This ship was number 1 of 2 ships named Bangalore and run by P & O. This ship has listed the same tonnage as that on the inscription on the frame of this work. The ship was subsequently sold in 1886 sold to Hajee Cassum Joosub and used for passengers on pilgrimage into Jeddah. Another view of the history of the Bangalore is that to be found at the Maritime Museums of Sydney listing of another painting of the Bangalore which provides a somewhat different history. It is possible that the story of Bangalore 1 and Bangalore 2 have become conflated further research is needed to verify. see Links field. SS BANGALORE was built in 1867 by William Denny of Dumbarton. Owned by P&O, SS BANGALORE operated from Bombay and Galle to Melbourne and Sydney from 1872 to 1886 as a passenger and mail ship. In 1891 BANGALORE was sold to Wilh. Wilhelmsen, Norway and renamed SS CORINGA.Marine art, Maritime artP&O S.S. Bangalore by George Frederick Gregory (1821-1887)Thinly painted image on board featuring centrally a moored, at anchor, 19th C dual masted steamship with black funnel and flying at the stern a red ensign. To either side are conventional rigged clippers or sailing ships. Near the bow of the steamship there seems to be a tug or paddle steamer face on. In the foreground is a small rowing boat with boatman and two passengers, a male and a female. The painting on board is mounted in a large polished or varnished cedarwood frame with edge carving and a decorative pitted slip which holds in place a thin piece of glazing. Backing paper and seal has all been removed except for hanging wire. Central at front lower edge of frame is a small chipped wood plaque with inscription.Painted in black on plaque and coloured black: "P & O S.S. "BANGALORE" / 2342 tons Built 1867"s.s. bangalore, marine painting, sailing ships, 1867, william denny, artwork-paintings, peninsular and oriental steam navigation company, steamship, p&o, sandridge, port melbourne, hobson's bay, charles dickson gregory, centenary maritime exhibition, george frederick gregory (1821-1887), ss bangalore

CEMA Art Collection Winner of 1962 Portland Artists' Society Prize for the category Painting. Included in the 1999 "Salvage" Exhibition at CEMA Arts Centre.The painting depicts several trees on a multi-coloured ground with mountains in the background. The trees in the foreground are linear and completed in shades of browns and pinks. The work has a white, gold and blue hand-painted frame with exposed canvas.Front: Werther '62 (bottom right, brown paint) Back: PORTLAND "DEAD WATTLES" 40 GNS FRANK WERTHER COTTLES BRIDGE VIC per MAYNE NICKLESS (white chalk) Red sticker: 32 Yellow sticker: 1962cema, portland artists society

NBC COMBINED SECOND-CLASS PASSENGER CAR AND GUARD'S VAN. Six cars, numbered 1-6, were built during 1898-1905 and originally classed NBDBD. The repeat of the 'BD' lettering in the classification signified that the vehicle was carried on bogie wheels. At the time the letter D was the letter code for Brakevans / Guard's Vans, but this was changed to C when the double-letter code was simplified in 1910. The letter C now being used to describe that a guards compartment was included in the bogie vehicle. On the narrow gauge, the vehicle numbers were retained. A final NBC numbered 7 was added to the fleet in 1910 Between 1926 and 1929 the cars were converted to autocoupler operation. 6NBC Used on the Upper Ferntree Gully, Wangaratta and Colac narrow gauge railways. Withdrawn from service 1951 and used as a workman's hut at Pakenham. Purchased by the Puffing Billy Preservation Society and moved to Menzies Creek in 1959 Utilised as a ticket office and kiosk for the Museum from 1965 to 2010. Service History : NBDBD 6.VA - 26/ 5/1905 NWS Built new - circa 1910 - To NBC 6.VA - *NBC 6.VA - circa 1910 - Reference Photo SL20 p25 /12/1927 - Modified AC Malco BO 19/ 1/1951 - Scrapped Historic - Victorian Railways - Narrow Gauge Rolling Stock - NBC 2nd Class Passenger Car and Guard's VanTimber body (Painted) Steel Chassis (painted) Brass Fittings (Raw) Steel Fittings (Painted)6NBCpuffing billy railway, pbr, 6nbc - victorian railways nbc class combined passenger and guards van. 2'6" gauge

