Cylinder and other seals, along with medals and coins, come after this three column listing of mostly prints.

Anon.  (after George STUBBS)

“An Animal of a New Species found on the Coast of New South Wales,” engraving, Gentleman’s Magazine 43 (1773), 320. Private collection.

 Anon.

Australian Kangaroo Belt buckle (tongue side) c. 1800s (in dark bronze, found in Tasmania.) Private collection.

Double-frame ambrotypes lady and man c.1860s Ambrotype in gutta purcha case (USA) c. 6 x 5cm each image. Private collection

Portrait of a male c. 1848, daguerreotype (USA) 7.5 x 6.5cm. Private collection

 Saint Stephen 1499 Incunable leaf with coloured woodcut, from The Life of Saints of Voragine (Augsburg: J. Schönsperger, 1499). Private collection

George BALDESSIN (1939–78)

Performance 1971, etching, aquatint 53.0 x 101.6cm. Newcastle Art Gallery collection

Francis BARLOW (c. 1626–1704)

Selected etchings [x 3] from John Obilby’s Aesop’s Fables 1668. Each c. 25 x 19cm. Private collection

George BAXTER (1804–67)

Decent from the Cross pub: 1835–1865, Baxter process 18.5 mm x 13.9 cm. Private collection

News from Australia 1854, Baxter process  11 x 15cm. Private collection.

News from Home 1853, Baxter process 11 x 15cm. Private collection.

Gordon BENNETT (1955–2014)

The Real Value of Art (Culture Bag) 1993, Soft ground etching on paper, 60 x 40cm. Griffith University Art Collection

Terra Nullius (as far as the eye can see) 1993, Soft ground etching with aquatint on paper, 80 x 60cm. Griffith University Art Collection

Monkey Boy 2004, Digital inkjet print on paper, 30 x 21 cm. Griffith University Art Collection

Body Print D1 1994, Acrylic on paper 160 x 120cm. Griffith University Art Collection

Thomas BEWICK (1753–1828)

The New South Wales Wolf 1790, wood engraving 5.4 x 7.8cm. Private collection

Ali BEZER (1988–)

Held in Place (variation 1) 2019, relief monoprint on Stonehenge paper, steel wire and magnets, 25 x 59cm. Courtesy the artist

Drapery #2 2019, monoprint 105 x 80cm. Courtesy the artist

Drapery #3 2019, monoprint 105 x 80cm

Courtesy the artist

Door 2019, hand-printed door on acetate silk, 122cm x 344cm. Courtesy the artist

William BLAKE (1757–1827)

Aboriginal Family of NSW 1792, etching and engraving (from a drawing by Philip Gidley King) 18.8 × 16.1 cm. Private collection

Arthur BOYD (1920–99)

Echo's answers 'unbuckling the ripples from his oar' 1983, etching, aquatint, 60.5 x 42.5cm. Newcastle Art Gallery collection

John BRACK (1920–99)

Fourth daughter 1954, drypoint etching, 17.3 x 12.4cm. Newcastle Art Gallery collection

Third daughter 1954, etching on paper, 17.3 x 12.2cm. Newcastle Art Gallery collection

John BRUCE  (c1790–1867)

Earl Grey C 1831, aquatint 17 x 11.5 cm. Private collection

Theodor de BRY (1528–1598)

Lack of Men: Seven Women Are Fighting for One Man’s Trousers, While He Sieves Through His Choice of Women 1596, engraving 10.8 x 9.6cm. emblem no. 21 in Johann Theodor de Bry, Emblemata Saecularia (1596) Private collection.

Theodor de BRY (after Agostino Carracci)

An Old Soldier Is More Shameful as an Old Lover 1596, Engraving 10.8 × 8.8cm. Emblem no. 17 in Johann Theodor de Bry, Emblemata Saecularia (1596) Private collection.

Theodor de BRY (after Pieter Bruegel the Elder) (1528–1598) Hay Running after the Horse 1596, engraving 10.6 x 9.5cm. Emblem no. 20 in Johann Theodor de Bry, Emblemata Saecularia (1596) Private collection.

