Eve Glenn Poster Collection, The Beatles, Cameras & Photographic Equipment.

1 · "SMASH URANIUM POLICE STATES", 1978 poster by Michael Callaghan (1952–2012) and printed by Earthworks Poster Collective. Screenprint on paper, 51 x 75cm

2 · "FILMS ON BLACK AUSTRALIA", 1978 poster designed by Michael Callaghan, founder of Redback Graphix, and printed by Earthworks Poster Collective. This poster won a Bronze Hugo Award in Chicago. Screenprint on paper, 50.5 x 75.5cm

3 · "BLACK SCHOOL BENEFIT", 1981 poster for November event held at Northcote Town Hall. Included performances by No Fixed Address, Hard Times, Us Mob, Ross Hannaford, and Lucky Dog. Print on paper, 45 x 64.5cm

4 · "POLICE BASHING - SHOW THE COPS THAT WE WON'T TAKE THIS SHIT ANYMORE", 1985 poster. Screenprint on paper, 51 x 75.5cm

5 · "ROXSTOP - DESERT ACTION AND FESTIVAL", 1997 poster designed by artist and activist Lyn Hovey and printed at Pitt(?) for the Roxby Action Collective. Screenprint on paper, 75.5 x 53.5cm

6 · "PALM ISLAND IS FOR BWGCOLMAN", early land rights poster, c. late 1970s. The Bwgcolman is the self-assigned name for the Aboriginal Australians who were deported from many areas of the Queensland mainland and confined into resettlement areas on Great Palm Island. Screenprinted on paper, 51 x 30cm

7 · "MAY DAY EVE - BASH AGAINST THE BICENTENNIAL", 1988 poster designed by Sue Miller for event organised by the Aboriginal Rights Solidarity Group. Offset print, 59.5 x 41.5cm

7a · "WRONG SIDE OF THE ROAD... 48 HOURS ON OUR SIDE OF TOWN" starring US MOB and NO FIXED ADDRESS. Poster designed for the opening at the Sydney Opera House, October 30th, 1981, The movie was written and directed by Ned Lander. Offset Print, laminated, 60 x 86cm

8 · "ADVANCE AUSTRALIA", 1983 poster depicting new Australian flag design incorporating the Aboriginal flag. Designed and printed by Jillposters, which was active from 1983 to 1987. Screenprint on paper, 76 x 51.5cm

9 · "KEEP YOUR FRIENDS - DON'T JOIN THE POLICE FORCE", most likely Brisbane origin. Screenprint on paper, 75.5 x 50.5cm

10 · "CUNNING STUNTS - APPEARING LIVE", c. 1980 poster including handwritten letter on reverse from Hellen Sky to Eve Glenn. Cunning Stunts were a UK women's alternative circus and cabaret group active from 1977 to 1982. Offset print, 59.5 x 42cm

11 · "CUNNING STUNTS - APPEARING LIVE", c. 1978 poster designed by Andrew Haig, with photography by Michelle Williams. Cunning Stunts were a UK women's alternative circus and cabaret group, active from 1977 to 1982. Offset print, laminated, 59 x 41.5cm

12 · "HIGH RISE BOMBERS," c. 1977 poster designed and printed by Jillian Gibb (1945–2017), later known as Viva Jillian Gibb. The High Rise Bombers was one of PAUL KELLY'S first bands. Screenprint on paper, laminated, 69 x 49 cm

13 · "PAUL KELLY AND THE COLOURED GIRLS", 1986 poster for "Gossip" double LP debut album released by Mushroom Records. Printed on paper, 51 x 76cm

14 · "WILD GIRLS BOMBARDING SYDNEY - BARBIE'S DEAD", c. 1980 poster for performances by Melbourne all-women punk rock band Barbies Dead. Screenprint on paper, 71.5 x 50.5cm

15 · "THE FANTASTIC BARBIE'S DEAD ARE PLAYING SHARON", poster for performances by Melbourne all-women punk rock band Barbie's Dead. In unused condition with no venue details filled in. Printed on paper, 47.5 x 67.5cm

16 · "PETER DISGRACE PRESENTS THE TOXIC SHOCK LADIE'S AUXILIARY BENEFIT PARTY", 1981 poster for event held September 10th at Collingwood Town Hall, Supper Room. Possibly designed by Jane Murphy and printed by Wendy Black. Screenprinted on paper, laminated. 57.5 x 45cm Formed in 1979, Toxic Shock were an all-female rock band trying to raise money to make a record. The lead singer was radio presenter Fran Kelly.

17 · "REDGUM - IF YOU DON'T FIGHT YOU LOSE", 1981 poster for performance at Latrobe Union Hall by Australian folk and political music group Redgum. Formed in Adelaide in 1975, Redgum were best known for their 1983 anti-war song "I Was Only 19". Support acts included Toxic Shock, and the Razettes. 76 x 51.5cm

18 · "THE WET ONES", c. 1980s poster for The Wet Ones, a Melbourne band formed by Sue World, Genny Hassall, Rosie Joy, and Kelly Brimacombe in 1981. Screenprint on paper, 67 x 47cm

19 · "THE KEVINS", 1979 poster. The Kevins were a Melbourne band active from 1979 to 1983 with releases produced by label Missing Link and Mushroom's subsidiary White Label Records. Printed on paper, 76.5 x 42.5cm

20 · "THE KEVINS", 1981 poster designed by Bob Daly. The Kevins were a Melbourne band active from 1979 to 1983 with releases produced by label Missing Link and Mushroom's subsidiary White Label Records. Printed on paper, 76 x 51.5cm

21 · "BARBIE'S DEAD", c. 1980 poster for performances by Melbourne all women punk rock band Barbies Dead. Screenprint on paper, 71.5 x 51cm

22 · "BARBIE'S DEAD", c. 1980 poster promoting performance of the Melbourne all-women punk rock band Barbie's Dead. Venues include Prince of Wales Hotel. Screenprinted on paper, signed by Eve Glenn in pencil verso, 29.5 x 42cm

23 · "81 STUN - STINGERS & JIGSAW", 1981 poster for event held at Merrilands Hall, Atherton, Queensland. Printed on paper, 54.5 x 42cm

24 · "WOMEN'S DANCE - NORTHCOTE TOWN HALL", poster designed and printed by Eve Glenn for event celebrating the launch of "Toxic Shock" single record. Toxic Shock were a 1980s all-female band, led by bassist Sylvie Leber and guitarist Eve Glenn. The lead singer was radio presenter Fran Kelly. Formed in 1979, the band released one single on the EMI Custom label in 1981. Image of Helen Sky, dancer, musician and acrobat from Soapbox Circus, which became Circus Oz. Signed by Eve Glenn in pencil at lower r

25 · "LA COSTA DE NORTHCOTE", two calendars, from 1983 and 1984, designed and printed by Jane Elliot and Cas Lawrance. Each calendar comprises 7 pages, with photos and drawings of Northcote women. Screenprinted on paper, ​​​​​​​the first 38 x 52cm overall, the second 42 x 29.5cm overall

26 · "THE REAL MIGHTY BONZA WHACKO WIMMIN'S CIRCUS", 1979 poster for 18th October performance at St Mathews Hall, Prahran College. Screenprint on paper, 68 x 50cm

27 · "THE WIMMIN'S CIRCUS - DIRECT FROM MELBOURNE", c. 1980 poster for The Wimmin's Circus, which was established in Melbourne in 1979. Designed and printed by Eve Glenn. Signed by Eve Glenn in pencil at lower right. Screenprint on paper, 51 x 76cm

28 · "WIMMIN'S CIRCUS", c. 1980 poster printed by Women's Warehouse Collective for The Wimmin's Circus, which was established in Melbourne in 1979. Screenprint on paper, laminated, 75 x 51cm

29 · "BEAT YOUR BREASTS", c. 1980 poster for performance of Tasmanian band the Ovarian Sisters and others in concert. Screenprint on paper, 43 x 60cm

30 · "WOMEN'S CAFE", c. mid-1980s poster for event held at Tzakpina in Lonsdale Street. Printed on paper, laminated, 37.5 x 50.5cm

31 · "SYDNEY WOMEN'S FILM GROUP PRESENTS FOR WHOM THE AVON BELL TOLLS...", 1980 poster designed by Carol Ruff. Offset print, 57 x 45cm

32 · "FAILING IN LOVE AGAIN", c. 1979 poster designed and printed by Carol Porter for the Pram Factory production of "Failing In Love Again" which was a hit musical by Australian singer, comedian, and writer Jan Cornall. Screenprint on paper, 64 x 45cm

33 · "GREASEY - NO HEROES - THEY SELL TO MAKE YOU BUY BONDAGE". Screenprint poster, 76 x 51cm

34 · "GO COUPLE BUSTING", c. late 1970s poster designed and printed by Carol Porter. Signed 'Caz' at bottom right. Screenprinted on paper, 60 x 45.5cm

35 · "STRIKE A LIGHT - A LABOUR DAY CELEBRATION! THE MELBOURNE CONCERT HALL", 1985 poster printed on paper, performers include Max Gillies, Bruce Spence, Circus Oz and Jane Clifton, 69 x 50cm

36 · "CRASH CUPS", two c. 1984 posters for the women's band Crash Cups. Screenprint on paper, the larger 75.5 x 30cm, the other 30 x 21cm

37 · "ROCK AGAINST RACISM - NAZIS ARE NO FUN - SMASH THE NATIONAL FRONT", c. 1978 poster designed and printed by Wendy Black and Gavin from the band “ News”. Rock Against Racism emerged in 1976 in response to racist attacks in the UK and the increasing support for the far-right group, the National Front. The first concert was held in London in 1978, with hundreds of events held in the UK and around the world in the following years. Screenprint on paper, 75.5 x 51cm

38 · "THE SYBYLLA WOMEN'S BALL", 1987 poster for event held at St Kilda Town Hall on 29th May, which included performances by Sally Ford's Washington Wives and Polly Tix. Poster designed by Sue Miller and printed by Sybylla Press. Screenprint on paper, 51 x 76cm

39 · "WIPE OUT WAR NOT WOMEN!", 1983 poster designed by Deej Fabyc and printed by Jill Posters. Screenprint on paper, 76 x 53cm

40 · "CIA ASSASSIN", 1974 poster designed and printed by Jillian Gibb (1945 – 2017), later known as Viva Jillian Gibb. Gibb was known for her immediate response to the news, taking direct action on whatever medium she had at hand. Screenprint on paper. 84 x 58cm overall.

