non-fictionCatalogue for exhibition at National Gallery of Australia 2001 comprising essays, images and list of exhibited works by Mexican modernist artists working in 1930's to 1950s, born in, or influenced by, Mexicomodernism, painting, collage, selfportraiture, portraiture, 1910 mexican revolution, photography

Purchased by Sue Barnett on Ebay This book traces the development of the movement from its origins, including key architects who introduced the theories and idioms of the British Arts and Crafts movement and transported them to Australia.This book traces the development of the movement from its origins, including key architects who introduced the theories and idioms of the British Arts and Crafts movement and transported them to Australia. 267p index. illus. biblogarts and crafts movement, architectural drawing, architecture - 20th century

Book non-fictionA feminist critique of post-modernism to create a new discourse in feminist theory.structuralism, deconstructivism, theory, political art, modernism, feminism

This self-portrait exemplifies Karl and Slawa's shared interest in the art forms of other cultures - also seen in the significant number of Viennese art books on these topics in the Duldig Studio library. It takes inspiration from Egyptian sculptures and is strikingly similar to the cover image of Götter Ӓgyptens (Gods of Egypt) by Alexander Scharff (Library) although her short hair puts a stylish and very modern slant upon the image. The sculpture is hollow, with a large opening at the rear. Slawa on full face, eyes downcast, hair parted in the middle & pulled back in bun with large comb. Drapes across both shoulders. modernism

Born: Melbourne, Victoria, Australia 1890; Died: 1947ModernismBennett Bequest, 2000 Figures depicting children on swings. Gold painted wooden frame.Recto: Signed and dated "E.L.Spowers - 1932" in grey ink l.r.c of composition; Titled "Swings - 21/50" in grey ink l.l.c.print, japanese tissue paper, children, playing, swings, linocut, australian art

Born: St Kilda, Victoria, Australia 1864; Lived and worked: England and France 1884-1933; Died: Melbourne, Victoria, Australia 1947ModernismLedger Gift, 1977Open rural landscape with large bare hill, building, trees and fences under a grey sky. Gold brushed timber frame.Recto: Signed "RB" in square in black oil in l.r.c of composition; Not dated; Not titledpainting, landscape, hills, house, trees, clouds

Born: Birmingham, Warwickshire, England 1863; Arrived: Sydney, New South Wales, Australia 1881; Died: Waverley, New South Wales, Australia 1930ModernismLedger Gift, 1979Seascape with boat, rocks, sand, lighthouse, hills and turbulent clouds. Brushed gold timber frame.Recto: Signed "A Fullwood" in brown oil in l.l.c of composition; Not dated; Not titledpainting, seascape, boat, buildings, landscape, lighthouse, birds, hills, clouds

Born: Annandale, New South Wales, Australia 1911; Lived and worked: England and France 1937-1940; Died: Sydney, New South Wales, Australia 1946ModernismGift of Mrs E.E. Ledger, 1987Watercolour depicting a creek bed with rock in the foreground. Unframed, hinged taped with two pieces of white tape to cream mat boardRecto: Not signed, not dated, not titledwatercolour, landscape, trees, water, rock, roots

"The work gestures towards Utopian, modernist public art, like that of Miro, Matisse and Sainte-Phalle, but I was also inspired by Yarra's own Keith Haring murals, in the way that he repeats his personal iconography to fill a chosen space. I wanted to make an expansive, open and inclusive artwork. I drew legs from women playing footy, cricket and soccer, but tried to draw them in the least heroic, least literal way possible." Commissioned as part of an upgrade project at the Malcolm Graham Pavilion, Kevin Bartlett Reserve, Burnley, 2020. The existing facilities were upgraded to include female change rooms and amenities. The project funding comes from Yarra City Council and the State Government through its Female Friendly Facilities Fund. The commission is a result of Yarra's Public Art Policy 2015 - 2020 which ensures Council commits a percentage of the capital works budget for new community infrastructure projects. Matisse and Sainte-Phalle, Keith Herring, Miro, ModernistCopyright the artistA series of abstracted legs in various shapes that jump, kick and run across the wall, activating and animating the space with bold, bright colours.accompanying plaquesport, women, installation, modernism

