Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Print - lithographBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, garden, evening, lithograph

In the late 19th and early-20th centuries household heaters burned wood and coal for heating. In winter the warm air from the fireplace would flow into the room through a round flue in the face of the chimney. In the warmer months the unnecessary heater and flue was removed and the chimney cleaned. Homemakers then covered the circular flue hole with a decorative and usually inexpensive wall hanging to prevent draughts and dust. The practice was especially popular in France and Germany where a lot of the artwork originated. The covers were no longer needed after households changed over to more modern designs of heaters. The flue covers were known as Wall Art or Flue Cover Art. They were usually round and illustrated with a lithograph or chromograph print. The picture was then mounted on card, covered with glass, and framed with a brass or tin rim. The border was commonly gilt with a black stripe around the centre. There were numerous illustrations, many with a European appearance, and were easily bought through local merchants for a small price.This pretty flue cover is significant for representing a common domestic wall decoration from the late Victorian to the Edwardian eras, when solid fuel heaters were used in low to high income homes. The picture is similar to many other flue cover images, apart from the holly clutched in the girl’s hand, which gives the cover a Christmas theme. This flue cover is the only one in our collection and appears to have a unique design; the hand painted floral decoration on the glass and the two crimson rings around the edges of the frame’s white border haven’t been seen on other flue covers. Flue cover, metal and glass. Print of a young girl with blue eyes and curly blonde hair, a hooded blue cape, a silver clasp with blue stones, and a sprig of holly in her hand. The round metal frame forms a deep, white-painted, crimson-edged border for the illustration. The hand-painted blue flowers on the glass front form add to the border and give a 3-dimensional effect. The picture is between the cardboard backing and the glass front, with the metal frame holding them together. There is a metal chain attached for hanging the cover.warrnambool, flagstaff hill maritime museum, picture, handpainted, portrait, girl in blue cape, metal frame, round picture, illustration, print, holly, christmas, child in blue cape, silver and blue clasp, holly sprig, late 19th century, early 20th century, 1890s-1930s, victorain, edwardian, flue cover, flue cover art, wall art, chimney flue cover, chimney hole cover, stove pipe cover, fireplace flue cover, antique, victorian, glass frame, chromograph, lithograph, tin, brass, lithograph print, chromo print, christmas girl, blue cape, blonde girl

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Black and white lithograph on paper depicting the elaborate stone and wrought iron (open) gate/ entrance to Pugh's artist colony 'Dunmoochin' situated at Cottles Bridge. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gate, fire, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Black and white lithograph on paper depicting the elaborate stone and wrought iron (open) gate/ entrance to Pugh's artist colony 'Dunmoochin' situated at Cottles Bridge.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, sunlight, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (very dark image) detailing Clifton Pugh's garden at Dunmoochin.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, garden, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white detailing the Artist's Gallery at Dunmoochin, located within bush surrounds at Cottles BridgeBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gallery, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her Mother took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin.Lithographic print in black and white depicting Gate # 1 at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gate 1, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white depicting bushland and a pond reflecting light.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, pond, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (dark image) detailing the interior of Clifton Pugh's house at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, interior, house, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (very dark image) depicting Chehovskis' cottage at Dunmoochin. Small cottage, bushland and shrubs.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, cottage, lithograph

This work is by a local contemporary artist with a national and international reputation for figurative and portrait works. This lithograph comes from a series of still life by Wegner from the early 80's; a subject matter in which he has not returned to. Wegner is well known for his drawings and enjoys the immediate and directness of the process. He sees the drawn image as an experience of observation, with the content revealing the process of its making. Lithographic print - still life in black and white. Details several kitchen/household items: spoon, tea pot, egg holder, cup and saucer, bowl, chop sticks and mandarin.Lower far left: 'A/P'; Low centre: 'Mandarin on Kitchen Table'; Lower far right: 'PW 83'wegner, lithograph, still life, black and white, utensils, table, fruit, print

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

A typical Olsen painting combines an implied aerial view with an ambiguous and seemingly unpremeditated figuration. His characteristically quizzical line and irregular squiggles and dots deftly render countless organisms, large and minute. Their environment is conjured through loosely brushed and stained expanses of colour (on canvas or hardboard) and lines which sometimes read as geological mappings. In Olsen's work there is no foreground/ middle ground/ background, nor any sign of European landscape's concern with "human scale." Instead he employs simultaneously the contrary vantages of naturalist and geographer. 'Tropical Rain Shower' by John Olsen forms one of the eight artworks represented in the Bodford Terrace Suite. Eight of Australia's finest artists were brought together to create a folio of lithographic prints to celebrate the restoration of historic Bodford Terrace. Printed at the Druckma Press by John Robinson under the supervision of master printer Jock Abbott. The folio edition was limited to 300 signed and numbered folios. The lithographs were printed on special heavy weight french Arche's paper in accordance with the tradition of this artistic medium. Lithographic print on paper.Signed John Olsen '78, lower right hand corner. Edition 179/300bodfford terrace collection, john olsen, tropical rain shower

Dean BOWEN (1957- ) Born Maryborough, Victoria, AustraliaFramed limited edition lithograph, printed in colour from various stones.2/15artwork, artist, dean bowen, gippsland campus, lithograph

This poster has been produced as a saleable item by the firm of McCarron Bird & Co of Melbourne about 1900. This firm was founded in 1872 and is best known for its publication of the two-volume work, 'Victoria and its Metropolis' (1888). The poster was intended to be hung on a wall for decorative and advertising purposes. It contains four attractive lithographs of the towns, Warrnambool, Port Fairy, Portland and Hamilton and a great number of advertisements and illustrations, some from Melbourne and the rest from the Westen District towns mentioned above. One Warrnambool advertisement is for the general merchant business of William Caffin in Kepler Street and two others are advertisements for the coastal ships, Flinders, Dawn and Casino which came into the port of Warrnambool. This poster has local historical significance as it has a descriptive drawing of the town of Warrnambool about 1900 and shows the buildings that were existing at that time.This is a cream-coloured sheet of paper with a coloured centre piece showing the title of the poster, four coloured lithographs of Western Victorian towns and advertisements printed and illustrated in black and white. The edges of the poster are frayed and the paper is torn at the centre left edge.warrnambool 1900, western victorian towns 1900, william caffin general merchant warrnambool

French 1808 - 1879Lithograph [from printed book]

Nyuwara Tapaya (5 August 1971-c2005) Born Ernabella, South Australia Pitjantjatjara speaker Nyuwara Tapaya had distinguished career in print media and textiles (batik). She trained at Ernabella Arts and studied dye technique in Indonesia. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed limited edition lithograph print. If you can provide information on this artist or artwork please use the comment box below.Edition 11/17art, artwork, nyuwara tapaya, printmaking, ernabella