An orange card with a picture of a tree on the front. Inside the card are two Bendigo Advertiser newspaper articles relating to the merger of Bendigo Institute of Technology, State College of Victoria Bendigo, Ballarat Institute of Advanced Education and State College of Victoria, Ballarat. (1) Interim Senate of State College. The interim senate will govern and administer the State College. It will co-ordinate the activities of 10 State teachers' colleges. Bendigo 'Advertiser,' 25/7/73. (11) V.I.C. to take over colleges. The Victorian Institute of Colleges will be the coordinating authority for merged Bendigo Institute of Technology and State College of Victoria Bendigo and the Ballarat Institute of Advanced Education and State College of Victoria Ballarat. Bendigo 'Advertiser' 26/11/74.bendigo, education, bendigo teachers' college history, la trobe university bendigo collection, collection, bendigo, education, tertiary education, teacher training, bendigo teachers' college, history, ms. j.c. burnett, newspaper, merger, victorian institute of colleges, bendigo institute of technology, state college of victoria bendigo, ballarat institute of advanced education, state college of victoria ballarat

Slide. Bendigo Views. View of a radio tower. It is made of orange and white steel sections. It has a number of guy ropes. In the foreground are gum trees and behind the tower is bush.slide, bendigo, bendigo views, bendigo views

Used for storing sugarOrange painted tin with inscriptions and decorations. Motifs of thatched huts and palm trees suggest it was painted in the (then) Dutch East Indies.Suiker (sugar) on front and back. sugar container.

Princess Juliana and Prince Bernard married in 1937 prior to the Princess becoming Queen in 1948.The fact that this item was brought to Australia with a migrant family indicates the affection in which the Royal Family was held by many Dutch people.Rectangular tile depicting a leafy tree loaded with oranges. Under it are four young people - two male and two female. The main colours are green on a greyish background. Orange accents appear throughout the clothing. An orange banner reads 1937-1962. Below the illustration is the motto: "Doen kunnen we alles maar dan ook alleen allen samen." (We can do everything but only together). On the back are various imprints relating to the maker Mosa Holland.

Under title "He was only 19" Photo Board. Orange Background with white writing. Photograph of soldier. Trooper James Kelly Kerr (Jimmy) Bottom of board :grey with black palm trees picturedphoto collage, trooper james kelly kerr

Born: Vienna, Austria 1812; Arrived Victoria 1852; Died: 1901ColonialBennett Bequest, 1998 Rural landscape with trees, figures, animals, rocks and sky.Recto: Signed and dated "Eugene von Guerard/ Melbourne 1856." in orange paint l.r.c of composition; Not titledlandscape, animals, figures, trees, cattle, mustering cattle, colonial, australian art

Small field guide - Orange cover with white writing & black tree - dark sepia

Winners: Uniting Premiers 1983; Dennington Red Premiers 1984; Salvation Army Premiers 1985; O.L.H.C. Navy Premiers & Premiers 1986; Team Award 1991 Uniting Blue; O.L.H.C. Orange Premiers 1987; St Joseph's Premiers + Champions 1988; St Joseph's Premiers 1989.Solid wood shield with eleven metal award plates on the front, three of which are blank.Front: "ROBYN MINNS SHIELD" "W.I.C.N.A. UNDER 12 DIVISION 1" Handwritten on back: "MADE FROM THE ELM BOTANIC GARDENS WARRNAMBOOL (THE MONEY TREE)"warrnambool inter church netball association, robyn minns shield

Kate Hudson's highly patterned and decorative prints reflect her love of Australian birds and flowers from her immediate environment, as well as oriental art and her training in textile design. Her work is influenced by the Australian artist (printmaker) Margaret Preston and the vases depicted in her prints are based on the ceramic works of her husband Stephen Hudson. The wattle depicted is the Acacia Terminalis (Sunshine Wattle), a shrub or small tree that grows to six meters in height. It’s an Australian native commonly found in New South Wales, Victoria and Tasmania.A reduction coloured lino print. A ceramic vase with a black and white target print at its' centre holds a bunch of Acacia Terminalis (Sunshine Wattle). The vase rests on an orange table cloth decorated in white stylised flowers. The background is light pink. Hand written in pencil: low left '8/26'; bottom centre ' Wattle and Circle Vase'; low right 'Kate Hudson' hudson, linocut print, sunshine wattle, acacia terminalis, still life, margaret preston, ceramics, textiles, orient

Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'Life world of the Longicorn beetle' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media

WARM was a community textile art project that saw over 250 knitters come together to create a beautiful collage tapestry. Made entirely from wool, the artwork contains more than 1000 individual hand knitted sections. The project takes aim at global warming, it highlights both the causes and solutions for us to create a sustainable and safe climate for future generations. Lisa Kendal, the co-creator of the project, said “One of the problems in the world is that we have forgotten how to warm ourselves with wool. We have become too dependent on fossil fuels (for heating)”. This is the key idea surrounding the project. WARM began as two large scale images created by Lars Stenberg. The first image is a landscape scarred by coal mining. The second image is the same landscape only many decades later. Regeneration and regrowth have taken over the landscape and hidden the past coal mine completely. In its place is a beautiful landscape including trees, native flowers, a lake, lots of greenery and wind turbines. From March to the end of August in 2016, knitters worked hard to create the over one thousand pieces that came together to form the final tapestry. The pieces were all designed by Fibre Artist Georgie Nicolson of Tikki Knitting Designs, who converted the second image of the healed landscape into patterns for the 250 plus knitters to follow. These patterns included unusual designs such as gum leaves, trees, native flowers and even the wind turbines. During several days of installation, the knitted pieces were stitched together by Lars Stenberg over a picture of the first image of the operational coal mine. They worked to create the second image of the renewed landscape; like an enormous collage. The WARM project was donated to the National Wool Museum in 2021. It was a much-loved hanging within the Ballarat Hospital for many years before coming to the museum. More information about the project can be found on the following website. http://www.seam.org.au/warm The tapestry is made from 1000+ hand knitted sections stitched together to make an image. In the foreground of this image is a large gum tree that stretches from the bottom left to the top right corner. The trunk of this tree follows the left edge of the tapestry, with foliage from the gum tree spanning its top border. The bottom third of the tapestry is predominantly green grass with yellow, pink and red flowers providing sporadic colour. The middle third encompasses a lake, with orange colours surrounding the banks of the water as opposed to the green grasses of the bottom third. To the right of the lake are wind turbines. The top third of the tapestry is blue sky with white clouds. It also contains the previously described gum tree leaves. Each piece of the tapestry is 100% wool and was hand knitted and stitched together. The Tapestry is accompanied by an oil painting on canvas. It is a painting that matches the tapestry and served as a template for the final tapestry. Finally, the tapestry is accompanied by another pointing on wood board. This final panting is of a coal mine. This is the setting before regeneration and regrowth have reclaimed this site, which is the theme captured in the final tapestry. In the foreground of the coal mine painting is the same gum tree described in the tapestry; however, it is grey and sickle with only 4 leaves visible at the top border, compared to the numerous leaves in the tapestry. Also in the foreground is a broken barb wire fence adding to the unwelcoming nature of the site. The colour scheme of this image is of dark greys and browns. A coal fired power plant can be seen in the final third of the image with four chimneys emitting plumes of smoke into the sky. In front of this power plant is the spiral shape of a coal mine, burrowing deep into the earth’s crust. Inside of the coal mine 3 yellow trucks are seen mining and transporting coal to the top of the mine.warm, community textile tapestry, knitting, community artwork, global warming

Mulga wood vase, Given as engagement present in 1947 by Ted's aunt.Mulga wood vase. Brown/orange in colour. Bark on the vase from original tree.Australian Mulga -|Made in Australia|(Southern series)domestic items, ornaments / decorative, handcrafts, woodwork, ornaments, wood

Colour photograph of blasting works during the construction of the Cardinia Reservoir, Narre Warren East, in the 1970s. Plumes of dust rise from the orange sand and rock. In the distance low treed hills are visible.

