Photo of POW Herman Ortmann at Graytown campCopy of B&W photograph of member of Kormoran Crew in a plastic framephotography, photograph, slides, film

Hand drawn by internee at Camp 3, Hermann Glunkler.Framed laminated pencil sketch of a residential hut of Friedrich, Maria, Erich, Manfred and Resi Haering. 4 tanks on stands and a guard tower in the background on left.Below picture on white paper " Camp 3 B Compound Tatura 1942 Residential hut of Friedrich, Maria, Erich, Manfred and Resi Haering. Donated by ManfredHaeringtatura, pencil, camp 3 artwork, hermann glunkler, internment camp art

War and family memorabilia collated by Betty Thornton, daughter of local Thomas Thornton. WW1 & Family Memorabilia - Thomas Thornton contains: ~ 2 x leather-bound photo albums containing b&w photos of family members, some labelled with hand-written notes ~ Sample of small stones containing copper ~ Several sized detachable buttons used on WW1 service uniforms (cuffs, collars, shirts) ~ Small purple-coloured cardboard box containing a number of service medals, fund-raising badges, royal family medallions ~ B&W photos of Thomas Thornton and comrades in uniform ~ Small leather-bound book containing information about servicemen known to Thomas Thornton (My Roll of Honour) ~Small white cardboard box containing plaster Welcome Home plaque in the shape of Australia. Lid has floral decoration, Auld Land Syne and Thomas Thornton written in the corner ~ Photocopies of Thomas Thornton's war records (AWM) ~ Homemade cardboard frame covered in clear plastic, containing some WW1 items of Thomas Thornton see photosthornton, ww1, copper, badges, medals, buttons

Private Robert Ernest Payne 5125 from Killawarra. Enlisted on 29/1/16 aged 20 years and 9 months and served with the 28th Battalion during WW1. Killed in action in France on 15/4/1918 aged 23 yearsBrown timber frame with grey mount containing ornate certificate of serviceFOR KING AND EMPIRE Private R E Payne 28th Battalion B Companyrobert ernest payne, 28th battalion, wwi, kia, france

Item presented to Lieutenant General Power who was deployed as the Deputy Chief of Staff,Strategic Partnering Headquarters International Security Assistance Force, Kabul, Afghanistan in 2010-11.Lieutenant General Power retired from the Army on 19 July 2014, his final posting being the Chief of Joint Operations. The Australian contribution to the war in Afghanistan has been known as Operation Slipper (2001–2014)Brown timber frame with cream mount containing print containing collage of eight images.Plaque - Presented to Lieutenant General B A Power AO CSC Chief of Joint Operations In appreciation of your support for Joint Task Force 633 20 May 2011 to 19 May 2014operation slipper, australian national headquarters, afghanistan, adf

In 1969 Robin Boyd was awarded highest RAIA Gold medal, the highest honour.Gold medal (65mm diameter) with design on both faces. (a) RAIA medal with architect and guild figure and stone structure (b) Artem promovemos una Two kangaroos holding shield with wall and column structure. The medal set into a black velvet. The back is black leather in a timber frame. 405mmH X 330mmWThe back of the timber frame is inscribed with //PARTH-40'E' - F + G.royal australian institute of architects award. raia award, royal australian institute of architects gold medal, raia gold medal, robin boyd

B & W mezzotint engraving of the Rev. John Wesley, surmounting small etching of Epworth Church. Timber frame.The Revd. John Wesley, A.M. Fellow of Lincoln College Oxford. Born at Epworth in Lincolnshire June 28th 1703 Died in London March 2nd 1791 Epworth Church Drawn by J. Jackson, R.A. July 18th 1825 Published Aug. 1st 1825 by the Rev. Thos. Roberts Bristol.

B: 1808 10 May in Cornwall England; D: 21 October 1865 Portland Vic. See "Cross at the Campfire" by Heather Le Griffon for the full history of Francis Tuckfield and his attempts to establish a mission near Birregurra, Vic. Also "Australian Dictionary of Biography, Vol. 2, 1967.Two photographs cut from a newspaper in one card frame of Rev. Francis Tuckfield - the first from 1837; the second from 1865, the year he died.The 1837 photo has "Preacher … Geelong, July 28th 1838"tuckfield, francis, buntingdale aboriginal mission, wesleyan methodist

A similar image #296 states it is a photo of the Asylum taken in 1920.A b/w photograph of the Synbury Asylum (Caloola). Photo is framed and it is torn about 1/3 of the way across the bottom.sunbury asylum, hospital for the insane, department of mental health, caloola, george evans collection