Jacques CALLOT (1592–1635)

Discovery of the Criminal Soldiers 1633, etching, 8 x 18.5 cm. From the suite: The Miseries and Misfortunes of War Private collection

The Hanging Tree 1633, etching  8 x 18.5cm. From the suite: The Miseries and Misfortunes of War Private collection

 Samuel CALVERT (1828-1913)

Night Attack of the Natives near Lake Hope 1865, wood engraving 18 x 23.5cm. featured in Illustrated Australian News. Private collection

Australian Aborigines – Peace 1876, wood engraving 18 x 23 cm. Source: Illustrated Melbourne Post. Private collection

Animal Propensities 1894, wood engraving in Rev. Ralph Brown, A Delineation of the Character, Talents, Physiological Developments and Natural Adaptations of [Master Albert Walters], Melbourne, Mason, Firth & McCutcheon, 1894. Private collection.

Cressida CAMPBELL (1960–)

The lithographic studio 1986, Watercolour monoprint from carved woodblock 92.8 x 122 x 3cm. framed Griffith University Art Collection

The Etching Room 1986, Watercolour  pigment painted on carved plywood 69 x 70.6 x 5cm framed. Griffith University Art Collection

Simone CANTARINI (1612–48)

Adam and Eve 1639, etching 19.8 x 17.2cm. Private collection

Daniel CHODOWIECKI (1726–1801)

Two Standing Ladies—Demoiselles Quantin 1758, etching 13.5 x 9cm. Private collection

John CITIZEN (aka Gordon Bennett)

Interior (Couch and Painting) 2004, digital inkjet print on paper 85 x 61 cm. Griffith University Art Collection

John Heaviside CLARK (1771–1863)

Warriors of New S Wales 1813, hand coloured etching and aquatint on paper 16.8 x 22.2cm. Newcastle Art Gallery collection

John Heaviside CLARK (after John Lewin)

Hunting the kangaroo 1813 hand coloured etching and aquatint on paper 16.8 x 22.2cm. Private collection

John COBURN (1925–2006)

The 4th day: God created the vault of the sky and he made the sun... 1977, screenprint on paper 70.0 x 52.0cm. Newcastle Art Gallery collection

The 6th day: God created Man 1977, screenprint on paper 52.0 x 72.0cm. Newcastle Art Gallery collection

 Blair COFFEY (1970–)

Conquest 2016 screen-print on insulation foil 135 x 209 cm. Courtesy the artist

See 2019, laser-cut woodblock and Letterpress on Hosho Hil paper 50 x 30 cm. Courtesy the artist

Nowhere 2019, laser-cut woodblock and Letterpress on Hosho Hil paper 45 x 30 cm. Courtesy the artist

Portion 2 2016, screen-print on mirror 20 x 20 cm. Courtesy the artist

All that Glitters 2017 screen-print on Hahnemühle 300 gsm paper, 25 x 39 cm. Courtesy the artist

Mercury 2017, photo-polymer Intaglio on Hahnemühle paper 13 x 17cm. Courtesy the artist

Zoom 2017, screen-print on Fabriano Tiepolo 20 x 26cm. Courtesy the artist

Meridian 2017, screen-print.Courtesy the artist

Adriaen COLLAERT after Marten de Vos (c. 1560–1618)

Allegory of Africa c.1590, engraving c.19.6 x 13.2 cm trimmed to plate. Private collection

Allegory of Asia c.1590 engraving c. 25.2 x 20.9 cm. trimmed to plate Private collection

Walter CRANE (1845–1915)

Frog Prince c. 1874, woodcut, 23 x 19.5 cm. Private collection.

Oh, live to be my husband, and Beauty will be your faithful wife!" c. 1874, woodcut 23 x 19.5 cm. Private collection.

Aladdin and the Wonderful Lamp c. 1874, woodcut 22.5 x 19.5 cm. Private collection.

He had no sooner taken it than  he saw a hideous Beast, armed with a deadly weapon c. 1874, woodcut 22.5 x 19.5cm. Private collection.

Honore DAUMIER (1808–1879)

Les Bons Bougeois No: 62 1847, Caption: [Come on in, Monsieur..... don't be shy..... it's a living picture..... just like you'd see at the Porte St. Martin.] lithograph published in Le Charivari, Jan. 5, 1847 36.5 x 24.5cm. Private collection

Lawrence DAWS (1927–)

Brett Whiteley at Owl Creek 1978, etching and aquatint 76.8 x 73.9 x 3.7cm framed. Griffith University Art Collection

The Cage 1972, screenprint 90.4 x 87.9 x 2.7cm framed. Griffith University Art Collection

Painter and model c. 1977-78, etching and aquatint 38 x 39 x 2cm framed. Griffith University Art Collection

