This original poster design was produced as entry in the First Australian Exhibition of Women's Work 1907 in Melbourne. Dorothy Leviny was studying art and design at the Bendigo School of Mines at this time, under the tutelage of Arthur T. Woodward, who was recognised as one of Australia's foremost proponents of the Arts and Crafts Movement. Reference: Castlemaine Art Gallery and Historical Society (2007): Catalogue. Portrait of an Exhibition. Centenary celebration of the first Australian exhibition of women's work 1907, p. 44.One of the few original poster design entries known to remain in existence from the First Australian Exhibition of Women's Work, Melbourne 1907.Original poster design by (Bertha) Dorothy Leviny for the 'Australian Exhibition of Womans' Work', Melbourne 1907. Watercolour design showing Exhibition Buildings (Carlton) and five women in medieval costume blowing their trumpets with trees in background. Text top: 'Australian Exhibition', bottom 'of Womans' (sic) Work' and lower left corner 'Melbourne/1907/Oct, 23rd to Nov. 30.Lower right-hand of design - Dorothy Leviny's insignia: A 'B' inside a 'D' with and 'L'(bertha) dorothy leviny, first australian women's exhibition, 1907, exhibition building, carlton, australian women's work, watercolour design, poster, arts and crafts movement

Original design by Dorothy Leviny, aged 25, while she was a student at the Bendigo School Of Mines under the tutelage of Arthur T. Woodward. Woodward, who had come to Australia from Britain, was a renowned proponent of the Arts and Crafts Movement in Australia during the late nineteenth and early twentieth centuries. Dorothy Leviny, along with two of her sisters, entered a number of items in the First Australian Exhibition of Women's Work, Melbourne, 1907, and was awarded second prize for one of her wallpaper designs. Dorothy Leviny was the ninth child born to noted colonial silversmith and jeweller, Ernest Leviny, and his wife, Bertha (nee Hudson).This original wallpaper design by Dorothy Leviny is one of few that remain in existence from the early twentieth century showing the influence of the British Arts and Crafts Movement in Australia.Original wallpaper design made by (Bertha) Dorothy Leviny painted in watercolour. The repetitive floral design consists of pale pink bell-shaped flowers with green stems and leaves. Paper, card, watercolour paint.'D. Leviny /06'.dorothy leviny, watercolour painting, arts and crafts movement, 1906, buda, castlemaine, arthur t woodward, bendigo school of mines, exhibition of womens work 1907, wallpaper design, illustration

Born Celia Elizabeth Prince in 1930, Celia Rosser began painting Australian wildflowers early in her artistic career. She first began painting Banksias after seeing a Banksia serrata near her home in Orbost, Victoria. She lived in Orbost in the 1960's( her husband had been posted to Orbost High School) where she painted and drew native flowers , in particular, banksias. Her first exhibition was at Leveson Gallery in Melbourne in 1965, and included three watercolours of Banksia species. Two years later she published Wildflowers of Victoria.Celia Elizabeth Rosser (born 1930) is a renowned Australian botanical illustrator, best known for having published The Banksias, a three-volume series of monographs containing watercolour paintings of every Banksia species. She began painting Australian wildflowers early in her artistic career. She first began painting Banksias after seeing a Banksia serrata near her home in Orbost, Victoria.A small book titled Wildflowers of Victoria and written by Celia Rosser. It was published in 1967 by Jacaranda Press. The covers are stiff card and it has an illustration of a banksia on the front cover. It has 105 pp and contains coloured illustrations. This book was the third part of the Jacaranda wildflower guides series. The book is designed to carry around in a pocket or purse.rosser-celia wildflowers banksia australian-flora

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

Robert Thomas Miller Born in Melbourne in 1916 Studied commercial art at RMIT and for many years worked as graphic designer and design director at ACI Ltd. Member of the Victorian Artists's Society (Council member since 1965), Australian Guild of Realist Artists, Old Water Colour Society Club (past president), Australian Watercolour Institute, Hughesdale Arts Group (past president), Burnie (Tas.) Coastal Art Group. His watercolours have won over 40 major awards, including Victorian Artists' Society, 1973 Artist of the Year Award, and the Rotary Club of Camberwell Watercolour Prize (twice). Represented in many Australian collections both public and private.Maritime artRobert T. Miller, Mission to Seafarers Victoria CollectionA framed and glazed mat mounted watercolour painting by award winning artist Robert T Miller in ''landscape" format showing moored, masted ships; The modern frame is of moulded or carved wood with appearance of brushed gilt type gilding; image is mounted with pale grey window mount; Backing sealed with paper wire strand hanging system;Artist signed front lower right corner of painting in black ink; no date; sepia label adhered on top centre Verso with artist bio and brief CV ; Other exhibition labels adhered ; inscription describing acquisition and title of work; ( details TBA) M3 in black markerharbour, dockside, artwork, marine art, robert thomas miller, robert t. miller, watercolour, artwork-paintings