41 · "KISSINGER 1983", poster designed and printed by Jillian Gibb (1945 – 2017), later known as Viva Jillian Gibb. Gibb was known for the immediacy of her response to issues, her posters appearing the very next day. Hand printed silk screen on paper from one stencil, 74 x 54cm

42 · "MELT DOWN URANIUM - FOOLS GOLD", poster depicting nuclear power plant cooling tower behind barbed wire fence that reads 'DANGER'. Designed by Eve Glenn, printed by Eve Glenn and Wendy Black. Screenprinted on paper, laminated, 56.5 x 41.5cm

43 · "STOP URANIUM MINING. THIS IS THE WAY THE WORLD ENDS, NOT WITH A BANG - BUT WITH A WHIMPER.", 1984 poster designed by Julia Church. Screenprint on paper, laminated, 76 x 51cm

44 · "LEST WE FORGET", 1983 poster by Jillposters, which was active from 1983 to 1988. Screenprint on paper, 75.5 x 51cm

45 · "NO MYSTERY 2,4-D + 2,4,5-T ARE KILLERS", poster designed and printed by Jillian Gibb (1945 – 2017), later known as Viva Jillian Gibb. Gibb was known for her immediate response to the news. 2,4-D and 2,4,5-T are phenoxyacid herbicides, which were widely used in agricultural industries until being phased out from the late 1970s due to toxicity concerns. Screenprint on paper, 70.5 x 51.5cm

46 · "SINK THE INVINCIBLE - TAKE THE TOYS AWAY FROM THE BOYS", poster by A. Chaffey, signed in the plate. The slogan "Take the toys away from the boys" was popularised through a song written in the early 1980s by The Fallout Marching Band. Offset print, 72 x 48.5cm

47 · "FRASER SLASHES ABORIGINAL HEALTH SERVICE", 1979 poster designed and printed by Jillian Gibb (1945 – 2017), later known as Viva Jillian Gibb. Screenprint on paper, laminated, 81 x 57.5cm

48 · "DANGER - WORKER'S HEALTH & SAFETY AT W.N.D", 1983 poster designed and printed by workers involved in the Williamstown Naval Dockyards Art Project. Printed on paper, 76 x 48cm

49 · "THIS SAFETY BOOT WAS MANGLED - BUT THE FOOT WAS SAVED", c. 1970s poster created by the National Safety Council of Australia, with logo at base of poster and series number 2255. Printed on paper, 62.5 x 48.5cm

50 · "BLACK CARGO", 1991 poster designed by Lin Tobias for performances of play by John Romeril at the Anthill Theatre, South Melbourne. Offset print, 59.5 x 42cm

51 · "AUSTRALIAN COUNCIL OF TRADE UNIONS - WORKING WOMEN'S CHARTER", March 1980 poster for regional meetings, with text in multiple languages. Poster authorised by Victorian Trades Hall Council. Designed by Eve Glenn. Offset print on paper, laminated, 42 x 52cm

52 · "WOMEN 150 PRESENTS NEW MOODS - A WOMEN'S FESTIVAL", 1985 poster for September event comprising exhibitions, theatre, sport, films, dances, and music. Printed by F. D. Atkinson Government Printer. Offset print on paper. 84 x 59.5cm

53 · "RAINBOW WARRIOR", poster designed by Eve Glenn (with original signature), printed by Eve Glenn and Carol Porter. Background pattern based on Tivaevae 'Anthorium' design by Cook Island artist Norma Iro. Silk screen print on card, 64 x 50.5cm

54 · "IF IT'S SO SAFE AND PURE TEST IT ON THE COTE D'AZUR", 1995 poster by Carol Porter signed in the plate "C. Porter - Red Planet, 95" . Hand-printed colour silk screen on card, 51 x 64cm

55 · "PALM SUNDAY PEACE RALLY AND FESTIVAL", 1988 poster designed by artist and activist Lyn Hovey. Printed on paper, laminated, 71 x 51cm

56 · "CLOSE PINE GAP", 1987 poster designed by artist and activist LYN HOVEY. Produced by the Melbourne Anti Bases Campaign. Offset print, 72 x 50.5cm

57 · "WOMEN'S PEACE CAMP - PINE GAP NOV 11TH", 1983 poster designed and printed by Jillposters Collective, a women's screen-printing collective in Melbourne that was active from 1983 to 1988. Screenprint on paper, 45 x 64.5cm

58 · "POSITIVE PERSPECTIVE - YOUNG WOMEN'S PHOTOGRAPHIC COLLECTIVE", 1985 poster designed by Moira Burke. Screenprint on paper, 75.5 x 50.5cm

59 · "PAUL JACOBS & THE NUCLEAR GANG", 1979 poster for screenings of political documentary of same name produced and directed by Jack Willis and Saul Landau. Poster design by Matilda Graphics, Sydney. Printed on paper, 54.5 x 42.5cm

60 · "BREAD NOT BOMBS", c. 1983 poster by Jillposters, a women's silk screen printing collective in Melbourne, active from 1983 to 1988. Screenprint on paper, 45.5 x 65cm

61 · "KANAKY FREE & INDEPENDENT", 1988 poster printed by Another Planet Posters and designed by Dianna Wells, a Melbourne based printmaker and photographer. The movement in New Caledonia for independence from France became very active from the 1970s. Screenprint on paper, 58 x 83.5cm

62 · "LIPSTICK ADDICTION - LIFE AS A BODY", poster designed and printed by Wendy Black, printed at RMIT Union Screen Print for selection of films and performances held by the RMIT Union Arts Activities, in collaboration with the RMIT Women's Group. Programmed by Virginia Fraser (1947 - 2021), an Australian artist, writer, curator, and advocate for women artists. Screenprint on paper, 76 x 50.5cm

63 · "CLIMAX RECORDS - GET THERE - QUICK", 1979 poster designed by Philip Brophy, an Australian musician, filmmaker, writer, and academic. This iconic poster was designed for Climax Records, a reggae/new wave record shop in Gertrude St, Fitzroy, run by Max Robenstone. Screenprint on paper, 76 x 51cm

64 · "YOU DON'T HAVE TO BE DEAD TO HOLD A RETROSPECTIVE", 1982 poster designed by Jan Mackay, a feminist activist printmaker best known for her contributions to the Earthworks Poster Collective at the Tin Sheds in Sydney. Screenprint on paper, 75.5 x 50.5cm

65 · "THE STORY OF WHOOPSIE", c. early 1980s poster designed by Graham Lightbody and printed by Lucifoil Posters for performance presented by Pipi Storm Theatre, a dedicated children’s theatre group that performed in schools and welfare institutions across New South Wales until the late 1980s. Lucifoil Poster Collective was active from 1980-1983 and worked out of the Tin Sheds, Sydney. Screenprint on paper, 84 x 53cm

66 · "THE CHRISTMAS HORROR SHOW - HARPIES BIZZARE", c. 1981 poster designed by Jane Murphy. Screenprinted on paper, 51 x 75.5cm

67 · "DAREBIN CREEK DAY FESTIVAL", 1985 poster designed and printed by Patrick Jones, signed in plate upper left "Patrick Jones, '85". Screenprint on paper, 75 x 59cm

68 · "LYNN QUINTAL - PAINTINGS", c. early 1980s poster designed and printed by Patrick Jones. Lynn Quintal was born in 1952 on Norfolk Island and has exhibited her paintings in Melbourne since 1982. Screenprint on paper, 77 x 51cm

69 · "PATRICK JONES' PAINTINGS," 1984 poster designed and printed by Bob Daly. Screenprint on paper, laminated, 75 x 50cm

70 · "THORNBURY WOMENS' NEIGHBOURHOOD HOUSE", c. late 1980s poster designed by Lyn Hovey and printed by Thornbury Women's Neighbourhood House at Red Letter Press. Screenprint on paper, 77.5 x 52cm

71 · "DEBNEY MEADOWS AFTER SCHOOL PROGRAMME - 1981 CALENDAR", poster designed and printed by Ian Roberston in collaboration with Backyard Press, a screenprinting workshop established in Melbourne in 1978. Screenprint on paper, laminated, 74.5 x 50.5cm

72 · "WOMEN AND ROCK AND ROLL", c. 1980s poster listing many Australian and international artists, e.g. Bonnie Rait, Kate Bush, Chrissie Hines, The Crotchettes, The Modettes, Yoko Ono, The Stray Dags, and others. Screenprint on paper, laminated, 64.5 x 45.5cm

73 · "INTERNATIONAL WOMENS DAY", poster for event held at The Aberdeen Hotel featuring headliners "Hot Bagels", "Eyelash Back", and "Mighty Mouth". Screenprint on paper, 75.5 x 51cm

74 · "REPEATING PATTERNS: JAN MACKAY, HAND-PAINTED FURNITURE, PAINTINGS & PROPS. WOLLONGONG CITY GALLERY", 1981 poster by Jan Mackay, a feminist activist printmaker best known for her 1970s contributions to the Earthworks Poster Collective at the Tin Sheds in Sydney. Screenprint on paper, laminated, 75 x 51cm

75 · "UPPER HUNTER VALLEY ENVIRONMENT EXHIBITION", 1979 poster designed by Chips Mackinolty of Earthworks Collective. Screenprint on paper, laminated, 75 x 50.5cm

76 · "FILMNEWS," 1978 poster designed by Jan Mackay and printed by the Earthworks Poster Collective featuring portrait of Sarah Gibson and information on how to subscribe to Filmnews, an Australian monthly film industry newspaper published from 1975 to 1995. Screenprint on paper, laminated, 74 X 46cm

77 · "ACCORDION TO MAO", poster designed and printed by Ian Robertson. Screenprint on paper, laminated, 65 x 50cm

78 · "ACCORDION SNAP", set of two posters designed and printed by Ian Robertson, one with man, one with woman, each playing Frontalini accordions. Screenprint on paper, laminated, 75 x 50.5cm

79 · "REEL WOMEN IN 16MM", 1978 poster advertising a season of new films by women curated by Kerry Dwyer and screened at the Pram Factory, Carlton. Designed and printed by Eve Glenn. Printed on paper, laminated, 44 x 63cm

80 · "SHEILA ALONE - BY JENNY KEMP" and "CALLING FOR HELP - BY PETER HANDKE", c. 1979 poster designed and printed by BOB DALY for theatre dates at the Pram Factory, Melbourne. Screenprint on paper, laminated, 52 x 41cm

81 · "THE BITTER TEARS OF PETRA VON KANT - BY R.W. FASSBINDER", c. 1978 poster designed by CAROL PORTER for theatre performance at the Pram Factory. Offset print on paper, laminated, 59 x 43.5cm

82 · "NIGHTSHIFT", c. late 1970s poster designed and printed by BOB DALY. Nightshift was a group within the Pram Factory theatre that focused on productions of work from international sources, especially radical new plays. Screenprinted on paper, laminated, 42.5 x 29cm

83 · "MARGEURITE DURAS' LA MUSICA L'AMANTE ANGLAISE", c. 1979 poster designed and printed by BOB DALY for performance at the Pram Factory, Carlton. Performers included Jan Cornall and Phil Motherwell. Screenprint on paper, laminated, 43 x 31cm

