This painting is one of a pair of large paintings by W. Langley-Taylor in our collection. Currently, no further information has been found about the artist but research is ongoing. The subjects of these paintings are seascapes of notable areas of the coast on each side of Port Phillip Bay, south of Melbourne, Victoria. This painting is of Eagle Rock, Warrnambool, which is on the west of Port Phillip Bay. Eagle Rock is located about 400 metres west of Thunder Point, near Shelly Beach. The painting includes the rocky cliff formations looking east towards the Warrnambool Breakwater. The walk from the Thunder Point car park westwards to Shelly Beach has been popular over the decades with residents as well as tourists. Many photographs include the rock, with varying backgrounds depending on the angle of the camera. It is a popular dive site for locals and visitors, in calm weather! The site can be approached by boat from the open sea in favourable conditions, and there is plenty of native marine to be seen in this marine sanctuary. This part of Warrnambool’s rugged coastline is unprotected from the Southern Ocean with its wild icy winds and high seas. The painting’s crashing waves and the northerly direction of the smoke on the steamship sailing north show the effect of the southerly wind. INSCRIPTIONS “Mrs M Irby” and “980/Regency” The significance of the inscription “Mrs M Irby”, on the back of each of the two paintings, has not yet been discovered. Perhaps she was connected with the ship or shipping company “Irby”. A ship named “Irby”, built in Merseyside, Liverpool in 1881 by R & J Evans, Birkenhead. It was a four-masted iron ship built for the White Star Line. Henry Wilson Hewitt bought her in 1882, then later she was owned by Chadwick & Pritchard. In 1888 she was registered under the Irby Ship Co. Ltd. (trading as J. Joyce) in Liverpool. In 1912 Galgate Co. Ltd owned her. She traded between London, England and Australia, and is recorded as being in Melbourne and Hobart. In 1919 the Irby was destroyed by a mine when on her way to England. Or perhaps her name and the inscription in pencil “980/Regency” on the Eagle Rock Warrnambool, painting could be a delivery address for the paintings, perhaps an apartment in a hotel. This painting is significant geographically for its representation of the coastal scenery of Victoria, Australia. It is also significant as one of a pair of paintings of seascape, one at sites each side of Port Phillip Bay. The painting is significant historically as an example of late 19th and early 20th methods and materials used to construct a painting’s frame. Painting oil on board in a dark wooden frame, portrait orientation. Seascape of rock formation and cliffs, two yachts, a two-masted steamboat with red funnel and smoke, flying birds, high waves breaking onto rocks, blue sky with clouds, some tinted pink.. The title is painted on lower left corner and the artist, W. Langley-Taylor, has signed his name on lower right. The inscription on the back is a handwritten script in red crayon or thick red pencil. The board is held in place inside the timber frame with small, dark metal tacks around all sides. Metal eyes join the wire to the frame. Small round, dark metal nail heads are dispersed around the frame and there is a change of colour on both the board and the wood of the frame. Painted on front “W.LANGLEY-TAYLOR.” and “EAGLE ROCK, WARRNAMBOOL, VIC.” Handwritten on back “Mrs. M. Irby” and “980 [underlined] Regency”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, eagle rock warrnambool, w. langley-taylor, oil painting, wall decoration, seascape of victoria's coast, mrs m irby, art, seascape, pair of paintings

Built by noted artist Theodore Penleigh Boyd, father of architect Robin Boyd. Covered under National Estate, National Trust of Australia (Victoria) Local Significance and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p111 The Robins at Warrandyte,* was once home to a member of a famous family and is also one of the first reinforced concrete houses in Victoria. The builder, Theodore Penleigh Boyd, born in 1890, was a talented painter1 noted for his works of the Warrandyte bush. He was the father of architect Robin Boyd, author of the Australian Ugliness and the uncle of painter, Arthur Boyd. Penleigh Boyd’s great grandfather was Sir William A’Beckett, Victoria’s first Chief Justice. Penleigh Boyd is considered by some to be an ‘unsung hero’ overshadowed by more famous members of his family. Mornington Gallery Director Andrea May said many believed Boyd ‘had never received the national acclaim that he deserved’.2 Classified by the National Trust3 and part of the Australian National Heritage,4 The Robins is set well back near the end of Kangaroo Ground – Warrandyte Road, unobserved by passers-by. Built in 1913, The Robins has some Art Nouveau influences and is a descendant of the Queen Anne style. It is covered in stucco and has a prominent attic, which Boyd used as a studio. Some parts of the house are up to 33 centimetres thick and built in part with pisé (rammed earth) and in part with reinforced concrete. Amazingly, Boyd built The Robins without an accessible driveway, and only a narrow track along which he had to cart building materials. The journey was uphill and Boyd terraced the land with Warrandyte rock5 without the aid of machinery. At only 33 years, Boyd was killed in a car accident in 1923. He was buried in Brighton near the home of his parents. Several people have since owned the house, including political journalist, Owen Webster. Boyd was born at Penleigh House, Wiltshire, and studied at Haileybury College, Melbourne and The Hutchins School, Hobart. He attended the Melbourne National Gallery School and in his final year exhibited at the Victorian Artists’ Society. He arrived in London in 1911 and his painting Springtime was hung at the Royal Academy. He painted in several studios in England and then worked in Paris.6 There he met painter Phillips Fox through whom he met artists of the French modern school and also his wife-to-be, Edith Anderson, whom he married in Paris in 1912. After touring France and Italy, the couple returned to Melbourne. In 1913 Boyd held an exhibition and won second prize in the Federal Capital site competition, then the Wynne Prize for landscape in 1914. In 1915 Boyd joined the Australian Imperial Force, and became a sergeant in the Electrical and Mechanical Mining Company. However he was severely gassed at Ypres and invalided to England. In 1918 in London Boyd published Salvage, writing the text and illustrating it with 20 black-and-white ink-sketches of army scenes. Later that year he returned to Melbourne, and, despite suffering from the effects of gas, he held several successful one-man shows, quickly selling his water-colour and oil paintings. In his short career Penleigh Boyd was recognized as one of Australia’s finest landscape painters. He loved colour, having been influenced early by Turner and McCubbin. His works are in all Australian state galleries, the National Collection in Canberra as well as in regional galleries.7 His wife Edith was also an artist having studied at the Slade School, London, and in Paris with Phillips Fox. After her marriage she continued to paint and excelled in drawing. In later years she wrote several dramas, staged by repertory companies, and radio plays for the Australian Broadcasting Commission, in which she took part. She was the model for the beautiful red-haired woman in several of Phillips Fox’s paintings and the family hold three of his portraits of her. *Possibly named after the Aboriginal words warran, meaning ‘object’ and dyte, meaning ‘thrown at’.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, kangaroo ground-warrandyte road, north warrandyte, the robins

