CEMA Art Collection Part of "A Community View" 150 years in Portland Screenprint Exhibition Part of Angela Gee Residency 1983 and 1984Laminated screenprint of standing female figure dressed in black and holding a red umbrella. The figure is wearing a red glove and a pink item in her hair. The background is a floral wallpaper print in blues and greens.Front: 8/ 37 A Gee Back: 19

screenprint

An original, mounted, print of the sailing ship 'Santa Maria' at sea.Realism, historicalMounted print of the "Santa Maria" - a description & history accompanies the worksheetOn the reverse - "NIL"sailing ship, santa maria, mounted print

Large gilt framed monochrome print of trotting horses.Dan Patch 1.56 / The Fastest Harness Horse The World Has Ever Seen trotting, historic print, dan patch

Weldon's Practical Drawn Thread Work Price sixpence Weldon & Co. 7 Southampton Street, Strand, WC.Booklet containing 70 illustrations & instructions for drawn thread designs.weldon's, drawn thread work

Black wooden frame with gold inner edge, glass front with brown paper backing. A colour copy of the Menin Gate at Midnight in colour by Will Longstaff is mounted with a cream border.On gold metal plate attached to bottom centre of frame: 'MENIN GATE AT MIDNIGHT' 'BY WILL LONGSTAFF'menin gate, ww1, framed print

PrintSigned 'Kees Hos 426' lower right corner under printed image.

In the mid 1960s, the Monnington Special Education Centre was established at 15 Adeney Avenue as an offshoot to 'Glendonald' in Marshall Avenue. In 1988, the amalgamation of Princess Elizabeth Junior School for Deaf Children, the Monnington Centre and Carronbank School for Deaf Blind Students allowed the Victorian Government to sell each of the sites. Monnington [Adeney Avenue, Kew] reverted to private ownership, while Glendonald and Carronbank in Marshall Avenue were demolished and subdivided. The donor, Mr Murray Osler, was Principal of the Monnington Special Education Centre in Adeney Avenue (Kew) from 1976. This photo, and an accompanying drawing of 'Carronbank' are important primary resources for the history of the delivery of education to and for deaf-blind children in Victoria.Gift of Murray Osler, 2021This limited and numbered print [number 10/100], framed under perspex, is of Monnington in Adeney Avenue, Kew when it functioned as a Special Education Centre for deaf/blind children during the 1960s to the 1990s. . "Monnington Special Ed. Centre / 60s-90s / (Parent Guidance for Deaf/Blind Ch. / Adeney Ave, Kew / Murray Osler / Principal 76-80s"schools -- kew (vic.), mornington -- adeney avenue

UnknownFive portraits of male figures in five square at top of print. Each man is in a different pose, with a blue wash background. Underneath are hand-written inscriptions identifying them as different people involved in the tuna-fising industry. The bottom part of the print is a handwritten short essay on the tuna-fishing industry. Mounted without a matt in a pale blue metal frame with glass glazing.Front: 9/40 (lower left) Tuna Fishing, Pt Lincoln (lower centre) Angela Gee '86 (lower right) (pencil) Back: (no inscriptions)

Ballarat HistoryOld semi-gloss printballarat, ballaraat, 1938, centenary

Print of a poster for race meeting " AIF Race Meeting" to be held on the New Flemington Track, Barbara near Gaza dated Saturday Sept 7th, 1940. NB: this is a second display of same print. Print of poster - black print on white background. Frame - timber, painted black colour. Glass front.On back of frame, on adhesive label, handwritten red ink. ON LOAN TO / BENDIGO RSL, AS LONG AS THEY/ WANT IT./ TO BE RETURNED/ IF DISPLAY OF PRINT NOT IN USE/ TO / N.S. FULLERTON/ 18 BOSQUET/ WHITE HILLS / OWNER.framed print, history, ww2, army

Donated through the Australian Government's Cultural Gifts Program by Katherine Littlewood, 2019hand coloured engraving on paper

This is one of a pair the other being HRH Queen Elizabeth, refer Cat No 8187.Print of original painting of HRH Phillip Prince of Wales seated with kilt, medals, awards and holding a sword in left hand. The frame is gold with a brown felt edgeing.brsl, smirsl, hrh, elizabeth

The Hawker Hurricane is a British single-seat fighter aircraft of the 1930s–40s that was designed and predominantly built by Hawker Aircraft Ltd. for service with the Royal Air Force. Due to its lightweight, yet robust, construction and ease of maintenance, the Hurricane had a long operational life in many theatres of war. It was also built by, or exported to, several other countries.. The Hurricane was unusual in that it was flown operationally by both the Allies and the Axis during the WW2.Brown timber frame with cream coloured mount containing print of fighter plane flying over field.Hawker "Hurricane" Mk 11b G-TWTD S/N AE77hawker, hurricane, ww2