83a · "MAY DAY, ART AND POLITICS" Pram Factory poster designed by Charles Merryweather for Red Dog Posters, screenprint on paper, 102 x 75cm

84 · "PAINTINGS BY HOWARD CLARK", c. 1980s poster designed by HOWARD CLARK for exhibition featuring paintings by Howard Clark and photographs by PETER JONES, held at Rhumbaralla's Gallery, Fitzroy. Screenprint on paper, 57 x 38cm

85 · "ISLAND SHUNTERS", 1977 film poster for Island Shunters, a documentary by TIM WOOLMER about the shunters on Darling Island railyard, Sydney. Printed on paper, 45 x 29.5cm

86 · "MY NATURAL FEMININE INSTINCTS...", c. early 1970s poster designed by feminist cartoonist Liz Mackie. Screenprint on paper, 43 x 30.5cm

87 · "EXERCISE CLASSES", poster advertising weekly dancing classes held at 322 Brunswick Street, Fitzroy. Hand printed silk screen on paper with silver accents added after printing, 42 x 30cm

88 · "YOUTH DAY", c. 1984 poster for event sponsored by Northcote City Council, designed and printed by Redletter Press. Screenprint on paper, 75.5 x 50.5cm

89 · "EQUAL WAGES FOR EQUAL WORK - TRIBUNE FAIR", 1985 poster by Redletter Press for event held at North Melbourne Town Hall. Screenprint on paper, 76 x 51cm

90 · "GROW YOUR OWN GRASSROOTS DEFIANCE AGAINST THE CAPITALIST DIET", 1981 poster designed by FRANCES PHOENIX (1950-2017), based on original c. 1940s War Gardens for Victory poster. Screenprint on paper, laminated, 82 x 57.5cm

91 · "THE SONG OF THE SKIRT - CLOTHING PRODUCTION IN 1903", 1979 poster designed by Marie McMahon and Frances Phoenix. This is poster two in a series of ten posters designed and printed by the Women's Domestic Needlework Group in Sydney. Screenprint on paper, 79 x 51cm

92 · "VISIONARIES 1945 - 1995 FROM WAR TO PEACE MARKING FIFTY YEARS OF THE UNITED NATIONS", poster designed by EVE GLENN celebrating Jessie Street and Doc Evatt. Sponsored by the Jessie Street Trust and the Evatt Foundation. Signed by Eve Glenn in pencil, verso. Printed on paper, 64 x 49.5cm

93 · "BITUMEN RIVER - GALLERY COLLECTIVE (CANBERRA), HITS ICEBERG", 1983 poster by Acme Ink, a print workshop established by Julia Church, Mark Denton, and Mandy Martin at Gorman House, Canberra, that operated from 1982 to 1987. Screenprint on paper, laminated, 65.5 x 48cm

94 · "BETTER CONDITIONS FOR ARTISTS", c. 1985 poster by the Artworkers Union calling for new members. Offset print, 61 x 44cm

95 · "REDLETTER", c. 1986 poster advertising the services of Brunswick's Redletter Press, which operated from 1979 to 1991. In 1992 Redletter and Another Planet Posters combined to form Redplanet, which closed in 1999. Screenprint on paper, 76 x 50.5cm

96 · "ECHOES OF MERRI CREEK - MUSIC TO MAKE THINGS TO HEAR", 1991 event organised by the Environmental Music Project. Designed by Eve Glenn. Offset print, 64 x 48cm

97 · "ICON", poster for group exhibition by artists Sue Grounds, Laurel Frank, Ken Evans, and Mark Patton. Image on poster by Mark Patton. Reverse of poster features information about the exhibition and biographies of the artists. Offset print, laminated, 50 x 34cm

98 · "WOMEN'S WORK - EIGHT MELBOURNE PHOTOGRAPHERS", 1982 poster for exhibition curated by Jenepher Duncan at Monash University. Offset print, laminated, 58.5 x 42cm

99 · "MAMA", 1985 poster designed by Angela Lynkushka, an Australian photographer whose work is represented in major collections throughout Australia and internationally. Photo offset lithograph printed on paper, 49.5 x 63cm

100 · "TERROR LOSTRALIS", 1980 film poster designed by Chips Mackinolty for the release of B-grade cult comedy Terror Lostralis. Directed by David Shepherd, Terror Lostralis was a short feature made with the assistance of the Creative Branch of the Australian Film Commission. Poster states "Endorsed by the Whittle Family". Printed on paper, laminated, 78 x 41.5cm

100a · "X-L-CAPRIS, WHITTLE FAMILY + SCARLET. SUICIDE FOLLIES!!" Late 1970s poster by Earthworks Poster Collective Sydney, produced for a rock and roll concert at the Paddington Town Hall, all proceeds to go to the South Sydney Women's Centre. Screenprint on paper, laminated, 90 x 58cm

101 · "YO DE LADIES", poster for the 20th September 1985 country music night, featuring three all-female country band headliners: Sugar & Spice, Pure Gold, and Misty Blue. Part of the 'Women 150' celebration of women artists and writers. Offset print. 42.5 x 29cm

102 · "TRADE UNION BANNERS 1914-1925 - NOVEMBER ELEVEN", c. 1979 poster for art exhibition of works from Peter Kennedy, Andrew Scollo, John Hughes, Robert Moore, and John Scott at RMIT. Offset print, laminated, 60 x 43cm

103 · "WE THE PEOPLE OF NOONKANBAH CALL FOR SUPPORT", c. 1985 poster addressing the Noonkanbah dispute in Western Australia, an important chapter in both the struggle for Australian Aboriginal rights and union solidarity in the 1970s and 1980s. Photo by M. Gallagher. Poster authorised by the Kimberley Land Council. Printed on paper, laminated, 39.5 x 58.5cm

104 · "WARAJINDAWA/TWO LAWS", c. 1981 poster designed and printed by Panacea Press for feature film about the Borroloola people's struggle for the recognition of Aboriginal law. Offset print, laminated, 56.5 x 40.5cm

105 · "NADOC PROGRAMME JULY 7TH - 15TH 1984", poster listing events for NADOC week. Now known as NAIDOC, this event celebrates the history, culture, and achievements of Aboriginal and Torres Strait Islander peoples, and became a week-long event in 1975. Printed on paper, 75.5 x 55cm

106 · "UTOPIA - BATIK FROM THE DESERT", c. 1988 double-sided poster for exhibition at Adelaide Festival Centre Gallery. Located 270km northeast of Alice Springs, in 1979 a successful land claim hearing resulted in the Utopia community gaining permanent legal title to the leasehold, and it was the women and their batiks that played a key role in the successful land claim. Offset print, 38 x 28cm

107 · "WHITE ON BLACK EXHIBITION - 200 YEARS IN QUESTION", 1988 poster designed and printed by Bob Clutterbuck for November exhibition held at Northcote Town Hall. Screenprint on paper, 65 x 51cm

108 · "WHITE ON BLACK EXHIBITION - 200 Years in Question", 1988 poster designed and printed by Bob Clutterbuck. Screenprint on paper, 75 x 51cm

109 · "MONTHLY CYCLE - THE WOMEN'S ART GAME", c. 1977 poster featuring all the elements of the board game created by Melbourne artist Isabel Davies. This game was included in the Postal Event exhibition at the Institute of Contemporary Art in London and at the Ewing Gallery in Melbourne. This poster includes photos of women on each space of the board. Printed on paper, 57.5 x 79cm

110 · "AVOID RAPE: DRESS SENSIBLY", 1975 poster designed and printed by Micky Allan, an Australian photographer and artist whose work encompasses paintings, drawings, engraved glass overlays, installations, and photography. Printed at the University of Sydney. Screenprint on paper, 76 x 51cm

111 · "NICARAGUA AUSTRALIA - DEVELOPING FRIENDS", c. 1984 poster designed and printed by Bob Clutterbuck and A. Marascelli for fundraiser by Northcote Council for construction of a small factory in city of Masatepe, Nicaragua. Screenprint on paper, 55 x 42.5cm

112 · "1927 FSLN 1981", poster honouring the fighters of The Sandinista National Liberation Front. The empty silhouette of Augusto C. Sandino, the Nicaraguan revolutionary, is surrounded by several names. Poster printed on paper, 86 x 54cm

113 · "TURKISH WOMEN'S CRAFT EXHIBITION", 1984 poster for exhibition organised by the Turkish Women's Association of Victoria. Artist unknown. Screenprint on paper, 51 x 76cm

114 · "VITAL SIGNS - NURSES TAKE TO THE STAGE", 1985 poster designed by Chris Reidy for performances by S.I.G.N.A.L and WEST Theatre company at Merlyn Myer Hall and Coppin Hall, Melbourne. Offset print. 81.5 x 53cm

115 · "SAFETY IS THE HEART OF THE MATTER", 1987 poster designed by Chris Minko and printed by Redplanet for Operative Painters and Decorators Union. Screenprint on paper, 75.5 x 50.5cm

116 · "SOAPBOX CIRCUS - PLUS MATCHBOX", 1976 poster designed and printed by Bob Daly. Soapbox Circus was a group of performers that emerged from the Captain Matchbox Whoopee Band and the Australian Performing Group. Printed on paper, 61 x 40cm

117 · "SOAPBOX CIRCUS - THE GREAT STUMBLE FORWARD!", 1976 poster designed by Rick Amor for performance at the Pram Factory. Offset print, laminated, 61.5 x 43.5cm

118 · "CIRCUS OZ", c. 1978 poster designed by Bob Daly. Circus Oz was formed in 1977 and undertook their first international tour in 1980. Offset of a screenprint on paper, laminated, 70 x 45cm

119 · "CIRCUS OZ - CHICHESTER FESTIVAL THEATRE," 1980 poster featuring photography by John Rigby. Circus Oz was formed in 1977, and undertook their first international tour in 1980. Offset print, laminated, 76 x 50.5cm

120 · "CIRCUS OZ SYDNEY 1982" tour poster. Formed in 1977, Circus Oz embarked on their first international tour in 1980. Printed on paper, 38 x 48.5cm

121 · "CIRCUS OZ", 1983 poster designed by Hellen Sky, a founding member of Circus Oz. Banner across top states 'Benefit night to support current land rights struggles in Central Australia'. Offset print. 66 x 47.5cm

122 · "CIRCUS OZ", designed by Hellen Sky, signed in the plate. Hellen Sky was a founding member of Circus Oz, formed in 1978. Offset print, 66.5 x 47cm

123 · "CIRCUS OZ", 1983 poster designed by Hellen Sky. A founding member of Circus Oz, Sky worked as an aerialist with Soapbox Circus and Circus Oz until the early 1980s. Offset print, laminated, 66 x 47.5cm

124 · "CIRCUS OZ", 1983 poster designed by Hellen Sky, who worked as an aerialist with Soapbox Circus and Circus Oz until the early 1980s. Offset print, 70.5cm x 50.5cm

125 · "CIRCUS OZ - EXPORT QUALITY", satirical map of Australia including notably 'San Fran Sydney', 'Uluru Palace Casino', 'Victoria - Freeway State', 'Northern Territory - State of Radioactivity,' multiple nuclear power sites, mining sites, and deforested land. Artist unknown. Offset print, 84 x 58.5cm

126 · "THE FLYING FRUIT FLY CIRCUS", 1987 poster for event held from 18th to 25th April at the Hovell Tree Reserve, Albury-Wodonga. The Flying Fruit Fly Circus is Australia's National Youth Circus and was established in 1979. Offset print by Thomsons Printing, Albury. 62 x 41cm

127 · "THE FLYING FRUIT FLY CIRCUS," poster by Thomsons Printing, Albury. The Flying Fruit Fly Circus is Australia's National Youth Circus, and was established in 1979. Offset print, laminated, 62 x 41cm

128 · "CIRCUS OZ", 1996 poster designed by Lin Onus for performances at Melbourne Town Hall, 11 September to 6 October. Offset print, 42 x 29.5cm

129 · "PECKING ORDER PRODUCTIONS PRESENTS ANATOL", 1985 poster designed by 3G Graphics for performances at St Martins Theatre, September 18 to October 6. Screenprint on paper, 51 x 38cm

130 · "THE BILLABIDGEE SHOW 1983", poster produced by Murray River Performing Group. Hand silk screen print on paper, 38 x 45cm overall.