Donald Mackintosh – notes from eeb notebook with re binding 1900 Games Shooting Donald Mackintosh Universal Paris Exposition pigeon shooting events won the Prix (Grand) de l’Exposition The grande Prix Centenaire 3rd de Paris tied ??? the Grand Prix Monte Carlo twice The London Gun Club Challenge Cup (3 times in a row) The Melbourne Gun Club Challenge (3 times in a row) The Gran Prize of Italy The Grand Prize Aix les Bains The Belgian Championship The Madrid Grand Prize as a result was declared the Champion of the World recorded Sydney Morning Herald and Australasian. Items of importance from Martha Myers/ Marjorie collection. Donald bought a freestanding gramophone to encourage Marjorie in her music studies to be able to listen to the great artists and composers and performers of the time He also bought an oil and watercolour paintings of the same scene at the Mitta Mitta river. The artist was Margery McCann sister of the well known artist (his work is in the State Library Gallery) Photograph of Donald and his friend Jock Lauder. Sheet music Francis and Day 4th Album if Harry Lauder’s Popular Songs. Roamin’ in the Gloamin Allans & Co. Christmas and New Year card signed From D & M Macintosh 1933- Melton Village of Stars – includes Marjorie Myers, twice winner of South Street Competitions, pianoforte Ballarat. May Ferris, Gold Medal for highest marks for L.L.C.M. Exam London College of Music in the Commonwealth. Telegram sent to Mrs Myers from McIntoshlocal identities

The images depict the newly completed fourth Catholic Church at Kinglake. The previous three churches having been destroyed by 'Black Saturday' bushfire. The painting is oil on canvas. The historical continuity is expressed by the continuity of the skyline and the disconnectedness of the colours. it is not a literal depiction of each church, but a recognizable and symbolic image conveying resilience of faith of the local community. The first church was burnt down in a bushfire, the second burnt down by vandals, and the three burnt down in the 2009 bushfires known as 'Black Saturday'.The white cross and black fence at the lower left commemorated the remarkable fact that these remained intact after the 2009 bushfires. The red-orange can be the colour of the kinglake soil or the fires. The return of new life is indicated by the green growth on the burnt gumtrees. The presence of the Holy Trinity is shown above the entrance to the church. The return of new life is indicated by the green growth on the burnt gumtrees. The presence of the Holy Trinity is shown above the entrance to the church. The Holy Sprit is symbolized by the sulphur crested cockatoo, an Australian bird instead of the white dove. The symbol for the father is above the church in the triangle which has God's Holy Name (I AM) as given to Moses from the Burning Bush, written in Hebrew. Christ is represented by the cross above the entrance. The previous church was destroyed in the 2009 bushfires. The area is surrounded by 22,000 hectares of Kinglake National Park, the largest National Park close to Melbourne. The park was established in 1928 to protect native flora and fauna. Kinglake takes its name from Alexander Kinglake who travelled through the area in 1870. Photographs showing the newly built St Mary's Catholic Church at Kinglake. .1) Interior of Church .2) Painting of the Four Churches of Kinglake by Judy Racz .3-5) Views from the Church windows to the adjoining landscape .6) St Mary's Church groundskinglake, bushfire, black saturday, church, catholic, racz, st mary's catholic church kinglake

