Strampp lived and worked at Clifton Pugh's artist colony Dunmoochin from 1980 to 1985. 'Into the Night' is Strampps' "own marriage painting". The wedding dress and horse, "a symbol of virility and passion" represents Strampp and the background landscape was inspired by her stay in Somerset, England. The cliff edge on the left symbolises "an audacious step into the future." The painting "is of a bride, passionate yet absent, about to embark upon a new journey in life, and of the voyage ahead. It is about acknowledging the past, and having the courage to move forward. To take risks". Strampp was largely influenced by both the new German Neo-Expressionists of the time and by English artist John Walker, which is evident in this painting. Her work took on popular stylistic trends and themes of the time, which included a painterly aesthetic and an energetic application of the medium, which transferred to an emotional and or personal connection to subject matter that was communicated symbolically. Strampp is an artist of national significance. This work encompasses themes and a style of painting (Neo - Expressionism) that was prevalent during the time of its making in the eighties. This work represents a transition from Strampp's highly regarded early paintings of heroic horses in the mid to late 1980’s to her highly regarded paintings of contemporary wedding and/or armour-like bodices dresses of the 1990s. Both the 'horse' and 'dress' were often set in empty backgrounds or dreamy/foreboding landscapes. Painted in oil on linen (x2) in a 'Neo-Expressionist' style, 'Into the Night' depicts a ghostly white horse to the right of the painting looking away from a ghostly white wedding dress to the left of the painting. The dress has sprouted white wings and is adorned with bows on the bottom edge of the dress and roses on the sleeves. The dress seems full bodied although there is no figure. The dress and horse are placed in the foreground on a stage like platform with a white curtain framing the picture to the right, and a black ladder and brown cliff edge framing the picture to the left. The background depicts a foreboding and dark cloudy sky and seascape with a firery red landscape burning on the horizon. Signed low right (1988.7b VA) with brush in purple (light) 'Adriane Strampp 87'. into the night, neo expressionism, wedding dress, horse, symbolism, painting, seascape, dramatic, emotional, poetic, strampp

Margaret Winfred Tarrant, (1888 - 1959) was born in Battersea and was a prolific English illustrator that created posters, greeting cards, calenders, postcards and books for fifty years. She was most popular during the 1920's and 1930's for her romantic depiction of children, fairies and animals.A picture (print) of a painting by Margaret Tarrant of six children .-gathering wheat. - in wooden frame.illustrations, prints

Margaret Winfred Tarrant, (1888 - 1959) was born in Battersea and was a prolific English illustrator that created posters, greeting cards, calenders, postcards and books for fifty years. She was most popular during the 1920's and 1930's for her romantic depiction of children, fairies and animals.A picture (print) of a painting by Margaret Tarrant of six children playing.- in wooden frame. See Supplementary File for NA248.illustrations, prints

The 8 Kings/Queens Royal Irish Hussars was affiliated with 8th Light Horse and later 8/13 Victorian Mounted Rifles. Gifts and visits were exchanged between the regiments. The artist, Henry Martens (b. 1790, London; d. 1868, London) was an English military illustrator and artist. He created works for the firm of Rudolf Ackermann who ran the Eclipse Sporting Gallery at 191 Regent Street. The majority of these depicted military uniforms and battle scenes, particularly images of the Sikh Wars and the Kaffir Wars. He worked mainly in water-colour although a few oil paintings do exist.Framed print of "Visiting the Outposts" by Henry Martens. This was a gift to 8/13 Victorian Mounted Rifles from its affiliated regiment 8 Queens Royal Irish Hussars in 1980.Presented by Queens Royal Irish Hussars 1980military, light horse, hussars, irish, martens, girt, affiliation