131 · "WORKING CLASS HEROES", 1975 poster for photography exhibition by Syd Shelton. This was Shelton's first solo photographic exhibition and was held at the Sydney Filmmakers Cooperative July 27th to August 3rd. Printed on paper, 40.5 x 30.5cm

132 · "BIG GARAGE SALE", four single-page calendars designed by Bob Daly for the years 1994/1995/1996 and 2006. Created for "The Beaufort Big Garage Sale", antique store in Beaufort, Victoria. 1994 and 1995 calendars feature pages signed by the artist. Printed on paper, 42 x 29.5cm

133 · "GIRLS CAN DO ANYTHING", poster designed and printed by artist Eve Glenn depicting woman operating movie camera. Artist signature on plate. Screenprint on paper, 38 x 53.5cm

134 · "1500 WOMEN ARTISTS", 1984 poster for the Women's Art Register, designed by Christine Berkman. Offset print, 59 x 41.5cm

135 · "JEAN MELZER FOR THE SENATE - VOTE 1 NUCLEAR DISARMAMENT PARTY", poster printed by Backyard Press for Victorian senate candidate in 1984 election. In 1974 Jean Melzer (1926 - 2013) was the first woman to be elected as a Labor senator in Victoria. Printed on paper, 58.5 x 41.5cm

136 · "THE AMAZING ALL NEW LAXETTES", poster for show at the Seaview Tavern, South Fremantle. Printed on paper, 42 x 29.5cm

137 · RED PLANET BUNDLE, two items printed by Red Planet. "OUR LADY OF PERPETUAL CASH FLOW" by Carol Porter hand silk screen printed on card, 32 x 24.5cm overall, together with "BUY HARD" paper bag for Red Planet Christmas sale.

138 · "3RD ANNUAL CHRISTMAS IS FALSE CONSCIOUSNESS EVE PARTY", 1978 poster designed by Chips Mackinolty for event in Sydney featuring Mental as Anything, The Works, and The Salam Sisters. Screenprint on paper, laminated. 39.5 X 54.5cm

139 · "I WONT SEE YOU IN PARADISE!!", 1983 poster of a woman walking in a red dress. Designed and printed by Jillposters, a self-funded radical feminist poster group active in Melbourne from 1983 to 1988. Screenprint on paper, 65 x 45.5cm

140 · "MICKY ALLAN", 1978 poster for Micky Allan art exhibition held at the George Paton gallery. Micky Allan is an Australian photographer and artist whose work encompasses paintings, drawings, engraved glass overlays, installations, and photography. Screenprint on paper, laminated, 47 x 34.5cm

141 · "LOVE IS OTTER NONSENSE", designed and printed by Eve Glenn. Original photo from Ring of Bright Water by Gavin Maxwell. Screenprint on paper, 38 x 51cm

142 · "FILMS BY WOMEN - WOMEN'S ART ATTACKS," 1979 poster designed and printed by Eve Glenn for festival of new films by women, held at Ethel Hall and Lounge, Swinburne. Event included displays of visual arts, music, dance, poetry readings, drama workshops, and childminding. Signed by Eve Glenn in pencil, verso. Screenprint on paper, 38 x 65cm

143 · "ALICE IN WONDERLAND", c. 1984 poster depicting white rabbit production line and Alice exclaiming "I've had such a curious dream". Designed and printed by Viva Gillian Gibb (1945–2017). Screenprint on paper, 38 x 51cm

144 · "THE ASTONISHING OPTIMISSIMOS IN PARADISE DEPRESSION STYLE", c. 1977 poster for theatre performance at The Pram Factory, Carlton. Written by award-winning Australian writer Tim Gooding and directed by Jean-Pierre Mignon. Screenprint on paper, laminated, 34 x 75.5cm

145 · "PETER SCOTT", poster designed and printed by Bob Daly for jewellery exhibition at Paul Craft gallery. Screenprint on paper, 75.5 x 51cm

146 · "THE ANZACS," c. 1980 poster designed and printed by Jane Murphy for performance by students of the Victorian College of the Arts, directed by Claire Dobbin and Evelyn Krape. Laminated. 76 x 31cm

147 · "ANZAC DAY '83 - LEST WE FORGET - IN MEMORY OF THE WOMEN WHO RALLIED ON THE HILL", 1983 poster designed by Carol Wilson and printed by Jillposters, a women's silk screen printing collective in Melbourne, active from 1983 to 1988. Screenprint on paper, 51 x 51cm

148 · "WE CAN - WOMEN IN SPORTS", 1975 poster printed and designed by the Women's Graphic Collective, which operated from 1973 to 1983 and brought female designers and activists together to produce art to advance the women's movement. Printed on paper, 70 x 51cm

149 · "TO EVERY WOMAN - MONEY POWER FREEDOM", 1994 poster designed by Carol Porter for the Victorian Women's Trust and printed by Redplanet. Hand printed silk screen on card, artist's signature on the plate, 64 x 51cm

150 · "SWINBURNE SCHOOL OF FILM AND TELEVISION - 21 YEARS OLD - 1986", poster designed by Michael Leunig commemorating the 21st anniversary of the Swinburne School of Film and Television. Printed on paper, 84 x 59cm

151 · "THE MIGRANT WOMAN ", 1985 poster for June 15th performance in Greek and English held at Dallas Brooks Hall. A project assisted by the Music Board of the Australia Council and supported by Multicultural Arts Victoria. Offset print, 43.5 x 30.5cm

152 · "ULULATION", c. late 1970s poster by unknown artist. Screenprint on paper, 63.5 x 51cm

153 · "PIPIRRIWINI, DRAGONFLY," one of a series of six poster prints for Bima Wear, a Tiwi women’s creative enterprise based in Wurrumiyanga in the Tiwi Islands, established in 1969. Designed and printed by Fiona Kerinauia in collaboration with Sydney artist Marie McMahon, who was active in founding screen printing workshops and taught silk screening on the Tiwi Islands. Screenprint on paper, 73 x 48cm

154 · "MIPUTI WUTA MWARLIKI PIRIMI - SWIMMING FISH," one of a series of six poster prints for Bima Wear, a Tiwi women’s creative enterprise based in Wurrumiyanga in the Tiwi Islands, established in 1969. Designed and printed by Fiona Kerinauia in collaboration with Sydney artist Marie McMahon, who was active in founding screen printing workshops and taught silk screening on the Tiwi Islands. Screenprint on paper, 73 x 48cm

155 · "TARNIKINI - FLYING FOX", one of a series of six poster prints for Bima Wear, a Tiwi women’s creative enterprise based in Wurrumiyanga in the Tiwi Islands, established in 1969. Designed and printed by Fiona Kerinauia in collaboration with Sydney artist Marie McMahon, who was active in founding screen printing workshops and taught silk screening on the Tiwi Islands. Screenprint on paper, 73 x 49cm

156 · "ARIKURTUMURNUWI YOYI PIRIMI - ALL THE PEOPLE DANCE", one of a series of six poster prints for Bima Wear, a Tiwi women’s creative enterprise based in Wurrumiyanga in the Tiwi Islands, established in 1969. Designed and printed in collaboration with Sydney artist Marie McMahon, who was active in founding screen printing workshops, and taught silk screening on the Tiwi Islands. Screenprint on paper, 73 x 48.5cm

157 · "PURINJIRRINGA - TREE", one of a series of six poster prints for Bima Wear, a Tiwi women’s creative enterprise based in Wurrumiyanga in the Tiwi Islands, established in 1969. Designed and printed by Fiona Kerinauia in collaboration with Sydney artist Marie McMahon, who was active in founding screen printing workshops and taught silk screening on the Tiwi Islands. Screenprint on paper, 73.5 x 48.5cm

158 · "WINGA - SALT WATER", one of a series of six poster prints for Bima Wear, a Tiwi women’s creative enterprise based in Wurrumiyanga in the Tiwi Islands, established in 1969. Designed and printed by Fiona Kerinauia in collaboration with Sydney artist Marie McMahon, who was active in founding screen printing workshops and taught silk screening on the Tiwi Islands. Screenprint on paper, 73.5 x 48.5cm

159 · "BONDI PAVILION", c. 1980 poster designed by James Willebrant. Poster graphic design by Kevin Chan and Ken Israel. Offset print, laminated, 75.5 x 50cm

160 · "UPSTAIRS GALLERY", c. early 1980s poster by Jillposters for exhibition held at Upstairs Gallery, Smith Street. Screenprint on paper, 59 x 41.5cm

161 · "BUILDING WORK FOR ARTISTS", c. mid-1980s poster released by the Operative Painters and Decorators Union. Illustration at centre of poster by Mary Leunig. Offset print, 76.5 x 50cm

162 · "DRUG AND ALCOHOL USERS' GUIDE '88", guide available from the Fitzroy Legal Service. Printed on paper, 59.5 x 41.5cm

163 · "CULTURAL REFLECTION", 1985 poster announcing a project sponsored by the Australia-China Council featuring artists from Shaanxi Province, China, collaborating with local artists on a mural at the Queen Victoria Market. Poster design and artwork by Publicity Works. Offset print, 41.5 x 63cm

164 · "CONTACT - BIG BROTHER & THE HOLDING CO.", 1967 poster for dance and concert in San Francisco featuring Big Brother And The Holding Co., Charles Lloyd, and Sir Douglas Quintent. Poster designed by Rick Griffin (1944 - 1991), an American artist and one of the leading designers of psychedelic posters in the 1960s. Rare original print lithograph printed on paper, 36.5 x 51cm

165 · "3,000,000 WORKERS, ONLY 39% UNIONISED. ORGANIZE NOW!" Victorian Trades Hall Council poster designed by Soosie Adshead, offset print, 90 x 63cm

166 · Collection of backstage passes and badges for 1990s tours of Australia by various artists and bands

167 · THE BEATLES IN AUSTRALIA, 1964: "Paul leads the way, Adelaide airport 1964". Original colour print, signed by Vic Grimmett in the lower margin, 24.5 x 24.5cm, 35 x 34cm overall.

