In 1895 artist Gordon Coutts was commissioned by Elizabeth Harding (Mrs. Silas Harding), a wealthy pastoralist, to paint this portrait of Prince Albert. The portrait was completed by 1896 and is a copy of an original by German artist Franz Xaver Winterhalter (1805-1873). In 1843 Winterhalter was commissioned to paint matching portraits of Queen Victoria and Albert, the Prince Consort. These originals hang in the Garter Throne Room at Windsor Castle and are part of the UK Royal Collection. Queen Victoria’s appreciation of Winterhalter began after she saw portraits by him of other European monarchs. Accordingly, between 1842 and 1861 he made fifteen visits to England and painted over 100 portraits of Her Majesty, the royal family and other friends and dignitaries. There are a number of notable differences in the original Winterhalter work and this painting. The local artist Coutts has changed the colour of the Prince’s cloak from deep blue/black to red (perhaps as a result of working from a black and white photograph). Other differences include extra satin shoulder ribbons, a simplification of the furnishings, notably the floor, and an inexact representation of the medallions worn; collars of the Order of the Garter, Bath, and the Golden Fleece. The painting is framed to match the official copy portrait of Queen Victoria, with the coat of arms of Prince Albert of Saxe-Coburg and Gotha, fixed atop the frame in place of the royal crown.Framed portrait, oil on cotton, of Prince Albert. The Prince Consort wears the robes of the Order of the Garter, holds a Field-Marshal’s baton, and is posed in front of a curtain and colonnade. Timber frame with a layer of gesso and decorative composition ornaments. There are rose, scotch thistle, clover leaf and Acanthus ornaments. The coat of arms that sits on top of the frame is a combination of carved timber and composition elements.Signed lower right corner in red brushpoint: ‘after Winterhalter / By Gordon Coutts / 1896’.albert, prince consort of victoria, queen of great britain, 1819-1861, winterhalter, franz xaver, 1805-1873, coutts, gordon (1865-1938)

Ramon (Ray) Francis Honisett (11.04.1931 - 30.08.2019), Fellow RMIT and medallist specialised in philatelic design, marine and military aircraft painting art and was active in the 1960s - 1990s. Ray Honisett used to live in Rye, in the Mornington Peninsula. According to Gavin Fry's book: The painting likely depicts the Lysaght Endeavour loading at Hastings. "The Lysaght Endeavour and its sister ship Lysaght Entreprise were built in Newcastle in 1973 specifically to serve the regional steel industry on the route Port Kembla - Westernport - Adelaide. Even after being lengthened by 17 metres, the two ships had remarkably short working lines, with both being broken up by 1988."Maritime artLarge framed unglazed landscape format painting predominantly green depicting in foreground a merchant vessel, a roll-on roll-off cargo ship moored at a single quayside on a river or river mouth. The middle ground shows a moderate solid jetty leading to large storage sheds at right. The background appears primarily rural with fields and hills in the distance. The location is probably Hastings Western Port in Victoria - notice the forklifts loading rolls of steel produced at the nearby steel rolling mill - the buildings in the distance. You can see the rolls of steel lined up on the hard stand to the right of the ship. The funnel colours suggest the Australian National Line. The frame incorporates a beige fabric slip with gilt edge the actual dark wood frame also with inset banded gilt edge. The back of the painting is covered with brown paper in places damaged. Hangs on a cotton cord threaded between two screw in eyelet hooks.at lower right corner single uc word in black paint : "HONISETT"tankers, marine painting, maritime art, ramon honisett, ray honisett, anl maritime art prize, acta maritime art prize, hastings, western port, victoria, steel, roll on roll off, forklift, mornington peninsula, artwork-paintings