Norma Bull in a window of 'Medlow', 1920s Her brother (Ronald) Richard was a keen photographer and is believed to have taken the photographs of the family and in the grounds of 'Medlow'. Norma Catherine Bull (7 September 1906 – September 1980) was an Australian painter, printmaker and etcher best known for the paintings and sketches she made in Britain during World War II. Norma was the daughter of Richard Joseph Bull (1874-1927) and Catherine Grace Perrier (1884-1972). Her father was the Director of Bacteriology at Melbourne University. Richard and Catherine had 2 children. Norma was born in Hawthorn in 1906 and her brother Ronald Richard was born in Surrey Hills in 1912, where in 1911 Richard bought a property at 42 Warrigal Road, Surrey Hills developed by Colonel William Cairncross, known as ‘Willcyrus’ and renamed ‘Medlow’ by the Bulls. As a child, Norma was a high achiever both intellectually and artistically. She was educated at Fintona, where she matriculated as Dux of the School and winner of an exhibition in French. She won a scholarship to attend the University of Melbourne where she studied French, Zoology, Philosophy, English and History, leading to a Bachelor of Arts in 1929. Following this she studied painting and drawing at the National Gallery Art School for seven years. Whilst most of the students of the 1930s were inspired by Modernism, Norma followed more traditional styles and became known for her etchings and realistic depiction of urban scenes. Her work was strongly influenced by the conservative nature of the National Gallery Art School under Bernard Hall, and she remained a traditionalist all her life. In 1938, she was awarded the Sir John Longstaff Scholarship in Fine Art. This enabled her to travel to England to study at the Royal Academy in London. She arrived in April 1939 and after the outbreak of war, she worked as a volunteer at a First Aid Clearing Station and applied to become a war artist. In 1941, she was given a sketching permit by the War Artists Advisory Committee to record bomb damage in the Bristol area. In 1947, an exhibition of her 205 wartime works entitled “Two Hemispheres”, opened at Australia House in London. Many were acquired for major collections in England including the Victoria and Albert Museum, the Imperial War Museum and the Royal Collection. The “Two Hemispheres” exhibition toured Australia in 1948 and for over twelve months she followed Wirth’s Circus around the country, painting aspects of circus life. From then on she lived at Medlow’, From 1960 she was secretary of the Fellowship of Australian Artists. She was a finalist in the Archibald Prize on 2 occasions and is remembered through a biennial Art Prize, ‘The Norma Bull Portraiture Scholarship’ which is administered by The Victorian Artist’s Society. She continued to paint landscapes and seascapes in her traditionalist style. She had holiday homes at Anglesea and Bright. After she died in September 1980, 31 of her works were bequeathed to Bright Art Gallery. A black and white photograph of a lady holding a sun umbrella and sitting in a window frame.miss norma bull, medlow, house names, warrigal road, surrey hills, mr ronald richard bull

The owner was Rita Fletcher; many locals and relatives inscribed their autographs , drew or painted pictures and , using their best calligraphy, wrote up humorous verses. In addition the book includes news clippings on the sensation of the day, the story “Will you be my woolly aphid?” which tells of a Harcourt youth who put a marriage proposal in a barrel of apples consigned to England. On receipt in England the note was published in the press The unfortunate youth received many hundreds of acceptances and became the butt of humorous verse in the English and Castlemaine newspapers.This volume is a treasury of autographs , humorous verse then fashionable and the repository of a funny yarn from pre-WW1.It appears to have been handed around the entire district and includes verses, signatures and sketches from nearly all of the inhabitants of Harcourt, Elphinstone and Canary island districtsA red leather bound autograph book with gold letter and design on the cover. Gold leaf edges, coloured pages with gold decoration. Autographs, sketches, watercolour paintings, press clippings Autograph Album

The church was designed by the architect William Wardell (1823 – 1899) in a manner strongly influenced by the English architect Charles Hansom.Colour photographs of the altar angel and stenciling at St Peter's, Daylesford. Church plaque: Church of St Peter, Princeof the Apostles The foundaiton stone was laid on November 29th 1863 and the church was blessed and opened on May 14th 1865 by Most Rev. James ALipius Goold O.S.A., D.D> Bishop of Melbourne This stone was blessed to commemorate the 125th anniversary by Most Rev. Sir Thomas Francis Little, D.D., K.B.E. Archbishop of Melbourne May 20th 1990.catholic church, st peter's church, daylesford, daylesford, stencils, angel

