Purchased 1940

A typical Olsen painting combines an implied aerial view with an ambiguous and seemingly unpremeditated figuration. His characteristically quizzical line and irregular squiggles and dots deftly render countless organisms, large and minute. Their environment is conjured through loosely brushed and stained expanses of colour (on canvas or hardboard) and lines which sometimes read as geological mappings. In Olsen's work there is no foreground/ middle ground/ background, nor any sign of European landscape's concern with "human scale." Instead he employs simultaneously the contrary vantages of naturalist and geographer. 'Tropical Rain Shower' by John Olsen forms one of the eight artworks represented in the Bodford Terrace Suite. Eight of Australia's finest artists were brought together to create a folio of lithographic prints to celebrate the restoration of historic Bodford Terrace. Printed at the Druckma Press by John Robinson under the supervision of master printer Jock Abbott. The folio edition was limited to 300 signed and numbered folios. The lithographs were printed on special heavy weight french Arche's paper in accordance with the tradition of this artistic medium. Lithographic print on paper.Signed John Olsen '78, lower right hand corner. Edition 179/300bodfford terrace collection, john olsen, tropical rain shower

Edo PeriodWoodblock printkyoto

Newspaper Clipping from the Ballarat Courier of 28/12/1999 featuring a colour photograph of BTM driver Dave O'Neil sheltering on tram 123 during a heavy downpour on 26/12/1999 during the 25th anniversary celebration of the operations of the tramway by the BTM. Photo by Jeremy Banister of The Courier."Tuesday 28th Dec. 1999" in bottom right hand corner in blue ink.trams, tramways, btm, storms, 25th anniversary

oil on canvas on boardlandscape, moorabbin, road, charles douglas richardson, horse, cart, tree, farm

1970, 132, directed by john bowen, city of heidelberg repertory group, heidelberg theatre company inc

1968, 114, city of heidelberg repertory group, heidelberg theatre company inc, director george tanner

Portrait of a middle aged man with dark hair wearing a pink shirt and black tie in a rainforest setting. Signed and dated lower right 'Clifton March 63'.clifton pugh, painting, portrait, frank hodgkinson, landscape

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.A blue abstract painting.art, artwork, page weaver, terry weaver, school of business collection, alumni

Frank and Esma Barr had an orchard on the south (uphill) side of Gatters Road and the Colellas had an orchard on the other side of Gatters Road

This work was created during a program called Flipping the Script, funded via Wyndham City Council and Creative Victoria, August - September 2018. The project was aimed at young women from the African diaspora, to provide an opportunity to learn methods of digital and visual storytelling.african diaspora, photography, digital, portrait, australian first nations art, first nations photography

Primarily a painter, Mandy Nicholson also produces ceramics, carvings, murals, prints, designs and children’s clothing. Born in 1975, Nicholson was raised in Healesville and belongs to the Wurundjeri-willam (Woiwurrung language) clan of the Kulin Nation. Mandy’s paintings often represent important cultural rituals and are executed in her distinct graphic style. She uses the traditional motifs of her people blended with contemporary interpretation.

In the author's words; "In late 1968 there was a 'disturbance' as the military puts it, in the Marine Corps brig in Da Nang, Vietnam.vietnamese conflict, 1961-1975 - fiction, united states - marine corps, da nang

Catpain Gerald J. Greven was sitting outside his hootch at the Special Forces camp outside An Loc on night early in May 1969, when he saw three rotating beacons pass by overhead heading west toward the Cambodian border, only a few miles away. Minutes later, large flashes appeared on the horizon. vietnam war, 1961 -1975, cambodian border, catpain gerald j. greven

Catpain Gerald J. Greven was sitting outside his hootch at the Special Forces camp outside An Loc on night early in May 1969, when he saw three rotating beacons pass by overhead heading west toward the Cambodian border, only a few miles away. Minutes later, large flashes appeared on the horizon. vietnam war, 1961 -1975, cambodian border, catpain gerald j. greven

Sepia photograph showing creek flowing through property.

In a black frame there is a coloured photograph of several 7 RAR soldiers in uniform setting foot onto the beach at Vung Tau. Under the photograph on the bottom left hand side reads Voyages To Vietnam Collection. Bottom right hands side reads Copyright Jerry RainerVoyagers to vietnam Collection. Copywirht Jerry Rainervoyages to vietnam collection, photograph, cerberus collection, vung tau, 7 rar

The photograph was taken at a Sunbury Race meeting, when a sudden shower of rain caused the spectators to run for cover. Sunbury Race Course was situated along Racecourse Road about 2kms from the railway station. The land has been sold and it is now a housing estate. The race meetings in Sunbury were well attended with special trains running from Melbourne on race days.A noon-digital sepia photograph mounted on cardboard of a crowd of people caught in a sudden shower of rain and running for shelter at a race meeting.sunbury race meetings, racecourse road, races, stud farms

Rain cape, also used as a groundsheet, issued Australian servicemen. Purchased for the donor from an "Army Surplus" store and re-purposed for camps as a Scout in the late 1960s. The MK VII Groundsheet (Rain Cape / Poncho) was introduced in October 1917 during WW1. They were made from dyed cotton, proofed with a rubber compound, "well vulcanized" on one side. Weight 3lb. 8oz;. 78 inches long by 36 inches wide and made by the Victoria Rubber Co. Edinburgh. They were used again during WWII 1939-45 Today the Army uses the hootchie - a sheet of 70D nylon or PU-coated cotton with various press snaps and webbing tape loops attached around the outside which allow it to be used in a variety of configuration. During WWII Australian forces fighting the Japanese in the Islands had an urgent requirement for a decent individual shelter. The rubberized canvas groundsheets and rain capes continued to be used, but these were less than effective in the tropics. Towards the end of the war in the Pacific Australia began issuing its troops a lighter weight version of the groundsheet manufactured from polyurethane-coated cotton – During the Malayan Emergency of the 1950s, Australian troops were issued with hooded ponchos. Unlike the WWII US pattern ponchos which always had a hole in the dead centre of the poncho sheet, the Australian-issue hooded ponchos made an effective shelter – especially when two where clipped together. The problem of course is that the rubberized canvas ponchos were far too heavy for jungle use. 1960s Australian units in Borneo were issued with the first pattern lightweight hootchies. 1 Kg. 1970 the Vietnam War, a second pattern lightweight hootchie was issued made from nylon, but retaining the hardware and loops. This lightweight hootchie weighed a mere 680 grams, still heavy, but suitable for tropical use. Currently the hootchie is made from AUSCAM nylon material . Historic significance; representative of the type believed to have been issued to Australian servicemen in World War II, possibly in World War I.Waterproofed Canvas rain cape, also used as a groundsheet in the Australian Army, press studs to close as a cape, collar to cover neck.NILuniforms, australian army, world war ii, army surplus, scouts australia, bentleigh, moorabbin, world war 1, hooded ponchos, borneo, auscam nylon material, hootchies, malayan emergency, vietnam war, groundsheets