CEMA Art Collection Winner of 1968 Portland Art Society Art Prize for the category Oil or similar medium.The painting depicts several tall, dead trees in the foreground with dense living trees in the background. The foreground is green, white and yellow. The work has an interesting texture created through the use of clearly defined thick paint strokes. This technique is particularly evident in the foreground where it has been used to create the ground from which the dead trees stand. The work has a painted wooden frame with material mount and non-reflective glass.Front: R. ARENDSEN '67 (black, lower right) Back: RENNEE ARENDSEN "DEAD WOOD FOREST, MALLACOOTA" (1968) (typed) Stamp: KATRINA GALLERIES 485 CENTRE ROAD BENTLEIGH, VIC 97-6715 Yellow Sticker: 1967 Handwriting around back of frame.female artists, female artist, landscape, trees

Painted by Shirley Jones , a local Artist in 1978Oil painting of Vermont Primary School No. 1022 of the 1880's Shows school with three children in foreground. Two small children kneeling in front Background has a bush scene with figures on a horse Picture is in a wood framehandcrafts, hand painted

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. Miniature oil painting of a landscape, with creek in foreground and bush and hill behind, by A.W. Eustace, under glass, in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, chiltern, oil painting, landscape

Predominantly green painting on a Montmatre stretcher. The paint surface features 'splashes' or red and pink and a blue/green background. artwork, artist, landscape, horsham campus, jennifer o'louglin, wimmera campus

Neville Bunning taught Ceramics at the Ballarat Technical Art School, a division of the Ballarat School of Mines. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed oil painting which depicts a number of horses. art, artwork, bunning, neville bunning, horse, orange, ballarat technical art school

Oil on canvasSigned lower right corner 'Jungwirth'. Not dated

oil on boardbeaumaris, bayside, coast, landscape, miles evergood, painting, rickett's point, bay, water, shrub, trees

This portrait is of Dr Walter Thompson, former President of ANZCA from 2006 - 2008 was commissioned by ANZCA to commemorate Dr Thompson's presidential term. The painting was unveiled on 17 April 2009. The artist Ben Joel is a Western Australian artist, well known for his commissioned portraits and contemporary artworks in most media. Joel's artworks are represented in national private and public art collections Oil on canvas portrait of Dr Walter Thompson wearing the Presidential gown and medal. The sitter's hands are clasped in front of him and he is casually seated in front of a plain background coloured in black and red imitating a second frame/window. The painting is set in a plain gold and maroon frame.[ lower right hand side] BEN JOEL '08painting, anzca president, thompson, walter, joel, ben

Like Purple Plain, Mernda and Mernda Heat Haze this painting was a further development from aspects of the Basalt Plains series of the 1990's as seen in Mernda Plains Landscape. This picture has a greater minimalist quality about it, having been painted in the studio during a particularly wet spring when some of the surrounding flats were indented by channels of water. Greens are not a colour harmony I work with often, but here help convey the essence of the seasonal landscape. A much more formal structure has been emphasized in this picture in which atmospheric space has been almost negated in favour of a much shallower field of colour and two dimensional surface rhythm, an actual effect one can sometimes see under certain conditions of nature, particularly in a flat country. I have always had some respect for one or two of the better colour field painters of America in the 1950's and 1960's who actually untilzed expressive broad bands of colour harmonies in their work, but didn't classify them as landscape paintings. My own feelings on the subject are to avoid the clinical precision that such an approach can bring, and thus indicate some actual reference to landscape in a work, a horizon, however subtle, or marks indicating actual forms that give some scale to the work. I suppose the idea first occurred to me when I saw J. M. W. Turner's wonderful painting, Evening Star, in the National Gallery in London many years ago. In this work a few bands of mysterious colour and exquisite harmonies with one or two references to figure, sand, sea and sky, transmogrify everything into a magical unity. It serves as a revelatory example of how all art is dependent on abstract qualities and how great artists like Turner are able to conceal those qualities without lapsing into a forced mannerism.Part of the John and Gillian Borrack Federation Bequest, donated to the City of Whittlesea in December 2001 by Gillian and John BorrackJohn Borrack '90mernda

