Timber framed watercolour 3 mounted Lighthorsemen charging bayonets drawn

St Andrew’s Anglican Church, located at 228 New St, Brighton, is the oldest continuous Anglican Church in Victoria. Opened on St Andrews day in 1842, it was one of the earliest Christian churches established in the Port Phillip District. A second church building was erected on the site in 1851, followed by a third building and schoolhouse in 1857 which was enlarged in 1886. A fire in 1961 engulfed the building and renowned Australian church architect Louis Williams was appointed to be the architect of the new building. The present church complex is amongst the largest church buildings in Australasia. Using over 500,000 bricks and over 16,000 roof tiles, this space consisted of three areas: the main church building, the Pioneer chapel and the Lady chapel. The large arcaded cloister, seen in this painting, with an internal cloister garden, is extremely rare in any church in Australasia, and links the Pioneer Chapel to the narthex of the new building.John C. Paul, St. Andrew's Brighton 1971, watercolour, 44 x 30.5 cm. Bayside City Council Art and Heritage Collection. Purchased 1974.brighton, john c paul, st andrews, church, anglican, cloister, arcade

watercolour, gouache and pencilsandringham, beach, coast, watercolour, surf, sand, vegetation, pier, stone hut, landscape

Awarded Brighton City Council's 'Best Painting in Show' at the Brighton Rotary Art Show in 1990Herman Pekel, Winter's day 1990, watercolour, 62 x 96 cm. Bayside City Council Art and Heritage Collection. Purchased 1990winter, maritime, ship, dock, warehouse, williamstown, spotswood, mist, smoke, brighton rotary art show

Louisa Thomas married Henry Gipps (1837-91)in 1863. They had six sons and two daughters. While Louisa and Henry Gipps were to die in Sussex, two of their sons, Frederick George De Visme Gipps (1867-1953) and Richard Brook Woodthorpe Gipps (c.1872-1946) migrated to Queensland, possibly bringing with them their mother’s sketchbook.The collection of artworks that are included in the sketchbook are often of outstanding aesthetic and artistic significance. In the variety of subject matter and the geographical places represented, it is historically significant as a document recording the postings of Colonel Henry Gipps, 9th Norfolk Regiment, and his wife Louisa to locations in the Mediterranean and West Asia. The large bound sketchbook has a marbled cover with blue binding. The name Louisa Goulburn Thomas and the date 1862 are faintly inscribed in pencil on the front page. However the book contains pen and ink and pencil drawings, watercolours, and photographs, which both predate and postdate 1862. The approximately 75 works are loose-leafed items and [currently] do not form a chronological, geographical or thematic sequence. Creators identified on some drawings and watercolours include Mary Julia Wilder Thomas, JFV Wright, ELG (Edward Louis de Bondell Gipps?), L Nicholson, Bertha Isadore Thomas, and HG (Henry Gipps?). Many of the works are signed and dated, and include rural landscapes and seascapes, archaeological sites, animal studies, and portraits. While most of the works were created in the British Isles, others are scenes of Venice, the Ionian Islands, Cape Town, Hong Kong and Japan. [A number of the ‘oriental’ paintings on silk were probably purchased from local artists.] The art works in the book are at various stages of completion and represent a diverse range of artistic skills. What may be the earliest work in the sketchbook is a drawing of three uniformed soldiers. An annotation on the reverse records that the drawing is of a Group of Soldiers after [Philipp Jakob] de Southerbourg 1830. The birth of Louisa Thomas' oldest son, William Henry Houston Meyrick Gipps (1864-1903) in Corfu perhaps explains why a number of scenes and items in the album are of the Ionian Islands. Louisa is probably the creator of a number of still life and botanical studies in the album. These range from floral studies to a bird’s nest. The painting of objects was to remain a socially ‘approved’ specialty of amateur and professional women artists into the 20th century. The complete contents of the album will be uploaded to accompany this record. Some items may be published separately on Victorian Collections, but will acknowledge their origins in the sketchbook."Louisa Goulburn Thomas / 1862"victorian sketchbooks, manuscripts - kew historical society, 9th norfolk regiment, rosemary (gipps) vaughan smith, vaughan-smith collection