Famous French artist Jean Baptiste Camille Corot, 1796-1875, was trained in the classical landscape style. His inspiration came from his travels around France and Italy. He developed a soft poetic or romantic style of work which became very popular. He had the skills to bring'light' into his paintings. The original oil on canvas painting by Corot is held at The National Gallery in the United Kingdom. It is titled 'Souvenir of a Journey to Coubron' and is one of twenty-seven of his works at the Gallery. Corot visited Coubon, east of Paris, many times. In 1873 during his stay there he sketched the scene that became the basis of this painting. This reproduction print was made by The Medici Society Ltd., founded in England 1908. The Society's aim was to make artwork affordable and available to the general public. The name Medici was chosen to honour the support and encouragement given to artists in the 15th century by Lorenzo de' Medici (1449 - 1492), known as Lorenzo the Magnificent, and his family. His profile is on the company's trademark. The Medici Society still produces Fine Art reproduction prints as well as selling original works. The print was framed by Westminster Art Gallery in Camperdown, London. The handwritten text on the back of the artwork adds some background to the artist: Corot was apprenticed to a Draper but changed to his profession at the age of 22 years. When he went from a poor artist to achieving wealth and fame he generously supported his less fortunate fellow artists. Corot found that the light and shade in a natural scene meant more to a landscape painter that what could be learned by following the principles of the academies. Corot was 51 years old before he sold his first picture. He though that he was the only artist that could really paint 'light'. The National Gallery, Victoria, has an original oil on canvas by Corot "the bent tree", created 1856-1860. It is in a similar style to this print "Souvenir of a Journey to Coubron", which was likely to have been painted around the same time.This high quality reproduction print was produced in the early-to-mid 1900;'s. This advancement in technology allowed everyday people to own and enjoy the fine art that was previously only accessible to the wealthy. The print is significant for its association with the famous 19th century artist Jean Baptiste Camille Corot.Print of a painting by Jean Baptiste Camille Corot, depicting a landscape with two buildings amongst trees and a boatman in the marshy foreground. The print is famed in carved timber with a cream matt, behind glass. there is an inscription on bottom right of print and further stamped and handwritten inscriptions of the reverse paper. The is a genuine Medici Society Fine Art reproduction print and was framed by Westminster Art Gallery.Original artwork painted and signed by artist "COROT" White sticker with"32" Reproduction print by the Medici Society, London Stamp "Westminster Art Gallery / 91 CAMBERWELL RD. / CAMBERWELL E.6." Text on Corot's history Underlined statement "GENUINE MEDICI PRINT "flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, jean-baptiste-camille corot, french artist, jean corot, camille corot, print, souvenir of a journey to coubron, coubron, 19th century artist, medici society, reproduction print, westminster art gallery, fine art

AUSTRALIAN LANDSCAPE ART. A FINE COLLECTION. The late Mr. Walter Withers was one of the little band of landscapists that Included Streeton Condor, who pioneered the "plein-airiste" movement In Victoria thirty years ago. Mr. Withers had been trained in Paris, but practically all his artistic life was spent in Australia, and examples from his easel are to be found in all the leading Australian galleries. He belonged to a brilliant little coterie of men whose works have since been eagerly sought for at ever-rising prices. And now collectors have an opportunity of acquiring examples of his art for a thoroughly characteristic collection of his work, both in oils and in water-color, will be open to-day In the fine art gallery at Anthony Horderns', in George Street. The collection includes 28 paintings in oil by the late Mr. Walter Withers, and 32 of his water-color drawings, while smaller collections by his daughter, Miss Margery Withers, and by his son, Mr. Meynell Withers, are also added. Among the landscapes in oils by the deceased artist may be seen examples of many moods, and also many phases of his artistic development. At different times he was a realist, a romanticist, an idealist. In his fine picture "The Easter Moon" the emotional appeal to the homing instinct is direct and compelling. This delightful work, low in tone and charming in its feeling of repose, suggests the sentiment of Gray's "Elegy." Entirely different in range, intention, and feeling, are two brilliantly-painted pictures entitled "The Young Gardener," and "The Dividing Fence," Mr. Withers here displays an unusual gift for placing effective notes in an admirably harmonised color scheme. "Sunlight in the Forest" is a pastoral poem in color. Most of these pictures were painted in the Eltham or Warrandyte country, while the "marines" are impressions at Phillip Island or on the shores of the bay. The artist was well equipped with technical knowledge and experience. His pictures are full of air and sunlight, and his realisation of cloud-forms is most convincing. The watercolor drawings which he did in the full maturity of his powers have, a softness, richness, and depth of color quite unusual. His son, Meynell Withers, shows a collection of landscapes of striking merit, recalllng his father's handling of color and selective taste In composition. Miss Margory Withers shows a charming group of watercolor portraits, and also some meritorious landscapes. The pictures have been hung with fine artistic discrimination in the grouping of the subjects, and so skilfully that in each group an essential harmony of tone has been preserved. The exhibition will be open to the public from to-day. AUSTRALIAN LANDSCAPE ART. (1918, November 18). The Daily Telegraph (Sydney, NSW : 1883 - 1930), p. 4. Retrieved August 22, 2023, from http://nla.gov.au/nla.news-article239575164Journal inscribed: "Mrs Withers 463 Collins St. West Melbourne"art exhibition, art review, artist, john withers collection, walter herbert withers