In the early 1900s, Mary Sweeney commissioned artist Charles Bertie to paint the main house at Culla Hill. He charged her 5 shillings for the picture and 18 pence for the frame She took this painting with her when she married Michael Carrucan in 1910 and it hung in the Dalton Street farmhouse for many years. At a later time (1960s), the Burstons (the then owners of Culla Hill) had a card printed from the painting. The original sketch was photographed in 1970 for reproduction in the Shire history publication Pioneers & Painters (1971). The very fragile original was kept in the Council strongroom and suffered significant damage to its edges over the years, no doubt it has also yellowed. A comparison of the original as digitised (2022) with the negative taken 50 years earlier also reveals that the left 20% of the sketch has been cut off, probably due to damage. In June 1842 Thomas Sweeney applied to the Superintendent, C.J. La Trobe, asking permission to purchase a portion of the recently surveyed ‘Parish of Nillumbik'. His request was allowed and handed to the sub-treasurer and Land Board. He paid £110 for 110 acres and called the land 'Culla Hill'. He first built a temporary house, a slab hut 12 feet by 10 feet, in which he lived with his wife, an Irish girl whom he had married in 1838. (His first wife had been drowned at Port Jackson.) Some time later he built a permanent residence on the model of a Tipperary farmhouse. It was a rectangular building of hand-made bricks and stone quarried from the Western Hill with a recessed verandah in front, and bore a slate roof. The out-buildings consisted of a detached kitchen, stable and a barn. It was in this house that succeeding generations of Sweeneys were reared. The original slab hut became a washhouse and survived till recent years. 'Culla Hill' became a social centre for the district, church services being held there on various occasions. The first wheat crop in the district was planted by Sweeney who also supplied the first grain for a mill that later was built at Eltham. He took an active interest in the development of the district. At this time travelling people--many of them runaway sailors or convicts--often passed the settlement, and some of them stayed and worked with Sweeney. A tribe of aborigines living on the river below 'Culla Hill' were apparently on good terms with Sweeney, for it is said that they helped him with the building of his house. Very little is known about the aborigines who originally lived in the Eltham district. There must have been many of them; their stone axes, grinding stones, and anvil stones have been found in the gullies around Research and canoe trees and artifacts were found on the Kangaroo Ground hills. Early settlers remembered a tribe that camped on the site of the present railway bridge at Eltham. They held corroborees there and visited settlers for hand-outs of 'flour and bacca’. There was an aboriginal reserve on the Yarra, upstream from Eltham, but most of those who had collected there later went to live on the Pound Reserve at Warrandyte, where the last aborigines in the area finally ended their days. The Pound Reserve, of 1,103 acres, was established at Pound Bend in 1841. The chief protector, George Robinson, and his four assistants, were given instructions to care for the aged and sick, to provide blankets and rations for all who lived there, to train the able-bodied men in agriculture and other trades and to find them jobs. The Yarra blacks, who later came under the protection of William Thomas, have been described as a 'fine race, well made and above the average height'. Thomas Sweeney died on 6 September 1867 and was buried in the Eltham Cemetery. To his wife Margaret and his son John, he left the entire property of 'Culla Hill'. To his other son Patrick, he left 150 acres, including a small two-roomed wooden cottage. He had five daughters: Kate and Margaret (twins) who were born in 1842, Ellen 1846, Annie 1848 and Johanna 1851. John Sweeney farmed 'Culla Hill' until his death in 1909. He had ten children; one of them, Mary, became Mrs M. Carrucan whose son, Mr John Carrucan, still lives at Eltham. 'Culla Hill' passed out of the Sweeneys possession in 1939 and was renamed by its new owners, 'Sweeneys', in memory of its pioneers. - Pioneers & Painters: One Hundred Years of Eltham and its Shire, Alan Marshall 1971, pp10-12 Original colour sketch artwork 4 x 5 inch black and white negative of original colour sketchculla hill, art, charles bertie, drawing, mary carrucan (nee sweeney), sketches, sweeney's cottage

An original watercolour painting surrounded by a white backing under glass in a plain brown timber frame'Present site of Hudsons Hotel'. Edward Heffernan 86 Corner of Inglis and Stead St. 1914