Aircraft recognition models were produced and painted flat black and lacked any real surface detail or markings in order to simulate a silhouette. Training purposes for both military personnel and civilians alike.1. & 2. Model Aircraft x 2 made from timber and painted black. 1. Has four engines and appears to be a "Boeing B.17 Flying Fortress", an American heavy bomber WW2. 2. Has twin engines - a "Vickers Wellington", a British, long range medium bomber WW2.Handwritten label with models - grey lead pencil. "Recognition Model used to train pilot and gunner in identification. Top. Boe's B17. Bottom Vickers Wellington". 1. Label on bottom of model - "FORTRESS"military, aircraft, training, ww2

Black and White print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Photo of Geelong No. 5 painted with zebra stripes at Belmont 31/7/1955. Photo by Keith Kings. On rear in ink - in top right hand corner, the Keith Kings copyright stamp with number P(b)(3) written in. "Geelong No. 5 "Zebra" painted ends, but without canopy. On car thus. 31/7/55".trams, tramways, geelong, belmont, tram 5

This wagon is linked to Mr Stanley James Bell via his father Mr John Bell, who owned "Warrumyea" at Wangoom. It is believed that Stanley grew up and worked for his father at this property, eventuality inheriting his father's death in 1920. This wagon was likely used at Mr Stanley Bell's property “Warrumyea” at Wangoom around 1920-1940. The wagon was donated in 1984, at which time it was noted as having a brass plate inscribed "Jas", which name Stanley was known by. Also, a painted on the wage was “S J Bell Wangoom”. Remnants of the original paint colours of blue and yellow show on the photograph, which was taken at the time of cataloguing. Mr John Bell Snr from Plymouth, England, arrived in Portland, Victoria, around 1860. He had served in the British navy as a lad for a number of years. On arriving in Australia he travelled to the Wangoom district where he lived for many years. Mr J Bell worked for 20 years as herd manager at “Wangoom Park”., for Mr F Tozer (1843-1954), one of the original pioneers of the western district. He went on to pursue dairying and general farming at his property “Warrumyea” Wangoom. Bell’s son Stanley James Bell went to the Wangoom School. His first reader from this school, published in 1909, has his name inscribed in the flyleaf “Stanley J. Bell, Warrumyea, Wangoom” and is now in the collection of the Warrnambool & District Historical Society. Stanley went on working the property “Warrumyea” and eventually purchased “Wangoom Park” in 1956, where his father had been employed years before. Mr S J Bell died in 1968.The wagon is significant for its association with the farming history of Wangoom and the Warrnambool area in general. Also, the wage is significant for its association with one of the early families that settled in the Warrnambool area and their contribution to the dairying and general farming industries that sprang from their efforts. The wagon has a good provenance linking it to Mr Stanley James Bell and is also a good example of how goods were transported using horse-drawn vehicles at the beginning of the 20th century.Four-wheeled wagon or cart,12 spokes in each wheel, wooden axle with rear hub brake. Hinged and chained tailboard. Wheels have metal rims. Metal frame and wooden superstructure. Wagon has two pairs of staves. Wooden shelves, one missing with turntable. Small toolbox in front. Made by Kelly and Preston of Ballarat. Metal nameplate of the owner attached, "Jas" (S J Bell of Wangoom).. Original inscription, now obscured, was painted “Kelly and Preston Builders Ballarat”. Metal plate inscribed "Jas", and "S J Bell Wangoom". flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, wagon, sj bell, stanley james bell, wangoom park, warrumyea, first reader, john bell 1830-1920, stanley james bell 1904-1968, warrnambool pioneers, f tozer, western district, kelly and preston of ballarat

This type of rectangular dark blue painted metal railway lamp was used by train guards in the Victorian Railways in the 20th century for communication, safety and lighting. It is the same type as the lamp attached to the Victorian Railways guard's leather satchel dated to the 1970s, registration WHS 00074 on Victorian Collections online.The Victorian Railways lamp has local significance as it was donated by a resident of Wodonga, as well as state significance as an example of communication and safety equipment used by the Victorian Railways employees in the 20th century.Rectangular dark blue painted metal lamp with a large handle on the top and a circular glass disk in front of a green filter. The initials 'V.R.' are embossed on the top and both sides. White metal/aluminium rim around the clear glass disk."V.R." on the top and both sides.victorian railways lamps, v.r. lamps, vr lamps, victorian railways guard's lamp, victorian railways equipment