168 · THE BEATLES IN AUSTRALIA, 1964: "John, Paul & Jim, Adelaide airport 1964". Original colour print, signed by Vic Grimmett in the lower margin, 24.5 x 29.5cm, 35 x 39cm overall.

169 · THE BEATLES IN AUSTRALIA, 1964: "Beatles Adelaide Airport 1964". Original colour print, signed by Vic Grimmett in the lower margin, 24.5 x 24.5cm, 35 x 34cm overall.

170 · THE BEATLES IN AUSTRALIA, 1964: "Beatles leaving Adelaide Airport 1964". Original colour print, signed by Vic Grimmett in the lower margin, 24 x 24.5cm, 35 x 34cm overall.

171 · "Beatles Adelaide Airport 1964". Original colour print, signed by Vic Grimmett in the lower margin, 24.5 x 24.5cm, 35 x 34cm overall.

172 · THE BEATLES IN AUSTRALIA, 1964: "Beatles prepare for drive into city along Anzac Highway 1964". Original colour print, signed by Vic Grimmett in the lower margin, 24.5 x 29.5cm, 35 x 39cm overall.

173 · THE BEATLES IN AUSTRALIA, 1964: "Beatles Arrival, Adelaide Town Hall". Original colour print, signed by Vic Grimmett in the lower margin, 29.5 x 24.5cm, 40 x 34cm overall.

174 · THE BEATLES IN AUSTRALIA, 1964: "The Beatles welcomed to Adelaide Town Hall Reception, 1964". Original colour print, signed by Vic Grimmett in the lower margin, 24.5 x 24.5cm, 35 x 34cm overall.

175 · THE BEATLES IN AUSTRALIA, 1964: "George makes a point at Adelaide Town Hall Reception 1964". Original colour print, signed by Vic Grimmett in the lower margin, 4.5 x 29.5cm, 35 x 39cm overall.

176 · "Paul & Lord Mayor Irwin, Adelaide Town Hall 1964". Original colour print, signed by Vic Grimmett in the lower margin, 24.5 x 29.5cm, 35 x 39cm overall.

177 · THE BEATLES IN AUSTRALIA, 1964: "Beatles on Balcony, South Australian Hotel 1964". Original colour print, signed by Vic Grimmett in the lower margin, 24.5 x 24.5cm, 35 x 34cm overall.

178 · "Beatles Cover Photo, Australian Women's Weekly 1964". Original colour print, signed by Vic Grimmett in the lower margin, 25 x 25cm, 35 x 34cm overall.

179 · THE BEATLES IN AUSTRALIA, 1964: "Beatles Adelaide Press Conference, 1964". Original colour print, signed by Vic Grimmett in the lower margin, 24 x 37cm, 35 x 46.5cm overall.

180 · THE BEATLES IN AUSTRALIA, 1964: "The Beatles at their Press Conference Adelaide 1964", (John makes a point). Original colour print, signed by Vic Grimmett in the lower margin, 24.5 x 37cm, 35 x 46.5cm overall.

181 · THE BEATLES IN AUSTRALIA, 1964: "Jim (Ringo's stand-in) answers a question, Adelaide 1964". Original colour print, signed by Vic Grimmett in the lower margin, 24.5 x 37cm, 35 x 46.5cm overall.

182 · THE BEATLES IN AUSTRALIA, 1964: "George, Paul, John at South Australian Hotel 1964". Original colour print, signed by Vic Grimmett in the lower margin, 24.5 x 24.5cm, 35 x 34cm overall.

183 · THE BEATLES IN AUSTRALIA, 1964: "John and Paul at Press Conference, Adelaide 1964". Original colour print, signed by Vic Grimmett in the lower margin, 24.5 x 24.5cm, 35 x 34cm overall.

184 · THE BEATLES IN AUSTRALIA, 1964: "Ernie Signley interviews John about his book, Adelaide 1964". Original colour print, signed by Vic Grimmett in the lower margin, 24.5 x 24.5cm, 35 x 34cm overall.

185 · THE BEATLES IN AUSTRALIA, 1964: "Ernie Signley enjoys a joke with John Lennon, Adelaide 1964". Original colour print, signed by Vic Grimmett in the lower margin, 24.5 x 24.5cm, 35 x 34cm overall.

186 · THE BEATLES IN AUSTRALIA, 1964: "Beatles admire some local gifts presented to them at S.A Hotel". Original colour print, signed by Vic Grimmett in the lower margin, 24.5 x 29.5cm, 35 x 39cm overall.

187 · THE BEATLES IN AUSTRALIA, 1964: "Paul with a gift he received from an admirer, Adelaide 1964". Original colour print, signed by Vic Grimmett in the lower margin, 24.5 x 24.5cm, 35 x 34cm overall.

188 · THE BEATLES IN AUSTRALIA, 1964: "Beatles Adelaide Concert 1964", (Moment One). Original colour print, signed by Vic Grimmett in the lower margin, 24.5 x 24.5cm, 35 x 34cm overall.

189 · THE BEATLES IN AUSTRALIA, 1964: "Beatles Adelaide Concert, 1964", (Moment Two). Original colour print, signed by Vic Grimmett in the lower margin, 24.5 x 24.5cm, 35 x 34cm overall.

190 · THE BEATLES IN AUSTRALIA, 1964: "John Lennon Adelaide, 1964". Original colour print, signed by Vic Grimmett in the lower margin, 24.5 x 24.5cm, 35 x 34cm overall.

191 · THE BEATLES IN AUSTRALIA, 1964: "Paul McCartney, Adelaide, 1964". Original colour print, signed by Vic Grimmett in the lower margin, 24.5 x 24.5cm, 35 x 34cm overall.

192 · THE BEATLES IN AUSTRALIA, 1964: "Beatles Adelaide Concert,1964". Original black and white print, signed by Vic Grimmett in the lower margin, 24.5 x 24.5cm, 35 x 34cm overall.

193 · THE BEATLES IN AUSTRALIA, 1964: "Beatles Adelaide visit, 1964". Original black and white print, signed by Vic Grimmett in the lower margin, 24.5 x 24.5cm, 35 x 34cm overall.

194 · THE BEATLES IN AUSTRALIA, 1964: "George Harrison Adelaide Concert,1964". Original black and white print, signed by Vic Grimmett in the lower margin, 24.5 x 24.5cm, 35 x 34cm overall.

195 · THE BEATLES IN AUSTRALIA, 1964: "George Harrison". Original black and white print, signed by Vic Grimmett in the lower margin, Number 1 of a limited printing of 20. 39.5 x 29.5cm, 49.5 x 39.5cm overall.

196 · THE BEATLES IN AUSTRALIA, 1964: "Paul McCartney". Original black and white print, signed by Vic Grimmett in the lower margin, Number 1 of a limited printing of 20. 39.5 x 29.5cm, 49.5 x 39.5cm overall.

197 · THE BEATLES IN AUSTRALIA, 1964: "John Lennon". Original black and white print, signed by Vic Grimmett in the lower margin, Number 1 of a limited printing of 20. 40 x 29.5cm, 49.5 x 39cm overall.

198 · RUDOLF NUREYEV performs in Don Quixote with the Australian Ballet. Original black and white print, 1970, signed by Rudolf Nureyev and Vic Grimmett. 45 x 55cm overall.

199 · RUDOLF NUREYEV performs in Don Quixote with the Australian Ballet. Original black and white print, 1970, Signed by Rudolf Nureyev and Vic Grimmett. 45 x 55cm overall.

200 · RUDOLF NUREYEV performs in Don Quixote with the Australian Ballet". Original black and white print, 1970, Signed by Rudolf Nureyev and Vic Grimmett. 45 x 55cm overall.

201 · RUDOLF NUREYEV performs in Don Quixote with the Australian Ballet. Original black and white print, 1970, Signed by Rudolf Nureyev and Vic Grimmett. 45 x 55cm overall.

202 · 28 x 17.5 x 8cm folding graphoscope with magnifier lens, photograph holder, and carved floral decorative pattern.

203 · 22 x 14 x 6cm folding graphoscope with magnifier lens, photograph holder, and carved floral decorative pattern.

204 · 21 x 14 x 4cm folding graphoscope with magnifier lens, photograph holder, and carved floral decorative pattern that reads 'Souvenir de Paris'.

205 · 26 x 20 x 8cm folding mirror graphoscope, 19th century, with sliding photograph holder and carved floral ornamentation.

206 · Group of four mid-19th century daguerreotype portrait photographs in latching leather bi-fold cases. (4 items)

207 · Group of four mid-19th century daguerreotype portrait photographs in latching leather bi-fold cases. (4 items)

208 · Group of seven assorted mid-19th century portrait photographs, comprising three tintypes, three ambrotypes, and one daguerreotype. (7 items)

209 · Group of seven assorted mid-19th century portrait photographs, comprising three daguerreotypes and four ambrotypes. (7 items)

210 · Group of four assorted mid-19th century portrait photographs, comprising three ambrotypes and one daguerreotype. (4 items)

211 · Group of six assorted mid-19th century tintype portrait photographs. (6 items)

212 · Group of five assorted mid-19th century ambrotype portrait photographs. (5 items)

213 · Group of six assorted mid-19th century portrait photographs, comprising five ambrotypes and one daguerreotype. (6 items)

214 · Sixty-eight 16.5 x 12cm or smaller glass plate negatives, featuring Prahran Social Club, nuns at convent, family portraits, and many others, packed into five original negative boxes.

215 · Stereo graphoscope featuring stereo viewer on hinged platform and fold-away magnifying postcard viewer, c. 1870, with beautiful carved floral details and 'Fred K. Cox 98 Newgate St London' retailer's plaque.

216 · Circa 1910s mahogany tabletop stereoscope, 40cm in height with dual front and back viewing lenses and 20-capacity internal carousel.

217 · Stereo-graphoscope with adjustable tilting base, 34cm at highest angle, c. 1880s.

218 · AMERICAN NOVELTY CO. CINCINNATI: Circa 1920s 'Whiting's Sculptoscope' coin-operated stereo viewer, 36.5cm in height, with trigger mechanism, many stereo cards pre-loaded, both lock and key present, and all glass elements intact.