The use of sails to propel a ship along its course dates back at least to 3000 BC., to the Egyptians who used sails to move their vessels up and down the Nile. Sailing ships then developed with the Greeks, Romans, Phoenicians, Vikings and other cultures. Their use was widespread until the 19th century which saw the development of the steam engine, and more recently, the diesel engine. Sailing ships slowly declined in use and number until now, most sailing ships are used for recreational purposes.This picture shows the widespread use of sail for trading purposes.Picture of a sailing ship at a wharf with other ships in the background, by artist Rowland Hilder. Natural wood frame.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, maritime painting by rowland hilder, painting of sailing ship

The portrait was commissioned after Higinbotham's death in 1893. A committee was appointed to investigate the making of a portrait and they appointed Mr L Bernard Hall, instructor and later director of the National Gallery of Victoria. George Higinbotham (1826-1892) had a distinguished career as a newspaper editor and politican before becoming a Judge of the Supreme Court in 1880 and the third Chief Justice in 1886. Higinbotham was a long serving attorney-general in the 1860s colonial administration. Higinbotham was active in the education, land and constitutional debates of his time. He played a prominent role through his chairmanship of the of the Royal Commission into Public Instruction with regard to the introduction of the free and secular primary school education.The portrait of George Higinbotham is of historic significance as the depiction of an important public figure in 19th Century Victoria. The painting is also of interest as an early example of L Bernard Hall's Australian works. Portrait in Oils of George Higinbotham. Higinbotham is seated at his desk, pen in hand. He is dressed in his judicial robes, ready for Court.Signed Lower right B Hall 95. Plaque on frame : The Hon. George Higinbotham Judge of the Supreme Court 1880-1886 Chief Justice of the Supreme Court 1866-1892supreme court, higinbotham george, hall bernard

The portrait was presented by the legal profession ot the Court in 1946. It would appear to have been commissioned at the time of Chief Justice Mann's retirement. Charles Wheeler, had won the Archibald prize in 1933 and was the head of the art gallery schools during World War two. Chief Justice Sir Frederick Mann (1869-1958) studied the law and worked at the Crown Law Department before his stint in the Army during the Boer War. After the war, he practised as a barrister, mainly working in the common law and equity area including appearences in the High Court on constitutional matters. He was appointed to the bench in 1919 along with William Schutt, to help remedy a shortfall in the number of judges on the Bench, after measures of economy during World War One. He became Chief Justice in 1935 following the retirement of Sir William Irvine, and retired in 1944.The portrait is of interest because of whom it portrayed, it is a well executed work by a well known artist of the period.Half Length portriat painting in oils of Sir Frederick Mann, seated and balancing a book on his knee. He sits of a chair with carved arms. The frame is painted dull gold.Signed upper left C. Wheeler. Plaque identifies Sir Frederick Mann, the Hon. Sir Frederick Wollaston Mann, KCMG, a Justice of the Supreme Court 1919-1935, Chief Justice 1935-1944

The Argus reports that “In 1916 the members of the bar took the opportunity afforded by his [a’Beckett’s] 80th birthday, and the completion of 30 years on the bench to present to the judges of the Supreme Court, with his permission a portrait of himself, to be placed in line with portraits of other judges in the Supreme Court library. The portrait which depicts Sir Thomas a’Beckett in his robes, was an excellent piece of work of Mr Max Meldrum. The unveiling was made the occasion of a little demonstration at which some congratulatory speeches were made." Sir Thomas a'Beckett arrive in Melbourne as a teenager with his parents in 1851. His uncle was the former Chief Justice, his father a well known solicitor. At the Bar Sir Thomas mainly worked in the Equity jurisdiction, which he took as a specialisation with him to the bench. This is an early work of Meldrum, he won the Archibald prize for portraiture in 1939 and 1940.The portrait is of interest for whom it portrays and as the early work of a well known artist.A full length portrait in oils of Justice Sir Thomas a'Beckett. Sir Thomas is seated, his feet placed on a plush red foot stool. He is dressed in his red judicial robes with white fur trimming and black trousers and a full bottomed wing. Justice a’Beckett has a white beard and moustache, he was 80 years of age when this portrait was painted. In his hand he holds a rolled document. At his elbow, there are books upon a table. He sits in a fine carved wood and leather chair, in the background a gold frame is just visible. A line in the canvas indicates that the size of the painting was expanded. The frame is gold with a gum leaf motif.Max Meldrum 1916a beckett, max meldrum, judge