Otto DIX (1891–1969)

Nelly with the Lace Collar 1924, lithograph C. 28 x 20cm. Private collection

Albrecht DÜRER (1471–1528)

Cooks and Waiters 1494, woodcut c.11.5 x 8.5cm. Das Narrenschiff [Ship of fools] 1494 (ed. Strasbourg, Johann Prüss: 1511) Private collection

Scorning Eternal Joy  1494, woodcut c.11.5 x 8.5cm. Das Narrenschiff [Ship of fools] 1494 (ed. Strasbourg, Johann Prüss: 1511) Private collection

Richard EARLOM  (1743 - 1822)

Hunting Scene 1774 after a drawing by Claude le Lorrain (1600 – 1682) etching and aquatint 20.5 x 26cm. Private collection

Rural Scene 1774 after a drawing by Claude le Lorrain (1600 – 1682) etching and aquatint 20.5 x 26cm. Private collection

Helen FARMER (1888–1970)

Susan Island, Clarence River c. 1926, etching printed in sepia 27 x 19cm. Private collection

Albert FLAMEN (1620–after 1669)

31 etchings and frontispiece from Devises et Emblesmes d’Amour 1653, etching each c. 8.5 x 6.5cm. Private collection.

S. T. GILL (1818–80)

Emu sneaking 1865, colour lithograph on paper 17.7 x 25.3cm. Newcastle Art Gallery collection

James GILLRAY (c.1756-1816)

Connoisseurs Examining a Collection of George Morland 1807, Hand-coloured etching and aquatint plate size 24 x 20cm. published by Hannah Humphrey, 1807 Private collection

Francisco GOYA (1746–1828)

Caprichos No. 72, No te escaparás [You will not escape] 1799, etching on laid paper 21 x 14.5cm. Private collection

Caprichos No.20 Ya van desplumados [There they go plucked] 1799 Etching, burnished aquatint and drypoint on laid paper  21 x 15cm. Private collection

J. J. GRANDVILLE [Jean Gérard] (1803–47)

Bison 1842, lithograph c. 15 x 13cm. Source: P.-J. Stahl and Honoré de Balzac, Scènes de la vie Privée et Publique des Animaux [Private and Public Life of Animals] (Paris: J. Hetzel et Paulin, 1842 opposite 17. Private collection

The Lazy Seal 1842, lithograph c. 15 x 13cm. Source: P.-J. Stahl and Honoré de Balzac, Scènes de la vie Privée et Publique des Animaux [Private and Public Life of Animals] (Paris: J. Hetzel et Paulin, 1842) Private collection.

Hans Baldung GRIEN (c. 1484–1545)

[formerly attributed to Dürer] The Virgin with the Child on the Grassy Bank 1505, woodcut, second of two states 23.3 x 15.9cm.  Private collection

Ernst HAECKEL  (1834–1919)

Plate 51 Polycyttaria in Kunstformen der Natur [Art Forms in Nature] Bibliographisches Institut, Leipzig & Wen, 1899-1904, lithograph c.28 x 19.5cm. Private collection

Plate 43 in Kunstformen der Natur [Art Forms in Nature] Bibliographisches Institut, Leipzig & Wen, 1899-1904, lithograph c.28 x 19.5cm. Private collection

Plate 26 in Kunstformen der Natur [Art Forms in Nature] Bibliographisches Institut, Leipzig & Wen, 1899-1904, lithograph c.28 x 19.5cm. Private collection

Johann Jakob HAID (1703–1770)after Francois Boucher (1704-1767)

La Peinture : Die Mahler Kunst [Painting] 1740, Line etching and mezzotint engraving on a verge type hand-laid paper c. 32 x 42 cm. Private collection

Noela HJORTH (1940–2016)

Memory traces 1979, lithograph 152.2 x 107.3cm. Newcastle Art Gallery collection

Thomas HOLLOWAY (1748–1827)

Silhouette of Raynal 1789, engraving 15.1 x 12.8cm. in John Caspar Lavater, Essays on Physiognomy, trans. Henry Hunter (London: John Murray et al., 1789), vol. 1, 251. Private collection.

