DOCSLIB.ORG

The Swiss & Italian Festa, Hepburn Springs

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Swiss & Italian Festa, Hepburn Springs REGISTERED BY AUSTRALIA POST - PUBLICATION No. VBH 6369 DECEMBER 2011 The Swiss & Italian Festa, Hepburn Springs 22 & 23 October their common language. They left a very distinct imprint on the culture and landscape of this beautiful part of Victoria. Many descendants sill live in the region and much of it has survived to the present day. The Swiss Club of Victoria was represented once again by the Swiss Companion Singers and the Folkdance Group Alpenrose. Back from its successful participation at the Federal Yodelling Festival in Interlaken, the Swiss Yodel Choir Matterhorn also made an appearance. There was even some rather unexpected excitement as thick smoke was bellowing Last year, most outdoor activities had to be cancelled due to from the roof of the building the atrocious weather conditions. Naturally everyone was next to where we had dinner hoping that this year’s Swiss & Italian Festa would not see a on Saturday night. Luckily repeat of 2010, but it turned out to be touch and go! Friday the local fire brigade was at the scene within minutes and the night, as we drove up to Daylesford, dark clouds were rolling old weatherboard house could be saved before the flames took in, bringing with them heavy downpours. Fog and rain persisted hold of it. www.swissitalianfesta.com until Saturday morning, but shortly before the procession Editor started at 10.30am the gods showed mercy and the sun started to make an appearance. The Festa recognises the role played by the early Swiss and Italians who migrated to Victoria in search of gold and a better life. The discovery of gold in the 1850s prompted an exodus from the poverty-stricken Valle Maggia, Val Verzasca and other parts of Ticino and southern Grison. Between 1854 and 1856 almost 2000 Ticinesi and Grigioni had left for the famous Jim Crow goldfields, which is today’s Daylesford/Hepburn Springs. Many Italians from regions bordering Switzerland also settled there. Solidarity between Swiss and Italians was strong due to ./<b_dZ[hiBWd[C[bXekhd[)&&&L_Yjeh_W7kijhWb_Wmmm$im_iiYbkXl_Y$Yec C B D F U N C T I O N A N D MEETING ROOM WITH A DIFFERENCE The Second Floor at the Swiss Club "53).%33&5.#4)/.3 #/.&%2%.#%3 3-!,,-%%4).'3 s4HEATRESTYLESEATINGFORUPTO s"ASICCOFFEEMAKINGFACILITIES s7ORKSHOPSEATINGFORUPTO s0ARKINGCLOSEBY s#OCKTAILSETUPFORUPTO sMINUTESWALKTO&LINDERS3TREETOR s0RIVATEMEETINGROOMFORUPTO 0ARLIAMENT3TATION s!RCHITECTDESIGNEDSPACE sMINUTESWALKTO4RAM s#HOICEOFCATERINGFROMTHE3WISS s&RIENDLYVENUEWITH3WISSHISTORY #LUB2ESTAURANTOR4ERRA2OSSA s#OMPETITIVERATES s-ODERNAMENITIES /2$)..%2$!.#%&5.#4)/.3 ,!5.#(%3 02)6!4%%6%.43 s5NBEATABLELOCATION s-ODERNAMENITIES s!MPLEPARKINGCLOSEBY s#HOICEOFCATERINGFROMTHE3WISS s4RAIN TRAMANDBUSCLOSEBY #LUB2ESTAURANTOR4ERRA2OSSA s$INNERSEATINGFORUPTO s#HOICEOF"9/CATERER s#OCKTAILSETUPTO s#ATERINGKITCHENWITHOVENS s$ANCEmOOR MICROWAVEANDINDUSTRIALDISHWASHER s!RCHITECTDESIGNEDMODERNSPACE s&RIENDLYVENUEWITH3WISSHISTORY WITHLOTSOFAMBIENCE s#OMPETITIVERATES !44(%0%2&%#46%.5%n4(%37)33#,5"/&6)#4/2)! Contact us on E: [email protected] T: 1300 893 968 to check for availability, more information or a quote SWISS CLUB OF VICTORIA SWISS CLUB SUB-GROUPS Pro Ticino Founded in 1899 President: Claude Rossi Swiss Folk Dance Group Alpenrose 5 Falls Road, Hoddles Creek Vic 3139 89 