The Victorian-era mansion Madford in Wellington Street had several incarnations before it was finally demolished. While the precise details of its original construction have not been discovered, we know that it was originally named Elm Lodge, and that the property was offered for sale in 1863 by Thomas Mitchell, of the firm Mitchell & Bonneau, wholesale ironmongers and merchants. The house was sold in about 1873 to William Siddeley (1827-1905), who was described on the occasion of his death as ‘the father of Australian shipping’. The next owner was Arthur Septimus King (1827- 99), who renamed the house Madford after his purchase of the property in 1875. It was A.S. King for whom this artwork was completed. Following King’s death in 1899, portions of the property were sold, including to the Borough of Kew in 1905, to form the Alexandra Gardens. Then, in 1920, the house and its remaining lands were sold to the Catholic Church who opened St Anthony’s Home for Children on the site in 1922. That building was promptly demolished, and the site redeveloped circa 1976.Gift of James Pearson, 2022This fine perspective drawing of the architectural elements of Madford [formerly Elm Lodge, later St Anthony's Home for Babies] is contrasted with the freer addition in watercolour of the layout and plants of the garden facing Wellington Street. The view selected is the south-facing main facade and the west facing side. After A.S. King purchased the house in 1875, it was extended with new wings at the rear to accommodate his large family. There is no indication of these extensions in the painting so its creation must predate the renovations, and probably depicts the original building on the site."MADFORD / The Property of A. S. KING Esq"elm lodge, madford, st anthony's home for babies, houses -- wellington street -- kew (vic.), thomas mitchell, william siddeley, arthur septimus king

Painted from Gardenia Road. The extensive farm complex on the right. (Western side of Gardenia Road). was demolished in 1972 for housing development. Buildings shown are cowshed, hay barn, engine shed and stables. Painted in the late afternoon, the lengthening shadows and lowering sky, could presage the ominous fate awaiting the farm with development. The Ziebell Farm was known as “The Pines” and sadly none of the many that proliferated there remain. Today they would be equivalent to those at the cemetery, having been planted at the same time. Provenance: John Borrack CollectionWatercolour depicting Ziebell Farmhouse from the north, Thomastown and Mernda. In gold frame with cream border.Artist signature: John Borrack; 70's Ziebells German Lane South Viewillustrations, watercolours, john borrack, ziebell, watercolour, painting

Local WildflowersLocal Wildflowers - Part of a series of 14 commissioned for Keilor City CouncilAR0006Details of the plant on the back of the painting

Local Indigenous PlantAR0117 Description of the plant at the back of the painting.

Part of a series of 14 commissioned works for Keilor City Council, Local Indigenous PlantPart of a series of 14 commissioned works for Keilor City Council - AR0005Details of the plant on the back of the painting

Local WildflowersLocal Wildflowers Part of a series of 14 commissioned for Keilor City CouncilAR0007Details of the plant on the back of the painting

Local Wildflowers, Local Indigenous PlantLocal WildflowersAR0008Details of the plant on the back of the painting

Local FloraAnita Podwyszynski. Local flora, watercolour, 56 x 34cm - AR0040

Local WildflowersHelene Wild. Large Kangaroo Apple. Watercolour, 38 x 42cm - AR0050Details of the plant on the back of the painting

Local Indigenous PlantHelene Wild. Silver Banksia. Watercolour, 36 x 51cmDetails of the plant on the back of the painting

local wildflowerHelene Wild. Running Postman. Watercolour, 37 x 50cmDetails of the plant on the back of the painting

Local Indigenous PlantSunshine Diuris/Fragrant Doubletail. Watercolour, 50 x 31cm - AR0054Details of the plant on the back of the painting

Local WildflowersSpur Velleia. Watercolour, 37 x 41cm - AR0055 (Botanical Illustration)Details of the plant on the back of the painting

Local WildflowersSticky Boobialla. Watercolour, 42 x 29cmDetails of the plant on the back of the painting

Local Scene, Artwork was entered into an art prize. It is unknown which one. Bruce Cooper. Beyond the You Yangs. Watercolour, 26 x 35cm, overlooking the mountain range - AR0059

Local Scene, Market Garden landscapeSummer Keilor. Watercolour, 39 x 48cm

Local scene, Keilor, Margaret, cowling, watercolourKeilor Pioneer. Watercolour, 35 x 54cm

Local sceneWatercolour, 82cmx69cm

Watercolour

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Photo of Watercolour impression of Stawell Tent Hospital Doctors Hill 1859stawell medical

Portrait of an old man wearing glasses with a bouquet of flowers. Signed (L.l) 'Clifton Pugh in Somerset, Bellamy 86'. john bellamy, painting, watercolour, clifton pugh, flower, somerset