An opinion article on the direction of modern architecture (c.1960s?), identifying two previous 'phases' described as Functionalist and Fun. Boyd goes on to identify a third phase, typified by the work of Kahn, Tange, and Rudolph, which synthesises the rationality of early modernism with the monumentalism of later modernist work.Typewritten (c copy), foolscap, 4 pagesbauhaus, ciam, kenzo tange, louis kahn, paul rudolph, robin boyd, manuscript

Book review of "Kenzo Tange, 1946-1969. Architecture and Urban Design", edited by Udo Kultermann, Praeger Publishers, 304 pp $29.50. Boyd praises Tange's unapologetic adherence to modernism and his adaptation of le Corbusier's ideas to tradition. He appraises the book's merits and problems (explanatory and not analytical writing, building omissions).Architectural Forum, Vol. 135, No.3, October 1971, p8. Book review by Robin Boyd of 'Kenzo Tange, 1946 - 1969, Architecture and Urban Design', edited by Udo Kultermann, Praeger Publishers,Typewritten (c copy), quarto, 3 pageskenzo tange, japanese architecture, modern movement, le corbusier, creative realism, expo, skoplje, yugoslavia, hiroshima, children's library at hiroshima, shizuoka olympic arena, tokyo, nichinan, robin boyd, manuscript

Discusses the styles and aspirations of modern architecture post World War 2 in contrast to pre-war architecture (incomplete manuscript).Handwritten, quarto, 1 pagele corbusier, eero saarinen, modernism, world war 2, robin boyd, manuscript

A speech describing the modern architecture movement, its different styles.Typewritten (c copy), quarto, 9 pagesmodern architecture, modernism, anti-classicism, walter gropius, harold desbrowe-annear, robin boyd, manuscript

The abstraction and colours refer to the modernist abstract expressionist painter Mark Rothko.Nillumbik Prize 2018 Winner. The artist lives and works in Nillumbik. Inspired by modernist abstraction the work is a reflection of current times, exploring our relationship with technology and its’ impact on our social, personal and professional lives. Blurred abstract image in warm colours: yellow, orange and brown. Loading circle in white at the centre of the image.photograph, digital print, rothko, modernism, instagram, abstract, loading

Boyd outlines the focus of the Modern Movement: function determining form and the rejection of ornamentation; outlines three phases of Modernism: the plain informal functionalist box style; 1950s monolithic sculptural forms (eg TWA terminal); and fragmented systematic expandable forms. Boyd proposes a new phase: a New Revolution Against Architecture, wherein the barriers between art and science are broken down and combined with technology; suggests looking to Japanese Metabolism.Typewritten, pencil edits, quarto, 21 pagesPage 1 refers to a chart (not attached). Sporadic annotations throughout. Appears to be a talk. Pages 6-8 refer to a chart, page 11 refers to an image of apartments by James Stirling, p14 refers to Robert Venturi's Guild House.page 1 refers to a chart (not attached). sporadic annotations throughout. appears to be a talk. pages 6-8 refer to a chart, page 11 refers to an image of apartments by james stirling, p14 refers to robert venturi's guild house