This photograph and a matching earlier photograph are the images of a painting of the British steamship SS Warrnambool at Dover Strait in the English Channel. The photographs were donated by the painting’s owner, who acquired the 30” x 56” (76 x 142.5 cm) oil on canvas painting in 1998. Both photographs were accompanied by a letter, one written in 2001, and the other in 2003. The letters confirm that the artist of the painting was Charles Keith Miller, signed with the initials “CKM” and dated “1893”. The painting shown in the photographs was a gift to the Town Council of Warrnambool, presented to Warrnambool folks in Melbourne on December 1, 1892, by the Captain of William Lund’s ship SS Warrnambool. The painting was given by Lund in appreciation of the Ladies of Warrnambool who had presented the ship with a ‘house’ flag bearing the Blue Anchor Line’s symbol of a diagonal blue anchor on a white background; the ladies had made the decision to present the flag only a month earlier. A few days later, December 6th, the SS Warrnambool was on its homeward journey to Britain, sailing via Adelaide. It anchored for a short time off the Port of Warrnambool. A boat was launched from Lady Bay to take a group of friends to the ship with a delivery of gifts. After cheers were roused for both the ship and the Captain, the ship continued on its way. The photograph shows the gifted white flag with a diagonal blue anchor flying from the masthead. The same symbol is painted on the ship’s black funnel. The signal flags on the foremast display ‘M’ ‘R’ ‘V’ ‘B’. These letters are most likely the ship’s call number ‘MRVB’. Although the painting was given as a gift in December 1892, it is post-dated “1893”. Perhaps the painting was given earlier than anticipated; or the date added later, but whatever the reason, the provenance of the painting was confirmed at auctions of this painting and other works by the same artist. CHARLES KEITH MILLER 1836-1907:- Captain Charles Miller left his home in Scotland at the age of 15 years for a life at sea. He earned his Master’s Certificate ten years later. After being the captain of sailing ships he moved over to the steamships because they were faster. In 1866 he married and settled in Glasgow. Over the following eleven years he and his wife had five children, then sadly his wife passed away. Captain Miller returned to the sea for a while but in 1888 he gave up his sea life to spend his time as a marine artist. His understanding of seafaring life and vessels, combined with his artistic skills, gave him the ability to produce fine art and several galleries and museums have collections of his sought-after works. S.S. WARRNAMBOOL 1892-1925:- The steamship SS Warrnambool was built in 1892 by the Sunderland Ship Building Company for the Lund Line of London, founded by William Lund in 1869. It efficiently carried both passengers and cargo across the world to Australia, under the command of her master Captain Joshua Edward Iibery, who had many years of experience with the Blue Anchor Line. The company, referred to as the Blue Anchor Line or BAL, owned a fleet of both sail and steamships. The funnels of all of the steamships were painted black, with a white band around the top bearing a diagonal blue anchor and chain. The company’s house flag was also white with a diagonal blue anchor. The SS Warrnambool carried passengers and cargo in a ‘no frills’ service to and from Europe around the Cape of Good Hope, stopping at some ports in between. The ship was involved in bringing home returned solders in 1895. At one time it carried a doctor from Victoria, Australia, to assist at the war front in South Africa. The ship had a very good reputation for its cargo arriving ‘almost always in excellent condition.’ Exported goods from Australia included iron safes, flour, wool, apples, frozen rabbits, butter, cheese, pork, cattle, poultry and sheep. One remarkable delivery contained Ostriches for Queen Victoria and they survived the journey well. The SS Warrnambool was sold in 1900 to the British and South American Steam Navigation Co. Ltd of Liverpool and was renamed ‘Harmodius’. The company was managed by R.P. Houston & Company of London and its Houston Line funnels were red with a black top. The Harmodius was sold in 1919 to K.S.S. Co. Ltd, managed by Kaye Son & Co. Ltd. of Liverpool, and was renamed ‘Kut’. The line had black funnels with a white ‘K’ in a diamond or between white stripes. In 1926 it was purchased by T.W. Ward Ltd. and broken up. NOTE- other vessels named “Warrnambool” Two other vessels carried the name “Warrnambool” (1)- HMAS Warrnambool J202 (1941-1947), a Bathurst Class corvette vessel owned by the Royal Australian Navy, destroyed by a mine. The photograph is significant for its association with the painting "SS Warrnambool" by well-known early 20th century marine artist Charles Keith Miller, whose paintings are well valued. The painting and the photograph of it are namesakes of Warrnambool and are connected through the gifts exchanged between the ship company owner, the City of Warrnambool and the Ladies of Warrnambool; the House Flag and the painting by C K Miller. The image is a good likeness to original photographs of the late-19th to early-20th century steam and sale vessel. Coloured photograph of a painting, the steamship S.S. Warrnambool. The three-masted ship has lowered sails. It is in calm water, land on one side, and other vessels in the water. The ship has four raised signal flags, a house flag and a blue ensign. The funnel also bears the house flags symbol. Smoke emits from the funnel. Figures are visible onboard. There is a signature and a title on the lower edge of the photograph. (Artist of the painting in the photograph was Charles Keith Miller)House flag symbol, [diagonal blue anchor on white background] Text "CKM" and "1893" Text "S. S. WARRNAMBOOL."flagstaff hill, warrnambool, photograph, steam ship warrnambool, flagstaff hill maritime village, shipwreck coast, ss warrnambool, captain, charles keith miller, ckm, 1893, william lund, warrnambool town council, blue anchor line, lund line, ladies of warrnambool, house flag, diagonal blue anchor, captain miller, sunderland ship building company, migrant ship, 1892 ship, home flag, bal, australian export, s.s.warrnambool, dover strait, english chanel, port of warrnambool, lady bay, mrvb, captain charles miller, captain joshua edward iibery, ostriches, queen victoria, british and south american steam navigation co., harmodius, r.p. houston & company, houston line, k.s.s. co. ltd, kaye son & co. ltd, kut, t.w. ward ltd

HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Painting of The Loch Ard oil on board depicting wreck. It shows stormy sea and coastline in background. Ship appears to be capsized.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, painting

Black and White Photograph of a painting of Falls of Clyde Inscription on the reverse side reads "taken from a painting in the office of Associayrd Oil Co in San Francisco. She is shown here as I have described her even showing the smokestack from the pump room with the black A on a white stack. She is shown here passing Point Bonita northern entrance to the Golden Gate. from a negative loaned to me by the San Francisco Maritime Museum.". SH 096 Ships F - H.On the back of the photograph "taken from a painting in the office of Associayrd Oil Co in San Francisco. She is shown here as I have described her even showing the smoke stack from the pump room with the black A on a white stack. She is shown here passing Point Bonita northern entrance to the Golden Gate. from a negative loaned to me by the San Francisco Maritime Museum."flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, falls of clyde, associayrd oil co, point bonita, golden gate, san francisco maritime museum, painting, russell & co.

"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.

"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].Unframed painting with cardboard border.

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."

"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

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

These two works of art are by Dr Don Edgar, a sociologist, educator and author. He taught sociology at Stanford University, the University of Chicago, Monash University and La Trobe University and was the founding Director of the Australian Institute of Family Studies. In the 1950s Dr Edgar was a student at Warrnambool High School and these works of art were produced at that time. For a school project he researched the early history of the Warrnambool Art Gallery and some of its collection, dating from the 19th century. In 2019 he published a book, ‘Art For the Country’, the story of Victoria’s regional art galleries and the book includes information on the founding and the later history of the Warrnambool Art Gallery.These works of art are of interest as they were painted by Dr Don Edgar, a noted academic and author today and a former resident of Warrnambool. The two works of art also have historical interest as they depict Warrnambool scenes painted over 60 years ago. .1 An art work (oil on artboard) – the Warrnambool Botanical Gardens with bridge and reflections, a gum tree and a poplar tree, all in green and orange tonings. The wooden frame has a light varnish with gold and white trim .2 An art work (oil on artboard) – multi-coloured view of the mouth of Hopkins River with the Hopkins River bridge, Lyndoch bungalow and boathouse. The frame is wooden with a mottled varnish and a white insert edging. .1 Don Edgar 1953 Don Edgar 1953 (High School Student) .2 D.E. 53 Don Edgar 1953 (High School Student) dr don edgar, sociologist, author and educator, warrnambool art gallery, history of warrnambool