This portrait was presented by the Victorian Bar to the Library in 1917 to commemorate Schutt’s fifty years as the Supreme Court Librarian. The portrait was presented at a ceremony presided over by Mr Mitchell KC who noted the “unanimity with which the members of the profession had adopted the suggestion that the eminent services of Mr Schutt should be recognised in this way.” Chief Justice Madden also spoke on this occasion and there were a number of judges and members of the legal profession present. John Schutt had been born in England in 1831 and migrated to Victoria as a young man, initially working as a school teacher he was appointed librarian, during Redmond Barry’s time in 1866. He started work in the Old Court in Russell street and would have supervised the move of the library to its new and greatly expanded premises in William Street in 1884. As well as secretary to the Library committee, he also acted as the Secretary of the Board of Examiners on occasion. After his death in 1919 in its obituary, the Williamstown Chronicle noted that Schutt was regarded as a Solon, an ancient greek law giver who gave wise advice. Away from the Court he was a councillor of many years standing in Williamstown, representing the Victoria Ward, what is now the suburb of Newport, it would appear Schutt street in Newport was named after him. His eldest son William Schutt was appointed a Supreme Court judge in 1919. The portrait of Schutt is a companion piece to the Sir Thomas a’Beckett picture painted shortly before the Schutt portrait and for the same client, they share the same frame design with gum leaf motif. This portrait was undertaken early in Meldrum’s career and before he had fully developed his theory of painting. Duncan Max Meldrum (1875-1955) was a controversial figure in his later years as he strongly opposed modernism and non-figurative art. His works are found in most of the state galleries, including a wide selection at the National Gallery of Victoria. This portrait is of interest for whom it portrays and as the work of a well known artistFull length portrait in oils of John Schutt. Schutt is standing up looking out the to the viewer. His hand rests on a small pile of books. He is dressed soberly in a three piece black suit. His white beard and hair all meticulously trimmed and realised. The props used in this painting provide the main colour as the background has become dark over the years. The books sit atop of a red and gold draped table. Behind Schutt is what appears to be a crimson velvet chair and he gives every appearence of having just arisen from the chair to engage with the viewer. The painting has an unusual light source at the foot of the painting with Schutt's legs providing shadows. Signed Meldrum lower right hand corner. Plaque inscription is John Schutt, Esq. Supreme Court Librarian

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Painting with cardboard border in glass-fronted frame. One of two undated paintings by Winifred Miles' viewed from the same vantage point in Wantirna. (See Registration Number 4851)

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Pencil drawing with cardboard border in glass-fronted frame.

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Painting with cardboard border in glass-fronted frame.

Charles Wheeler biography link http://www.portrait.gov.au/people/charles-wheeler-1881 Painted by a prominent artist. Refer to Sir Ronald East's history of the Greenwood family pp. 336-371, noteably page 343 that mentions about Henrietta Carr, only daughter on George F. Carr, who married AV Greenwood in 1896. Also reference to The Wattle Club pp. 356-7. Thus giving the connection of the Greenwood and Carr families, the subjects of Charles Wheeler's painting.Painting in glass-fronted frame.Typewritten notation behind the frame - "Greenwood oral family history says that this unsigned painting was done by Charles Wheeler as a demonstration for Rose Greenwood, (A.V. Greenwood's sister). They shared a studio at the Wattle Club Hall at Box Hill circa 1890s. The subject matter was said to be Grandfather Carr's orchard in Wantirna Road (Ringwood - Still standing in 2003). Source: Mary Greenwood, youngest Granddaughter of A.V. Greenwood."