Flinders Lane, Melbourne Vic 3000 President: Sylvia Hochuli T: (03) 5967 4542 T: 1300 893 968, F: (03) 9650 3104 T: (03) 9531 6575 E: [email protected] E: [email protected] E: [email protected] W: www.swissclubvic.com Swiss Yodel Choir Matterhorn Swiss Companion Singers President: Marco Unternährer Club Opening Hours Convenor: Heidy Giger 3 Bluegum Court, Upwey Vic 3158 Lunch: Mo - Fri from 12noon T: (03) 9889 9321 T: (03) 9729 3338, (03) 9752 6996 (H) Dinner: Wed, Thurs & Fri from 6pm. E: [email protected] W: www.swiss.org.au/matterhorn Bookings T: (03) 9650 1196 Ladies Luncheons Swiss-Australian Chamber of Swiss Club Catering Convenor: Heidy Giger Commerce and Industry (SACCI) For all Functions contact Chef For bookings T: (03) 9650 1196 General Manager: Marcel Svatos & Catering Manager Roger Moullet For information: T: (03) 9889 9321 T: (02) 9262 1511, F: (02) 9290 1928 T: (03) 9650 1196, F: (03) 9650 3104 E: [email protected] E: [email protected] M: 0409 040 249 Postal address see: www.sacci.com.au E: [email protected] SwissKids Convenor: Esther Blaser Swiss-Australian Academic The Second Floor Function Bookings T: (03) 8521 3739 CBD Function Room with a difference! Network (SAAN) M: 0424 220 523 E: [email protected] Info and/or bookings: E: [email protected] T: 1300 893 968 W: www.saan.id.au E: [email protected] The Swiss Diners Club Embassy of Switzerland Convenor: Damian Schaller T: (02) 6162 8400, F: (02) 6273 3428 M: 0410 461 364 E: [email protected] COMMITTEE E: [email protected] Barbara Kündig Consulate General of Switzerland President Swiss Festival T: (02) 8383 4000, F: (02) 9369 1334 T/F (H): (03) 9005 4938 Chairman: Rolf Huber E: [email protected] T/F (H): (03) 9807 0282 M: 0402 018 363 Consulate of Switzerland M (B): 0425 805 854 E: [email protected] T: (03) 9824 7527, M: 0413 042 728 E: [email protected] Rolf Huber E: [email protected] Immediate Past President Postal address and further information T/F (H): (03) 9807 0282 SWISS COMMUNITY for all above see: M (B): 0425 805 854 ORGANISATIONS W: www.eda.admin.ch/australia E: [email protected] Swiss Society of Victoria Organisation of the Swiss Abroad Urs Derrick Wildi (Benevolent Society) Council Member: Roland Isler Treasurer & Membership President: Franz Schnellmann Contact details: see below under Editor Administration T: (03) 9449 2245, M: 0412 203 893 W: www.aso.ch / www.swiss.org.au/csa T/F (H): (03) 9824 7930 E: [email protected] M: 0403 040 930 E: [email protected] Trachtengruppe Schwyzergruess Australian/Swiss Cultural Society Sigrid de Castella President: Sylvia Hochuli Membership Relations & T: (03) 9531 6575 Building Management Support E: [email protected] M: 0416 088 000 Impressum E: [email protected] Groupe Romand du Victoria ‘Edelweiss’ appears quarterly. President: Rémy Favre Circulation 500. Antony Anderson 1 Hughes Street, Malvern East Vic 3145 For all enquiries contact: Building Management T: (03) 9571 2835, M: 0412 135 095 M: 0416 069 666 E: [email protected] Roland Isler, Editor E: [email protected] W: www.swiss.org.au/chfrvic T: (03) 9524 6335 (B) Damian Schaller M: 0412 935 565 E: [email protected] Corporate Communications & Unless otherwise stated, postal Functions Manager address for all is: 89 Flinders Lane, 67 St.Georges Crescent M: 0410 461 364 Melbourne Vic 3000 Heatherton Vic 3202 E: [email protected] www.swissclubvic.com 3 President’s Message Dear members and friends of the Swiss Club, Thank