Born: Melbourne, Victoria, Australia 1855; Died: Melbourne, Victoria, Australia 1917Heidelberg SchoolLedger Gift, 1987House on top of hill in rural landscape with sloping hill to a pond and trees and grasses in foreground. Copper brushed timber frame.Recto: Signed "F. McCubbin" in brown oil in l.r.c of composition; Not dated; Not titledpainting, waterscape, hills, house, landscape, water, impressionist

Oil on canvas

Gift of Jane Desailly in memory of her mother Lesley M Desailly, 2013

Gift of J.W. Traill, 1948

Large icon style painting of Jesus holding a Bible in his left hand, and doing the symbol of Incarnation with his thumb and ring finger of his right hand.icon, orthodox, russian, jesus, artwork-paintings

Gift of Mack Jost, 1986

Gift of Mack Jost, 1986oil on canvas

stretched canvas, unframednil

painting

billilla, brighton, historic house, house, mansion, gardens, marjorie currie, smith and johnson, walter richmond butler, weatherly

national anthem

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

An original coloured painting four women in uniform (possibily nurses) with two holding a baby. Also in the painting are two people and several others looking on.painting, nurses - vietnam, vietnam lest we forget

Oil painting of a bush scene, painted by Phyll Davidson. Adapted from an oil painting by Lloyd Rees.Oil painting with timber frame and glass On label on reverse: "Toward the high country. Adapted from an oil painting by [Lloyd] Rees. Artist Phyll Davidson". Framer's label " Framed by Keith Hoad"phyll davidson, lloyd rees, oil paintings

Gift of the artist, 1927

It is likely this item was received from the estate of John 'Jack' Courier. Courier left a bequest to the College consisting of a significant number of artworks by himself and others.Untitled abstract painting. Painting consists of a range of geometric shapes in blues, browns, yellows and greys, with a larger white shape occupying the majority of the centre third of the painting. There is a small sticker from Gibson's Auctioneers attached to the back of the artwork. Two D-ring fittings, attached to small blocks, are attached to the back of the board for hanging.

oil on canvasend of summer, landscape, trees, horses, charles douglas richardson, painting, cloud, farm, summer, grass

Gift of Mack Jost, 1994watercolour on paper

contemporaryRural City of Wangaratta Collection. Purchased by the Wangaratta Arts Council.A contemporary still life object study painted in synthetic polymer using a small colour palette of brown, black, cream, grey, blue, orange, and purple.wangaratta art gallery, still life, carol hamilton, painting

Manik’s referential language maintains a fundamental connection to derided or “low-brow” sources, spanning popular and visual culture sources such as graffiti, google image searches or YouTube clips. In this work, Manik aestheticises a conspicuously framed police photograph, reproducing the sensationalist image with a considered painterly quality. Attending to the ways in which wide dissemination leads to a clouding and blurring of meaning, Manik challenges conventional ideas of authenticity, circulation, and so-called high/low modes of production. Artist Bio Gian Manik is a Naarm-based artist whose dextrous approach to image-making is characterised by an irreverence for genre and driven by a compulsion to paint. Interested in undermining the colonial properties arming the buttresses of historical painting, Manik ambiguates tradition through the representation of multivalent or tangential subjects. Informed by a childhood spent voraciously copying reproductions of old master paintings, a subsequent indifference to the polarities of high and low culture has rendered his work resistant to traditional stylistic categorisation. Instead, Manik’s practice can be read as an ongoing investigation into the boundaries of representation which often sprawls into the modalities and enviornments of fashion, music and performance. His compositions interweave both carefully distilled and intensely gestural passages, forming a layered palimpsest that references and registers the quotidian fabric of his social and cultural surroundings. Distinguished by an interminable mix of nostalgia and desire, drama and tragedy, his work reverberates an uncertainty of meaning. Strategies such as repetition and mimicry blur the intended resonance or ‘truth’ attributed to each object, place, scene or character. As a result, Manik’s paintings often function as parafictions, interpolating personal experience within constricted frameworks of historical narrative. Gian Manik (b. 1985 in Perth/Boorloo) received a BFA (Honours) from Curtin University in 2011. After relocating to Naarm/Melbourne, the artist completed a Master of Fine Art (Honours) at Monash University in 2012. Since then, he has exhibited widely across Australia and Aotearoa New Zealand in institutional and commercial contexts. He has received institutional commissions by the Australian Centre for Contemporary Art (2022) and the Perth Institute for Contemporary Art (2024). Additionally, his work has been featured in significant exhibitions at the Museum of Contemporary Art Australia, Sydney; Art Gallery of Western Australia, Perth/Boorloo and the Art Gallery of South Australia, Adelaide.

oil on composition boardbeaumaris, bay, coast, water, sunset, trees, landscape, clarice beckett, dusk, handrail, beaumaris bay, meldrum school, reflection

Sydney PERN (c1876-23 October 1967 ) Born Battley, England Dr Sydney Pern began practicing medicine in the Victorian town of Yarram before setting up practice in Ballarat. He was a competent artist, and as an amateur anthropologist collected Aboriginal artefacts during travels in Central and Northern Australia. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Watercolour landscape glued onto card depicting a view towards Mount Dandenong.art, artwork, sydney pern, landscape, mount dandenong

Artists impression of the Lower Plenty Hotel mid-20th century. An original painting of the Lower Plenty Hotel.Mixed media on canvas board. Landscape with hotel in middle ground.Signed with initials "S.J." on front. On back: "From photo. Painted 1960-1970. LOWER PLENTY HOTEL c1940-1950. Sylvia Jones"lower plenty, lower plenty hotel, sylvia jones

echidnas

CEMA Art Collection Winner of 1968 Portland Art Society Prize for the category of other media.The painting is depiction of a field which is predominantly yellow with patches of red. The largest red patches are in the lower right corner and centre left side. Another focus point of the work is a large yellow mound slightly off centre which may represent a haystack. The background is a light blue sky. The work has a painted wooden frame with material mount and glass covering only the paint surface.Front: Huntington (signature, lower left) Back: ISABEL HUNTINGTON "POPPIES IN FLANDERS FIELD" (1968) (typed label) Yellow Sticker: 1968-cema, portland artists society, wwi, female artist, world war i, the great war