"Margaret Robbie was another of the local painters who came late to art or combined it with a quite different occupation. Her grandparents, John Shaw and Margaret (Byers), went to Hobart in 1855 but then crossed the Strait and settled in Kyenton where they remained until 1918. Margaret was the issue of the marriage of Mary Shaw and Robbie. She spent a considerable time overseas for the YWCA, including a period as its General Secretary in Toronto, Canada, and worked in the Middle East during World War 2. Margaret Robbie made her garage in Ringwood Street into a flat-cum-studio-cum-gallery for her painting activities when she was not caring for her sister and an elderly aunt." - Hugh Anderson - Ringwood, Place of Many Eagles [p.218].Painting with cardboard border in glass-fronted frame.Sticker on back of frame - "Ringwood Framing Gallery, 233 Whitehorse Road Ringwood, Phone 8704930"

Painting with cardboard border in glass-fronted frame.Sticker on back of frame - "Ringwood Framing Gallery, 233 Whitehorse Road Ringwood, Phone 8704930"

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Painting with cardboard border in glass-fronted frame. One of two undated paintings by Winifred Miles' viewed from the same vantage point on Mullum Mullum Road in Ringwood. (See Registration Number 4848)Sticker on back of frame - "Ringwood Framing Gallery, 233 Whitehorse Road Ringwood, Phone 8704930"

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Painting with cardboard border in glass-fronted frame. One of two undated paintings by Winifred Miles' viewed from the same vantage point on Mullum Mullum Road in Ringwood. (See Registration Number 4847)Sticker on back of frame - "Ringwood Framing Gallery, 233 Whitehorse Road Ringwood, Phone 8704930"

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Painting with cardboard border in glass-fronted frame. Painted from an original black & white photograph, Catalogue Reg No. 1347 recorded as "Ringwood's first Post Office showing first Postmistress, Miss M. Thompson and her mother. 1890". (South side of Main Street (Maroondah Highway), approximately 300 meters west of Ringwood Railway Station). Writing on back of original photograph reads, "Grandma and Auntie Martha Thomson 1890". (Difference in painting date and photograph date indicates years as shown are approximate only). Sticker on back of frame - "Ringwood Framing Gallery, 233 Whitehorse Road Ringwood, Phone 8704930"

"Margaret Robbie was another of the local painters who came late to art or combined it with a quite different occupation. Her grandparents, John Shaw and Margaret (Byers), went to Hobart in 1855 but then crossed the Strait and settled in Kyenton where they remained until 1918. Margaret was the issue of the marriage of Mary Shaw and Robbie. She spent a considerable time overseas for the YWCA, including a period as its General Secretary in Toronto, Canada, and worked in the Middle East during World War 2. Margaret Robbie made her garage in Ringwood Street into a flat-cum-studio-cum-gallery for her painting activities when she was not caring for her sister and an elderly aunt." - Hugh Anderson - Ringwood, Place of Many Eagles [p.218].Painting with cardboard border in glass-fronted frame.Sticker on back of frame - "Ringwood Framing Gallery, 233 Whitehorse Road Ringwood, Phone 8704930"

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].One of two undated paintings by Winifred Miles' viewed from the same vantage point in Wantirna. (See Registration Number 4836)Sticker on back of frame - "Ringwood Framing Gallery, 233 Whitehorse Road Ringwood, Phone 8704930"

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Painting with cardboard border in glass-fronted frame.Sticker on back of frame - "Ringwood Framing Gallery, 233 Whitehorse Road Ringwood, Phone 8704930"

"Margaret Robbie was another of the local painters who came late to art or combined it with a quite different occupation. Her grandparents, John Shaw and Margaret (Byers), went to Hobart in 1855 but then crossed the Strait and settled in Kyenton where they remained until 1918. Margaret was the issue of the marriage of Mary Shaw and Robbie. She spent a considerable time overseas for the YWCA, including a period as its General Secretary in Toronto, Canada, and worked in the Middle East during World War 2. Margaret Robbie made her garage in Ringwood Street into a flat-cum-studio-cum-gallery for her painting activities when she was not caring for her sister and an elderly aunt." - Hugh Anderson - Ringwood, Place of Many Eagles [p.218].Painting in glass-fronted frame.