A depiction of the MS Nella Dan an active primary vessel built in 1961 by the Aarlborg Shipyard PTY Ltd, and regularly chartered by the Australian National Antarctic Research Expeditions (ANARE) in the 20th C. The ship ran aground in December 1987 and unable to be salvaged, had to be scuttled in deep water off Macquarie Island. See link above, this record. The ship was named after Nel Law wife of the Director of the Antarctic Division, DR Phil Law. "Ib Odfeldt (b. 1944) is a self-taught painter and sculptor spending many years inspired by and interest in ships and marine art whilst working as an engineer in the Danish Merchant Navy. His paintings demonstrate a keen eye for technical accuracy and skill. The balance and setting of his works have attracted interest in many commissions by lovers of marine and shipping works. In 2002 Ib was awarded the Southern Ocean Maritime Art Prize and this acquisition of the Nella Dan is presented in the foyer of the Tasmanian Maritime Museum in Hobart." (The ASMA 2019 National Exhibition - Maritime Museum of Tasmania catalogue). According to the Artist, the painting was part of an exhibition he held at "Melbourne maritime museum " (Polly Woodside) to celebrate ANARE (ARTIC SHOW). He donated two paintings of the Nella Dan. This painting was sold to Mr. Jensen when the museum couldn't accomodate the paintings due to a lack of space. Mr Jensen may have donated to the Mission. Ib Odfledt has also entered the Maritime Art Prize several times. (2012)Maritime ArtFramed , oil on board painting depicting a red hulled , single funnel ship cutting through sea iceArtist signature at lwr right corner PAINTED.: IB ODFELDT 95 At the back: Square loose label: 3076 Leonard Joel Bottom corner on the frame in Pencil: POW 2894 (National Trust accession number)nella dan, anare, antarctica, icebreakers, explorations, merchant vessels, artwork, maritime art, ib odfeldt, artwork-paintings, australian national antarctic research expeditions (anare), hobbies, asma, australian society of maritime artists

Signed and dated, left of centre (on bottle), grey oil"J. Giles/1866".

Donated by Gunther Schnerring in memory of his mother - Matron Hedwig Schnerring. Painted by Cesare Vagarini. The painting was commissioned by Matron Schnerring.oil painting of 2 rows of huts. 5 one side, 6 on the other side. Garden beds in between the rows of huts. In a wooden framematron hedwig schnerring, gunther schnerring, cesare vagarini, camp 3 artists

This is a portrait of former ANZCA President, Associate Professor Richard Walsh. In 1996, he was elected Vice President and, in 1998 was elected President, serving a full two year term. This painting was formally presented to the College in 2006. Further information about Associate Professor Richard Walsh can be obtained on the Lives of the Fellows, http://anzca.online-exhibition.net/fellows/fellows-1992/richard-george-walsh/ The artist, Jiawei Shen is a Chinese Australian artist considered to be one of Australia's leading portrait artists. He is most famous for his 2006 winning entry of the prestigious Sir John Sulman Prize in which he painted a portrait of Pope Francis which was presented to His Holiness in 2014. Oil painting on canvas of Associate Professor Richard Walsh sitting to the side facing left on a blue chair, wearing the College gown and President's medal against a plain background. Mounted in a mottled brown coloured frame.Lower left hand corner [artist signature \ '05]painting, walsh, richard, anzca president, shen, jiawei

Forming the headwaters of the Johanna River and noted for its majestic Myrtle Beech and Blackwood trees, in 1921 the property came into the possession of Mrs Jessie Fry, wife of Mr Thomas Fry, a well-known and respected local bushman and timber getter. Here the family lived and it was Mrs Fry who named the place 'Melba Gully'. Sometime in the late 1920s Mrs Fry was approached by Pioneer Tours, the bus company, to see if she would provide lunches and afternoon teas for their passengers travelling between Apollo Bay and Port Campbell. Mrs Fry rose to the challenge; the Melba Gully Luncheon Rooms were built adjoining the Fry home and she was in business. Mrs Fry was unfailing in her courtesy and kindness. She was also a splendid cook, known for her feather-light scones and sponges. Home-produced strawberries and cream were a special treat. Visitors were also taken on a tour of 'The Gully', often guided by one of her young sons. Melba Gully Visitors Book is testimony to her many satisfied customers. Tom and Jessie Fry sold the property on her retirement in 1947 and the tearooms ceased to operate. It again changed hands in 1958 to Otway residents Mr and Mrs Axel Madsen, and in 1975 they made the magnificent gesture of gifting the 48 hectare Melba Gully to the people of Victoria..Framed painting in oils of a weatherboard house with picket fence, before a backdrop of forest. A figure chopping wood is at the right.Signature of artist John Driver, 1981melba gully, jessie fry, thomas fry, buses, tours, weatherboard house, john driver