John KAY (1742–1826)

Illustrious martyr in the glorious cause of freedom and of equal law 1793, etching 11 x 7cm. Private collection

John KAY (1742–1826)

Two Shadows in Conversation 1788, etching 10.9 x 6.2cm. Private collection

Roger KEMP (1908–87)

Relativity 1972, etching on paper 108.9 x 109.3cm Newcastle Art Gallery collection

Grahame KING (1915–2008)

Micro-form V 1971, lithograph 33.0 x 38.3cm. Newcastle Art Gallery collection

Thomas KIRK (engraver) (c. 1765 - 1797)

Ape to Apollo TAB I, engraving in Petrus Camper (T. Cogan trans) The works of the late Professor Camper, on the connexion between the science of anatomy and the arts of drawing, painting, statuary, etc. London: Dilly 1794 Private collection

Kathe KOLLWITZ (1867–1945)

Inspiration 1904-5, etching and engraving 56 x 29cm. Private collection

KUNIKANE (Edo period)

Village Scene c. 1863, woodblock 35 x 23cm. Private collection.

Janet LAURENCE (1947–)

Metals, liquids and gasses from the Periodic Table 1993 Series of five works, screenprint with oil paint on metal each 45 x 30cm. Griffith University Art Collection

Lindy LEE (1954–)

Untitled 1, 2 and 3 1987, photocopy and acrylic on paper 62 x 48.7 x 4cm framed, Griffith University Art Collection

Alun LEACH-JONES (1937–2017)

Divisions 1969, screenprint 89.4 x 89.3 x 1.8cm framed. Griffith University Collection

Last stop c. 1969, screenprint 73.5 x 70 x 3cm framed. Griffith University Art Collection

Lionel LINDSAY (1874–1961)

The white peacock 1925, wood engraving 20.0 x 11.7cm. Newcastle Art Gallery collection

Königliche Porzellan-Manufaktur Berlin (KPM) Royal Porcelain Factory, Berlin

Couple and dog c 1890, porcelain lithophane  (no 392 “G”) 18.4 x 15.2cm. Private collection

Königliche Porzellan-Manufaktur Berlin

(KPM) Royal Porcelain Factory, Berlin Girl and dog with pups c 1890, porcelain lithophane (no 294 “B”) 14.6 x 11.4cm. Private collection

Joseph LYCETT (1774–c. 1825)

The Sugar Loaf Mountain, near Newcastle, New South Wales 1824, hand coloured etching and aquatint on paper 17.1 x 27.0cm. Purchased 1968 Newcastle Art Gallery collection

(After) Andrea MANTEGNA (1431-1506)

Four Dancing Muses, c.1497, engraving 24 x 34.8cm (trimmed). Private collection

Bea MADDOCK (1934–2016)

Seven 1974, etching on paper 47.1 x 32.8cm. Purchased 1975 Newcastle Art Gallery collection

Joseph MANSELL

Aesop’s Fables c. 1850, colour woodblocks (Baxter process) uncut sheet of fancy cards, 25.1 x 28.2cm. Each print 5.6 x 8cm. Private collection.

eX de MEDICI (1959–) and Rosalind Atkins  (1957–)

Dawn... ...till Dusk 2011, etching and engraving on copper plate 82 x 65.6 x 4.1cm framed x 2. Griffith University Art Collection.

eX de MEDICI (1959–)

United Spectre #3 (1) 2009 hard ground etching printed in one colour from a copper plate 83.2 x 63 x 4cm framed Griffith University Art Collection

United Spectre #3 (3) 2009 hard ground etching printed in one colour from a copper plate 83.2 x 63 x 4cm framed Griffith University Art Collection

Johann MOMMARD (after Durer) (active 1580–1627)

Fall of Man 1587 woodcut 12.7 x 9.7cm Private collection.

The Entombment 1587 woodcut 12.7 x 9.7cm Private collection.

Tim MOSELY (1961–)

studio ep I 2015 diptych of pulp printing on hand made paper 116 x 45 cm Courtesy the artist

carnarvon ep i 2018 pulp printing on hand made paper 180 x 43 (6 sheets)  Courtesy the artist

Wanda 2015 diptych of linocuts on awagami kozo 53 x 45cm Courtesy the artist

James NEAGLE (1765–1822)

Bennelong in European Dress 1798 engraving 10 x 13.5cm Private collection

Ann NEWMARCH (1945–)

Women hold up half the sky 1978 screenprint 91.0 x 65.0cm Newcastle Art Gallery collection

David NIXON (1969–)