Artworks Gallery Collection. Donated by Norman & Petah Creighton, 2018Metal, Steel, Paint, Oil Paint, Enamelgippsland, artwork, permanent collection

This bowl is part of a series completed in 1994 on the subject of the sin of 'Vanity' / A smug looking woman flirts coquettishly with a manservant who helps her to put on her shoes / The people depicted on the bowl are dressed in 18th century costumes / The court of Marie Antoinette of France is evoked / The blue and white drawing is in the style of 18th century woodblock prints and was drawn freehand / The bowl is signed and dated on the base / The technique is traditional tin glaze (majolica, maiolica or delft) / Coloured oxides were painted onto a clear glaze which had been opacified with tin oxide, and then fired at 900 degrees / The bowl was exhibited at Christine Abrahams Gallery, Melbourne in 1994 / A bowl from the 'Vanity' series is held in the Collection of the Queen Victoria Museum and Art Gallery in Launceston, Tasmania. Copeland's parents are John and Betty Hipwell, one of the founding members of Potters Cottage (an influential ceramic collective that grew out of Nillumbik) / Copeland grew up surrounded by this artform. Reg Preston (another founding member of Potter's Cottage) introduced her to the Majolica technique which has influenced her ceramic work to this day / This bowl is characteristic of Copeland's speciality and mastery of the Majolica technique. This bowl is hand painted with an image of a couple flirting (man-left side and woman-centre) in 18th century French dress / Decorative circle and polka dot pattern along the rim and underside of the bowl / The bowl is predominantly painted in cobalt blue and orange colour using the Majolica (maiolica or delft) technique; a traditional tinglaze method of application. Coloured oxides are painted onto a clear glaze which has been opacified with tin oxide / The bowl is then fired at 900 degrees.Underside has in colbalt blue artist signature and date / 'A. Copeland . 1.9.1994'.copeland, earthenware, majolica, potters cottage, vanity, bowl, eighteen century, french, marie antoinette

Ordsall, renamed Southesk in the 20th century was built for John Halfey in or before 1865. The house was rebuilt in the 1870s to designs by architect Michael Hennessy. In 1882 the house was redecorated by the firm of Cullis Hill & Co., who hired the artists 'Mr Vandenbrandt' and 'Signor Rizzi" to paint the ceilings of the ballroom and the drawingroom. The artistic triumph was described in detail in The Argus, 30 October, 1882. In 1947, Southesk was purchased by the Kew City Council. For 23 years it was used as a meeting place for community groups. The house was then demolished in 1970 to make way for a new Town Hall.The interiors of the two main reception rooms at Ordsall included some of the most outstanding domestic frescos painted in Australia in the late Victorian period. These frescos were executed by artists hired by the firm of Cullis Hill & Co. While a number of photographs were taken of the interiors prior to the house's demolition in 1970, this small fragment of the fresco is one of only three extant. The fresco allows conservators to examine and evaluate fresco techniques of the period.A fragment of the painted domed ceiling of the drawingroom of Ordsall (later renamed Southesk) which once stood at the corner of Cotham Road and Charles Street, Kew. This rectangular fragment of painted plaster is a small section of the rectangular frieze of neo-gothic scenes that were a feature of the drawingroom ceiling. The fragment differs from those remaining from the ballroom in that it includes a section of gold leaf.Label: 'This is from "Southesk" drawing room'ordsall, southesk, cullis hill & co., halfey, john

Sea chests held all the worldy belongings of migrant families, when they migrated by ship. Families were eligible for up to two chests depending on the size of the family. From the markings, it appears that there was a second chest, but this is the only chest from this family in our collection. This chest would have been purchased or built by the Zarins family and loaded at the harbour from which the migrant ship left - in this instance that location is unknown. A basic online search reveals that Villach-Austria refers to the DP camp (displaced persons' camp) that the Zarins family originated from. Maybe the chest had been picked up from there, or there were a group of camp residents coming to Australia, we can only guess why this is written on the chest at all. Heavy wooden chest with metal handles on both sides and lid is missing. Metal bands with nails fixed to front and back and sides.Villach-Austria, N-196, 2 piece, AUGUSTS ZARINS, Australia (painted on side of chest in white paint, by hand)