This sculpture is a bronze cast of Karl Duldig’s 1956 terracotta sculpture titled 'Moses'. The terracotta sculpture won the 1956 Victorian Sculptor of the Year award, an honor given by the Victorian Society of Sculptors. The National Gallery of Victoria purchased the original terracotta sculpture for the Gallery’s collection in 1956. In 1979 the NGV allowed Karl to cast the original terracotta sculpture in bronze (to a limited edition of 5). The National Gallery of Victoria holds one of these casts and one is in Duldig Studio collection. The original terracotta sculpture was exhibited in 1956 at the Olympic Arts Exhibition in Wilson Hall at the University of Melbourne. Two other works by Karl were also exhibited, a sandstone titled 'Adam and Eve' and a work titled 'Fountain'. The catalogue for the Olympic exhibition, which promoted modernism across a variety of disciplines, noted that Australia’s post war immigration program had given ‘further momentum to the modernist cause’. The identification of émigré artists, such as Karl Duldig, with the acceptance of modernism in Australia became a major theme in any discussion of art and design in the post war period. Ann Carew 2016The subject Moses and the tablets of law is an important theme in the history of art. For example the National Gallery of Victoria collection includes paintings on this topic by the Australian Aboriginal artist, Queenie McKenzie (1991), prints by the Russian-French modernist artist, Marc Chagall (1956), and a painting by 19th century British academic painter, John Rogers Herbert (1870s). Michelangelo’s sculpture of Moses is perhaps the most famous sculptural interpretation of the subject. In Karl’s hands we have a modern interpretation of the theme. His simplification and abstraction of form and attention to surface modeling is masterly. The figure has an emotional intensity and despite its relatively small scale, a ‘forceful monumentality’. The sculpture is aesthetically significant for its craftsmanship, expressive qualities and modernity. It is historically significant because of its associations with the 1956 Olympic Arts Festival. The Duldig Studio’s bronze cast of the sculpture was exhibited in the exhibition '1956: Melbourne, modernity and the XVI Olympiad, Museum of Modern Art at Heide.' Apart from the formal qualities of a work like Moses, its relevance as a motif in Judaism and Christian faiths ensures its place as a work of spiritual significance. Ann Carew 2016Bronze cast from terracotta sculpture. Depicts Moses as in Exodus 32 when he returns from Sinai with the tablets of the law to find his people worshipping the golden calf, in his fury he holds the tablets aloft above his head before crashing them down on the ground.

Discusses the new brutalism, as a revival of the rebellious spirit of early modern architecture, in the context of Reyner Banham's book "The New Brutalism", with the subtitle ethic and aesthetic. Boyd discusses the arguments of Banham and the new brutalism in the context of the subtitle. It concludes with a code to characterise the modern movement.Original manuscript of an article published in Architectural Review Vol 142, No 845, July 1967. pp. 9–11 and reprinted as ‘El triste fin del Nuevo Brutalismo’ in 'Cuadernos Summa Nueva Vision' (Buenos Aires), No’s 24/25, May 1969, pp. 51-53.Two copies. One typewritten (c/copy) pencil edits Second typewritten (p/copy). Both quarto, 14 pagesle corbusier, reyner banham, smithson, peter and alison smithson, modernism, brutalism, robin boyd, manuscript

Booknon-fictionEssays addressing questions surrounding the effects of feminism on arts practice including responses to feminist exhibitions, the way arts degrees are taught d how feminism's engagment with psychoanalysis and postmodernism has deconstructed borders between the arts and crafts. theory, psychoanalytic theory, modernism, curatorship, museology, censorship, hierarchy of media, feminist pedagogy, education, performance art

Overview of residential architectural styles from 1925 to 1965 to celebrate the 40th anniversary of "Home Beautiful" magazine. Discussions include the future of housing technology, Californian Bungalow design and the future of the 'modern house'.Original manuscript of 'Is our frozen house design about to thaw', published in Australian Home Beautiful, Vol, 44, No. 10, October 1965, pp. 4-11.Typewritten (c copy), quarto, 23 pages. (Two copies)home beautiful, queen anne, californian bungalow, charles greenhill, walter burley griffin, harold desbrowe-annear, home beautiful, modernism, robin boyd, manuscript

As a Principal of Stephenson and Turner, Ellison Harvie?s 1959 design for the proposed new club rooms of the Lyceum Club, Melbourne has an elegance typical of late 1950s modernism. Harvie attended Swinburne Technical College and then, from 1925 to 1928, the Melbourne University Architectural Atelier where she excelled, becoming the first woman to receive a diploma of architectural design from that institution. Harvie was an advocate for the professional development of women in architecture and was a mentor to younger women. She was President of the Lyceum Club from 1963 to 1965. The Club had been established in 1912 for women graduates and those who had distinguished themselves in public service. The watercolour perspective is held in the archive of Berenice Harris, whose last major project was a renovation and extension to the Lyceum Club in the 1980s.watercolour, paper