Leaving Isolation is play on words; a pun. It is a joke shared with new imaginary friends found while living alone, in isolation. Processing emotions, sanitising theories, engaging in shadow play; these works show individual native leaves that resemble expressive faces collected on permitted daily walks. 30 small, 15 x 21 cm still life studies in ink and watercolour are hung to reference a calendar month during COVID-19. The work considers the nature of ecology in the anthropocene while confronting emergent psychological myth-scapes during Lockdown.Commissioned by Nillumbik Shire Council as part of the Art in the Time of Covid project which invited artists to create artworks that reflect the pandemic and the artists' personal experiences of it.

Alan Martin studied under Max Meldrum, at the National Gallery School and the Royal Melbourne Institute of Technology. He later established his own art school. He has won several prizes and is represented in several provincial collections. Alan Marshall was the author of more than fifteen books, and lived much of his life in Eltham. He became a central figure in the area's arts community of writers, artists, sculptors, film makers, actors and musicians. He contracted polio when he was young is considered one of Australia's most successful and loved authors. His most famous book, 'I Can Jump Puddles' is based on his life story and the obstacles he faced as a child in trying to overcome his disability. The portrait of Alan Marshall was exhibited as a finalist at the 1956 Archibald Prize.

Mollie Hill was a famous Welsh-born Australian watercolourist who studied at the Melbourne National Gallery Art School and is known for her 'eye for colour'. Her work features many landscapes of northern Victoria as she lived for some time in Shepparton and Wandiligong. She was also a well-known journalist. Depicted in this painting is the old council borough offices which were demolished in 1962. Rural City of Wangaratta Collection. Gift of Wangaratta Co-operative Housing Society No. 3 Ltd.A watercolour landscape of the old Wangaratta borough offices painted using shades of green, red, blue, and brown.Obverse: Mollie Hill/ (bottom right corner) PRESENTED/ TO THE BOROUGH OF WANGARATTA/ BY WANG. CO-OP. HOUSING SOCIETY/ NO. 3. LTD. IN APPRECIATION OF THE/ GENEROUS ASSISTANCE RECEIVED./ (in mounting board)wangaratta art gallery, mollie hill, watercolour, painting, landscape, borough offices

Rural City of Wangaratta Collection, Wangaratta Art Prize 1987.A landscape of a lake scene, painted using oils in a colour palette of green, blue, pink, brown, and grey.Obverse: Wykeham Perry 87/ (bottom left corner) WANGARATTA ART SHOW/ GRAND WINNER 1987/ (plaque mounted on frame)wangaratta art gallery, wykeham perry, landscape, painting, coastal

Donated through the Australian Government's Cultural Gifts Program by Thomas Armstrong, 2014

Gift of Mack Jost, 1994

A portrait in oils or acrylic of Mrs Susan St. Leon, Size 1380mm x 900mm. Janet Dawson trained at the National Gallery School, Melbourne, and won a NGV Travelling Scholarship to study painting, lithography and etching at the Slade School and the Central School in London. Since then she has had numerous exhibitions, and is represented in all major public collections of Australia. She won the Archibald Prize in 1973 for one of her portraits. This portrait is part of the Record Series 74. Permanent/Semi-Permanent Displayed Works.Oil Painting of Mrs Susan St. Leon Headmistress Mrs Susan St.Leon Headmistress 1973-1982

Religious print of white flowers and fern, framed in a cream wooden frame with brass adornments in corners, under glass with wording, for this God is our God for ever and ever, Psa 48.14artwork, print, religious

Colour photographs of an old timber topped bridge crossing the Woady Yalloak River on Golden Lake Road. The bridge has bluestone foundations. bridge, woady yallock river, golden lake road, bluestone