The two-door nineteenth century cabinet was purpose built with a curved back to fit the proportions of the lantern room interior and is likely to date from 1888-89 when the new lighthouse was fitted out and provided with furnishings and fixtures. The Public Works Department provided a range of lightstation furnishings including office desks and cabinets, and domestic settings for keepers’ quarters, with nineteenth century items often stamped with a crown motif and the PWD monogram. The curved cabinets installed in lantern rooms however do not appear to display this small feature. The cabinet needed to be custom made to fit the proportions of the room, and for this reason it was possibly made on site or perhaps even supplied by Chance Bros as part of the entire lantern room installation. The company usually provided timber panelling for their lantern room interiors (since removed from Point Hicks), and a cabinet may have been included in the assemblage. It may not have originally been painted; today doors area grey/silver colour and the rest of the cabinet is emerald green. It is not known whether it is freestanding or fixed to the wall. A similar cabinet with panelled doors remains in the Gabo Island lighthouse and evidence of green paint on the wood indicates that the cabinet frame was also formerly painted green but later stripped to reveal the wood finish. The Cape Nelson lantern room has a curved cabinet with the same door type but has a drawer above each door. It too was formerly painted emerald green before it was stripped back to its present wood finish. Cape Schanck’s lantern room cabinet is unique for its curved front as well as curved back, and it stands on a skirting. The two doors are in the same style, although they open with a brass knob. Further research into these distinctive cabinets may resolve the interesting question of their construction. The Point Hicks cabinet is a unique, original feature of the lighthouse lantern room and has first level contributory significance for its historic values and provenance. The Point Hicks cabinet has two doors, each framed and beaded around a central panel, and there is a simple door knob. The back is curved and the front is straight and the doors are painted a grey/silver colour and the rest of the cabinet is emerald green.

A megaphone or loudhailer is usually portable or hand-held, the cone-shaped acoustic horn used to amplify a person's voice or other sounds and direct it in a given direction. Used to communicate with others over distances. In Greek mythology, "Stentor" was a Greek herald during the Trojan War. His name has given rise to the adjective "stentorian", meaning loud-voiced, for which he was famous. The large funnel-shaped device is made of painted metal that is riveted together. It has no metal mouthpiece at the narrow end but rather a larger opening that is associated with a movie directors megaphone. It could also be used in a maritime situation or anywhere a person needs to amplify their voice to give directions to others over a distance. The Megaphone has significance for its provenance and historic value, and also as a relatively rare item of equipment once used worldwide in not only marine situations, or light house stations as well as many other differing types of applications where a person voice was needed to be amplified when communicating with others.Pressed Metal megaphone or loud hailer, with rolled wire rims, folded seam and riveted handle painted green and marked "R" "R"warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, megaphone, loud hailer, directors megaphone, communication device

Metal shell case painted with khaki coloured paintPnus 4910 3/O62

The artist: Marianne Louise Charlotte Amalie Wehl (19 Sept. 1867, Mt Gambier; 26 Oct. 1926, Melbourne), a flower painter who was active in South Australia and Victoria, and not to be confused with Marie Magdalene Wehl. Connection with Baron von Mueller: Von Mueller’s younger sister, Clara married Doctor Eduard Wehl and they lived in South Australia. They had 14 children, 6 of whom collected and painted botanical studies – some now in the National Herbarium, Melbourne. A cousin of Doctor Wehl – Carl Wehl – married Sophia Caroline (née Gorte) and one of their daughters was Marianne Wehl. It is recorded that von Mueller visited the Wehls and D’Altons in Halls Gap (Henrietta D'Alton was also a painter of wildflowers), so it is hard to believe that there is no influence at least. Von Mueller had over 1,400 collectors/artists working for him and 225 of them were women and children. Their work is housed in the National Herbarium, Melbourne. The donor believes that Marianne contributed to this work. There is no record of that, however, as only 169 of the artists have been identified, it may be a possibility. Marianne was one of six children of Carl Jakob Wilhelm Wehl (1830–1899) and Sophia Caroline Wehl (née Gorte) (1843–1920). She never married. https://data.environment.sa.gov.au/Content/Publications/JABG34P001_Dowe.pdf The plants: All of the plants painted by Marianne Wehl's in this donation were identified by Botanist Neil Marriott & Wendy Marriott, in July 2022. Neil Marriott said that the quality and beauty of these botanical studies made it easy for them to identify all the plants. He suggested they may be some of the first paintings of Grampians wildflowers. This makes the paintings highly important scientifically and botanically. Visitors to WAMA will be able to compare them with today’s plants in the Endemic Garden. Neil marvelled that Marianne found the specimens, as some of them are endemic and found only in the highest parts of the Grampians (Mt Rosea, Mt William and Major Mitchell Plateau) and are listed as rare and endangered. Some of these same rare plants have now been propagated by the WAMA team and in winter 2022 were planted in WAMA's Endemic Garden. Neil identifies this particular plant as Daviesia brevifolia - Leafless Bitter Pea - a widespread but very showy plant in the heathlands. "It's very difficult to propagate, but due to its extremely showy nature, we have plants ready to plant in our Grampians Endemic Garden as ‘filler plants’." NB In some records she is called Marianna (as the donor calls her) and in others Marianne.Wildflower art, Wildlife art, Wildflowers, Marianne Wehl, Marrianna Wehl, Flower painter, Botany, works on paper, von Mueller, Baron von Mueller, Ferdinand von Mueller, Henriette D'Alton, WAMA, Halls Gap, painter, gouache, Wildlife Art Museum Australia, Wild Art Museum AustraliaGift of Barbara Crick in memory of Marjorie and Lachlan McLennanUnframed pinky orange pea flower painted in gouache on smoother side of brown cardLL ' MW' (underlined)wildflowers, flowers