you to all the members who Thank you! submitted their Swiss photos for the picture competition. Great to You have been wonderful see we have so many talented this year! photographers among our members. To select a winner was a Many thanks from all of us hard decision to make and the lucky one will be announced in the for all your energy, goodwill next edition of the Edelweiss. and generosity in making the Swiss Club a great club and 4HE#OMPANION3INGERSANDTHE&OLKDANCE'ROUP!LPENROSE a Swiss home away from home: participated this year again at the Swiss & Italian Festa in October. Thank you to the groups for representing the Swiss Club and Our thanks also go to the partners showing a wider community Swiss traditions and culture. and families for giving each of you The Committee is still looking for committee members. We are the time and space to be active in the Swiss Club. counting on the support of our members to help us out. We are s 2OGER-OULLET#ORINNE-OESCH #LUB2ESTAURANT certain there are lots of talented members out there. Please s 2OLAND)SLER .EWSLETTER%DITOR consider getting involved and volunteer your time as so many have done before. s (EIDY'IGER #OMPANION3INGERS,ADIES Luncheon !LLE*AHREWIEDERxASTHEYSAYIN'ERMAN THEYEARISSLOWLY s 0AUL%ISENEGGER(ANS+ELLER *ASS!CTIVITIES coming to an end and the Festive Season is upon us. I always fi nd it a bit diffi cult to get in the spirit of it. Having grown up in s 3YLVIA(OCHULI &OLK$ANCE'ROUP!LPENROSE 3WITZERLAND THE-ELBOURNE3UMMERAND#HRISTMASJUSTDONTSEEM Seniors activities to work for me or at least the things I associate with Christmas. But s 2ITA3CHWËRZLER 3ENIORSACTIVITIES I guess we can always come up with our own traditions! s ,OUIS3CHNEIDER "ILLIARD (OWEVERYOUDECIDETOCELEBRATEYOUR&ESTIVE3EASON )JOIN s 2OLF(UBER 3WISS&ESTIVAL#OMMITTEE the Committee in wishing you a peaceful and relaxing time, a s $AMIAN3CHALLER 3WISS$INERS#LUB wonderful Christmas and the very best for 2012. We hope the Swiss Club will feature in it a lot! s !NTONY!NDERSON 3IGRIDDE#ASTELLA 2OLF(UBER "ARBARA+àNDIG 'ERDA0ROBST 0ATRICK2YCHNER Barbara Kündig - President Damian Schaller, Derrick Wildi - present and past members of the Swiss Club Committee Newsletter Deadlines 2012 Customised English Written and Oral March Issue: #OVERING-ARCH!PRIL-AY Communication Skills for Professionals. %DITORIAL$EADLINE-ONDAY *ANUARY s "USINESS7RITING3KILLS Mailing: Wednesday, 15 February s 3PEAKING3KILLS June Issue: #OVERING*UNE*ULY!UGUST s !USTRALIAN7ORKPLACE)NDUCTIONS %DITORIAL$EADLINE-ONDAY !PRIL s )N #OMPANY#ONSULTANCY Mailing: Wednesday, 16 May s /NLINE3OLUTIONS September Issue: #OVERING3EPT/CT.OV %DITORIAL$EADLINE-ONDAY !UGUST 4EL%MAILINFO SOLUTIONSLINGUACOM -AILING7EDNESDAY !UGUST www.solutionslingua.com December Issue: #OVERING$EC*AN&EB %DITORIAL$EADLINE-ONDAY .OVEMBER -AILING7EDNESDAY .OVEMBER Book the Second Floor at the Swiss Club for your next function 4 Swiss Club of Victoria Smile! Swiss-German is turning English. Check out the SWISS )NTERNATIONAL!IRLINESWEBSITE www.swiss.com/web/Documents/dini_swiss.html ,AST -INËT,AST -INUTE 2EISEMËNËTSCHER4RAVEL -ANAGER Welcome to our new members 3AITMËP3ITE-AP We welcome Mark Allaby, Esther Blaser, Jon Stanford, "ISNËSS"USINESS Marc Steimle, Camilla Steimle, Karin Thompson, 4SCHËGG IN#HECK IN Samantha Treyvaud, Ben Treyvaud, Philip Treyvaud, Victoria Treyvaud, Karin Thompson and Scott !NDMYFAVOURITE7ÚRLDWAID3PESCHËLSx Thompson.