Troy FIREBRACE (c1994-) Country/Language: Yorta Yorta Troy is a Shepparton born Yorta Yorta man, whose career is on the rise after winning the prestigious Federation University Acquisitive Award for Work by a Victorian Regional Artist at the 10th Victorian Indigenous Art Awards. He completed Year Twelve at Shepparton Secondary College in 2010, and in 2015 Troy was studying Creative Arts at La Trobe University, Bendigo where he has pursued his interest in his Aboriginal identity and art. He is largely influenced by the art of his Uncle Chris Firebrace and he enjoys the design aspects of creating a painting. Usually Troyʼs works contain a narrative, or at least hint of a meaning that he would like to convey to people. Influenced by the imagery of his Aboriginal cultural background he works at bringing together references of landscape, environmental processes and concerns, looking at the way in which we as humans relate to the natural world. Troy seeks to find and demonstrate a connection between humanity and the environment, exploring the idea of harmonious co-existence. Artist's statement: "‘Stories are being told and shared like particles in the universe, a constant swirl of words filled with emotions creating a pattern — explosions — smashing into each other creating a layering effect — creating worlds, planets — well nourished and suited to sustain life, and from this life new stories will emerge, to be told, to be shared — a continuous galaxy swirl. I like the idea that we are a part of something bigger — yes, the earth is massive, but we are just a speck of something far beyond the Milky Way itself.” The work was inspired by the work of abstract expressionist painter Jackson Pollock, science and space. This work won the 2015 Victorian Indigenous Art Awards Federation University Acquisitive Award for work by a Victorian regional artist. His canvas 'A Galaxy Swirl' was described by judges as ‘‘a vibrant and dynamic painting that, as the artist explains, epitomises a bringing together of modernism and Aboriginal arts’’.victorian indigenous art awards, troy firebrace, artwork, artist, indigenous, aboriginal, painting, indigenous artist

Vol. 2, No. 1, Feb-Mar 1997 CONTENTS MEDALS AND MODERNISM A retrospective look at the cultural impact of the Melbourne Olympics 3 CD REVIEWS 6 NEW HORIZONS Judy Jacques takes a new direction 6 LA MAMA 30 YEARS ON Liz Jones at the helm 10 PAST AS POST CUBISM Annita Furey on Heather Shim men 14 GRAPE GRAZING FESTIVAL Food, wine and music in the Yarra Valley 16 SHORT STORY Fantasia on a cup of coffee 18 WHAT'S ON A round-up of events for February 22 WHO'S TEACHING WHAT Classes in the region 24 FRANCES DUFFY RETROSPECTIVE An artist who extended the boundaries of tonalism 26 ANDY WARHOL AND THE CAN OF SOUP More than 15 minutes of fame 27 A ‘DUTCH’ FESTIVAL COMES TO ST ANDREWS 28 LISTINGS Artists, performers and galleries 29 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) 1956 melbourne olympics, 1956 olympics, 1995 eltham arts ball, a.d. (archie) colquoun, abu baku, adams of north riding, afandi siyo, albert namatjira, alice (1956), andy warhol, annita furey, anthony dymke, art streams magazine, ballarat school of mines, bathing in the dark, bob sedergren, bob valentine, bourbo's belly, brian brown quntet, bulleen art & garden centre, cafe margot, charles blackman, christine edwards, circushead, clifton pugh, cottlesbridge, council amalgamation, cuddlefish, dave pithouse, david lord, david tolley, dawn sime, dione mcintyre, dixon's creek, edward grigoryan, eltham college concert band, eltham wiregrass gallery, erika mcgilchrist, fergusson winery, food for all seasons, frances duffy, fred williams, frenzi, geoff achison, geoff mainwaring, graeme bell, grape grazing festival, half caste child, heather shimmen, hoodangers, isobel lindsay, james wakeling, janette geri, john brack, john mcall, john murphy, jordie albiston, judy jacques, kath mckinnon, katherine's silly women, kelly 1956, ken harrison, kevin borland, kim harriss quartet, la mama theatre, lauurie dawes, leonard french, lighthouse, liz jones, lloyd jones, lothlorien, lovegroves, lovey's estate, luxum, maelstrom, max meldrum, may grigg, michelle nicolle, mighty servant, mirka mora, miss suzannah espie, moma, montsalvat jazz festival, moonee valley drifters, moonlight shadow, museum of modern art at heide, mystery train, the melbourne jazz band, nicole eveleigh, nigel shipley, olympomania, peter mcintyre, phyllis murphy, pip avent, portrait of georges mora (1956), ray horsfield, red shed theatre company, reed's gallery, richardson house (1955), river house (1955), robin boyd, sandro donatti, secret of the west wind, seville, shantell vineyard, shedlevellers bush band, shirley bourne, sigmund jorgensen, sir william dargie, soul sister swing, sydney nolan, that handsome couple, the band who knew too much, the broken fence (1956), the gusset rustlers, the rhonda movement, the russian gypsey jazz quartet, three amigos, victorian artists supplies, warburton, wholefood delights, yarra valley grape grazing festival, yellow dog jazz band, yering station, art streams

