ST Gill, Title page, The Australian Sketchbook by STG, 1864–65, chromolithograph, State Library Victoria

On the title page of his Australian sketchbook, ST Gill depicts himself in a slightly comic situation. Clutching his pipe, folder of drawings and boots, while cooling his feet in a stream, he is distracted by two Indigenous people smiling at him from behind a rock, and is apparently oblivious that a snake is about to bite him on the foot.

ST Gill, Title page, The Victorian Gold Fields during 1852–3, drawn by the desire of the trustees of the Melbourne Public Library, 1869, watercolour, State Library Victoria

In 1869 the trustees of the Melbourne Public Library, as the State Library Victoria was formerly known, commissioned ST Gill to produce 40 watercolour drawings of life on the Victorian goldfields, which he’d experienced firsthand in the early 1850s. The collection of sketches has become one of the State Library’s unique treasures, providing priceless insights into the colourful life and times of the Victorian gold rushes.

Doing the Block. Gt Collins St, 1880, watercolour State Library Victoria

The Block, on fashionable Collins Street, was a stylish shopping strip in the 1880s. It was also a famous spot for promenading and people-watching, an activity known as 'doing the Block'. As a comment on those enjoying this pastime, Gill has added two dogs sniffing one another in the foreground of his watercolour. He completed this lively painting three months before his death at the age of 62, when he was working at the peak of his powers.

Dress circle boxes, Queens Theatre, Melbourne, 1853, 1880, watercolour, State Library Victoria

Gill observed this lively scene of theatre-goers in 1853, during the gold rush; he painted the watercolour from memory several decades later, probably in 1880. An uneasy combination of patrons are seated in the dress circle of the Queen’s Theatre, with Melbourne’s cultured establishment contrasting with the loudly dressed and equally loudly behaving gold diggers, one of whom has dropped his pipe into the audience seated below. Inscribed on the verso is Dress Circle Boxes Queens Theatre, Lucky Diggers in Melbourne 1853, In the Reign of JT Smith (JT Smith built the Queen’s Theatre in 1845).

Diggers on the way to Bendigo, 1869, watercolour, State Library Victoria

This watercolour has become an iconic image of the Australian gold rushes, capturing ‘everyman’ on the way to Bendigo, an Australian El Dorado. Pictured walking along a country road behind a laden horse and cart, the diggers carry their rolled-up blankets on their backs, along with basic mining equipment, a kettle and a gun with which to defend themselves. This painting by ST Gill was published in The Victorian Gold Fields during 1852–3, the fabulous album commissioned by the trustees of the Melbourne Public Library, as the State Library Victoria was formerly known.

A Bendigo Mill, 1869, watercolour, State Library Victoria

A 'Bendigo mill' was the name given to a bare-fist encounter between two men, which frequently attracted a monetary bet on the outcome. In 'The Bendigo mill match', contemporary colonial songster Charles Thatcher sang: ‘Two diggers were in loud dispute / Each in a towering passion; / And they both agreed to have it out / In the old Colonial fashion’. This watercolour by ST Gill was published in The Victorian Gold Fields during 1852–3, the fabulous album commissioned by the trustees of the Melbourne Public Library, as the State Library Victoria was formerly known.

Sunday Camp Meeting, Forest Creek, 1869, watercolour, State Library Victoria

ST Gill was the son of a Baptist minister, but he had little sympathy for institutionalised religion. In this watercolour of an outdoor prayer meeting at Forest Creek (Chewton), the preacher’s task appears increasingly hopeless as the diggers drift off into their own private concerns. This painting was published in The Victorian Gold Fields during 1852–3, the fabulous album commissioned by the trustees of the Melbourne Public Library, as the State Library Victoria was formerly known.

Digger's Wedding in Melbourne, 1869, watercolour, State Library Victoria

A Gill favourite, this popular image depicts the extravagance of diggers, whose newly acquired wealth was splashed on sham weddings, where 'brides' could be hired by the day or the hour. Neither judging or condemning, Gill takes the role of an observer rather than a moralising commentator. This watercolour was published in The Victorian Gold Fields during 1852–3, the fabulous album commissioned by the trustees of the Melbourne Public Library, as the State Library Victoria was formerly known.

Improvident diggers in Melbourne, 1869, watercolour, State Library Victoria

The improvident diggers have already spent some of their newly acquired wealth on flashy clothes, gold rings and watches hung from prominent gold chains. Now they are studying the display of expensive items in the window of 'Crib the jeweller'. Other distractions that could catch their gaze are the placard for the Queen's Theatre and a sign advertising wine and spirits. This watercolour by ST Gill was published in The Victorian Gold Fields during 1852–3, the fabulous album commissioned by the trustees of the Melbourne Public Library, as the State Library Victoria was formerly known.