Two-plate etching and aquatint. Two semi-circles. One on top of the other to create a circle. Upper half depicts two flowers hanging from a stem, and an upright stem with small buds in the background. Lower half is an unwiped plate print, showing black line drawings or embossings of daisies against a black background. Mounted with brown card and black card. Framed in grey-painted wooden frame.Front: 1/10 (lower left) "Landscape" (centre) Ray Woods 71 (lower right) (pencil) Back: (no inscriptions)landscape, abstract

CEMA Art Collection Previously located in History HouseThe print depicts a natural landscape with a large classical style building (Menin Gate, Belgium) to the left. In the foreground are hundreds of ghostly figures of soldiers. The background appears to be a distant view of a town with several lights visible. The work is completed in various shades of blue and green. Mounted with brown card the work is framed in a black and gold frame, and has an exposed canvas.Front: Lower Right: Will LONGSTAFF 1927 Brass embossed plate:MENIN GATE AT MIDNIGHT BY WILL LONGSTAFF, PRESENTED TO THE COMMONWEALTH GOVERNMENT OF AUSTRALIA, BY LORD WOOLAVINGTON. COPYRIGHT RESERVED Back: (No inscriptions)

ScreenprintSigned and dated 'Eduardo Paolozzi 1995' under printed image to the right. Edition 15/30, lower left corner under printed image.

Social. RemembranceCloth with black plastic hangerPoem

Gannet in flight over seascape. The sky is a series of blue and white squares. Under the sky is the sea and an island.Front: 20/25 (lower left, pencil) Lawrence Rocks and Point Danger from Crumpets (lower centre, pencil) P. Tsernjavski 1985 (signature, lower right, pencil) Mayor of Portland (lower left, blue stamp) Portland proclaimed a City October 28th 1985 (lower centre, blue stamp) Minister for Local Government (lower right, blue stamp) Back: Gary Hayman/ Picture Framer (sticker)portland, portland bay, crumpets, lawrence rocks, female artists, female, women artists

From information book - "Readers Digest/ Gallipoli/ 25th April 1915 - 9th January 1916/ Centenary Commemorative Prints". Collection of 20 prints. Refer Cat No. 7300.Framed print. Print - colour print on paper. Copy of an oil on canvas painting depicting in colour "Australian troops ascending the ridge above Anzac Cove to Plugge's Plateau." Frame - black plastic framing with glass front and MDF board backing with adhered black paper.Details below print - in black ink. "CHARLES W LAMBERT (1873-1930) Anzac, the landing 1915, 1920-1922". Official Australian War Artist in 1917.framed accessories, prints, ww1, gallipoli, centenary

ABOUT THE ARTIST – Philip James Gray “Philip is one of Australia’s leading maritime artists and his meticulous research and social commentary paintings of ships, such as, the Loch Ard and Schomberg form an important part of Warrnambool’s Flagstaff Hill Maritime Museum.” [ref. Dr Marion Manifold, Artist and Art Historian, 2014] Philip James Gray was born in London but has lived most of his life in Australia. He graduated from a London school of art as an illustrator, specialising in technical and scientific illustration as well as other commercial and applied art. He was also a student for a time of Fyffe Christie - British figurative artist, mural painter and humanitarian – who had a great influence on his career. Philip has always worked as a professional artist and illustrator. Many publications on maritime history have featured his work. His paintings have been released and sold all over the world as limited edition prints. The State Library of Victoria’s ‘Latrobe Collection’ holds two of his paintings. His street painting of ‘The Ashes Contest’ decorates the brick wall of Old Bakery Laneway in Sunbury and a Sunbury café owner commissioned him to paint the ‘Sunbury Pop Festival’ as a remembrance of local history. [ref. Sunbury Leader, Nov 15 2013] Philip has been an active member of the Sunbury Art Society in Victoria for several years, serving on the committee for some of that time and being involved in exhibitions. He enjoys helping new artists and sharing his skills and experience. [other references: Sunbury Art Society Inc. Oct-Nov 2012] HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Print of the sailing ship Loch Ard by artist Philip J. Gray, 1993. Depicts the Loch Ard in full sail at sea, figures on deck. Limited Edition number 54/925. Print is adhered to a piece of chipboard and is stamped by the framer, Ian's Picture Framing of Warrnambool.Signature of "Philip J. Gray" , "54/925" Stamped on back "IAN'S PICTURE FRAMING, 48 KEPLER STREET, WARRNAMBOOL 3280, PH: (055) 628 022, FAX: (055) 628 145"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, print, philip j. gray