William FRATER (1890-1974) Born 31 January 1890 at Ochiltree Castle, near Linlithgow, Scotland Arrived Melbourne, Australia in September 1910 In a lecture on modern art in 1925, Frater stated the basic position from which the rest of his oeuvre stems: 'Copying nature is not an art; … to copy effects of light tends to destroy form and colour'. Frater gave aggressive leadership to the small group of modernists in the 1920s. His example, teaching, lecturing and crusty style of polemic did much to disrupt the academic style as the arbiter of pictorial values and to pioneer a change of taste in the community.His approach in the 1930s was markedly indebted to Cézanne, especially in the portraits which predominated until his retirement from stained-glass designing in 1940. (L. J. Course, 'Frater, William (1890–1974)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/frater-william-6239/text10739, published first in hard copy 1981, accessed online 3 May 2016.) Jock Frater was on of the first modern painters who opposed the fashionable and academic schools of painting. During the 1930s he exhibited with the Contemporary Art Group along with Arnold Shore and George Bell. During a very conservative period in Australian Art John Frater advanced the cause of innovation and modernism. 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.Framed seated nude study in oil on paper. Lower centre in pencil "W. Frater". In lighter pencil "painted 1932"art, artwork, frater, william frater, life drawing, nude, oil on paper, portrait, jock frater, william jock frater, available

This portrait was presented by the Victorian Bar to the Library in 1917 to commemorate Schutt’s fifty years as the Supreme Court Librarian. The portrait was presented at a ceremony presided over by Mr Mitchell KC who noted the “unanimity with which the members of the profession had adopted the suggestion that the eminent services of Mr Schutt should be recognised in this way.” Chief Justice Madden also spoke on this occasion and there were a number of judges and members of the legal profession present. John Schutt had been born in England in 1831 and migrated to Victoria as a young man, initially working as a school teacher he was appointed librarian, during Redmond Barry’s time in 1866. He started work in the Old Court in Russell street and would have supervised the move of the library to its new and greatly expanded premises in William Street in 1884. As well as secretary to the Library committee, he also acted as the Secretary of the Board of Examiners on occasion. After his death in 1919 in its obituary, the Williamstown Chronicle noted that Schutt was regarded as a Solon, an ancient greek law giver who gave wise advice. Away from the Court he was a councillor of many years standing in Williamstown, representing the Victoria Ward, what is now the suburb of Newport, it would appear Schutt street in Newport was named after him. His eldest son William Schutt was appointed a Supreme Court judge in 1919. The portrait of Schutt is a companion piece to the Sir Thomas a’Beckett picture painted shortly before the Schutt portrait and for the same client, they share the same frame design with gum leaf motif. This portrait was undertaken early in Meldrum’s career and before he had fully developed his theory of painting. Duncan Max Meldrum (1875-1955) was a controversial figure in his later years as he strongly opposed modernism and non-figurative art. His works are found in most of the state galleries, including a wide selection at the National Gallery of Victoria. This portrait is of interest for whom it portrays and as the work of a well known artistFull length portrait in oils of John Schutt. Schutt is standing up looking out the to the viewer. His hand rests on a small pile of books. He is dressed soberly in a three piece black suit. His white beard and hair all meticulously trimmed and realised. The props used in this painting provide the main colour as the background has become dark over the years. The books sit atop of a red and gold draped table. Behind Schutt is what appears to be a crimson velvet chair and he gives every appearence of having just arisen from the chair to engage with the viewer. The painting has an unusual light source at the foot of the painting with Schutt's legs providing shadows. Signed Meldrum lower right hand corner. Plaque inscription is John Schutt, Esq. Supreme Court Librarian