Release 2015 relief etching Private collection

Sidney NOLAN (1917–92) Leda and the swan: The Leda suite 1961 lithograph 42.2 x 55.3cm Newcastle Art Gallery collection

Adriaen van OSTADE (1610–85)

The Painter, c. 1667, etching 23.2 × 17.1cm Private collection

Ethleen PALMER (1908–65)

Spindrift 1939, linocut on paper 27.3 x 35.6cm Newcastle Art Gallery collection

Mike PARR (1945–)

The Map 1987 etching 86.2 x 67.5 x 3cm framed Griffith University Art Collection

Philippe PIGOUCHET

Dance of Death 1510 2 x metal-cut borders on a laid paper leaf 15 x 10cm from a Book of Hours [Horae] (Paris: Simon Vostre, c. 1510) Private collection.

Giovanni Battista PIRANESI (1720–78)

Interior View of Reservoir …  in the Vineyards of the Jesuit Fathers in the Castel Gandolfo 1742 Etching 41.2 x 62.2cm Private collection.

Prensaich Porzellan Manufactur in Plaue (PPM) Germany.

Cherub kissing its reflection c. 1860 Lithophane porcelain, maker’s mark (PPM number 329) 15.4 x 15.8cm.Private collection

Ryan PRESLEY (1987–)

1675kmph towards the ends of the earth (Might or right, heavy or light) 2015, woodcut, 88 x 57cm Private collection

Warriorism [two of eight spears from the installation] 2013, oak, synthetic polymer paint, 3D printed stainless steel. CAD: Sam Canning. Courtesy the artist.

Blood Money 2018, Obverse and reverse of a series of ink-jet printed nanofilm notes Private collection.

Margaret PRESTON (1875–1963)

Flowers in jug  (Jug of flowers) 1929, hand-coloured woodcut on rice paper 28.0 x 20.4cm Newcastle Art Gallery collection

Thea PROCTOR (1879–1966)

The rose 1927 hand-coloured woodcut on rice paper 22.2 x 21.0cm. Newcastle Art Gallery collection

REMBRANDT (Harmensz. van Rijn)  (1606-1669)

Three Oriental Figures (Jacob & Laban) 1641, etching on laid paper, with partial crown and shield watermark 14.5 x 11,3cm (restrike edition of 1868) Private collection

Marcantonio RAIMONDI  (after Dürer) (1480-1527)

Fall of Man c. 1512 Engraving 12.6 x 10cm Private collection.

Ernst Ludwig RIEPENHAUSEN (after William Hogarth) (1765–1840)

Credulity, Superstition and Fanaticism 1762 [1820] engraving 44 x 35.5cm Private collection

Sally ROBINSON (1952–)

Beach crossing 1976 Screenprint using photo stencils 97.5 x 107.1x 3.7cm framed Griffith University Art Collection

Mt Olga Ill 1981, Photo stencil silkscreen print, half tone stencil with hand-worked colour areas 101.5 x 62 x 2cm framed. Griffith University Art Collection

Johann SCHELLENBERG (1740 – 1806)

Disturbed Lovers: Death catches two lovers with a net 1785, Before page 9 in "Freund Heins Erscheinungen in Holbeins Manier" with etching by Schellenberg and text by Johann Karl August Musäus (1735-1787). etching on laid paper 11cm x 7.5cm,Private collection

Der Equilibrist (The Tightrope Walker) 1785, Before page 100 in "Freund Heins Erscheinungen in Holbeins Manier" with etching by Schellenberg and text by Johann Karl August Musäus (1735-1787). etching on laid paper 11cm x 7.5cm. Private collection

Jorg SCHMEISSER (1942–2012)

Setches for Cathay 1975, hard & soft ground etching & aquatint 68.9 x 82 x 2cm framed. Griffith University Art Collection

Eugene Montagu SCOTT (1835–1909)

An Aboriginal View of Cook’s Statue 1866, wood engraving Sydney Punch 23 June 1866 p 36. Private collection.

Pamela SEE [Xue Mei-Ling] (1979–)

What was and never will be 2019, wood PLA, [3-D print] 21 x 12 x 3cm. Courtesy the artist.