Painting in glass-fronted frame.Reflections (Ringwood Lake) by May Freeland, 59 Lucknow Street Mitcham.

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Painting with cardboard border in glass-fronted frame.Handwritten notation on back of frame - "Lilypond at Quambee Nth Ringwood 1912, and sticker - "Ringwood Framing Gallery, 233 Whitehorse Road Ringwood, Phone 8704930"

In the 1930s, Hermann Busch constructed a concrete wall across Dandenong Creek, forming "Busch's Weir" on his Bayswater property, "Waldheim". The weir wall was demolished in the 1960s.One of two paintings of weir across Dandenong Creek, mounted in beveled edge wooden frame with ornate corner moldings. (See Reg #4856B for other of two paintings in the pair)Hof Busch 1953

"Margaret Robbie was another of the local painters who came late to art or combined it with a quite different occupation. Her grandparents, John Shaw and Margaret (Byers), went to Hobart in 1855 but then crossed the Strait and settled in Kyenton where they remained until 1918. Margaret was the issue of the marriage of Mary Shaw and Robbie. She spent a considerable time overseas for the YWCA, including a period as its General Secretary in Toronto, Canada, and worked in the Middle East during World War 2. Margaret Robbie made her garage in Ringwood Street into a flat-cum-studio-cum-gallery for her painting activities when she was not caring for her sister and an elderly aunt." - Hugh Anderson - Ringwood, Place of Many Eagles [p.218].Painting with cardboard border in glass-fronted frame.Inscription along lower edge of painting - "Margaret Robbie, copied from a postcard", and sticker on back of frame - "Ringwood Framing Gallery, 233 Whitehorse Road Ringwood, Phone 8704930"

In the 1930s, Hermann Busch constructed a concrete wall across Dandenong Creek, forming "Busch's Weir" on his Bayswater property, "Waldheim". The weir wall was demolished in the 1960s.One of two paintings of weir across Dandenong Creek, mounted in beveled edge wooden frame with ornate corner moldings. (See Reg #4856 for other of two paintings in the pair)Hof Busch 1953

Refer Cat No. 1280 for Jack Grintons service, Cat No 1320P for Bert Grinton DCM.Postcards - collection top to bottom - left to right. Nine (9) cards. Top left: cardboard, insert coloured silk embroidery on cotton, flowers, flags, sailing boat, greeting. Middle: cardboard, inset coloured silk with embroidery on cotton, butterfly, greeting. Right: cardboard, inset coloured silk embroidery on cotton, flowers, greeting. Second row left: cardboard, inset coloured silk embroidery on cotton, basket of flowers, greeting. Middle: cardboard, handwritten greeting and note in black ink. Bottom row left: black and white photograph postcard, cardboard. Two soldiers in uniform. Middle: cardboard, handwritten greeting and note in black ink. Bottom row - top right: black and white photograph postcard, three women. - Lower right - colour printed postcard, with flowers, flags, painting and "Good Luck and Coo-ee" greeting on scroll. Frame - Perspex front, screwed to brown painted MDF backing board. Dark brown mount, cardboard.Greeting silk embroidery. "From your loving son" From your Soldier Boy", "With my love". "Loving Greetings". Handwritten greeting in black ink. 2nd row middle Dated “21.10.17", frame/ “Dear Arthur/ love from your loving brother/ Jack W. Grinton" Bottom Row: Middle - "From your loving/ brother/ Albert V. Grinton". framed accessories, camera on the somme, ww1, 38th bn, grinton