This model of the Brighton Municipal Offices was made by Alan W. Chandler. The Brighton Municipal Offices were designed by Kevin Knight of Oakley and Parkes with the engineers John Connell and Associates and were erected by Prentice Builders Pty Ltd. The foundation stone was laid on 13 February 1959 and the building was opened on 21 July 1961. The interior decoration and furniture was by Grant Featherston. As is common practice, an architectural model was prepared to present the final concept of the building for approval to the Brighton City Council. In February 1959 festivities occurred to celebrate the centenary of the municipality of Brighton. A garden party attended by two hundred Brighton residents was held in the grounds of the Brighton Town Hall. This model graced the centre of the lily pond during the event. The following day the foundation stone of the Brighton Municipal Offices was laid.Architectural model of a large public building in orange brick, the main cylindrical tower is set within a rectangular structure, with circular and oval roof structures. The model is set within landscaped grounds with paths, a water feature, several trees and bushes, lawns and flower beds.brighton municipal complex, brighton civic centre, brighton chambers, architectural model, model, alan w. chandler, kevin knight, oakley and parkes, architecture, municipal offices, municipal building, scale model

Fundraising badge sold by the Commonwealth Button Fund to raise funds for the victims of the Armenian massacres in the Ottoman Empire during the war. The button was designed by Frances Woolcot, the Honourary Organiser of the Melbourne Branch of the Commonwealth Button Fund. The design was approved in November 1917 and the buttons were sold on 30 February 1918 - £7,300 was raised on the day. Part of the button collection of Frederick HyamsRound metal badge in orange, blue, black and white. Desert scene with city, three palm trees and camels with riders silhouetted. Words printed under scene. Pin at back fits into slotServia Syria Armenia

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future).The sacred banksia tree was a favourite for Wadawurrung people. Flowering before deep Winter, the banksia was used for spear making and other wooden tools. The sap was drunk as a sweet drink and the seed pods used for water straining and fire sticks. The banksia tree flowers at the time when fire sticks farming is practiced marking the days before the coldest days and nights and the hotter days.White, orange, and yellow banksia design on outer cloak, yellow and white circle and diamond design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak

Contributor: T.H. KneenCardboard box of 108 35mm glass slides in metal frames made by "Gnome." Box labelled "Burnley Gardens Slides." Also 16 unused slides (1) Swan Street entrance c. (2) Orchid? b/w. (3) Nursery b/w. (4) Pasture area with man working b/w. (5) Draught horse working in the Orchard b/w. (6) Crop of corn in the Orchard c. (7) Magnolia c. (Magnolia x soulangeana). (8) Display of orange flowers c. (9) Lemon tree in the Orchard c. (10) Sign advertising 'Fruit Tree Pruning Demonstarion Sat. 2nd July (1949) c. (11) Jersey cow c. (12) Rock Point c. (13) Dahlias in the Orchard c. (14) Foundation Stone '28th August, 1946' c. (15) Felled Cypress tree 1951 b/w. (16) School truck in front of glasshouses and cacti b/w. (17)Administration Building completed but surrounded by rubble C.1949 c. (18) Plant Research Institute c. (19) Inside a glasshouse. c. (20) Administration Building c. (21) Group of female students dressed up for a function c. (22) Solenostemon (Syn. Coleus) in a glasshouse. (23, 24)Stock Matthiola incana. (25) Blossom in the Orchard c. (26) Orchard c. (27) Picking fruit in the Orchard c. (28) 2 female students holdong large bunches of poppies c. (29) Flowers growing in the Orchard c. (30) House - not Burnley c. (31) Students on an excursion c. (32) Staff member with Gladioli c. (33) Garden view - not Burnley? c. (34) Administration Building c. (35) Roses c. (36) Flowers in the Orchard c. (37) Draught horse working in the Orchard c. (38) Staff member amongst flowers in the Orchard c. (39) Garden view c. ((40) Blossom in the Orchard c. (41) Orchard c. (42) Flowers inside glasshouse c. (43) Mesembryanthemums in pots possibly in the nursery c. (44) Tree b/w. (45) Garden bed c. (46) Sign, 'Agrostology Branch, pasture Plant Research Field,' c. (47) Path to Principal's Residence c. (48) Irrigation in the Orchard b/w. (49) Cactus flowers b/w. (50) Garden view with T.H. Kneen children playing c. (51) (52) Cinerarias (now Pericallis x hybrida) in pots c. (53) Temporary building where the Grey Garden is now b/w. (54) Garden view b/w. (55) Unknown building b/w. (56) Person pruning in the Orchard c. (57) Students working in the Orchard c. (58) Swan Street with recently completed rock wall constructed by the Public Works Department b/w. (59) Lagoon paddock b/w. (60,62) Pavilion and new Administration Building before the Pavilion was removed b/w. (61) As (60) but viewed from a different direction c. (63) Plant c. (64) View through a window on the stairs in the Administration Building c. (65) Plant c. (66) Garden view of trees c. (67) Garden View b/w. (68) Blossom tree c. (69 )Garden view along path to Principal's Residence c. (70) Lagoon Paddock c. (71) Lagoon Paddock with cows b/w. (72) Inside a glasshouse b/w. (73) Entrance sign- Department of Agriculture Burnley Gardens, School of Horticulture & Primary Agriculture, Plant Research laboratory, Agrostology Branch, Fruit Preserving Branch c. (74) Plant Research Laboratory b/w. (75) Students on an excursion c. (76) Glasshouses b/w. (77) Garden view b/w. (78) Kniphophia c. (79) Hibiscus c. (80) Garden view c. (81) Dairy, Silo and dog b/w. (82) Irrigation in then Orchard b/w. (83) Garden view with magnolia c. (84) Flower plots in the Orchard c. (85) Pruning demonstration b/w. (86) Administration Building under construction c. (87) Rock Point c. (88) Mrs Kneen and Magnolia c. (89) Glasshouses c. (90) Sequoia sempervirens b/w. (91) Inside Administration Building c. (92) Luffmann Ponds b/w. (93) Sequoia sempervirend, Mrs Kneen and child c. (94) Garden bed in front of Sequoian sempervirens c. (95) Principals Residence b/w. (96) Poultry pens b/w. 1947 (97) Principals Residence b/w. (98) Student picking fruit from netted tree b/w. (99) Rock Point and Long Border c. (100) Administration Building under construction c. (101) Greenhouse b/w. (102) Rock Point c. (103) Flowers in the Orchard c. (104) Waterlilies in the Pond c. (105) Blossom tree c. (106) Hilda Kirkhope Rockery c. (107) Long Border c. (108) Plant Research Institute with flower border along drive c.burnley gardens, flower, nursery, pasture, draught horse, orchard, crops, magnolia, chicken coops, egg laying competition