Load more

Recommended publications
  • Artistic Identity in the Published Writings of Margaret Thomas (C1840-1929)
    University of Wollongong Research Online University of Wollongong Thesis Collection 1954-2016 University of Wollongong Thesis Collections 1993 Artistic identity in the published writings of Margaret Thomas (c1840-1929) Lynn Patricia Brunet University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Brunet, Lynn Patricia, Artistic identity in the published writings of Margaret Thomas (c1840-1929), Master of Creative Arts (Hons.) thesis, School of Creative Arts, University of Wollongong, 1993.
    [Show full text]
  • AUSTRALIAN COLONIAL Good Hardback Copy in Illustrated Boards
    SAINSBURY’S BOOKS PTY LTD Architecture 12. GEHL, Jan and GEMZOE, Lars. NEW CITY SPACES. The Danish Architectural Press, Copenhagen. 2000. Landscape 4to, 263pp. With colour illustrations. A very good hardback copy in like dust jacket. Inscription to title page. $100 13. GREENE & GREENE: BOSLEY, Edward R. and MALLEK, Anne E. (Edited by) A NEW AND NATIVE BEAUTY. The Art and Craft of Greene & Greene. Merrell Publishers, London. 2008. 4to. 265pp, black and white and colour illustrations. A near fine hardback copy in like dust jacket. $50 14. GRIFFIN, Walter Burley: JOHNSON, Donald Leslie. THE ARCHITECTURE OF WALTER BURLEY GRIFFIN. Macmillan, 1977. Oblong 8vo., 163pp, Black and white and colour illustrations. A very good hardback copy in like dustjacket. $30 15. GRIMSHAW AND PARTNERS. GRIMSHAW: ARCHITECTURE: 1. BELL, Michael and BUCKLEY, Craig (editors). PERMANENT THE FIRST 30 YEARS. Prestel, Munich. 2011. Large 4to. Illustrated in CHANGE: PLASTICS IN ARCHITECTURE AND ENGINEERING. colour. A near fine hardback copy in like dust jacket. $30 Princeton Architectural Press. 2014. 4to, 271pp, with colour illustrations. A near fine hardback copy in illustrated boards. $30 16. HELLIWELL & SMITH: BODDY, Trevor. (Edited by) BLUE SKY LIVING. The Architecture of Helliwell & Smith. Images Publishing. 2013. 2. BLUEPRINTS FOR MODERN LIVING. History and Legacy of the 4to. 148pp. colour illustrations. A near fine hardback copy in like dust jacket. Case Study Houses. MIT, Cambridge. 1989. Landscape 4to, 256pp. With $15 black & white and colour illustrations. A very good hardback copy in like dust jacket. With previous owner's unsigned bookplate. $120 17. IMAGINE ARCHITECTURE. Artistic Visions of the Urban Realm.
    [Show full text]
  • Eugene Von Guerard and Cape Schanck
    Art Appreciation Lecture Series 2017 Site Specific: The power of place Eugene von Guérard and Cape Schanck Dr Ruth Pullin 10/11 May 2017 Lecture summary: Eugene von Guérard’s life and his career was defined by travel. But some sites, notably Cape Schanck, a narrow headland that juts out from the high cliffs of a dramatically beautiful and wild stretch of Victoria’s coastline on the Bass Strait side of the Mornington Peninsula, drew him back again and again. It was a site that accrued interconnected layers of significance for him. There the Barker and Howitt families created a sympathetic and convivial environment for artists, including Edward La Trobe Bateman, Georgiana McCrae, Nicholas Chevalier and von Guérard, all of whom made frequent visits. Von Guérard responded to the dramatic topography of the site (and, for him, its association with the island of Capri), its botanical diversity and its geological history as revealed in the exposed rock strata of the cliff faces. Here von Guérard found precisely the type of geological and botanical subjects that the great German natural scientist Alexander von Humboldt and his contemporary, Carl Gustav Carus, had urged artists to address. Von Guérard and his fellow Humboldtians in Melbourne, Wilhelm Blandowski, Ferdinand von Mueller and Georg von Neumayer, all visited, or studied natural specimens collected from, Cape Schanck. Von Guérard first saw Cape Schanck from the sea, in 1855. Each of his subsequent visits, in 1858, 1863 and 1873, took on its own a distinct character: the first was recorded in his sketchbook, the second in both drawings and a sketchbook and the third in a series of plein air oil studies, one of which, Lower part of Castle Rock, Cape Schank [sic] 1873, was recently gifted to the Art Gallery of New South Wales.