Norma Bull in a window of 'Medlow', 1920s Her brother (Ronald) Richard was a keen photographer and is believed to have taken the photographs of the family and in the grounds of 'Medlow'. Norma Catherine Bull (7 September 1906 – September 1980) was an Australian painter, printmaker and etcher best known for the paintings and sketches she made in Britain during World War II. Norma was the daughter of Richard Joseph Bull (1874-1927) and Catherine Grace Perrier (1884-1972). Her father was the Director of Bacteriology at Melbourne University. Richard and Catherine had 2 children. Norma was born in Hawthorn in 1906 and her brother Ronald Richard was born in Surrey Hills in 1912, where in 1911 Richard bought a property at 42 Warrigal Road, Surrey Hills developed by Colonel William Cairncross, known as ‘Willcyrus’ and renamed ‘Medlow’ by the Bulls. As a child, Norma was a high achiever both intellectually and artistically. She was educated at Fintona, where she matriculated as Dux of the School and winner of an exhibition in French. She won a scholarship to attend the University of Melbourne where she studied French, Zoology, Philosophy, English and History, leading to a Bachelor of Arts in 1929. Following this she studied painting and drawing at the National Gallery Art School for seven years. Whilst most of the students of the 1930s were inspired by Modernism, Norma followed more traditional styles and became known for her etchings and realistic depiction of urban scenes. Her work was strongly influenced by the conservative nature of the National Gallery Art School under Bernard Hall, and she remained a traditionalist all her life. In 1938, she was awarded the Sir John Longstaff Scholarship in Fine Art. This enabled her to travel to England to study at the Royal Academy in London. She arrived in April 1939 and after the outbreak of war, she worked as a volunteer at a First Aid Clearing Station and applied to become a war artist. In 1941, she was given a sketching permit by the War Artists Advisory Committee to record bomb damage in the Bristol area. In 1947, an exhibition of her 205 wartime works entitled “Two Hemispheres”, opened at Australia House in London. Many were acquired for major collections in England including the Victoria and Albert Museum, the Imperial War Museum and the Royal Collection. The “Two Hemispheres” exhibition toured Australia in 1948 and for over twelve months she followed Wirth’s Circus around the country, painting aspects of circus life. From then on she lived at Medlow’, From 1960 she was secretary of the Fellowship of Australian Artists. She was a finalist in the Archibald Prize on 2 occasions and is remembered through a biennial Art Prize, ‘The Norma Bull Portraiture Scholarship’ which is administered by The Victorian Artist’s Society. She continued to paint landscapes and seascapes in her traditionalist style. She had holiday homes at Anglesea and Bright. After she died in September 1980, 31 of her works were bequeathed to Bright Art Gallery. A black and white photograph of a lady holding a sun umbrella and sitting in a window frame.miss norma bull, medlow, house names, warrigal road, surrey hills, mr ronald richard bull