This is one of a series of plaques which commemorated some of the winners of the Grand Annual Steeplechase which is held each year in Warrnambool. It is the longest race at a public course in Australia.The first Grand Annual was held in 1872 as the Warrnambool Handicap Steeplechase. This series of plaques were painted by local artist Leslie Lamey and were originally in the members enclosure at the Warrnambool Racecourse. This plaque notes the win of horse Ranti but unfortunately we have no further details at this stage.These items relate to a significant part of Warrnambool's sporting and social history. Painted white rectangular tin plaque with rolled edges with painting of jockey's silks and cap. The silks are yellow sleeves with black bront and back. The cap is alternating yellow and black panels. with yellow brim.Ranti in red texta on back of plaque.grand annual steeplechase, warrnambool, ranti winner of grand annual

The first commercially available, Australian-made domestic refrigerator to operate without ice was produced by Edward Hallstrom in 1923. It used kerosene as a power source and was promoted as ideal for outback stations where ice was not available. According to Museum Victoria, Hallstrom introduced the 'Silent Night' which ran on electricity or gas in 1935. However, Hailstorm's great-grandson, stated that the Silent Night refrigerator was introduced in 1928. Although Australians were among the pioneers of refrigeration in the 1850s, the technology wasn't adapted for domestic use until many decades later. The first domestic electric refrigerator was sold in America in 1913. It had an air-cooled refrigeration unit mounted on top of an ice box. The Frigidaire and Kelvinator brands date from 1918 when the first self-contained fridges were sold. Before this food safes were used as well to keep food away from flies and to keep items cool.A significant item used from the late Victorian era until around 1940 when people were beginning to be able to afford domestic refrigerators. After the second world war, most households had replaced their food storage cupboards or safes with refrigerators. The subject item gives a snapshot of domestic life from this time.Wooden kitchen safe with 3 metal perforated panels & 2 shelves inside. Was painted light Green but has been restoredflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, refrigeration, refrigerator, food storage, food safes, edward hallstrom

Refer to the War Service of: " James Walter Hope" (from Bendigo). RAAF NR 143540. Enlisted 22/7/43 age 42, discharged 31/1/46. Rank L.A.C. 78 Sqn (Fighter).This is a simple tubular canvas bag. the bottom is canvas, the top hem has eyelets and a cord to draw it closed. Colour blue.Stencilled in white paint on the side is "RAAF" and " 143540" . raaf, kit bag, ww2