    [Show full text]
  • Colonial and Early Australian Art Auctions
    Chapter 3. Colonial and Early Australian Art Auctions Although auctions were commonly used for conducting art transactions from almost the inception of the Australian colonies in the late eighteenth century, there were also other vehicles through which art was bought and sold. These included retail stores, art dealers, art unions, Mechanics' Institutes, artists' exhibitions, artists' societies, private commissions, photographers selling on-site and black and white illustrations in periodicals and newspapers. The lack of a structured art market in the colonial period meant that art was often relegated to non-institutional avenues for exhibition and sale and was also often a sideline to other retail business. Artists such as Eugène von Guérard and Nicholas Chevalier, for example, displayed works in the windows of music, framers', or other retail stores, in addition to their own studios. In May 1846, Robin Vaughan Hood opened possibly Australia's first art gallery, the Colonial Picture Gallery in Liverpool Street, Hobart. It too was next door to his framing shop.1 In the 1850s, stationery shops, such as Mr Borthwick's Stationery in Collins Street, Melbourne were outlets for art, books, papers, prints and cartes-de-visites. Newspaper offices sold watercolours. Joseph Wilkie's piano store window at 15 Collins Street was actually a permanent exhibition space, with the artist E. Wake Cook commenting: I was a small boy when I landed in Melbourne in 1852, and there was an utter absence of visible art. Then on one memorable day, I saw in Wilkie's music shop window a little picture. `Troopers, Mounted Police', admirably drawn and painted by William Strutt.
    [Show full text]
  • War and Peace: 200 Years of Australian-German Artistic Relations
    Rex Butler & A.D.S. Donaldson, War and Peace: 200 years of Australian-German Artistic Relations REX BUTLER & A.D.S. DONALDSON War and Peace: 200 Years of Australian-German Artistic Relations The guns were barely silent on the Western Front when on 23 November 1918 Belgian-born Henri Verbrugghen took to the stage of the recently established NSW Conservatorium and softly tapped his baton, bringing the audience to silence. Then into this silence Verbrugghen called down the immortal opening chords of Beethoven’s Ninth Symphony, the ‘Choral’, with its celebrated fourth movement ‘Ode to Joy’, based on Schiller’s words. A difficult piece to stage because of the considerable orchestral forces required, the performance was nevertheless a triumph, and all the more so for the occasion it marked, the Allied victory over Germany. Due to the long lead time and the necessity for extensive rehearsal, its being played at the signing of peace was a coincidence, but nevertheless a very serendipitous one. And the point was not lost on the critic for the Sydney Morning Herald, who in their review wrote: The armistice and the blessings of peace were not in sight when the program of the Conservatorium Orchestra on Saturday afternoon was projected, but by an extraordinary coincidence the inclusion of Beethoven’s ‘Choral Symphony’ with the Ode to ‘Joy, thou spark from Heaven descending’, brought the whole body of players and singers into line for the celebration of the glorious Allied victory.1 The real coincidence here was perhaps not the fortuitous programming of Beethoven at the moment of the signing of the Treaty at Versailles, but that of Germany and Australia itself.
