookends behave as a lens.Photocopy of a image on a transparencyaustralian chancery, robin boyd

Shane JONES (1955- ) Born Melbourne Shane Jones is a graduate with a Masters in Fine Arts from Monash University, He practices art 'en plein air' and in the studio. Shane Jones' realist works feature the trompe l’oeil (trick the eye) tradition and he is considered one of Australia's foremost artists in this technique. The hyper-realist style of art creates an illusion that the objects depicted are the real thing while not being photographic. 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.A painting of a long white cloth being held by a white and a black hand. The identity of the subject is hidden, and the figure is absent. The unknown rather than the anonymity inhibits Shane Jones' imagery. art, artwork, shane jones, oil, oil on canvas, visual arts

These plates were manufactured for use by Victorian Railways. The stylised monogram of "VR" and wings was introduced for the locomotive "The Spirit of Progress", which completed its first journey on 23 November 1937. A badge of this design was also worn by the crew of "The Spirit" and the monogram was also emblazoned on the front of the locomotive. An article published in The Argus of 17 November 1937, in reference to the tremendous power of the locomotive said "The great V.R. monogram flanked with wings spread for flight enhances the illusion." The "Spirit of Progress" travelled between Melbourne and Sydney until its last journey on 2 August 1986.These plates are representative of those used on the iconic locomotive the "Spirit of Progress" which travelled from Melbourne to Sydney from 1937 until 2 August 1986 A collection of 4 plates from Victoria Railways. Made of white "Duraline" chinaware. All bear the insignia of Victoria Railways.Logo of VR in between stylised wings"spirit of progress", victorian railways, steam locomotives

This item is from a collection donated by descendants of John Francis Turner of Wodonga It is one of many souvenirs produced to represent landmarks in the Albury-Wodonga district. The Albury and District War Memorial was opened on Anzac Day 1925 by General Paine. Designed by the Architect Louis Harrison, the site was chosen by the town planner Charles Reade. The monument is a white ferro concrete tower, in the form of a tapered lighthouse painted stark white and surmounted by a 'torch of liberty'. This torch is 1.8 meters high and faced with 40 panes of prismatic glass. During the day sunlight plays through this glazing giving the torch the illusion it is lit.This item comes from a collection used by a prominent citizen of Wodonga. It is representative of a items produced to represent historic landmarks or features of the district.A small butter bone china butter dish with scalloped edge with gilt edge trim.It features a black and white image of the War' Memorial in Albury.Below image: "WAR MEMORIAL ALBURY"domestic items, albury souvenirs, war memorial albury

Boyd designed the exhibition for the opening of the Australian Chancery in Washington DC held in June 1969. He designed six cylindrical clear acrylic display cases. One of these exhibits used an anamorphic optical illusion, using compressed images which had normal proportions when viewed through a lens of the half-cylindrical display cases. The bookends (item F157) were designed as a small scale model for the Chancery exhibition. Placing this disc underneath the adjacent two half-cylindrical bookends demonstrates how the bookends behave as a lens. This model was created for the House of Ideas exhibition, made by a University of Melbourne, Melbourne School of Design Masters student.Anamorphic image on circular discaustralian chancery, robin boyd, ohm2022, ohm2022_3

Debbie LLOYD Debbie Lloyd returned to study in 2005 completing a Bachelor of Fine Arts (Visual Arts) degree at the University of Ballarat (now Federation University) in 2007, with honours the following year. She returned to the university as Artist in Residence in 2009. During her time at the University Debbie exhibited in many group exhibitions and her work was selected for the National Graduates Show at PICA in Western Australia. Debbie’s first solo exhibition was held at Space22 in Ballarat, towards the end of 2010. 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.Two artworks featuring a third dimension created with folded paper. Artist's Statement: "My artwork explores the visual experience that can be achieved using black and white, lineal patterns or by creating illusion and surface movement through the simple manipulation and repetition of forms. In these works I have used everyday objects, and shapes, repeated, reconfigured and recontextualised to provide the viewer with visual challenges that slow down and complicate the reading of the work. In the words of a former lecturer of mine, who kindly delivered the opening speech at one of my exhibitions – There is in Debbie’s work a belief in the transcendental power of repetition, a tribute in many respects to the fact that human kind is defined by nothing more noble and uplifting than its ability and obligation to persist." (http://100thgallery.com/gallery/debbie-lloyd/, accessed 08 May 2018) art, artwork, debbie lloyd, available, recycling, envelopes

This photograph depicts Camp st in Beechworth looking east. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life.Black and white rectangular photograph (copy) printed on gloss photographic paper. Obverse: The Rose Series P.3469 Copyright FORD STREET Reverse: BMM7744 PH150 1998.00059 beechworth, ford street, rose series, photograph, post card, black and white

This copy of a postcard depicts Ford Street in Beechworth looking North. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life.Black and white photograph (copy) on gloss photographic paper. Obverse: THE ROSE SERIES P.3481 COPYRIGHT FORD STREET, LOOKING NORTH, BEECHWORTH, VIC Reverse: BMM7743 PH 149 1998.00059beechworth, ford street, rose series, postcard, photograph, black and white, burke museum

This copy of a postcard from the Rose series depicts Camp Street looking East. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life.Black and white photograph (copy) on gloss photographic paper.Obverse: THE ROSE SERIES P.3459 COPYRIGHT CAMP STREET, LOOKING EAST, BEECHWORTH, VIC Reverse: BMM7743 PH 149 1998.00059beechworth, rose series, camp street, burke museum, black and white