219 · Thirty-three c. 1930s stereo cards featuring many fascinating glimpses of colonial New Guinea, including indigenous people and their cultural practices, resident foreigners, flora and fauna etc. (33 cards)

220 · ÉDITIONS ROLLAND: Four different sets of ten 13 x 6cm stereo glass slides, each in maker's box, featuring views of Fontainebleau chateau. (4 items)

221 · ERNEMANN DRESDEN: Approx. 15.5 x 11 x 8.5cm handheld stereoscope, c. 1900, with maker's box.

222 · GORDON ENTERPRISES: Type F-71 Mirror Stereoscope [#8901] in 48 x 16 x 13.5cm wooden box.

223 · H.C. WHITE: Ninety-six stereo cards, mostly of the 'Perfec'-type, in maker's cloth-lined box marked 'Special Classified Series', c. 1901. (96 cards)

224 · H. C. WHITE: Fifty-six stereo cards featuring views of major Italian cities and cultural/religious sites. (56 cards)

225 · H. C. WHITE: Two complete sets of ten numbered 'Perfec Wedding Series' stereo cards, one of which in maker's box. (20 cards)

226 · KEYSTONE VIEW COMPANY: 'Telebinocular' stereoscope, c. 1930s, in maker's cloth-lined box.

227 · KEYSTONE VIEW COMPANY: Complete set of one hundred 'World War through the Stereoscope Volume I & II' stereo cards in maker's cloth-lined box, c. 1918. (100 cards)

228 · KEYSTONE VIEW COMPANY: Complete set of one hundred 'World War through the Stereoscope Volume I & II' stereo cards in maker's cloth-lined box, c. 1918. (100 cards)

229 · KEYSTONE VIEW COMPANY: Complete set of one hundred 'World War through the Stereoscope Volumes I & II' stereo cards in maker's cloth-lined box, c. 1918. (100 cards)

230 · KEYSTONE VIEW COMPANY: Forty-eight 'World War through the Stereoscope Volume 1' stereo cards in maker's cloth-lined box, c. 1918. (48 cards)

231 · KEYSTONE VIEW COMPANY: Boxed set of one hundred 'Italy Volumes I & II' stereo cards, featuring subjects such as Roman ruins, Vatican interiors and exteriors, etc., each with extensive explanatory notes on rear. (100 cards)

232 · KEYSTONE VIEW COMPANY: Complete set of one hundred individually-numbered stereo cards in cloth-lined box marked 'Tour of the World Vol I/II', featuring views of cities and agricultural practices in the British Isles, Norway, and the Americas, each with copious explanatory notes on rear. (100 cards)

233 · KEYSTONE VIEW COMPANY: Complete set of one hundred 'Tour of the World Volumes I & II' stereo cards in maker's cloth-lined box. (100 cards)

234 · KEYSTONE VIEW COMPANY: Ninety-nine individually-numbered stereo cards in cloth-lined box marked 'Tour of the World Vol III/IV', featuring views of city and country life in Scandinavia, Central and Western Europe, and Russia, each with copious explanatory notes on rear. (99 cards)

235 · KEYSTONE VIEW COMPANY: Complete set of one hundred individually-numbered stereo cards in cloth-lined box marked 'Tour of the World Vol V/VI', featuring views of Eastern Europe, Greece, Turkey, Ottoman provinces, African wildlife and ivory trade, South and East Asia, Australia, New Zealand, and others, each with copious explanatory notes on rear. (100 cards)

236 · KEYSTONE VIEW COMPANY: One hundred 'Tour of the World Volumes VII/VIII'-series stereo cards in maker's cloth-lined box. (100 cards)

237 · KEYSTONE VIEW COMPANY: Set of one hundred stereo cards numbered 301 to 400 in maker's box marked 'Tour of the World', featuring views of Japan, a wide range of American states, and Canada. (100 cards)

238 · KEYSTONE VIEW COMPANY: Set of one hundred stereo cards numbered 301 to 400 in maker's box marked 'Tour of the World', featuring views of Japan, a wide range of American states, and Canada. (100 cards)

239 · KEYSTONE VIEW COMPANY: Complete set of one hundred 'India'-series stereo cards, c. 1900s, in maker's cloth-lined box. (100 cards)

240 · KEYSTONE VIEW COMPANY: Ninety-six stereo cards, many with explanatory notes on rear, featuring views of Australia, Antarctica, Ottoman Palestine and Syria, and others. (96 cards)

241 · KEYSTONE VIEW COMPANY: Eighty-five stereo cards, featuring a great variety of views, primarily of European capitals and architecture. (85 cards)

242 · KEYSTONE VIEW COMPANY: An accumulation of ninety-six stereo cards, comprising seventy-two cards in maker's box marked 'Tour of the World', twelve 'Vision Training' cards with technical markings in maker's box, and twelve other assorted cards. (96 cards)

243 · KEYSTONE VIEW COMPANY: One hundred stereo cards with a great diversity of subjects and serial numbers, in maker's lined box. (100 cards)

244 · KEYSTONE VIEW COMPANY: Group of one hundred early 20th-century stereo cards, with views of England, the United States, and many others. (100 cards)

245 · KEYSTONE VIEW COMPANY: Seventy-eight stereo cards in cloth-lined box marked 'Third Dimension Eye-Training Series Volume I', featuring many images and symbols apparently intended for therapeutic use. (78 cards)

246 · MATTEY PARIS: Approx. 18 x 12 x 10.5cm wooden stereoscope, c. 1920s.

247 · RICHARD JULES: Vérascope 45 x 107mm stereo viewer, c. 1880s.

248 · ROSE STEREOGRAPH COMPANY: Set of thirty stereo cards depicting the 1908 visit of the American Fleet, in matching maker's box. (30 cards)

249 · ROSE STEREOGRAPH COMPANY: Seventeen stereo cards depicting the 1908 visit of the American Fleet, in matching maker's box. (17 cards)

250 · ROSE STEREOGRAPH COMPANY: Fifteen stereo cards, of which eleven featuring the 1914 preparations of the Australian Expeditionary Force in Ballarat, Broadmeadows, and Melbourne, together with four other WW1 cards. (15 cards)

251 · ROSE STEREOGRAPH COMPANY: More than one hundred and forty stereo cards sorted into 45 x 22.5 x 13.5cm wooden box, featuring subjects such as 1901 Duke of York celebrations, 1908 American Fleet visit to Australia, Boer War and Victorian Contingent, natural and urban scenes of Victoria, Tasmania, New South Wales (many of Jenolan Caves), and New Zealand. Also present is a 1903 George Rose Armadale payment receipt. (140+ cards)

252 · ROSE STEREOGRAPH COMPANY: Thirty-four stereo cards featuring views of the United Kingdom, including streetscapes, landmarks, royal processions, troop reviews, etc. (34 cards)

253 · ROSE STEREOGRAPH COMPANY: Fifty-five stereo cards featuring views of Japan, China, Korea, and several European and Pacific Island nations. (55 cards)

254 · ROSE STEREOGRAPH COMPANY: Forty-nine stereo cards featuring views of Indian streetscapes, monuments, cultural gatherings, British colonial administration, etc. (49 cards)

255 · ROSE STEREOGRAPH COMPANY: Twenty-seven stereo cards featuring comedic, sentimental, and domestic scenes, in maker's box marked 'The Rose Stereographs'. (27 cards)

256 · ROTARY PHOTOGRAPHIC CO.: Two 7.5cm high 'Pocket Rotoscope' miniature stereo viewers, c. 1908, with more than one hundred matching stereo cards in vintage cigarette box. (3 items)

257 · STEREO TRAVEL COMPANY: Forty-seven 'France'-series stereo cards in maker's cloth-lined box, c. 1900. (47 cards)

258 · TRU-VUE: Three different c. 1950s Tru-Vue stereoscopes (two in black Bakelite and one in metal), all in maker's boxes, together with four film cards in card sleeves. (7 items)

259 · T. W. INGERSOLL: Fifty-three boxed c. 1900 colour stereo cards with explanatory notes on rear, all featuring views of Japanese culture/architecture/landscapes. (53 cards)

260 · T. W. INGERSOLL: Complete set of one hundred numbered colour 'Siècle of Port Arthur' stereo cards with maker's box, c. 1904. A detailed record of the Russo-Japanese War. (100 cards)

261 · T. W. INGERSOLL: More than five hundred colour stereo cards sorted into 51 x 22.5 x 13.5cm wooden box, featuring subjects such as American cowboys, Native Americans, hunting and fishing practices, Yellowstone National Park, Ottoman Syria and Palestine (chiefly Jerusalem), North American geological formations, European capitals, Egypt, mines/farms/oil wells, comedic and sentimental domestic scenes, etc. (500+ cards)

262 · T. W. INGERSOLL: Complete set of one hundred colour stereo cards in leather box marked 'Comic Series', featuring domestic scenes, unflattering portrayals of African Americans, children at play, etc. (100 cards)

263 · UNDERWOOD & UNDERWOOD: Complete set of one hundred individually-numbered stereo cards in maker's box marked 'Palestine - Our Cruise on the "Arabic"', featuring fascinating documentary images of c. 1900 Ottoman Palestine (Jerusalem, Jaffa, and many other cities and villages), with much focus on churches and mosques, Jewish and Christian holy sites, ancient ruins, lepers etc., each with explanatory caption on rear. (100 cards)

264 · UNDERWOOD & UNDERWOOD: Seventy-nine individually-numbered stereo cards in maker's box marked 'Japan', featuring views of c. 1900 Japanese domestic and communal culture, rice cultivation, dress, architecture etc., each with extensive explanatory notes on rear. (79 cards)

265 · UNDERWOOD & UNDERWOOD: Complete set of seventy-two stereo cards featuring views of traditional Japanese communal, domestic, and agricultural life, c. 1896, in maker's cloth-lined box. (72 cards)

266 · UNDERWOOD & UNDERWOOD: Complete set of twenty-six 'Jerusalem'-series stereo cards, c. 1900s, in maker's cloth-lined box. (26 cards)

267 · UNDERWOOD & UNDERWOOD: Eighteen stereo cards in maker's cloth-covered box, c. 1905, mainly featuring urban views of the United States and various European countries. (18 cards)

268 · UNDERWOOD & UNDERWOOD: Complete set of thirty numbered 'Yellowstone National Park' stereo cards in maker's box, c. 1905, together with matching Underwood & Underwood stereoscope.