Portrait of James Crawford 2019, handcut paper 15 x 25cm Courtesy the artist

Water wisdom 2018, stainless steel 10 x 27 x 13cm. Courtesy the artist

Lieutenant Colonel William Jeremiah Ferguson 2019. handcut paper 15 x 25cm. Courtesy the artist

Sir Horace Tozer 2019. handcut paper 15 x 25cm. Courtesy the artist

Martin SHARP (1942–2013)

Ginger Meggs sings "Mammy" at the school concert 1979, screenprint 75.1 x 75.2cm. Newcastle Art Gallery collection

Pieter van SOMPEL (after Peter Paul Rubens) (c. 1600–c. 1650)

Ixion Deceived by Juno c. 1680, engraving 26.5 x 33cm Private collection.

Pieter TANJÉ (1706–1761) after Nicolas Poussin

Venus & Adonis c. 1750. engraving on laid paper with watermark c. 24 x 28cm. Private collection.

Anne TAYLOR (1953–)

Blood Snow with Magnification 2019, Coloured etching and aquatint 17 x 22cm. Courtesy the artist

Blood Snow with Cross-section 2019, Coloured etching and aquatint 22.3 x 16.7cm. Courtesy the artist

Helen TAYLOR (1943–)

Two dressing gowns 1978, etching, aquatint 48.8 x 43.3cm. Newcastle Art Gallery collection

Alick Seriba TIPOTI (1975–)

Adibuia, the glowing stone 1994, coloured linocut 54.5 x 52 x 2.8cm framed Griffith University Art Collection

Eric THAKE (1904–82)

Cold iron 1932, linocut 25.7 x 19.2cm Newcastle Art Gallery collection

Linocut block for "Cold Iron" 1932, linocut block 28.6 x 23.5cm. Newcastle Art Gallery collection

 

Imants TILLERS  (1950–) and George BALDESSIN (1939–78)

According to des Esseintes no. 3 1976, etching, engraving and aquatint 18.0 x 25.6 plate size, top and bottom Griffith University Art Collection

 According to des Esseintes no. 4  1976, etching, engraving and aquatint 18.0 x 25.6 plate size, top and bottom Griffith University Art Collection

TOYOHARA (Yoshu) Chikanobu (1838 – 1912)

Setugekka: Yamoto, Utabiko, Kasuga no mae, Chujohime. [Yamoto, Utabiko, Lady Kasuga and Princess Chujo] c. 1884 colour woodblock Private collection

TOYOKUNI

(Four women in kimonos) 1835 colour woodblock sheet size: Oban c. 25 x 34.9cm Private collection

James TOOKEY

Kanguru 1802, (London: Darton and Harvey, 1805 engraving after Julius Ibbetson, in John Church, A Cabinet of Quadrupeds, Volume), 101. Private collection

Jessie TRAILL (1881–1967)

The Great East WIndow, Melbourne Electricity Supply Power House 1924, etching, aquatint 33.0 x 28.6cm. Newcastle Art Gallery collection

J. H. WALKER paper manufacturer

laid paper lithophane, Queen Elizabeth Second. 1954. Made at the Bemboka Paper Mill, Bemboka, NSW, to commerate the royal visit to Australia in 1956.

Judy WATSON (1959–)

Heartland 1992, colour etching and aquatint 50 x 113.9 x 2.8cm framed. Griffith University Art Collection

Jenny WATSON (1951–)

First pony from the series 'Child's Play' 2003, stone lithograph on paper 44 x 32cm framed. Griffith University Art Collection

Television from the series 'Child's Play' 2003, stone lithograph on paper 44 x 32cm framed. Griffith University Art Collection

Feeding the chooks from the series 'Child's Play' 2003, stone lithograph on paper 44 x 32cm framed. Griffith University Art Collection

Hans WEIDITZ (1495–1537)

The Village Dance, Musicians 1532, woodcut 10 x 15.5cm, produced for Petrarch’s Trostspiegel published 1532. Private collection.

Fred WILLIAMS (1927–82)

You Yangs landscape Number 1 1963-64, aquatint, engraving and drypoint on paper 27.2 x 30.4cm. Newcastle Art Gallery collection

Landscape quartette 1962, aquatint, sugar-lift etching, engraving and drypoint 44 x 37.3 x 1.8cm framed. Griffith University Art Collection

First variation of You Yangs landscape 1965-66, etching, engraving and drypoint 75.5 x 50.7 x 2cm framed’ Griffith University Art Collection

Hill at Colo Vale 1958-59, etching, aquatint, open-biting, engraving and drypoint on a copper plate. 31.2 x 31.2 x 1.5cm framed. Griffith University Art Collection

Judith WRIGHT (1945–)

Image of Absence 1995, etching and aquatint on paper 117.2 x 115.2 x 3cm framed. Griffith University Art Collection

Note: All cylinder seals were acquired at auctions in the UK and the descriptions and authentication for the majority are from Wilfred George Lambert, archaeologist, and Professor of Assyriology at the University of Birmingham from 1970 to 1993.