Poor video quality (noise and interference), edited raw footage with music and some commentary by Merv Hanna. A video documenting the demolition of the Shire of Eltham offices at 895 Main Road Eltham under the direction of the Commissioners appointed for the new Shire of Nillumbik and some of the communities activities surrounding the event. The building was demolished exactly 25 years after the southern wing housing Engineering and Planning on the upper level and the Eltham Library on the ground level was opened in celebration of the Shire of Eltham's centenary. Video has lots of distortion and noise, and sections of clips dubbed over. Immediate initial footage of Jenni Mitchell talking about asbestos claims in the Shire Offices (Sigmund Jorgensen standing behind her) advising Council did a review of the building several years previously and had been cleared of health problems. Cuts to group of people standing outside front door of offices but possibly voice dub over not related ? Then the date 27 Jul 1996 on a scene flashes on screen immediately followed by an edited clip intro of title and credits with classical music track. It then opens with Jenni Mitchell driving to the Shire Offices on Saturday 27 July 1996 at 11.00am. Footage of Main Road past Pitt Street, Alistair Knox Park then entering Shire Office driveway which is fenced off and contractor signs hanging up. Scenes at rear of building showing some internal demolition has commenced. View of the Administration wing. More clips of road driving, Alistair Knox Park, Eltham Library and visitor car park for Shire Offices. Cuts to a group of people standing in access to visitor carpark with new Eltham Library in background, one being immediate former Shire of Eltham President, John Graves. Scenes of people looking through chain link fence and security guard checking front door. John Graves being filmed that someone informed him the Shire was offering the building to the Community Health Centre for $2.3 million and that if they had been offered a price of $1.1 for what it apparently was sold for they would have snapped it up. View of truck loaded with brick rubble literally struggling to ascend the hill of Library Place to exit into Main Road. Cuts to a scene looking at Eltham War memorial Hall through the Memorial Gate, then the Shillinglaw trees and large banner sign ‘Delta Demolitions’ hanging on office façade. Views of front door, old library and bluestone wall. Scene (31 Jul 1996) filmed at night of several white crosses with “RIP Community” and “RIP Democracy”. Scene (1 August 1996) again driving along Main Road towards the Shire Offices then scenes of the offices showing substantially more demolition to exterior, groups of people standing on footpath outside watching, Delta heavy demolition machines, woman holding sign “Democracy where have you gone …”, the odd person in full protection gear and breathing apparatus hand carrying materials out to place on rubbish pile in front of people standing on footpath watching (with no protection) and then stamping on it to break it creating dust, security person in hard hat (no other protection) wandering around, many groups standing around watching, news film crew, person standing on roadside edge holding signs facing traffic stating “Pirate Planning” and “ Grant us your ears” also sign on back of parked car “Elthams High Jacks”, another sign “Community Democracy”, views of crosses in Main Road median strip “RIP Community”, groups of people on footpaths and reporters conducting interviews, footage of unknown person standing with Jenni Mitchell and Sigmund Jorgensen advising people have the right to protest, Jenni Mitchell urging people to ask questions of local MP and Council and Sigmund Jorgensen referring to the three historic Shillinglaw trees with demolition machinery operating in background, Jenni Mitchell and others installing more crosses in median strip; demolition machines operating inside and outside the building, more views of onlookers including Sigmund Jorgensen then Police approaching on footpath, workers and machinery continuing to operate, views of the old library being demolished, the former Community Services department, security personnel. Scene (2 August 1996) more heavy demolition machinery in operation smashing building up, people standing around southern wing watching, view overlooking Eltham Library of train pulling in to Eltham station. Scene (7 August 1996) more heavy demolition and people wandering around with only hard hat protection, no dust protection, comments from one operator dumping a bin of material stating “wait till there’s a Hungry Jack’s here, you’ll be laughing, fuel, videos, hamburgers. You’ll be up with the rest of the world soon, you’ll have electricity and everything here, ha ha ha ha”, more heavy machinery demolition and breaking up of materials, view of Hitachi train going by and Administration wing, view inside the front door opening of the staircase leading to upper level, person walking around operating heavy machinery with a hose spraying rubble (no protective gear other than hard hat interspersed with edit cuts of meeting of Commissioners and independent observers on panel as well as members of the community in public gallery. Nillumbik Shire CEO Barry Rochford addressing the meeting., Chief Commissioner Don Cordell directly addressing Jenni Mitchell with respect to permission to take photographs, Barry Rochford continues to address the question asked of Council about the valuation of the former Shire of Eltham Office building/site, public gallery calling out asking why was building demolished, what was the urgency. Scene (14 August 1996) views of southern wing, previous single demolition operator again mocking people filming, operators working in and around building, Shillinglaw trees and largely demolished front, heavy demolition equipment at work, piles of building rubble, hose spraying water over rubble, large trucks arriving for rubble removal and loading of truck. Scene (21 August) more of the same, building virtually down, Shillinglaw trees standing tall and alone, water spraying on rubble and wattle in bloom. Cuts to Council meeting with public onlookers. Barry Rochford walks out, Wayne Phillips addresses meeting explaining one or two people shouting, members of the community challenging Council (Commissioners) about why due process appear to have been subverted. Former Shire President Robert Marshall in public audience, cuts back to Shire office carpark entrance site and sign hung on fence in front of library “Think Again!” and people standing around observing awaiting a protest demonstration erecting a large sign on stilts stating “Shell No!”, people singing a revised version of God Save the Queen (God Save Us All), Sigmund Jorgensen in attendance, Jenni Mitchell, Sigmund Jorgenson and others address the protest crowd, followed by people mingling, music being played then people standing around the cleared site circumference all with arms linked (video very broken up with noise) then chants “Save the Gateway” and “No Shell for Eltham” and more music and singing “Put up a parking lot”. The crowd then proceeds to walk along the footpath of Main Road. Scene (15 Sep 1996) meeting at Montsalvat in Great Hall addressed by Sigmund Jorgensen discussing a recently published list of the Commissioner’s to senior Council Officers of banned Nillumbik people, others encouraging people to view proposed plans for the site and lodge objections. Specific issues regarding asbestos claims are also addressed. Harry Gilham addresses the meeting on the subject of the Eltham War Memorial and Memorial Gardens and how Council believe a roundabout in the vicinity is of greater importance. Views of various artworks on display (for auction) and music performance in the Barn Gallery. Meeting addressed by Sigmund Jorgensen discussing an appeal against Council granting a permit to Dallas Howgate to develop the site and that the Minister has called the matter in to be decided by the governing council. This is followed by an auction of paintings.Hi-Tech Ultra High Grade Video Cassette E-180 VHS dubbing of (poor quality) edited raw footage with some music from Star Wars and commentary by Merv Hannan Converted to MP4 file format 0:30:26, 2.6GBOn label " Merv's Demolition tape No. 2 Copy"video recording, 895 main road, alistair knox park, artworks, auction, barn gallery, barry rochford, community health centre, dallas howgate, delta demolitions, demolition, don cordell, eltham, eltham library, eltham shire office, eltham war memorial, eltham war memorial gate, eltham war memorial hall, great hall, harry gilham, jenni mitchell, john graves, library place, main road, memorial gardens, mervyn hannan, montsalvat, pitt street, protest, robert marshall, roundabout, shell oil, shillinglaw trees, sigmund jorgensen, sign, wayne phillips