Robert Thomas Miller Born in Melbourne in 1916 Studied commercial art at RMIT and for many years worked as graphic designer and design director at ACI Ltd. Member of the Victorian Artists's Society (Council member since 1965), Australian Guild of Realist Artists, Old Water Colour Society Club (past president), Australian Watercolour Institute, Hughesdale Arts Group (past president), Burnie (Tas.) Coastal Art Group. His watercolours have won over 40 major awards, including Victorian Artists' Society, 1973 Artist of the Year Award, and the Rotary Club of Camberwell Watercolour Prize (twice). Represented in many Australian collections both public and private.Maritime ArtRobert T. Miller, Mission to Seafarers Victoria CollectionContemporary framed in limed wood, mounted and glazed watercolour painting by R.T. MILLER in portrait format. Mat mount is white. Image features freighter with black hull at mooring in dockland setting; wire hanging systemInterpretation label adhered to back, includes photographic portrait of the artist Value on label Signature M4 in black markermarine painting, port melbourne, artwork, docklands, tug boat, robert thomas miller, robert t. miller, r.t. miller, artwork-paintings, tugboat

Small illustration by Charles George Darvall (1831-1924), cousin of William Henry Charles Darvall.Born in England in 1831, he arrived in Victoria in 1858. A watercolour artist, he travelled around the goldfields and later taught at the Sandhurst School of Arts and Design.Small ink seaside landscape found on the 1896-1902 scrapbookBottom right corner: C.G.D. 99charles georges darvall (1831-1924), william henry charles darvall (1830-1906)

Journal extracts from the expeditions of Abel Janszoon and Marc-Joseph Marion Dufresne 1642 and 1772. Edited by Edward Duyker. Translated by Edward, Hermit & Maryse Duyker. Hard cover book with 106 pages. Book cover has coloured wrap around watercolour illustration of two sailing ships passing tall cliffs. Cover design by Mary G. Reynolds. Book included black and white maps, photographs and illustrations. Printed and Bound in Tasmania by Tasmanian Government Printing Office, Hobart. St. David's Park Publishing, GPO Box 307C, Hobart, Tasmania, Australia 7001. 1992.Written in ink on Title page. Signature of Donor. 17/7/25 To the Bendigo Historical Society with very best wishes.tasmania, abel tasman, dufresne

The Empress of the Sea is historically and archaeologically significant as it was one of Donald Mackay's famous wooden clipper ships ie: representative of a particular design or type. It was also associated with both the Black Ball and White Star Lines of Australian Packets, which carried thousands of immigrants from Britain to Australia.Photograph of an original water colour painting of the burning of the sailing ship 'Empress of the Sea' by Charles Dickson GregoryFront: Burning of the Empress of the Sea, C. Dickson Gregory. Back: nilempress of the sea, watercolours

The Empress of the Sea is historically and archaeologically significant as it was one of Donald Mackay's famous wooden clipper ships ie: representative of a particular design or type. It was also associated with both the Black Ball and White Star Lines of Australian Packets, which carried thousands of immigrants from Britain to Australia.An original watercolour painting of the burning of the sailing ship 'Empress of the Sea' by charles Dickson GregoryFront: Burning of the Empress of the Sea, C. Dickson Gregory. Back: Whatmans watercolour drawing board, 36640, C. Dickson Gregory, 41 Albert Street. Fixed label: 'Destruction of the famous clipper 'Empress of the Sea' at Port Phillip Heads 19th December 1861 Drawing by C. Dickson Gregoryempress of the sea, watercolours

The Presbyterian Church owned three lots of land bounded by Pakenham Road and the northern side of Dorchester Road, between 1927 and 1964. Providence House opened in 1927 as a peaceful country rest home for “tired mothers” from the inner suburbs, and their children. It was also used, at different times, for kindergarten groups and in 1955 for a girls Bible Class for Easter “studies, fun and fellowship.”Cockatoo had several guest houses which took paying guests. Providence House did not charge fees, but is the best-documented of the large houses which provided accommodation.Framed landscape design plan under glass, with detailed plant listings. Original watercolourDonated by Victoria & Digby Newcombe 2003presbyterian church, rest home, landscape plan, garden design, cockatoo victoria, providence house, black n.c,