 
 

Boxed collection of medallions & coins 1846 - 1936

Row One

I. L. Davis, Law Repealed Medallion – published by Anti Corn Law League 1846 in white metal.

2. Repeal of The Corn Laws, 1846, in white metal (45mm) by Allen and Moore, obverse. four medallions with portraits of Cobden, Bright, Wilson and Pelham, rev. Britannia with articles of commerce,

3. Pierre-Alexandre Morlon rendition of Marianne, the symbol of France. Obverse indicates that this was awarded by the Minister for Physical Education c.1903.

Row Two

1. Horticulture of France 1886 bronze Medal by A. Borrell

2. Bronze medal from the Amsterdam International Colonial & Trade Exhibition of 1883.

Row Three

1. Buffalo (Indian Head) Nickel (five cents) USA 1936

2. Liberty cent 1835 bronze USA.

3. Great Britain, Silver Crown 1893, reverse with St George and the Dragon

Row Four

1. Australia 1897 Q. Victoria Jubilee Medal, Borough of Clunes Gilt C. 1897, bronze.

2. Louis Bottée (1852 - 1940) French Marianne with rooster on helmet, Reverse institut pour la fidelite dans le travail"

3. 1901 Australian Federation Medal, bronze

 
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Boxed collection of coins and medallions 311 BCE – 1878 CE

Macedonian Tetradrachm silver Head of

Alexander as Herakles, wearing lion skin headdress c. 311–281 BCE, 2.5cm diam. 16.75g (Babylon I mint).

Roman silver Denarius Crispina, wife of Commodus, 178-182 AD,18mm, 3g

Rome mint. Julia Domna, wife of Septimius Severus, 194-217 AD 27mm. 19.2g

England. Henry VI, 1422-1461 CE. silver groat 3.40g

England, George III “Cartwheel” penny 1797

Spain, Isabella II (1833 – 1868) 8 Maravedis, copper 28mm. 10g

Julius Hogarth engraver, Warrah Warrah New South Wales Intercolonial Exhibition c. 1870, whitemetal, 4.7cm diam.

Julius Hogarth, Brisbane Exhibition Mint “Sandy ex Rex” [King Sandy] 1876, bronze medallion, 2.3cm diam.

Julius Hogarth Melbourne Victorian Exhibition

Commemorative “Billi ex Rex” [King Billi] 1872, silver medallion, 2.2cm diam.

Hart, F. Bronze medal bust of Rubens 1840  68mm (Commemorating Peter Paul Rubens Bicentennial Monument opening in Antwerp)

Johann Kaspar Lavater (1741 – 1801) bronze medal 1818, 41mm 38.61g

 
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Boxed collection of stamp rings and seals

2500 BCE – 200 CE

1. Greek ring, silver with D-section hoop enclosing a discoid bezel with engraved dancing figure. 3rd-2nd century BCE.

2. Hellenistic bronze ring, the plain band terminating with a broad bezel engraved with an image of Hercules walking left carrying club and lion skin, c. 2nd century BCE

3. Greek bronze ring with D-section shank, with oval bezel engraved with the figure of a stylised horse. 4th-1st century BCE.

4. Roman gold ring with carnelian cloison, intaglio clasped hands (mane in fede) motif. 2nd-3rd century CE.

5. Late Roman signet ring, bronze with raised octagonal bezel and engraved bird. 4th century CE.

6. Viking stamp ring, silver with oval shaped bezel decorated with a carved scroll pattern and diamond shaped decorations to its shoulders. 9th - 10th century CE.

7. Roman bronze ring, large D-section with oval bezel, engraving of lion and turtle (?). 2nd century CE.

8. Western Asiatic Sassanian carnelian stamp seal with domed body, engraved to the underside with a reclining ibex, horns back along the body; and impression.  3rd-7th century CE.

9. Royal Scarab stamp. Egyptian grey glazed composition with hieroglyphic text to the underside, name of Tuthmosis III in a cartouche, flanked by winged goddess. The use of a cartouche indicates a royal name. Intermediate Period, 1069-702 BCE. Ex Gustave Mustaki collection.