Portrait - A.B. Clemes (Shire Secretary) (Framed Photograph)stawell

Portrait - Cr. J.B. Burton c1890’s (Framed Photograph)stawell

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

Imants Tillers has been identified as a quintessential postmodern artist in his use of appropriation and quotation. Since 1981 he has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora. Most recently, his paintings have been concerned with place, locality and evocations of the landscape. Imants Tillers and Baldessin met on their way to the Bienal de Sao Paulo in 1975 and in the following year worked on two collaborative etching plates in Paris that were printed by Pierre Giarudon. 'Unsaid + Nameless' harks back to his experiences with Baldessin in Paris forty years ago. It is a poignant image of absence that can be read in the tradition of the momento mori. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'Unsaid + Nameless' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. In 1976 Baldessin and Tillers embarked on the collaborative work 'According to des Esseintes'; a post modern Surrealist game of consequences and sequences. In homage to his friendship and work, Tillers completed an unfinished Baldessin plate from 1976 inspired from their 'des Esseintes' collaboration. The addition of Odilon Redon's 'smiling spider' is indicative of Tiller's broader post-modern approach. Solar plate etching of Odilon Redon's 'Laraignee souriante' (The Smiling Spider) on an incomplete plate etched by George Baldessin in 1976 on Somerset paper. Other images include skewed perspectives of a wooden window frame, 'wooden' floor or table(?) folded sheet of paper and unknown apparatus. In pencil (handwritten): low plate: left '14/25' (edition); centre: 'Unsaid + Nameless' (title); right 'Imants Tillers' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)solar plate etching, george baldessin, somerset paper, spider, line, ekphrasis2018, odilon redon, appropriation, post modern, surrealism, collaboration, paris, folio

Soldier Killed First World WarB/W Photograph Oval Framed Image of Harold Grey S/N 6205Harold Elroy Gray 6205ww1

B/W: toddler on a chair wearing dress, dark white lace buckled. colour tinted, fair curly hair holding a coured Rosealfred Thomas Huttley ( my Father) Stewart & Co 217 Bourke St. E Near Parliment House Melbourne A Large Framed copy Of This Portrit may be had Price is View taken within 20 Miles of Town.

Year taken 1912-1913. Married to Arthur Redding Brent. Born 1872 Died East Malvern 1956. Buried Brighton Cemetery.Two B/W photographs in brown frame with gold trim. Samuel wearing white shirt with jacket. Has beard. Mary is sitting at table. Details of Birth, Baptism & parents on back of photograph of Samuel. Details of Mary with birth - London 1849. Nee Rowe on back of the photo. portrait

B/W copy from Grampians Community Health Centre Book Rev Fotheringham is wearing striped shirt and trousers with a belt. Holding a frame over a tub. Background is brickwork, mirror on top of cupboard, painting on right hand wall and clothes line. In foreground two pillow slips hanging onclothes line. Tea chests with items on top.

People - "Mccabe, A & B & R & M. & Margaret; Law, Hal"

Framed Black and white photo of 10th Mayoral Ball, City of Nunawading 1955, Mayor & Mayoress: Cr. & Mrs W.B. Heppner.charles, h, hopley, t., debutante ball, gill, k, dobson, i., city of nunawading, kiker, b., macquarie, i., fox, b, wells, m., kelly, mrs h. p., price, d., charlesworth, albert roy, grace, l., lang, b, fankhauser, m., jensen, j, banner, j., driver, p., robertson, m., moore, b., senior, j., price, j., tainton, d., henderson, w., debutantes, sanders valda, butler ron, mullens ken

Looking East near Springvale Road Daniel Robertson ClayworksOil painting of Nunawading Railway station and clayworks.Railway Nunawading by J. B. Bryce 1953 and J. Bingley 22 Victoria Avenue, Canterbury 2816.daniel robertson, nunawading station

Rutherglen Shire CouncilPhotograph of shire councillors in front of shire office 1933On bottom of frame beneath photo: "Councillors and Officers - Rutherglen Shire, 1933" On verso: "Back row / Crs. J.L. Jackson, S.P. Diffey, Walter McRae, Percy Lingford (Engineer), S.G. Williams, J. Milthorpe, C. Ricketts (Shire Secretary), L. Tobbon, J. Terril, W.B. McDonald, W. H. Turner (Rutherglen Sun)" "Front row / John Burch, Roy Ready, CH. Morris, Frank Fuge, D.B. Smith, Martin Graham, W.H. Chambers"j l jackson, s p diffey, walter mcrae, percy lingford, s g williams, j milthorpe, c ricketts, l tobbon, j terril, w b mcdonald, w h turner, john burch, roy ready, c h morris, frank fuge, d b smith, martin graham, w h chambers