Built in 1953, the Rice House was leading Melbourne architect Kevin Borland's first commssion and was one of two houses of its kind. The design of the shell-like structure was inspired by the Arch of Ctesiphon, built in the second century south of Baghdad. Cement with a waterproofing agent was applied in layers to a form of regularly spaced timber arches covered in hessian. This ctesiphon system was developed in the United Kingdom by engineer J.H. de Waller in 1947. Commissioned in 1951 by Harrie and Lorna Rice, after Harrie, then an art student, met Borland at The Age Small Homes Service. Borland suggested they buy land in Eltham because at that time it was the only council in Melbourne that would grant a permit for such an innovative house. Covered under Victorian Heritage. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p157 Inspired by an ancient arch in Iraq, a house stands on top of a hill in a private position, off Ryans Road, Eltham. One of only two houses of its kind, it was leading Melbourne architect Kevin Borland’s first commissioned house, which he built in 1953. The shell-like structure, partially screened by giant trees and cacti, was inspired by the Arch of Ctesiphon south of Baghdad, built in the second century.1 Cement with a waterproofing agent was applied in layers to a form of regularly spaced timber arches tightly covered by hessian. This ctesiphon system was developed in the United Kingdom by engineer J H de Waller in 1947. This house was the first of three such structures built in Victoria, of which only one other remains, although substantially altered.2 It is the Wood House and supermarket, at the corner of Cleveland Road and High Street Road, Ashwood, designed by Robin Boyd in 1952. The Rice House demonstrates Kevin Borland’s innovative and experimental work. It is an outstanding example of the post-war period of experimentation in domestic architecture in Melbourne – by Robin Boyd, Kevin Borland and others – for The Age Small Homes Service from 1947 to 1953. This was partly an expression of late-Modernism and also necessitated by the post-war shortage of building materials. In Eltham, the post-war shortage of building materials largely resulted in mud-brick houses. Examples of Borland’s public work include contributions to the Olympic Swimming Pool in Melbourne and the Preshil Junior School in Kew. After more than 50 years of living in the house, Harrie and Lorna Rice still love it. Facing north-east with large windows overlooking the garden and two courtyards, it is well lit and benefits from a through breeze. The couple commissioned the extraordinary house after Harrie, then an art student, met Borland in 1951 at The Age Small Homes Service. Harrie was so impressed by the recently graduated Borland’s enthusiasm, that he asked him to design them an interesting house for a low budget.3 The unusual design presented several hurdles for the young couple before they could construct it. Borland suggested that they buy land in Eltham, because at that time it had the only council in Melbourne that would allow such an innovative house. Another hurdle was to gain finance for this remarkable house. The State Savings Bank Manager refused finance on the grounds that it was ‘unliveable’ and a ‘disgrace’. Fortunately, through a family connection, the couple borrowed money from the National Bank. But they discovered years later, that the bank’s evaluation stated the two ‘concrete sheds’ were of no value!4 The house built in off-white concrete, consists of two sections. The main house has four arches supported by brick and concrete walls that create a series of inter-connected rooms. Inside, the ceiling follows the roofline. Originally this section was only ten square metres, because of building restrictions at the time. But in 1973 Borland added two rooms and a carport. The second structure of two arches was originally a garage and a studio for art teacher Harrie Rice. To accommodate the growing family, in the mid 1950s, Borland converted the second structure into two children’s bedrooms, a kitchenette, a bathroom and a living room. The two structures were originally linked by a covered way of suspended draped-concrete, but this collapsed in the 1980s. The design has several maintenance problems. Cracks developed where two halves of the shells were joined. Then the material sprayed over the cracks became brittle, causing leaks. Fortunately Harrie found another material he could use. The valleys between the arches collect water, requiring annual painting with a waterproof material to prevent leaking. Lorna framed the house with native and exotic plants, which provide privacy and as a bonus, the garden attracted the rare Eltham Copper Butterfly.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, rice house, ryans road

Worn cover with clear tapenon-fictionA lengthy selection of essays on artists and art movements from a broad selection of historical and contemporary era including Baroque, Renaissance, 19th Century, Pre-Raphaelite, 20th Century, Modernism, Mid-Century, late 20th Century European and American art.lee krasner, louise bourgeois, elizabeth murray, susan rothenberg

Grand Arch is a five-metre by five-metre steel sculpture by Inge King placed as the centrepiece of Alfred Deakin Place, part of a redevelopment in conjunction with the State Government, City of Ballarat, University of Ballarat and Art Gallery of Ballarat. Grand Arch is representative of King's sophisticated style of abstraction that reflected animal and plant forms through to planets and the cosmos. King was a German-born Australian sculptor who created many significant public commissions including the well-loved Forward Surge (1974) at the Arts Centre, Melbourne. She was at the forefront of the development of non-figurative sculpture in Australia and held more than 26 solo exhibitions and participated in more than 60 group exhibitions in Australia, New Zealand, London and New York over almost 70 years as a practicing artist. The artwork is of artistic significance to the people of BallaratLarge steel sculpture painted matt blackgrand arch, inge king, australian modernism