An antique green hardcover Edwin Landseer and Animal Painting in England book - Vere Foster Series with the title printed in gold lettering at the top right hand corner with a large head of a stag with black and brown lines in the bottom left hand corner.There is a thin black line surrounding the edge of front cover. The spine and back cover are plain green. There is gilt on the edges of the pages. Inside are guidelines for drawing and painting animals as suggested by Landseer and other well known English artists of the time with several reproductions of coloured plates as well as black and white engravings. Stephen T. Dadd gives practical hints. At the back are lists of Vere Foster's water-colour books and Blackie Publications.Pp 84.non-fictionA useful book for artists wishing to learn the techniques of drawing and painting animals by Edwin Landseer and other notable English artists in the early 1890's. The reproduced coloured plates and engravings support the text and advice.painting, art, art books, artists, artworks, etchings

A hardcover book with a brown dust jacket with stylised illustrations on the front of a horse, sheep, berries and trees atop a yellow and blue rectangular truck or tractor shape. The title and author are printed at the top in white and yellow print. The spine has the title, author and publisher. The title page background is a double page print of a Lilldale scene painted by Louis Buvelot, about 1870 in an English style. The front flap of the dust jacket has an overview of the contents and the back flap has author details. Inside are photographs, paintings, Contents, Chapters on the history and development of Lillydale, Select Bibliography, Acknowledgements and an Index. P. 132. non-fictionThis is a local history book published in 1984 by Gray Hunt, detailing the development of the Lilydale area in Victoria, Australia.lilydale - history, lilydale victoria, lilydale early settlers

This painting was made after an artwork by Wilhelm Melby held at the National Gallery of Victoria. Melby is a Danish artist (1824-1882). It depicts a famous Devonshire coastal region famous now for its lighthouse and the pick up point for the pilot when entering waters approaching Dartmouth. The sailing vessels pre-date the construction of the famous lighthouse. Over the centuries the view would have been familiar to many sailors as they left or approached the English mainland and south coast ports in the English Channel. Madeline Mary Ravenna Lewellin (1854 – 24 November 1944) was born in Victoria to Dr John Henry Hill Lewellin, a physician, and Grace Elizabeth (née Danneby). She was one of five daughters, and the family lived in Prahran. Lewellin's brother, Captain Herbert Gordon Hill Lewellin, was a commander in the P. and O. fleet (apprentice on the Romanoff, Lieutenant RNR on the HMS Arethusa in 1899, RMS Mongolia in 1913 sunk in 1917, Naldera in 1920). She studied painting at the National Gallery School in 1879 under Eugene von Guerard. She's also known for collecting and painting specimens, and became a member of the Field Naturalists Club of Victoria in 1885. In 1884 she won a silver medal for her studies of fungi. She collected plants for Australian botanist Ferdinand von Mueller, and the variety of Dicrastylis lewellinii (Purple sand-sage) is named after her. Miss Lewellin, who had a love of the sea and ships as subject matter is listed in 1910 as a donor as a 10/6 member donating to the motor launch fund and in 1918 as a working member of the Ladies Harbour Lights Guild which involved regular volunteer shifts at the Mission to Seamen on canteen and other duties. The painting was donated by Miss Lewellin in 1918 and hanged above the stage in the main hall; it appears on several postcards of the time.Marine art, Maritime artThis oil painting has a dark polished wood and gold leaf slip. The painting depicts two masted boats. The choppy sea takes up the lower-third of the painting, and the other two-thirds of the image of made up of stormy grey clouds. A rocky cliff face can be seen on the right-hand side of the painting. A small church can be seen on the hillside. The ship on the left third of the painting sits on the horizon line of the sea. The centre ship with two masts appears to be leaning to the right and its deck is exposed to the viewer showing four men attempting to handle the masts and rigging. The left-hand ship with three masts is surrounded by two grey distant silhouetted mast ships. There are three seagulls at the upper left-centre of the image. There are another three gulls down on the lower-left of the image. Front: ENGRAVED PLAQUE: Start Point Light. Devonshire. SIGNATURE: After W. Melby / M.M.R Lewellin. 1875. Reverse: IN BLACK MARKER PEN: * Hang from two points * WHITE STICKER WITH CONSERVATOR DETAILS: Art Conservation Frames / 118 Bridport Street, Albert Park, VIC, 3206 / 9696 9066 / artconservationframers.com.aupainting, ships, mast, church, sea, storm, oil painting, seagulls, madeline r. lewellin, artwork-paintings, ngv, wilhelm melby, eugene von guerard, botanist, rms mongolia, captain herbert gordon hill lewellin (1862-1935), paddy lewellin, reproduction, seascape, danger