Small cream ceramic pot with picture of tree and windmill painted on lid in brown, orange and yellow tonings. Lid has a hole in the centre. Round base.pot, containers

A stirrup pump is a portable reciprocating water pump used to extinguish or control small fires. It is operated by hand. The operator places a foot on a stirrup-like bracket at the bottom of the pump to hold the pump steady. The bottom of the suction cylinder was placed inside a bucket of water. Water was drawn by pumping the handle up and down to create suction. The pumps were used in a variety of settings to enable quick action if a small fire broke out. They were a vital tool in London during the Blitz of World War 11. On the local level they were also used for spraying fruit trees, plants and vines. The Crescent Tool Company was founded in 1907. The Crescent brand has changed ownership multiple times. It is currently owned by Apex Tool Group but still also trades as Crescent in Australia. This pump was donated by Geoff Williams of Wodonga and was used at "Orange Vale" farm at Oxley Flats near Wangaratta. "Orange Vale" was owned by Mr. Robert Williams. Widely known as "Uncle Bob". in the 1940s Mr. Williams opened up the family property, established in the 1860s, as a camp for young people from Wangaratta. By 1951, this had extended to catering to group camps for children from Victoria, New South Wales and Queensland. 250 children could be accommodated at one time and as many as 3,000 children enjoyed the facilities each year.These pumps were important in fire fighting in a range of settings and were adapted for use in agricultural and small farm settings,A brass stirrup pump with wooden handle. It consists of 2 parallel brass pieces, one with a foot piece attached to keep the pump steady. The base of the pump is fitted with a pierced metal filter that prevents grit and debris being drawn into the pump and fouling it. 2 butterfly screws enable adjustment of height and securing a hose.crescent tools, orange vale, fire equipment

Two newspaper cuttings pasted onto a sheet of paper. (1) "Golden fruit - girl students at the Burnley Horticultural College gathering a fine crop of oranges in the orchard." in The Argus, 16th July 1931.(2) student examining some blossom, with the caption: "Searching for thrips: the thrips menace has made its appearance again on fruit blossom in some districts of Victoria. This photograph, taken today at the Burnley Horticultural School, shows one of the girl students with a magnifying glass looking for the minute insects. A few isolated thrips have been discovered on the buds of some of the trees at the school."female students, oranges, thrips, students working outside, fruit, orchard, field station, blossom