269 · UNDERWOOD & UNDERWOOD: Complete set of eighteen 'Niagara through the Stereoscope' stereo cards in maker's cloth-covered box with accompanying booklet, c. 1905. (18 cards)

270 · UNDERWOOD & UNDERWOOD: Twenty c. 1907 stereo cards featuring views of France (mainly Paris), in maker's cloth-lined box. (20 cards)

271 · UNDERWOOD & UNDERWOOD: Group of one hundred and four stereo cards, featuring United States West Coast, Ottoman Palestine, Venice, Swiss Alps, London, and many others. (104 stereo cards)

272 · UNDERWOOD & UNDERWOOD: More than eighty stereo cards sorted into 50 x 22.5 x 13.5cm wooden box, featuring subjects such as Ottoman Palestine, Boer War, Russo-Japanese War, shipping scenes including Arctic whaling ships and cutlass drill on deck of HMS Niobe in Cape Town, Prince of Wales on visit to New Zealand, Swiss Alps and alpine villages, and many others. (80+ cards)

273 · UNDERWOOD & UNDERWOOD: Forty-three stereo cards together with maker's box marked 'Grand Canyon Arizona' containing an additional eighteen cards focused on that topic. (61 cards in total)

274 · UNDERWOOD & UNDERWOOD: Fifty 'United States'-series stereo cards in maker's cloth-lined box, c. 1900. (50 cards)

275 · UNDERWOOD & UNDERWOOD: Complete set of one hundred 'Italy through the Stereoscope' stereo cards in maker's box, featuring subjects such as Roman ruins, Vatican interiors and exteriors, Mount Vesuvius, and many others. (100 cards)

276 · UNDERWOOD & UNDERWOOD: Ninety-two 'Italy Series' stereo cards in maker's cloth-lined box with accompanying booklet, c. 1903. (92 cards)

277 · UNDERWOOD & UNDERWOOD: Complete set of one hundred numbered 'France' stereo cards, featuring views of Parisian landmarks, agricultural workers, festivals, cathedral interiors, bustling streetscapes, and many others. (100 cards)

278 · UNDERWOOD & UNDERWOOD: Ninety-six 'Switzerland'-series stereo cards in maker's cloth-lined box, c. 1903. (96 cards)

279 · UNDERWOOD & UNDERWOOD: Group of fifty-eight c. 1900 stereo cards, with views of India, the United States, Italy, and Austria, among others. (58 cards)

280 · UNDERWOOD & UNDERWOOD: Forty-eight early 20th-century stereo cards, with views of Mandate Palestine, African wildlife, the United States, and many others. (48 cards)

281 · UNIS FRANCE: Two c. 1920s wooden handheld stereoscopes, one with variable focusing mechanism and measuring approx. 17 x 14.5 x 10cm, the other approx. 11.5 x 10 x 5.5cm. (2 items)

282 · UNIS FRANCE: 'Metascope' tray-based tabletop mahogany stereoscope, 40cm in height, c. 1926.

283 · VARIOUS PUBLISHERS: More than two hundred and twenty stereo cards issued by various publishers including C. H. Graves, Griffith & Griffith, and Fine Art Photographers' Publishing Company, sorted into 45 x 22.5 x 13.5cm wooden box, featuring subjects such as Scottish lochs and castles, Niagara Falls, Acropolis, comedic scenes, and many others. (220+ cards)

284 · VARIOUS PUBLISHERS: Group of one hundred and six stereo cards issued by such publishers as Archibald Burns, Berry Kelly & Chadwick, B. W. Kilburn, Greater New York Stereo Co., Kilburn Brothers, Pan Chro Scope Corporation, Quaker Oats Company, Universal Photo Art Co., and Universal View Co. (106 cards)

285 · VARIOUS PUBLISHERS: More than two hundred and thirty Kilburn Brothers and Keystone View Company stereo cards arranged in 51 x 22.5 x 13.5cm wooden box, featuring subjects such as WWI Western Front scenes, American politicians and dignitaries, Flatiron Building construction, prospectors in Alaska, British Isles, Caribbean, Scandinavia, and many others. (230+ cards)

286 · VARIOUS PUBLISHERS: Group of ninety-four stereo cards, comprising forty-seven T. W. Ingersoll cards, twenty-six 'Realistic Travels' cards, sixteen Whiting View Company cards, and five Strohmeyer & Wyman cards. (94 cards)

287 · VARIOUS PUBLISHERS: Group of eighty-eight stereo cards, comprising twenty-seven H. C. White cards, eighteen International View Co. cards, eleven Griffith & Griffith cards, twenty-one Keystone View Company cards, and eleven Ingersoll View Company cards. (88 cards)

288 · VARIOUS PUBLISHERS: Group of one hundred stereo cards issued by publishers such as B. W. Kilburn, J. F. Jarvis, Universal Photo Art Co., and many, many others. (100 cards)

289 · VARIOUS MANUFACTURERS: Five mid-20th century handheld stereoscopes, four of which in maker's boxes - one Stori-Viewer with eighteen film cards, one Craftmen's Guild Twinlenz Viewer, one Romo Standard, one Radex-Gem with five film cards, and one Stereoclic de Luxe. (5 items)

290 · VARIOUS MANUFACTURERS: Four handheld stereoscopes - one Corte-Scope, one red-button Stereo Realist, one black Bakelite View-Master in maker's box, and one Model E View-Master with seven film card sets. (4 items)

291 · VIEW-MASTER: Three View-Master stereoscopes - one c. 1950s black Bakelite model in maker's box with twelve film reels in paper sleeves, one 1989 novelty Mickey Mouse model, and one 1995 novelty Batman model with one film reel. (3 items)

292 · WATERSTON & BURNET: Extensive set of stereo cards in cloth-lined box titled 'Edinburgh Stereoscopic Atlas of Anatomy', each with accompanying descriptive notes.

293 · ZEISS IKON: Group of eighty-six 108 x 45mm stereo glass slides depicting a European family's home, holidaymaking in the countryside, and a trip to the canals of Venice. Neatly organised into wooden box with metal handle with 'Zeiss Ikon' logo.

294 · Group of three wooden stereoscopes - one Brewster-style model, one approx. 15 x 12 x 8cm box-style model, and one approx. 13 x 11.5 x 5.5cm box-style model. (3 items)

295 · Group of three wooden stereoscopes - one Brewster-style model, one approx. 14 x 12 x 7cm box-style model, and one approx. 13 x 10.5 x 5.5cm box-style model. (3 items)

296 · Two c. 1900 wooden handheld stereoscopes, one measuring approx. 18 x 16 x 11.5cm, the other approx. 15 x 10.5 x 7.5cm. (2 items)

297 · Folding handheld polished mahogany stereoscope, c. 1910s, of French manufacture with 'N H Brevette S.G.D.G.' imprint on top element.

298 · Group of twenty-three 17 x 8.5cm stereo glass slides, c. 1859, featuring family gatherings, homesteads, and landscapes, all organised into wooden box. (23 items)

299 · Forty-seven 10.5 x 4.5cm stereoscopic glass slides featuring interiors and exteriors of the Palace of Versailles and surrounding structures, in timber box with metal handle.

300 · Group of fifty-eight 8 x 8cm glass slides, featuring many Victorian state sights, WWI, Biblical, landscapes, buildings, spiritual themes, and many others. (58 items)

301 · Wooden box containing thirty-one 8 x 8cm glass slides featuring colourised photographs of cities and coastal features in Devon and Cornwall. (31 items)

302 · Wooden box containing eighty-one 8 x 8cm glass slides, each with colour illustration of a Christian New Testament scene, with associated Bible verse on rear.

303 · FISHER PRICE: '460 Movie Viewer' plastic toy, c. 1970s, with five popular children's animation cartridges. (6 items)

304 · PATHÉ: Three 'Pathéorama' film viewers - one black, one white, and one in Bakelite, together with boxed set of six films. (4 items)

305 · BROADHURST, CLARKSON & CO.: 19th-century brass and steel microscope, 23cm at highest setting, in timber box.

306 · CARL ZEISS JENA: 19th century brass and steel microscope [#178092] in lockable timber box with key, 36cm at highest setting.

307 · LEITZ: 19th century brass microscope [#217221], 35.5cm at highest setting, in timber box with various additional tools and elements.

308 · LEITZ: 19th century brass microscope [#33838] with lens cap, 36.5cm at highest setting, with 'Agri. Chem. Edin. Univ.' engraving.

309 · LEITZ: Early 20th century steel microscope [#313186], 34.5cm at highest setting, in timber box with several additional elements and many prepared slides.

310 · LEITZ: Brass and steel microscope, 18cm at highest setting, in timber box with two eyepiece elements and box of micro circles.

311 · SPENCER BUFFALO: Brass and steel microscope [#68254], 19th century, 38.5cm at highest setting, in timber box with two additional elements.

312 · SPENCER BUFFALO: Brass and steel microscope [#61854], 32.5cm at highest setting, in wooden box with four accessories.

313 · SWIFT & SON: Brass and steel 19th century microscope, 35.5cm at highest setting, in timber box with various additional elements.

314 · Brass and steel microscope with base engraved 'Made for Barraclough Melbourne & Sydney', 37.5cm at highest setting, in timber box with multiple additional eyepieces and lower tray filled with various prepared slides, 19th century.

315 · 19th century brass microscope, 26cm at highest setting.

316 · 19th-century brass and steel microscope with orange and green painted base, 17 cm at highest setting, in timber box.

317 · Steel and brass microscope, 33cm at highest setting, in timber box with various additional elements and prepared slides, 19th century.

318 · Drum-style brass microscope, 17.5cm at highest setting, in wooden box with tweezers.

319 · Drum-style brass microscope, 17.5cm at highest setting, in wooden box with tweezers.

320 · Drum-style 19th century brass microscope, 18cm at highest setting.

321 · Drum-style brass microscope, 18.5cm at highest setting, in wooden box with two additional magnification elements.

322 · Drum-style 19th century brass microscope, 19cm at highest setting, in wooden box.

323 · Drum-style brass microscope, 21.5cm at highest setting, in wooden box.

324 · 19th century brass loupe with spiral extension mechanism, approx. 85mm at full height.

325 · Group of three 19th century brass loupes, the tallest approx. 6cm in height. (3 items)

326 · Nautical chart magnifier girt in brass with lens diameter of approx. 11cm, 19th century.

327 · 70 x 122.5cm wooden framework containing containing thirty-nine glass slides representative of the history of image projection, including magic lantern slide sequences of various sizes, a chromatrope, Val Morgan cinema advertisement slides, and others.

328 · Group of six rotating magic lantern slides with handles, most of them chromatropes, the largest of which 18 x 9.5cm. (6 items)

329 · Mixed group of eighteen wood-framed magic lantern glass sides (of which one 'slipping slide'), or various sizes including 18 x 10cm and 27 x 7cm, featuring mainly religious imagery and children's illustrations. (18 items)

330 · Seven 17.5 x 10cm glass magic lantern 'slipping slides', c. 1850s, featuring bawdy and comedic scenes.