The Jade Buddha for Universal Peace, the largest Buddha carved from gemstone-quality jade in the world, is the centerpiece of the Great Stupa of Universal Compassion in Bendigo, Australia. Standing 2.5 meters tall and weighing 4 tones, this priceless Buddhist statue toured over 120 cities across 20 countries from 2009 to 2018, inspiring peace in families, schools, and communities worldwide. After attracting an estimated 12 million visitors, it returned to the Great Stupa in May 2018, where it continues to be a potent symbol of peace.This artwork, presented in 2009 by the Golden Hand (Ban Tay Vang) Company, symbolises transformation and inner peace. Featuring the character Tâm ('Heart') evolving into a dragon, it reflects themes of personal growth and enlightenment. Crafted using traditional engraving and embossing techniques, it aligns with the Jade Buddha’s message of harmony and spiritual transformation.Quan Âm (for Ian) with no additional details. - Mở rộng tâm ra lòng thanh thản ('Open your mind to serenity') - An vui tự tại đời thong dong ('Joy and freedom for a leisurely life') jade buddha, memorabilia

This photograph and a matching earlier photograph are images of a 1989 oil-on-canvas painting owned by the donor. They show the British sail and steam ship SS Warrnambool at Dover Strait in the English Channel. Each photograph was accompanied by a letter, one written in 2001 and the other in 2003, confirming that the artist of the painting was by Charles Keith Miller, signed with his initials “CKM” and dated “1893”. The images show the ship’s home flag with a diagonal blue anchor flying from the masthead. The same symbol is painted on the ship’s black funnel. The signal flags on the foremast display ‘M’ ‘R’ ‘V’ ‘B’, with each flag signalling a meaning in the International Code of Signals. While the SS Warrnambool was visiting Melbourne on its maiden voyage on December 1, 1892, a painting of that Lind Line ship by marine artist C.K. Miller was presented to the Town Council of Warrnambool by Mr. William Lund of London, owner of the Lind Line, or Blue Anchor Line. At that time, the Ladies of Warrnambool presented the ship with a ‘house’ flag bearing the Blue Anchor Line’s symbol, made by them especially for the occasion during the preceding moth. On December 6, the homeward bound ship anchored for a short time off the Port of Warrnambool, and a boat was launched from Lady Bay to take a group of friends to the ship with a delivery of gifts. After three cheers each for the ship and its Captain the SS Warrnambool continued its journey towards Britain via Adelaide. Although the painting was gifted in December 1892, it is post-dated “1893”. The reason for the discrepancy is unclear but whatever the reason, the provenance of the painting was confirmed at auctions of this painting and other works by the same artist. CHARLES KEITH MILLER 1836-1907:- Captain Charles Miller left his home in Scotland at the age of 15 years for a life at sea. He earned his Master’s Certificate ten years later. After being the captain of sailing ships, he moved to the steamships because they were faster. He married in 1866 and settled in Glasgow. Over the following eleven years, he and his wife had five children, then sadly, his wife passed away. Captain Miller returned to the sea for a while, but in 1888, he gave up his sea life to spend his time as a marine artist. His understanding of seafaring life and vessels, combined with his artistic skills, enabled him to produce fine art, and several galleries and museums have collections of his sought-after works. S.S. WARRNAMBOOL 1892-1925:- The sail and steamship SS Warrnambool was built in 1892 by the Sunderland Ship Building Company for the Lund Line of London, founded by William Lund in 1869, and registered in London. It efficiently carried passengers and cargo worldwide, including Australia, under its master, Captain Joshua Edward Ilbery, who had many years of experience with the Lund’s Blue Anchor Line, or BAL, which owned a fleet of sail and steamships. The funnels its steamships were painted black, with a white band around the top bearing a diagonal blue anchor and chain, also shown on the company’s house flag. The Lund Line ships were given Australian place names beginning with the letter “W”. Master Mariner, Captain Joshua Ilbery, was lost at sea without a trace in 1909, along