This copy of a postcard from the Rose series depicts Ford Street looking South. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life.Black and White photograph (copy) on gloss photographic paper. Obverse: THE ROSE SERIES P.10544 COPYRIGHT FORD STREET, BEECHWORTH, VIC Reverse: BMM7746 PH 147 1998.00059beechworth, rose series, ford street, burke museum, postcard

Taken in Beechworth, this photograph depicts Ford Street looking North. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life. Black and White photograph on gloss photographic paper. Obverse: THE ROSE SERIES P.2749 COPYRIGHT FORD STREET, LOOKING NORTH, BEECHWORTH, VIC Reverse: 7739 PH 152 1998.00059beechworth, rose series, ford street, george rose, burke museum

These postcards are part of the Rose series of photograph / postcards taken around Victoria. Rose was born in Clunes in 1861 and later worked in his father’s boot-making business in Prahran while studying photography. In 1880 he founded the Rose Stereograph Company and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. Rose produced stereoviews of the Western Front during the First World War. In all, he took about 9000 images in about 38 countries. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life.These postcards are pictorial records of Orbost in the mid 20th century.Postcards such as these were a way of showing the scenic attractions of Orbost to potential tourists.Three black / white postcards of views over the Orbost flats and railway viaduct. 3183.1 is of a railway viaduct in the foreground and farming flats. 3183.2 is a view over the Orbost flats taken from Grandview Lookout. 3183.3 is a view from the Grandview Lookout showing the back of a woman looking across a rail fence. 3183.1 - bottom front - Rose Series P 478 SNOWY RIVER FLATS, ORBOST VIC 3183.2 - bottom front - Rose Series P 49 ORBOST, FROM GRANDVIEW HEIGHTS,VIC 3183.3 - bottom front - Rose Series P 14443 A VIEW FROM THE LOOKOUT, ORBOST, VICpostcards-orbost rose-series orbost-railway-viaduct grandview-lookout-orbost

Williams' use of the dog and poem was inspired by a print by the late Barbara Hanrahan (an artist friend) in which a women was holding a cat accompanied by a dog and in which words from a William Blake poem were included / After her mother died Williams made a work of her mother with the dog, holding the cat and using the same words in the Hanrahan print / The dog is a family pet; Dolcie, that Williams fell in love with / The dog as a symbol has been used in fifteenth and sixteenth century painting to represent fidelity in marriage / The use of the dog is also a contradiction to the themes in this work by Williams / Williams found that many of her women friends were having emotional and romantic difficulties, suffering from the same malady again and again, feeling rejected, destroyed and having unfulfilled desires / The female figure standing on her hands is not seeing things realistically / The figure is head over heels, vulnerable, with her skirt around her head revealing more than normal / The text enhances the meaning of the work and draws the viewer into experiencing the foolishness of love, demanding the viewer travel around and around to read it / Overall the dog provides structure to the work and a reliable object on which all else balances / Balance has been one of the recurring or repetitive themes within William's work / It references the physicality of clay, the difficulties in creating balance with the clay and balance in the work / Williams' work is about form rather than colour / Sometimes she uses a coloured clay like a pale terracotta / Williams likes the flatness of the surface in relationship to the marks of the text / She describes herself as a Minimalist, paring down the form to the bare essentials. 'In Love' was a finalist in the 1997 Nillumbik Art Award held at the Eltham Community and Reception Centre, Pitt Street, Eltham. A ceramic sculpture made of white stoneware clay (coated with a wash of gesso) of a girl doing a hand stand on the back of a dog (retriever?) / Her face/head is partially covered by her skirt which has come down / Her skirt is inscribed in the round with the poem "The Lady's First Song" (1938) by W.B. Yeats (see inscriptions and markings) / The dog is looking straight ahead and upwards towards the sky and his tail is pointing straight out. The dog is covered with cross-hatch incised lines to give the illusion of fur and texture / Hand written inscription of W.B. Yeats poem "The Lady's First Song" (1938) on girl's skirt / I turn round / Like a dumb beast in a show. / Neither know what I am / Nor where I go, / My language beaten / Into one name; / I am in love / And that is my shame. / What hurts the soul / My soul adores, / No better than a beast / Upon all fours.williams / yeats / love / ceramic / stoneware / dog

Stereoscopy (also called stereoscopic or 3-D imaging) refers to a technique for creating or enhancing the illusion of depth in an image by presenting two offset images separately to the left and right eye of the viewer. Both of these 2-D offset images are then combined in the brain to give the perception of 3-D depth. Three strategies have been used to accomplish this: have the viewer wear eyeglasses to combine separate images from two offset sources, have the viewer wear eyeglasses to filter offset images from a single source separated to each eye, or have the lightsource split the images directionally into the viewer's eyes (no glasses required). Stereographic cards and the stereoscope. Two separate images are printed side-by-side. When viewed without a stereoscopic viewer the user is required to force his eyes either to cross, or to diverge, so that the two images appear to be three. Then as each eye sees a different image, the effect of depth is achieved in the central image of the three. Stereograms cards are frequently used by orthoptists and vision therapists in the treatment of many binocular vision and accommodative disorders. Source: www.wikipedia.org Wooden viewer with two glass "windows", separating divider between them. Sliding cross-piece which holds the photocard between wire holders. Turned handle.home, stereoscope, photography, 3d, postcards, entertainment, viewers