This piece is a sampler for a major work "Frog in a whirlpool". Annemieke Mein OAM - designer/maker. Completed June 1994.Small framed panel, depicting a frog in a whirlpool. Hand painted silk organza - 'Dual Everfast Fabric Paint' diluted to watercolour consistency with reducer and water. Machine embroidery including free sewing. Underlying fabric a) fluoro organza and synthetic Lurex fibres under the frog's jaw, right arm and leg. b) cotton canvas backing behind painted silk organza. Quilting and padding with dacron filler behind the throat and body of the frog. Shades of blue and green. Blue grey wooden frame and mount.AM (bottom right - design maker's signature)machine embroidery, creative embroidery, panel, 1980-2000, australia

Sydney W Smith, watercolour sketch, Old Town Hall and Reconstructed Court House, Cnr Barkly and Grey Sts, St Kildablack and white photograph, copy, fair image quality, unmountedshows old court house with design for town extension to the rear.

John C. Paul, House designed by architect Charles Webb c.1865 1971, watercolour, 29 x 42.2 cm. Bayside City Council Art and Heritage Collection. Purchased 1974.brighton, john c paul, charles webb, historic house

In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. Built in 1891 for Captain Murray to his own design, ‘Shenval’ originally stood on five acres fronting Bluff Road, Black Rock.Annette Meikle, Shenval 1977, ink and watercolour, 33 x 23.5 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, black rock, architecture, historic house, shenval, captain murray, bluff road, verandah

In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. Tasmanian architect J.H. Esmond Dorney developed this ground-breaking design for the Sandringham Hospital, which opened in 1964. Dorney had spent significant time recuperating in hospital in the post-war years and developed a special interest in hospital design. The hospital included circular wings with nurses’ stations at the hub and wards radiating outwards like spokes on a wheel. The hospital included 100 beds, two operating theatres and four delivery rooms and baby nurseries. Each ward of two to four beds had its own bathroom, and featured wide windows with garden views. The design was considered radical at the time and was copied as far afield as England and the United States.Annette Meikle, Sandringham Hospital 1977, ink and watercolour, 25.5 x 35.5 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, sandringham hostpital, jh esmond dorney, hospital, architecture, sandringham

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

Floor plan and S.W perspective watercolour of proposed house for Mr. and Mrs. R. Hellier.ink, paper

In 1961 Robin Boyd designed the Tower Hill Reserve Visitors Centre to fit naturally within the surrounding terrain. The building’s shape reflects a volcanic cone. The windows allow a 360-degree view of the park. The Centre opened just after Robin Boyd’s death in October 1971. Project: Tower Hill Lake Reserve Museum drawn by Robin Boyd of Grounds, Romberg & Boyd. Drawing no 2. General view and external perspective. Watercolour on dyeline. tower hill, robin boyd, ohm2022, ohm2022_15

In 1961 Robin Boyd designed the Tower Hill Reserve Visitors Centre to fit naturally within the surrounding terrain. The building’s shape reflects a volcanic cone. The windows allow a 360-degree view of the park. The Centre opened just after Robin Boyd’s death in October 1971.Project: Tower Hill Lake Reserve Museum drawn by Robin Boyd of Grounds, Romberg & Boyd. Drawing no 3. Watercolour on dyelinetower hill, robin boyd, ohm2022, ohm2022_15

Project: Stegbar Windowalls, Springvale drawn by Robin Boyd of Romberg and Boyd; two interior perspectives. In 1952-53, Robin Boyd designed the Stegbar ‘Windowall’ - a prefabricated, structural framing/glazing system - to create a wall of windows. These ‘Windowalls’ were used extensively in domestic architecture across Australia from the 1950s to the 1970s. Boyd also designed the factory and showrooms for Stegbar Limited. The Walsh Street Archive holds exterior and interior perspectives of the building. Interior perspectives, watercolour on board.windowall, robin boyd, stegbar, ohm2022, ohm2022_35

Project: Stegbar Windowalls, Springvale drawn by Robin Boyd of Romberg and Boyd; external perspective. In 1952-53, Robin Boyd designed the Stegbar ‘Windowall’ - a prefabricated, structural framing/glazing system - to create a wall of windows. These ‘Windowalls’ were used extensively in domestic architecture across Australia from the 1950s to the 1970s. Boyd also designed the factory and showrooms for Stegbar Limited. The Walsh Street Archive holds exterior and interior perspectives of the building. External perspective, watercolour on board.windowall, robin boyd, stegbar, ohm2022, ohm2022_35