Presented to the Society by the artist Oil on canvasarthur bird, artwork, david armfield, eltham, pitt street, wattle grove

Notes by Jock Read who donated painting to the Society: “Site of present-day Eltham Mall The property was owned by a Mr David Harbison who was connected to one of the Melbourne daily newspapers who donated the property to the City Newsboys Society to be used as they required. The property consisted of two building blocks with one four roomed house known as the Cottage. The Secretary of the City Newsboys Society decided to use the property as a Rest Home for mothers of newsboys who needed a rest and could not afford a holiday. Miss Onians added another four roomed dwelling to the home which was known as the Bungalow. Another three roomed residence was erected at the rear of the cottage for the use of the Caretaker. The rear of the property was used as a camp area for the use of Troop of Boy Scouts known as the 13th Melbourne Troop which met at the Newsboys Society Hall in Little Collins Street. Later the name of the troop was changed to City Newsboys Troop who held their Christmas camps at Eltham and Hurstbridge alternating years. In 1930 the caretaker (Mr. Francis) became ill and resigned that position. I had been a member of the scout troop and offered the position as Honorary Caretaker which I held for eight years. The Homes were used regularly as such until the death of Miss Onians. It was sold later and used as private homes until the Eltham Mall was built.” Further research has determined that apparently, Harbison left £1,000 in his will for the City Newsboys Society and the Secretary, Miss Edith Onians built the rest home from these funds. It was opened on November 12, 1919. David Harbison Rest Home, Jock Read, City Newsboys Society, 13th Melbourne Troop, Boy Scouts, City Newsboys Troop, Miss Onions, Mr Francis, Arthur Street, Eltham, Eltham Mall, David HarbisonN.D. 16 x 36 cm Oil on Masonite board UnsignedInscribed on back "The David Harbison Rest Home
10 & 12 Arthur St. Eltham"

Arthur William Glass known as Peter was born August 28, 1917. During the 1930s, Peter Glass and a young Graeme Bell were studying painting under Max Meldrum. Graeme Bell at that time was undecided whether to devote his life to music or painting. In 1938, inspired by what they had seen at 'Montsalvat', Peter Glass along with Graeme and Roger Bell (whose names were to become internationally known as the leaders of Australia's most famous jazz band) agreed to purchase land at Eltham to build themselves a mud brick house. For some time, Eltham had been their chosen place for painting and sketching, but it was not until they visited the 'Jorgensen Colony', as it was then known, and saw the possibilities of building in earth, that they decided to establish a permanent base in Eltham. In July, the three of them bought a few acres of land at the top of John Street and started making mud bricks for a proposed sixty square sized house. Following the Second World War, Peter Glass returned in 1946 to live permanently in Eltham. He resumed work on building of the adobe house which he had commenced before the war. During some years spent in England and France he married a French girl and on returning to Eltham he built another adobe house in which he lived with his wife, Cecile Madeleine, and two children, Julian and Marie-Luce on land adjoining the original house. Peter Glass died in December 1997 aged 80, his wife Cecile in 2006, aged 79. They are memorialised in Eltham Cemetery. Much of the inspiration for his landscape painting comes from the Eltham bush and the Yarra flowing through it.oil on chipboard 33 x 40.5 x 1.0 cm Signed 'Peter Glass in red paint lower right of centre Evidence of some paint rub-off at edges from previous frame mounting (frame removed).Reverse side painted in pale yellow cream and inscribed: 'Summer Landscape - 1968 Kangaroo Ground' in black paint1968, arthur william glass, artwork, kangaroo ground, paintings, peter glass

Painting by C. Lillie Brown (Caroline) of house at 25 Beaconsfield Road, Briar Hill, formnerly owned by Miss Humphries who ran a lolly shop in the left hand sode of the building. Frequented by children from the Briar Hill school which was opposite. House now demolished.29.2 x 39.1 cm Oil on (Fredrix USA) linen mounted paper board 12" x 16 " (30.5 x 40.6 cm) in standard frame Signed in brown paint lower left C Lillie Brown25 beaconsfield road, briar hill, miss humphries, lolly shop, briar hill school