    [Show full text]
  • Nicholas Chevalier Anartist's Journey Through Canterburyin 1866
    Nicholas Chevalier AnArtist's Journey Through Canterburyin 1866 Neil Roberts A Robert McDougall Art Gallery exhibition presented ill association with Trust Bank Canterbury Credits Exhibition: Exhibition Curator - Neil Roberts Exhibition Preparation - Les F'ibbens, Hubert Klaassens, Simon Mulligan, Martin Young, Registration - Anna Crighton Publication: Photography - National Library of New Zealand, Museum of New Zealand Te Papa Tongarewa, National Library of Australia,Wollongong City Gallery, Redfern Photographics, Art Gallery of New South Wales Typesetting: The Caxton Press Printing: The Caxton Press @ 1992 Robert McDougall Art Gallery ISBN 0·908874-11-1 '.. Robert McDougall Art Gallery. PO Box 2626. Christchurch, New Zealand Telephone (03) 365-0915. Fax (03) 365-3942. Corer: Crossing the Teramakau, 1868 (detail) Oil on Canvas: 460 x 613nun Collection: Wollongong City Gallery. Gi1\ ofBob Sredersas 1976. NICHOLAS CHEVALIER An Artist's Journey Through Canterbury in 1866 NICHOLAS CHEVALIER An Artist's Journey Through Canterbury in 1866 Neil Roberts A Robert McDougall Art Gallery Exhibition presented in association with Trust Bank Canterbury G TRUST BANK CANTERBUFfY Contents List of Plates 6 l··oreword 6 Acknowledgements 7 Introduction 9 Nicholas Chevalier 1828-1902 12 Banks Peninsula 18 The Journey West 21 Hokitika 27 The Journey East 29 The Journey South - Mt Cook and Lake Wanaka 34 Footnotes 40 Selected Bibliography 43 Catalogue 45 Diary of The Journey 53 5 List ofPlates Cover Crossing the Teramakau, 1868 (detail) Oil on Canvas: 460 x 613mm Collection: Wollongong City Gallery Gift of Bob Sredersas 1976. Map The Routes taken by Nicholas Chevalier between April and June 1866. Page 10 Plate I. Self Portrait 1857 Page 14 Oil on Canvas: 350 x 255mm Collection: Art.
    [Show full text]
  • War and Peace: 200 Years of Australian-German Artistic Relations
    Rex Butler & A.D.S. Donaldson, War and Peace: 200 years of Australian-German Artistic Relations REX BUTLER & A.D.S. DONALDSON War and Peace: 200 Years of Australian-German Artistic Relations The guns were barely silent on the Western Front when on 23 November 1918 Belgian-born Henri Verbrugghen took to the stage of the recently established NSW Conservatorium and softly tapped his baton, bringing the audience to silence. Then into this silence Verbrugghen called down the immortal opening chords of Beethoven’s Ninth Symphony, the ‘Choral’, with its celebrated fourth movement ‘Ode to Joy’, based on Schiller’s words. A difficult piece to stage because of the considerable orchestral forces required, the performance was nevertheless a triumph, and all the more so for the occasion it marked, the Allied victory over Germany. Due to the long lead time and the necessity for extensive rehearsal, its being played at the signing of peace was a coincidence, but nevertheless a very serendipitous one. And the point was not lost on the critic for the Sydney Morning Herald, who in their review wrote: The armistice and the blessings of peace were not in sight when the program of the Conservatorium Orchestra on Saturday afternoon was projected, but by an extraordinary coincidence the inclusion of Beethoven’s ‘Choral Symphony’ with the Ode to ‘Joy, thou spark from Heaven descending’, brought the whole body of players and singers into line for the celebration of the glorious Allied victory.1 The real coincidence here was perhaps not the fortuitous programming of Beethoven at the moment of the signing of the Treaty at Versailles, but that of Germany and Australia itself.