Side view of a double-storey, sandstone builidng with lawn, most likely the original building designed by Edmund Blacket for the Sydney Industrial Blind Institution in Boomerang Street. The artist has signed and dated the right-hand corner and has written 'Deaf and Dumb'.Watercolour and goucache over pencil in gold frameM Jonesm jones, sydney industrial blind institution

Watercolour by Lin Ditchfield of the Royal Blind Society of New South Wales (formerly the Sydney Industrial Blind Institution) in William Street, Sydney. Built in 1880, the Edmund Blacket designed building was eventually sold in 1971. Located on the corner of William Street and Boomerang Place, the site was keenly sought by developers as the city landscape transformed into high rise office builidings, as evidenced in the background of this painting.1 water colour in beige frameLin Ditchfield 1971royal blind society of new south wales, lin ditchfield, artwork, buildings

Albert E. WILLIAMS (1899-1986) Victoria, Australia Albert Edward Williams was among the first to undertake the five-year, Technical Art Teacher’s Certificate (TATC) at the Ballarat Technical Art School in 1915, with work placement at the Ballarat Lithographic company. Williams taught for several years before he was selected to undertake further teacher training at the Working Men’s College, Melbourne, in 1926. He returned to teach at Ballarat in 1928, facilitating many student activities, while pursuing the arduous Art Teacher’s Certificate. From its inception in 1914, it was 30 years before the first candidate achieved the certificate’s exhaustive requirements. This artwork was completed for the Drawing Teachers' Secondary Certificate at the Ballarat Technical Art School, a division of the Ballarat School of MInes. It is part of the Federation University Art Collection which features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Three design motifs inspired by the Kangaroo Apple for undertaken for the Drawing Teacher's Secondary Certificate."Study of Kangaroo Apple - with two designs based thereon. For Drawing Teacher's Secondary Certif. By Albert E. Williams. Tech. Art School, Ballt."art, artwork, albert e williams, a e williams, williams, ballarat technical art school, secondary art teaching, drawing, a.e. williams, available, alumni

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.art, artwork, alumni, albert e. williams, donald i. johnston

Original jewellery design for 'Britannia' pendant by Ernest Leviny, designed when he was living in London c1851, before travelling to the Australian goldfields of Castlemaine in late 1852. Leviny and his partner, Frederick Boocke, supplied jewellery designs to Watherston and Brogden in London. This design was made into a pendant by another London company, S.H. & D. Gass and was awarded a prize medal at the Great Exhibition of 1851 at the Crystal Palace in London. Leviny brought many of his original jewellery designs with him when he came out to Australia from Britain. See Schofield, Anne & Fahy, Kevin (1991), 'Australian jewellery: 19th and early 20th century'; Woodbridge, Suffolk, Antique Collectors Club, p. 39; Gere, Charalotte & Rudoe, Judy (2010), 'Jewellery in the Age of Queen Victoria', Pub.The British Museum p.340.This original jewellery design for the 'Britannia' pendant by noted colonial silversmith and jewellery, Ernest Leviny, is significant due to its link with the 'Britannia Pendant' awarded a prize medal at Great Exhibition of 1851, held at the Crystal Palace in London.Original jewellery design for a pendant featuring a standing woman (Britannia) holding a trident in her left hand and possible oar in her right hand, with Gothic style ornate pillars on each side and an archway overhead. Beneath the figure are three pearl drops. Drawn in pencil on grey card with gold ink highlights and red watercolour tinting.ernest leviny, jewellery, design, illustration, brittania, 1851, great exhibition of 1851

This etching by British engraver Arthur Willmore was created from Russian born artist Nicholas Chevalier’s original watercolour landscape of Bontharambo, Wangaratta (Chevalier’s watercolour is held in the collection of the National Library of Australia). Chevalier moved to Australia during the Colonial period and is famous for his landscape paintings, which were most commonly commissioned by wealthy landowners or merchants wanting to record their material success. Bontharambo is a historic property located in Wangaratta which was made famous by pastoralist Joseph Docker who took up the Bontharambo run in 1838 and has remained in the family since. The historic homestead on the property was built between 1857-1859 and was designed by architect Thomas Watts.ColonialWangaratta Art Gallery CollectionA rectangular landscape etching of the homes on Bontharambo station printed in black ink on off-white paper.Obverse: N. Chevalier/ A. Willmore/ THE OLD & NEW HOME STATIONSwangaratta art gallery, arthur willmore, nicholas chevalier, bontharambo, wangaratta