A flare, also sometimes called a fusee, is a type of pyrotechnic that produces a bright light or intense heat without an explosion. Flares are used for distress signalling, illumination, communication or defensive countermeasures in civilian and military applications. Flares may be ground pyrotechnics, projectile pyrotechnics, or parachute-suspended to provide maximum illumination time over a large area. Projectile pyrotechnics may be dropped from aircraft, fired from rocket or artillery, or deployed by flare guns or hand held percussive tubes. Signalling flares have been in use by all branches of the military services since the 1920s also by the maritime services to signal other ships or for distress purposes. The earliest recorded use of gunpowder for signalling purposes was the 'signal bomb' used by the Chinese Song Dynasty as the Mongol-led Yuan Dynasty besieged Yangzhou in 1276. These soft-shelled bombs, timed to explode in mid-air, were used to send messages to a detachment of troops far in the distance. Another mention of the signal bomb appears in a text dating from 1293 requesting their collection from those still stored in Zhejiang. A signal gun appears in Korea by 1600. The (Wu I Thu Phu Thung Chih or Illustrated Military Encyclopedia) written in 1791 depicts a signal gun in an illustration. The item was used to carry and store flares for signalling use as the inscription on the canvas cover suggests. Given the method of storing flares is in a wicker basket that is non conducting of an electrical charge that may accidentally set of explosive materials. The writer assumes the basket was used from the early 20th century and most likely by maritime or military services to store it's flares.Basket cane square with metal locks & rope handles each end. Canvas reinforced on vertical sides with a canvas cover on top. Canvas cover has leather straps. Stencilled on canvas in white paint "SIGNALLING STORES" flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, basket, cane basket, signalling stores

2 china letter openers handpainted with a sepia toned scene of 1890 Wooden Hut on white china with gilt edges.Hand painted Rolleston Gallery Bendigo 1986communication, postal, letters

Blue and white small boat shaped china bowl heavily decorated with floral gilding.Hand Painted Japan I E Codomestic equipment, table setting, bowl

This item is from the pre-plastic days and would have contained a brush made from natural bristles.White enamelled metal cylindrical toilet brush holder. An upright projection has a hole for optional hanging of the object.CLOSET BORSTEL (Toilet Brush) in black paint.

Oil on canvas board, landscape painting in muted tones of an dry creek bed. Trees line the creek banks and a log bridge crosses the creek bed, perhaps built from the local tree timbers.Lower right, black paint 'Yvonne Ball'

John Dudley was a well-known local artist who lived in the Shire during the 50s, 60’s and 70s. He was represented by Wiregrass Gallery in Eltham. Formerly two separate galleries: The Eltham Gallery and The Wiregrass Gallery. The Wiregrass Gallery opened on 4th February 1977 at Station Entrance, Eltham, Victoria and closed on the 19th November 1989 when its lease expired. The gallery then moved in early 1990 to 559 Main Road Eltham, the premises of the Eltham Gallery and from then on operated under the name Eltham Wiregrass Gallery. This work is of the local environment and an excellent example of the artist’s work practice.A visual language of shape, form and colour (abstract) to create a composition referencing the physical and emotional experience of landscape. Blended colours of dark blues in background and warm yellows in foreground. Signed 'Dudley' red paint, lower left.landscape, abstract, eltham

Oil on canvasSigned l.r. cnr., blue paint "FORBES".boy, river

Neville Mirvane BUNNING (1902-1990) During World War Two he served with the RAAF. He was an Art Teacher at the Ballarat School of Mines from 05 February 1946 to 22 September 1964. Neville Bunning formed the Ballarat Artist's Society (later the Ballarat Society of Artists), a group that sponsored art and which invited modernist artists to speak to students and to the public of Ballarat. He also wrote a weekly column in the Ballarat Courier. Bunning produced a bust of Australian Prime Minister, The Right Honourable J.A. Lyons from Tasmania, who died in office. Bunning died in Subiaco, Western Australia on 29 April 1990. 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 painting of a man standing in a landscape. LR Neville M Bunning in oil paintart, artwork, bunning, neville bunning, available

Used on VR Sandringham Black Rock trams as part of the destination setting mechanism - told the driver or conductor what the destination was set to. Shows the destinations of: Depot Black Rock Royal Ave Melb (Melbourne) SandringhamDemonstrates a plate that would have been attached to tramcar as part of the destination box mechanism.Round plate or disc, white front, lettered in black with four drilled holes. Two copies held. Has five destination names painted in black.vr trams, sandringham to black rock, destinations

Box found with other I.O.R memorabilia in basement of Ballarat Doll Museum.Wooden ballot box used by Independent Order of Rechabites. Black and white holes in lid for depositing voting marbles or tokens.On lid in gold paint: "I O R".ballots, ballot boxes, voting, independent order of rechabites