An early steel engraving print of Marysville in Victoria.An early steel engraving print of Marysville in Victoria by Nicholas Chevalier. Nicholas Chevalier, born in 1828, was a Russian-born artist who worked in Australia and New Zealand. In 1851 Chevalier moved to London and worked as an illustrator in lithography and watercolour. After further studies in painting in Rome he arrived in Australia in December 1854. In August 1855 he obtained work as a cartoonist on the newly established Melbourne Punch. Later he did illustrative work for the Illustrated Australian News and also worked in chromolithography. He accompanied explorer/meteorologist Georg von Neumayer on trips to remote areas of Victoria, and the material gathered on such journeys resulted in some of his most recognised pieces of this period, including his painting of Mount Arapiles in Western Victoria. In 1864, when the National Gallery of Victoria was founded, an exhibition of works by Victorian artists was held. The government agreed to buy the best picture exhibited for £200. Chevalier's oil painting The Buffalo Ranges was selected, and was the first picture painted in Australia to be included in the Melbourne collection. In 1865 Chevalier visited New Zealand, travelling widely and doing much work there which was exhibited at Melbourne on his return. In 1869 he joined HMS Galatea as an artist with the Duke of Edinburgh, on the voyage to the East and back to London with stops in Tahiti, Hawaii, Japan, China, Ceylon (Sri Lanka) and India. The pictures painted during the voyage were exhibited at South Kensington. In January 1874 Chevalier was commissioned by Queen Victoria to travel to St Petersburg and paint a picture of the marriage of the Duke of Edinburgh. Chevalier made London his base and was a continual exhibitor at the Academy from 1871 to 1887. He had one picture in the 1895 Academy but had practically given up painting by then. Chevalier died in London on 15 March 1902. N. Chevalier 1870 N. Chevalier/ W. Forrest MARYSVILLE, VICTORIA. LONDON, VIRTUE & CO.marysville, victoria, n. chevalier, w. forrest, steel engraving, print, mount arapiles, georg von neumayer, the buffalo ranges, national gallery of victoria, hms galatea

Gold coloured wooden frame, blue oil paint portrait of soldier C PERRY, in hat.Handwritten bottom left: “C PERRY”illustrations-oil, military history, portrait

Edith (Alice) Watson (1914–2010) studied at the Ballarat Technical Art School, at the School of Mines Ballarat, from 1930 until 1933. Watson was warmly regarded in her home town, Murtoa, easily winning local fundraiser, ‘Most Popular Girl’ in 1936. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths 1972 and 1988. Watson was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio. Alice's comprehensive folio of Ballarat Technical Art School work is held by the University's Geoffrey Blainey Research Centre.A cardboard box containing items used by Alice Watson to produce paintings. The items included are: tubes of oil colour; two paint palettes; paint brushes; imperial measure tape measure; pencils; an erasure; two pencil sharpeners; a roll of brown, gummed tape; small, round container of various pins; a State Savings Bank Victoria ruler; and a collection of scraps of artists paper held together with a metal clip which includes a list of paint colour names and a design tracing of a fuschia. There is a small, plywood, stretching board. alice watson, edith alice watson, ballarat school of mines, artists workbook, ballarat technical art school, paint, oil paint

MEDIUM: Oil on linen DESCRIPTION: Crimson linen background Crimson colored skulls in cloth mounted on background No frame Signed, titled and dated on reverse of paintingkuskoff, skulls, alizarin

Ian Parry (born 1947) is a Melbourne-born artist living in Tasmania, active since 1974 and collected by National and State Collections. He was winner of the 1990 ACTA Maritime art Prize. He also took part in 2006, to the ANL Art Prize organised each year at the Mission since 2003. In his biography on his website: Ian Parry was born into a family of seafaring descent. His extensive career as a respected practising artist and teacher, has uniquely included a fishing fleet apprenticeship and years as a single handed fisherman in Bass Strait. "In the early 70's when I first showed at the renowned Powell St gallery in Melbourne, the paintings were large, abstract, with allusion to the experience of the world of water, sky and land. My visual world has always been permeated with the wet parts of this place and continues to be so to this day. Maritime and geological charts and the daily necessity of plotting a course, appear in paintings where necessary, as a means of getting a schematic representation of the subject into play, trying to free the work from the tyranny of the horizon line but frequently returning. Now-a-days I am returning to abstraction, making paintings that allow me free rein with colour and composition, aiming for a sense of permanence and independence in each work." Maritime ArtLarge moulded gilt wood frame, non glazed painting of shipping, oil on canvasSignature and date bottom right corner: "Parry 89"p & o nedloyd, shipping, melbourne ports, docklands, wharfside, wharves, ian parry, maritime art, acta maritime art prize, artwork-paintings

"Asylum seekers in great desperation."This artwork was an entry for the Maritime Art Prize 2019. David Rowe, editorial Ccrtoonist of The Australian Financial Review, has won the Art Prize in 2010.Marine artOil on canvas depicting asylum seekers in great desperation as they are helping two men in the water to get on board.mission to seafarers victoria, artwork, mission to seafarers, seamen's mission, flinders street, artwork-paintings, maritime art prize, sea, ship, 2019, migrants, migration, diaspora, asylum, desperation, sinking, david rowe, cartoonist

CEMA Art Collection Winner of 1968 Portland Art Society Art Prize for the category Oil or similar medium.The painting depicts several tall, dead trees in the foreground with dense living trees in the background. The work has an interesting texture created through the use of clearly defined thick paint strokes. This technique is particularly evident in the foreground where it has been used to create the ground from which the dead trees stand. The work has a painted wooden frame with material mount and non-reflective glass.Front: R. ARENDSEN '67 (black, lower right) Back: RENNEE ARENDSEN "DEAD WOOD FOREST, MALLACOOTA" (1968) (typed) Stamp: KATRINA GALLERIES 485 CENTRE ROAD BENTLEIGH, VIC 97-6715 Yellow Sticker: 1967 Handwriting around back of frame.