    [Show full text]
  • The Howitts, Artistic and Intellectual Philanthropists in Early Melbourne Society
    The Private Face of Patronage: the Howitts, Artistic and Intellectual Philanthropists in early Melbourne Society Caroline Clemente Caroline Anne Kempthorne Clemente, B.A. (University of Melbourne), B.A. (Hons) (London University) Thesis submitted for the degree of Master of Arts, University of Melbourne This thesis is submitted in total fulfilment of the requiren1ents of the degree of Master of Arts. Department of Art History, Cinema, Classics and Archaeology, Faculty of A11s, University of Melbourne October 2005 Abstract This thesis investigates a case of upper-middle class, private patronage in Melbourne, focusing on three decades between 1840 and 1870. Evidence points to the existence of a lively circle of intellectual and artistic activity around the Quaker family of Dr Godfrey Howitt and his wife, Phebe, from the Midlands who arrived at the Port Phillip District in 1840. The presentation of a group of fine, rare colonial water-colours and drawings to the National Gallery of Victoria by a direct Howitt descendant, Mrs James Evans in 1989, was the point of inspiration for this subject. Godfrey Howitt, one of the first experienced medical practitioners in the colony, had much in common with the Superintendent of Port Phillip. Their friendship gave the Howitts entn5c into the uppermost social circles of the colony. Financially, the family prospered due to Howitt's professional practice which insulated them against cconotnic downturns and provided a steady accumulation of wealth. While as a Quaker, Phebe Howitt had little background in the fine arts, she began to exercise patronage in support of her artist friends, most of who arrived with the gold rush in I X52.
    [Show full text]
  • Download the Online Version of This Catalogue at Hordern.Com/Catalogues.Php Where Entries Are Linked to Full Descriptions
    For full condition reports, extensive descriptions, and further images search the 7-digit reference number shown at hordern.com, or download the online version of this catalogue at hordern.com/catalogues.php where entries are linked to full descriptions. 255 RILEY STREET · SURRY HILLS · SYDNEY NSW 2010 · AUSTRALIA (+61) 02 9356 4411 · www.hordern.com · [email protected] GEORGIAN OXFORD IN COLOUR 1. ACKERMANN, Rudolph (publisher) and various authors including William COMBE and Frederick SHOBERL. A History of the University of Oxford, its Colleges, Halls and Public Buildings. Two volumes, quarto; with engraved portrait of the Chancellor, Lord Grenville, 64 hand-coloured aquatint plates, and 17 coloured costume plates of university figures in their academic garb; contemporary half calf. London, R. Ackermann, 1814. Provenance: James Fairfax (from his library at Retford Park, Bowral NSW, with bookplate). $6850 click for details First edition: a very good complete set of the classic and beautifully illustrated work on Oxford University, with 64 marvellous coloured aquatint depictions of Oxford colleges and scenery after original works by various artists including Augustus Charles Pugin, Frederick Nash, Frederick Mackenzie and William Westall (the last of these was of course the official artist on Matthew Flinders’ voyage of the Investigator). Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher, and businessman. His various illustrated works (see also Rowlandson and Pugin’s Microcosm of England, item 31 in this catalogue) present a pictorial tour of Georgian Britain in which architecture is humanised with figures of people going about their business. This is a good example of an earlier issue of the book and therefore better impressions of the aquatint plates.
    [Show full text]
  • World Artists Series
    WORLD ARTISTS WORLD ARTISTS SERIES Database of pages published in the Artworkz eSplash eMagazine By David Hibbert Contributors: Kathie Maynes and Leisa Lees Wiki list of Australian Artists First published: October 2019 Last updated: Monday, 2 November 2020 An Artworkz Publication Page 2 INTRODUCTION When is comes to Australian artistry and the influence of artists on our culture, the first Australian artists were of Aboriginals descent. They came to Australia and made it their home in an earlier period for our continent and they carved rocks and trees, painted themselves, rocks and even produced tools and implements with design elements marked on them. They we creative beings—as can be seen from the diversity of their early works. The first verifiable European artistry influence was when Sydney Parkinson, Assistant Botanist and highly capable artist with the First Fleet, put pen and pencil to paper to record the things he saw, in his numerous sketchbooks. Sydney never lived to see his artwork appreciated back in London, as he died in 1771 on the return voyage. As the eastern coast of Australia was being occupied by Europeans, the Aboriginals became more concerned with survival than artistry, and most of their creative work ceased. Only in the late 1900s and the early 2000s are we seeing a resurgence in their artistic abilities. With the influx of convicts to Australia, we saw convict artists and those with literally skills, arrive on our shore and produce early works. Most of their efforts only gained appreciation after they had served their sentences and became freemen and freewomen.
    [Show full text]