331 · Forty-three 14 x 3.5cm or smaller magic lantern glass slides, featuring colour illustrations of iconic buildings, caricatures, fairy-tale scenes, beaches, animals, etc. (43 items)

332 · Thirty-four 18 x 5cm magic lantern glass slides, featuring colour illustrations of fairy-tale scenes, fires, trains in motion, animals, etc. (34 items)

333 · Twelve 31 x 7.5cm and six 26 x 7cm glass magic lantern slides, featuring comedic sequences with caricatures, ships, animals, etc. (18 items)

334 · Group of forty-three glass slides for magic lantern, ranging in size from 145 x 32mm to 98 x 24mm, featuring illustrations for children of ships, soldiers, etc. (43 items)

335 · Group of thirty-nine glass slides for magic lantern, ranging in size from 170 x 45mm to 98 x 24mm, featuring illustrations for children of ships, soldiers, etc. (39 items)

336 · CHARTEN CAMERA WORKS: Japanese-made magic lantern, c. 1930s, with 5" f4 lens, leather bellows, and slide holder with glass plate.

337 · ERNST PLANK: Children's magic lantern, height 24.5cm, in maker's wooden box with eleven glass slides, c. 1890s.

338 · ERNST PLANK: Children's magic lantern, height 23.5cm, in maker's box with nine glass slides, c. 1890s.

339 · ERNST PLANK: Children's magic lantern, c. 1890s, height 27cm.

340 · ERNST PLANK: Children's magic lantern, c. 1890s, height 27cm.

341 · GEBRÜDER BING NÜRNBERG: 27cm tall children's magic lantern, c. 1910s, with 'GBN' emblem on door.

342 · GEBRÜDER BING NÜRNBERG: 29cm tall children's magic lantern, c. 1910s, with 'B(ing) W(erke) Germany' stamp on door.

343 · MAX DANNHORN: Children's magic lantern, height 35cm, in maker's box with ten glass slides, c. 1898.

344 · PATHÉ: 'Cocorico' magic lantern, together with two different slide-in 'Pathéorama' film viewers. (3 items)

345 · PERKEN, SON & RAYMENT: "Optimus" magic lantern with mahogany body and brass fittings, c. 1880s.

346 · PERKEN, SON & RAYMENT: 'Optimus' magic lantern with mahogany body and tin fittings, c. 1880s.

347 · RILEY BROS. BRADFORD: 'The Praestantia' magic lantern, c. 1895, with maker's embossed plate at base and similar engraving on barrel of lens.

348 · ZEISS IKON: Enormous c. 1920s cast-iron magic lantern housing, with dimensions of approx. 63 x 43 x 33cm.

349 · Children's magic lantern, height 35cm, c. 1890s.

350 · Children's magic lantern, height 33.5cm, c. 1890s.

351 · Children's magic lantern, height 24.5cm, c. 1890s.

352 · Brass and tin helioscopic magic lantern, c. 1890s, with 7" lens and engraving on lens flap that reads 'Established 1816 - Trade Mark - London Made'. Modified for electric use.

353 · Brass and tin helioscopic magic lantern, c. 1890s, with plate on top that reads 'Patent № 2459'.

354 · Brass and tin helioscopic magic lantern, c. 1890s. Modified for electric use.

355 · Brass and tin helioscopic magic lantern, c. 1890s.

356 · Circa 1880s large format 5 x 7" plate studio camera, "No 9A CENTURY STUDIO CAMERA" by Eastman Kodak - Folmer & Schwing Dept., with beautiful art-nouveau 1.26m high stand, Taylor Hobson Series IID Cooke Portrait Anastigmat 15"/380mm f3.5 lens [#221713], and lens cap.

357 · ADAMS & CO.: 4¾ x 6½" plate stereo field camera, c. 1900s, with twin Wray London 5" Stereo lenses [#9583 & #9578], roller-blind shutter, and Watson Bowden 'The Antinuous' shutter release cable.

358 · ADAMS & CO.: 'Videx' 3¼ x 4¼" plate SLR camera, c. 1903, with Hermagis Paris Anastigmat Magir 136mm f6.3 lens [#239224].

359 · ALBERMARLE: 'The Albermarle Camera No. 1' 3⅛ x 4⅛" plate field camera, c. 1900, with lens with f8/11/16/22/32/44/64 aperture markings.

360 · ARTEX: 4¾ x 6½" triple-extension field camera, c. 1890s, with Taylor, Taylor & Hobson lens [#51120].

361 · BAUSCH & LOMB: 'Unicum' shutter [#448134] coupled with brass lens with approx. 7cm focal length and lens diameter of approx. 4cm, c. 1890s.

362 · BAUSCH & LOMB: 'Unicum' shutter [#115244] coupled with brass lens with approx. 4cm focal length and lens diameter of approx. 3.3cm, c. 1890s.

363 · BECK: No. 3 Beck (Simple) Telephoto Lens [#140557], c. 1890s.

364 · BENETFINK: 'Ajax' 4¾ x 6½" field camera, c. 1900s, with lens with f8/11/16/22/32/44/64 aperture markings and lens cap.

365 · BERMPOHL & CO. K. G.: Unusual 130 x 180cm plate 'Naturfarbenkamera' single-exposure three-colour camera [#722], c. 1933, with Goerz Celor Series Ib No. 3 Focus 8¼" f5 [#310045]. Offered in felt-lined box with six double dark slides.

366 · BIAL & FREUND: 13 x 18cm plate tropical wood tailboard camera, c. 1870, with unmarked lens.

367 · BING WERKE: 'Fitax I' 12 x 9cm stereo plate camera, c. 1920s.

368 · BOOTS: 3⅛ x 4⅛" plate triple-extension field camera, c. 1910, with Ross London Symmetrical Anastigmat 5½" f8 lens [#58927] and roller-blind shutter.

369 · BURKE & JAMES: 'Watson' 5 x 7" plate tailboard camera with aluminium fittings and Schneider-Kreuznach Componon 135mm f5.6 lens [#10048432].

370 · BUTCHER & SON: 'Midg No. 00' 3¼ x 4¼" plate box-type camera, c. 1902, with Primus Rapid Symmetrical lens.

371 · BUTCHER & SON: 'National' 4¾ x 6½" plate field camera, c. 1905, with lens with f8/11/16/22/32/44 aperture markings.

372 · BUTCHER & SON: 'National' 4¾ x 6½" plate field camera, c. 1905, with Beck Symmetrical lens and Thornton-Pickard roller-blind shutter.

373 · BUTCHER & SON: 'The Ralli' 3 x 4" plate field camera, c. 1906, with Ross Homocentric 5½" f5.6 lens and folding Newton finder.

374 · BUTCHER & SON: 'Cameo' 12 x 17cm plate field camera, c. 1910s, with Beck Symmetrical lens, Automatic Minimum Cameo shutter, and metal lens cap.

375 · CANADIAN CAMERA CO.: 'Gem Clenco.I' 4 x 5" plate field camera, c. 1932.

376 · CARPENTIER: 'Photo Jumelle' 6.5 x 9cm plate binocular-styled camera, c. 1890s.

377 · CHAPMAN: 'British' 4¾ x 6½" plate field camera, c. 1903, with Wray London 6½ x 5 8½" lens [#7988].

378 · CLÉMENT & GILMER: 'Wide Angle 8½ x 6½' brass lens, c. 1890s, with focal length of approx. 4.5cm and lens diameter of approx. 3.5cm.

379 · CONTESSA: Duchessa Stereo 45 x 107mm plate strut-folding stereo camera, c. 1913, with twin Tessar 65mm f4.5 lenses and Compur shutters.

380 · DALLMEYER: No. 4 Stigmatic Series II brass portrait lens [#72829], c. 1890s, with lens diameter of approx. 33mm, total height of 56mm, and f6/8/11/16/22/32/45 aperture markings, together with leather case.

381 · DALLMEYER: 'Adon' telephoto extension, attached to lens marked 'ACME TB' with accompanying mounting flange.

382 · DEMARIA-LAPIERRE & MOLLIER: 15 x 10cm plate tailboard camera, c. 1900s, with H. Roussel Paris Trylor 135mm f4.5 lens [#436353].

383 · DEMARIA-LAPIERRE & MOLLIER: 178 x 130mm plate tailboard camera, c. 1900s, with Wollensak Anastigmat Series IV f6.3 lens [#203471] and roller-blind shutter.

384 · ERNEMANN: 'Heag I' 9 x 12cm plate field camera, c. 1920s, with Detektiv Aplanat 13.5cm f6.8 lens and shutter release cable. Curved-strut version.

385 · ETAH LONDON: 'Etah' 4¾ x 6½" field camera, c. 1910, with Thornton-Pickard Rectoplanat lens.

386 · EUGEN LOEBER: 'Reisekamera' 5 x 7" tropical wood tailboard camera, c. 1895, with well-preserved blue bellows, Schlesicky-Ströhlein Frankfurt am Mein Rapid Aplanat Comfort Serie B.A8 lens [#6158], and lens cap.

387 · EVANS: 'Hanover No. 1' 3¼ x 4¼" plate field camera, c. 1900, with Zeiss Kodak Anastigmat No. 2 f6.3 lens [#1208203].

388 · FALLOWFIELD: 10 x 8" plate tailboard camera, c. 1890, with Wray London 15" lens [#3898] and three double-dark slides. Offered in case marked 'The London Camera Exchange Co Ltd'.

389 · FALLOWFIELD: 4¾ x 6½" plate field camera, c. 1890s, with Beck Symmetrical lens and roller-blind shutter.

390 · GIROUX ALPHONSE: 1/3 scale replica Daguerreotype camera, c. 1970s. Produced by Jerry Smith.

391 · GOERZ: 'Stereo Vest Pocket Tenax' 45 x 107mm plate stereo camera, c. 1912, with twin Celor 60mm f4.5 lenses.

392 · GOMZ: 'FK-13' 13 x 18cm tailboard camera, c. 1930, with Gomz N-51 210mm f4.5 lens [#5300308] and lens cap.

393 · GRAFLEX: 'Auto Graflex' 3 x 4" plate SLR camera, c. 1910, with Kodak Anastigmat 7½" f4.5 lens [#2555].

394 · GRAFLEX: Speed Graphic folding 3¼ x 4¼" plate camera, c. 1930, with Optar 135mm f4.7 lens [#884480] and Kalart Synchronized Range Finder attachment [#B90882].

395 · GRIFFITHS: 3⅙ x 4" plate box camera, c. 1895, with guillotine shutter and leather covering.

396 · GUNDLACH: 'Korona III' 5 x 7" plate field camera, c. 1910s, with Special Anastigmat f6.3 lens [#201864], lens cap, and Betax No. 3 shutter.

397 · GUNDLACH: 'Korona II' 125 x 95mm plate field camera, c. 1920s, with R. & J. Beck Koilos Isostigmar 6.75" f6.3 lens [#116677].