10. Western Asiatic scaraboid stamp sea lapis lazuli stamp seal depicting sphinx, lion and scorpion.  6th-4th century BCE

11. Cylinder seal, carved dark green limestone, depicting an archer aiming at a quadruped. 37 x 16 mm. 15 grams. 1st millennium BCE. Syria, c. 800-500 BCE

12. 'Cylinder seal of cream marble, 37 x 16mm. Two crossed lions attacking stag and other horned animal. Mesopotamia, c. 2500 BCE

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Boxed collection of cylinder seals

3000 BCE – 200 BCE

A Neo-Sumerian Cylinder seal, green and purple jasper, with two columns of cuneiform text 'priest of temple of Der is your servant', [For the Temple Priest of King Shu-sin of Der Ur III, King Shu-sin (1972–1964 BCE.)] Scene depicting a tree and seated figure in flounced robe with horned crown facing a similar figure stand, horned serpent between, third robed figure to the rear. 

B. Cylinder seal, black limestone, a contemporary copy of an earlier seal, with frieze comprising a seated figure in flounced robe facing three robed attendants, objects in the field. Ur III Period, 2112-2004 BCE.

C. Cylinder seal, limestone with shaven-headed worshipper wearing a fringed robe and raising his right hand, led by the right hand by Lamma goddess who wears a striped robe with a double-rolled hem and a headdress with a single pair of horns, she raises her left hand and approaches a goddess who wears a similar head-dress and a flounced robe and who holds out her right hand, the goddess sits on a double-box throne beneath a spread eagle; all figures wear their robes crossing over the left shoulder and leaving the other bare, terminating in a three-line framed inscription. Neo-Sumerian Ur III, 22nd-20th century BCE.

D. Cylinder seal of red stone with cream veins, frieze of three walking horned animals with crosses over their backs. Mesopotamia c. 3000 BCE.

E. Cylinder seal, carved lapis lazuli, depicting an animal contest frieze. Syria, c. 2400-2100 BCE

F. Cylinder seal, banded agate, engraved with a standing doe looking back to a winged beast with large star to the top. Mesopotamia, 1st millennium BCE.

G. Cylinder seal, haematite, with frieze depicting a columnar altar with pomegranates(?) flanked on the left by a winged bird-headed genius with a long curled feather (of a peacock), right leg on a pedestal, and on the right by a god-king in wide-brimmed cap and coat with beaded border; behind, a regardant ibex above a double-headed eagle and an unguentarium. Near East (Syria) 19th-16th century BCE.

H. Cylinder seal of carved white marble, man and horse above decorative band. Syria, c. 1200-1000 BCE.

I. Cylinder Seal, rock crystal,  with antithetical group consisting of a four winged heroes in the centre, facing left, and grasping a two winged ramping lion by the throat on either side; the bearded genius wears a headband that holds together the long over-the-shoulder hair, and a long skirt through which the legs are visible; between the winged lions is a standard with a figurative head. Western Asiatic Late Neo-Babylonian 625-539 BCE.

J. Cylinder seal, carved white marble, depicting a standing hero, rearing horned animal, inverted lion rosette, bird, scorpion, insect. Syria, c. 2600-2400 BCE.

K. Cylinder seal, carved black and white banded agate seal with walking lion and antelope, surrounded with stars and plants. Mesopotamian 1st millennium BCE

L. Cylinder seal of dark stone, 21 x 10mm Five horned animals in various postures. Syria, c. 3000 BCE.

 

 

 
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Boxed collection of four cylinder seals 3000 BCE – 2000 BCE

Mesopotamian cylinder seal. C. 3000 BCE

4.46 grams, 24mm. Translucent chalcedony, depicting a linear pattern with double rulings at top and bottorm, between: an elaborate pattern of diamond shapes

Western Asiatic Cylinder Seal of lapis, c. 3000 BCE 18 x 15mm. Pattern of rhomb and cross. Syria

Mesopotamian Geometric Cylinder Seal. c. 3000 BCE 1.54 grams, 18mm.  Carved limestone depicting a geometric design pattern divided into two registers by three horizontal lines; above: triangles created by diagonal lines, each filled with an oval shape; below: criss-cross

Western Asiatic Cylinder Seal of greenish stone, c. 2900-2800 BCE 18 x 12mm. Horned animal among other items.? Syria.

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