with the ship SS Waratah. The ‘no frills’ service carried passengers and cargo to and from Europe around the Cape of Good Hope, stopping at various ports. The ship was involved in bringing home returned soldiers in 1895. At one time, it carried a doctor from Victoria, Australia, to assist at the war front in South Africa. The ship had a very good reputation for its cargo arriving almost always in excellent condition. Exported goods from Australia included iron safes, flour, wool, apples, frozen rabbits, butter, cheese, pork, cattle, poultry and sheep. One remarkable delivery contained Ostriches for Queen Victoria, and they survived the journey well. The SS Warrnambool was sold in 1900 to the British and South American Steam Navigation Co. Ltd of Liverpool and was renamed ‘Harmodius’. R.P. Houston & Company of London managed the company, and its Houston Line funnels were red with a black top. The Harmodius was sold in 1919 to K.S.S. Co. Ltd, managed by Kaye Son & Co. Ltd. of Liverpool, and was renamed ‘Kut’. The line had black funnels with a white ‘K’ in a diamond or between white stripes. In 1926, it was purchased by T.W. Ward Ltd. and broken up. NOTE- other vessels named “Warrnambool” Two other vessels carried the name “Warrnambool” (1)- HMAS Warrnambool J202 (1941-1947), a Bathurst-class corvette vessel owned by the Royal Australian Navy, was destroyed by a mine. (2)- HMAS Warrnambool FCPB204 (1980-2005), a Fremantle Class Patrol Boat of the RAN. The photograph is significant for its association with the painting "SS Warrnambool" by renowned marine artist Charles Keith Miller, whose paintings are well valued. The painting by C K Miller, the photograph, both bear the name Warrnambool, and the house flag of the Lind Line, are connected through the gifts exchanged between the ship company owner, the Town of Warrnambool and the Ladies of Warrnambool. The images connect the SS Warrnambool to the international trade of cargo and passengers. Coloured photograph of a painting depicting the Blue Anchor Line’s 1892 steamship S.S. Warrnambool. The three-masted ship in calm water. Its sails are lowered, and smoke is rising from its funnel. It displays four raised signal flags, a house flag and a blue ensign on the ship. The funnel also bears the house flag's symbol. There are figures on deck. The signature of the painting's artist, CKM (Charles Keith Miller), and a title on the lower edge of the photograph.House flag symbol, [diagonal blue anchor on white background] Text "CKM" and "1893" Text "S. S. WARRNAMBOOL."flagstaff hill, warrnambool, photograph, steam ship warrnambool, flagstaff hill maritime village, shipwreck coast, ss warrnambool, captain, charles keith miller, ckm, 1893, william lund, warrnambool town council, blue anchor line, lund line, ladies of warrnambool, house flag, diagonal blue anchor, captain miller, sunderland ship building company, migrant ship, 1892 ship, home flag, bal, australian export, s.s.warrnambool, dover strait, english chanel, port of warrnambool, lady bay, mrvb, captain charles miller, captain joshua edward iibery, ostriches, queen victoria, british and south american steam navigation co., harmodius, r.p. houston & company, houston line, k.s.s. co. ltd, kaye son & co. ltd, kut, t.w. ward ltd

Robert Alexander Hillingford (!828-1904), was an English painter who specialised in historical pictures, often battle scenes. Hillingford was born in London on 28 January 1828, and studied at the Kunstakademie Düsseldorf for five years from 1841. He travelled to Munich, Rome, Florence and Naples, where worked for several years, producing paintings of Italian life. He returned to London in 1864 and first exhibited at the Royal Academy in 1866. It was at this time that he began to work on historical subjects, especially of the Napoleonic Wars. He was a regular exhibitor at the Royal Academy, British Institution and at other galleries. This artwork would have been painted in approx. the 1860s, when he had returned to London and when many form his country were travelling to Australia.A print from a water colour by Robert Alexander Hillingford called ' Emigrants to South Australia '. Original is from The Rex Nan Kivell collection, National Library of Australia.Robert Alexander Hillingfordprint, watercolour, australian landscape, watercolour paintings, early colonial life. emigrants, south australia