Invalid Digger 1852, 1869, watercolour, State Library Victoria

This is one of Gill’s most compassionate images of the digger down on his luck, his head bandaged and his injured foot bare and swollen. The viewer’s attention is drawn to the loving relationship between the man and his sole faithful companion, his dog. This watercolour was published in The Victorian Gold Fields during 1852–3, the fabulous album commissioned by the trustees of the Melbourne Public Library, as the State Library Victoria was formerly known.

Lucky Digger that returned, 1869, watercolour, State Library Victoria

A digger's success or failure was measured not only on the goldfields but also in terms of surviving the experience and establishing a civilised existence. Here, Gill depicts a scene of family bliss, in which the successful and well-dressed digger reclines on a sofa surrounded by his wife and child, his dog sitting contentedly at his feet. This watercolour by was published in The Victorian Gold Fields during 1852–3, the fabulous album commissioned by the trustees of the Melbourne Public Library, as the State Library Victoria was formerly known.

Unlucky Digger that never returned, 1869, watercolour, State Library Victoria

Life on the goldfields was ultimately a matter of luck, and this digger will never return to the green pastures of home. Despite the somewhat ghoulish image of the skeleton in the foreground, Gill’s poignant watercolour celebrates the beauty of the Australian bush at dusk. This painting was published in The Victorian Gold Fields during 1852–3, the fabulous album commissioned by the trustees of the Melbourne Public Library, as the State Library Victoria was formerly known.

Overlanders, c.1860, watercolour, State Library Victoria

In this oval watercolour, two drovers pause by a creek to allow their horses to drink while they light their pipes. One rider turns to view the progress of the herd being driven overland, and to address his dog. Rather than merely reporting a scene, here ST Gill is commenting on a way of life, mateship and the bond of man to animal.

Troopers pursuing bushrangers, 1871, watercolour, State Library Victoria

Gill developed a strong empathy with the Aboriginal people he encountered on his travels – living in the bush, working as stockmen or, as depicted in this watercolour of troopers pursuing bushrangers, employed as trackers. The Indigenous people were superb horsemen and lived in harmony with the environment that Gill grew to love. He seems to have had more sympathy with the bushrangers than their pursuers, and revisited this theme in numerous watercolours and drawings.

John Alloo's Chinese restaurant main road Ballaarat, 1855, lithograph, State Library Victoria

In contrast to the vitriol directed at ‘Celestials’ in contemporary written sources, Gill's print of John Alloo's Chinese restaurant is a scene of bustling activity and apparent racial harmony. John Alloo came to Australia in 1844, before the 1850s gold rush, and established his restaurant in the early days of the Ballarat township. The sign advertising 'soups always ready' and the depiction of canisters suggest that this was perhaps the earliest Chinese takeaway restaurant in Victoria.

Interior of John Alloo's Chinese restaurant main road Ballaarat, 1855, lithograph, State Library Victoria

John Alloo's busy Chinese restaurant in Ballarat is filled with diggers, while Chinese staff are busily at work cooking over large woks. The feline and canine inhabitants are patrolling the eating house in search of scraps. John Alloo came to Australia in 1844, before the 1850s gold rush, and established his restaurant in the early days of Ballarat’s history. In contrast to the vitriol directed at ‘Celestials’ in contemporary written sources, Gill’s print is a scene of bustling activity and apparent racial harmony.

News vender Forest Creek, 1872, watercolour, State Library Victoria

The so-called news vendor in this watercolour – shown mounted on a splendidly drawn horse and carrying a bag bulging with copies of The Argus newspaper (1848–1957) – is middle-aged with a bushy red beard, and bears a remarkable resemblance to known self-portraits of Gill. It would be in keeping with the artist’s sense of irony to show himself revisiting the goldfields, where he’d made his name as a painter exactly two decades earlier.

Township of Ballaarat from Bath’s Hotel, 1855, lithograph, State Library Victoria

ST Gill first visited the goldfields in 1852. Three years later, he found the area transformed. In this Ballarat street scene from 1855, diggers still appear in their uniforms of old but they are outnumbered by townsfolk in winter coats strolling past well-constructed buildings on wide and well-laid streets with well-kept footpaths. Orderly bullock drays mix with horse-drawn carts, and there is a streetlight in front of Bath's Hotel.

Miscellaneous sketches by STG, 1856, tinted lithograph, State Library Victoria

The title page of Gill’s Miscellaneous sketches depicts the artist in a top hat but wearing garments that are somewhat dishevelled. He has a disgruntled expression on his face and is engaged in conversation with a newspaper boy selling copies of The Argus. On one side of the wall, society seems to pass him by; on the other, a sign advertises 'Selling off, Frightful sacrifices, 80 per cent first cost'. His stick figures adorn the walls like graffiti.

Convivial Diggers in Melbourne, 1869, watercolour, State Library Victoria

Surrounded by bottles and champagne flutes, a group of diggers celebrate their newly attained wealth. Relating tales from the goldfields, they drink to their good fortune with their less-successful peers, while the publican and his lackeys hasten to maximise their profits. This watercolour was published in The Victorian Gold Fields during 1852–3, the fabulous album commissioned by the trustees of the Melbourne Public Library, as the State Library Victoria was formerly known.

Coach parties turning into Bourke Street from Elizabeth Street, 1867, pen and brush drawing, State Library Victoria

Gill captured the vibrancy of marvellous Melbourne like no other artist, creating timeless images of urban scenes. This drawing is possibly associated with racegoers returning from Flemington Racecourse, where a gala event was held on 30 November 1867 in honour of the visiting Duke of Edinburgh, Price Alfred. On the right of the drawing can be seen the steps of the General Post Office where, 13 years later, Gill died in 1880.

Advertising handbills, 1856, engraving, State Library Victoria

These advertising handbills illustrate Gill’s private world around Collins Street. His lithographic printers were Campbell & Ferguson, who operated from 30 Collins Street. Gill’s studio was a few doors away, in a room above a shop, while at 44 Collins Street was the booksellers and stationers James J Blundell & Co, who sold his prints and drawings.

Bush funeral, 1864–65, chromolithograph, State Library Victoria

From Gill’s Australian sketchbook, this colour lithograph shows a sombre scene of death in rural Australia, where a bullock-drawn dray serves as a hearse. The mourning family follow in another dray and on horseback, while the locals greet the procession with solemn respect. Gill is commenting on the passing of generations: as one generation is put into the ground, a mother with a babe in her arms stands up to take their place.

Stockman, 1864–65, chromolithograph, State Library Victoria

This colour lithograph from Australian sketchbook demonstrates the artist’s skill as one of Australia's greatest colonial equine artists, celebrating rural life and the romance of the bush. It was in this series of lithographs that Gill for the first time gave visual form to what has become known as 'the Australian character' – the tough, fiery individual who believes in mateship and in the spirit of the Australian bush.

Zealous Gold Diggers, Bendigo, 1852, lithograph, State Library Victoria

Gill was one of the very few artists who depicted women on the goldfields. Here, a woman nurses her baby in one hand while she rocks the gold-extracting cradle with the other. Her infant daughter handles a shovel, loading potentially ore-bearing soil into the cradle from the wheelbarrow. Meanwhile, her husband pours water into the cradle using a long-handled dipper called an Aquarius: a 'bucket ladle' attached to a pole.

Road to Bendigo from Forest Creek, 1852, lithograph, State Library Victoria

Gill arrived on the Victorian goldfields in 1852. Sketches that he drew in situ, issued as black-and-white lithographs in August of that year, became some of the most famous images of the goldfields ever made. Unlike other artists, Gill didn’t depict diggers posed with their spectacular finds; instead, he gave the goldfields a human face, which the miners saw as being authentic to their experiences.

Great Collins Street Looking East from Wesleyan Chapel, Melbourne, 1856, engraving, State Library Victoria

This depiction of Collins Street was included in the luxury publication Victoria illustrated, published exclusively in Australia by Sands and Kenny, and available as a Christmas gift to purchase in 1856. Gill’s images were sent to London to be professionally engraved by James Tingle, who on occasion tidied up Gill’s messy street scenes and modified the vegetation and skies to be more in keeping with English sensibilities.

The University of Melbourne, 1856, engraving, State Library Victoria

Melbourne’s major cultural and educational institutions were established early in the life of the colony, in the 1850s. They included the State Library, the National Gallery of Victoria and the University of Melbourne. This image of what is today the university’s Old Quad Library was included in Victoria illustrated, a luxury publication produced by Sands and Kenny, and sold exclusively in Australia. Gill’s images were sent to London to be professionally engraved by James Tingle.

Quartz Crushing, Base of Black Hill Ballaarat, 1855, lithograph, State Library Victoria

In this lithograph, the early heroics of labour have given way to machine power. When Gill arrived on the goldfields in 1852, the equipment he depicted was makeshift and could be carried by the diggers on their backs. Three years later, the pans and cradles had been replaced by heavy machinery used in deep sinking and mechanised quartz crushing. The search for gold was no longer a one-on-one encounter between the miner and the pit; it had become a mechanised team effort, where the ore-bearing rock was brought on train tracks to a crushing shed.

Licensing Diggers, Forest Creek, 1852, letterhead paper, engraving, State Library Victoria

Gill’s lively lithographs were translated into engravings on letterhead paper, an early form of postcard. Diggers using the notepaper to write home frequently commented on the accuracy of the depictions, and how they corresponded with their own experiences on the goldfields. Gill’s images were often viewed as the most accurate record of the Victorian goldfields ever made.

On Sale original sketches & drawings by STG, c.1870, watercolour, State Library of New South Wales

In this late self-portrait, Gill is shown seated against a brick wall, next to an inverted umbrella full of his drawings, which he offers for sale. A pair of dogs appear as his only real companions, while two curious potential customers gaze at his drawings. The artist glances back, hopefully, but also with an expression of apprehension. Next to the inscription on the wall are the characterful tumbling stick figures that have followed Gill throughout his career.

Melbourne, Bank Place, 1880, watercolour, State Library of New South Wales

Off Collins Street in central Melbourne, Bank Place hasn’t changed substantially since Gill painted it in 1880, a few months before his death. The Mitre Tavern, which Gill frequented, is still there today, as is the stately building nearby, now occupied by the Savage Club. Gill shows a bustling thoroughfare with dogs and horses, the ubiquitous newspaper boy, and a mixture of different classes of society.

A Great Matrimonial Success, c.1860, watercolour, State Library of New South Wales

Gill frequently identified himself with the oppressed classes in society, and often attacked bourgeois values. In this beautifully expressive watercolour, a hideously overdressed couple carry their obese baby with palpable pride, along with its '1st prize' tag awarded at the Grand Baby Show. A poorly dressed street urchin peers over the paling fence and stares at them with a mixed expression of contempt and defiance.

Country NW of tableland, 1846, watercolour, National Library of Australia

Gill made this watercolour drawing while on the privately funded Horrocks expedition to the South Australian interior. In this sweeping panorama, Gill adopts a well-known strategy from Romanticism by showing two figures, seen from behind, contemplating the vastness of nature and thus drawing the viewer into the scene depicted. The taller figure with the gun is Horrocks, the other with a sketchpad is Gill – one claiming and naming the country in front of him, the other recording it.

November, c.1840-42, watercolour, National Library of Australia

Shortly after his arrival in South Australia in 1839, Gill embarked on a series of watercolour paintings depicting the four seasons and the 12 labours of the months. Here, in what is possibly the earliest such depiction in Australian art, the activities for November include sheep shearing. Three shearers are using old-fashioned English hand tools, while two other workers pack a bale of wool suspended from the rafters and full bales are loaded onto the bullock-drawn dray.

Summer, c.1840-42, watercolour, National Library of Australia

Shortly after his arrival in South Australia in 1839, Gill embarked on a series of watercolour paintings depicting the four seasons and the 12 labours of the months. In this painting, Summer is a busy harvesting scene. In the background, the artist has added Australian foliage, the intensity of Australian light and the plume of smoke and glow of a bushfire on the horizon.

The opening of Lode in Stock’s air-hole from top of NW entrance, April 12th 1847, watercolour, National Library of Australia

In the 1840s, Gill recorded South Australia’s earliest mining boom – coppermania. In this watercolour, he includes himself in the picture as witness to the opening of a new lode. A miner rams home a charge of gunpowder, while hastily installed timbers support the already excavated areas. Around the edges of the cut-away rock are the exposed seams of gleaming colourful ores. Contemporary newspapers reported on the combination of dangerous and exhausting work and the wonderment of this enchanted subterranean world.

Rundle Street, Adelaide, 1845, watercolour, Art Gallery of South Australia

Gill’s early street scenes of Adelaide are as remarkable for what they show as for what they omit. While there is topographical accuracy, the emphasis is placed on harmony, tranquillity, progress and order, with beautiful weather and clear skies. The well-kept, wide streets have been swept clean of garbage, while the people are fashionably well dressed and the town seems to have the bustle of prosperity.

The Gawler River, 1844, watercolour, Art Gallery of South Australia

In his watercolour of the Gawler River in the Barossa Valley, Gill is exploring a quintessentially Australian countryside. The gnarled river red gums arch over the reflecting still waters in a landscape that’s lush yet radiant with early summer heat. There is a glowing luminosity in Gill’s use of the watercolour medium, where the white of the paper is allowed to shine through and the colour washes are applied with a boldness of touch.

Travelling through the brush and sand ridges, August 30, 1846, watercolour, Art Gallery of South Australia

Gill made this watercolour drawing while on the privately funded Horrocks expedition to the South Australian interior. He depicts himself at the head of the procession, followed by Horrocks and Kilroy on either side of Harry the camel, accompanied by their hunting dog. Gill noted in his diary: 'Left the hills and crossed in our course many red sandy and thickly scrubbed ridges. As yet we met with no feed or indications of improvement.'