The artist: Marianne Louise Charlotte Amalie Wehl (19 Sept. 1867, Mt Gambier; 26 Oct. 1926, Melbourne), a flower painter who was active in South Australia and Victoria, and not to be confused with Marie Magdalene Wehl. Connection with Baron von Mueller: Von Mueller’s younger sister, Clara married Doctor Eduard Wehl and they lived in South Australia. They had 14 children, 6 of whom collected and painted botanical studies – some now in the National Herbarium, Melbourne. A cousin of Doctor Wehl – Carl Wehl – married Sophia Caroline (née Gorte) and one of their daughters was Marianne Wehl. It is recorded that von Mueller visited the Wehls and D’Altons in Halls Gap (Henrietta D'Alton was also a painter of wildflowers), so it is hard to believe that there is no influence at least. Von Mueller had over 1,400 collectors/artists working for him and 225 of them were women and children. Their work is housed in the National Herbarium, Melbourne. The donor believes that Marianne contributed to this work. There is no record of that, however, as only 169 of the artists have been identified, it may be a possibility. Marianne was one of six children of Carl Jakob Wilhelm Wehl (1830–1899) and Sophia Caroline Wehl (née Gorte) (1843–1920). She never married. https://data.environment.sa.gov.au/Content/Publications/JABG34P001_Dowe.pdf The plants: All of the plants painted by Marianne Wehl's in this donation were identified by Botanist Neil Marriott & Wendy Marriott, in July 2022. Neil Marriott said that the quality and beauty of these botanical studies made it easy for them to identify all the plants. He suggested they may be some of the first paintings of Grampians wildflowers. This makes the paintings highly important scientifically and botanically. Visitors to WAMA will be able to compare them with today’s plants in the Endemic Garden. Neil marvelled that Marianne found the specimens, as some of them are endemic and found only in the highest parts of the Grampians (Mt Rosea, Mt William and Major Mitchell Plateau) and are listed as rare and endangered. Some of these same rare plants have now been propagated by the WAMA team and in winter 2022 were planted in WAMA's Endemic Garden. Left to right: (Neil's comments) Tetratheca ciliata - Black-eyed Susan. Common and widespread. Marianthus bignoniaceus –Orange Bell-Climber. Confined to drainage lines and winter-wet areas, generally well shaded. A most beautiful light climber with the Grampians being its only location in Victoria, but amazingly, it is also found in small numbers in the wetter parts of the Mt Lofty Ranges and on Kangaroo Island in South Australia. Although not strictly endemic, it has been propagated for planting in our endemic garden due to its rarity in Victoria. Leptospermum myrsinoides - Heath Tea-tree. Common and widespread. Spider Orchid Caladenia species- need my orchid books for accurate identification! Thryptomene calycina - Grampians Thryptomene. Grampians endemic but common. Epacris impressa - Common Heath - white flower form. Common and widespread NB In some records she is called Marianna (as the donor calls her) and in others Marianne. Wildflower art, Wildlife artGift of Barbara Crick in memory of Marjorie and Lachlan McLennanSix individual, small paintings of Grampians wildflowers, matted together and framed in a smooth gloss olive green simulating wood or bamboo.All are signed with the initials “M.W.” underlined, to the left or right of the stem of the plant. On the reverse side - Shield-shape stamp centre top: “J.A. Reynolds. Decorator & Picture Framer, 28 Sturt St., Ballarat”. Hand-written right of that in black felt pen at an angle, “McLennan, 106 Bennett Rd. (2)”.wildflowers, flowers, marianne wehl, marianna wehl, wama, painting, gouache, wildlife art museum australia, wild art museum australia, flower painter, works on paper, halls gap, botany, baron von mueller, ferdinand von mueller, carl wehl

CEMA Art Collection Previously located in History HouseThe painting depicts a small building surrounded by trees and shrubs. The building is completed in shades of white and grey with green window frames and door, and a pink/orange roof. Behind this is a partial view of another small building depicted in shades of pink. Surrounding the buildings are shrubs and trees of various shapes and sizes. The shrubs in the foreground are completed in various shades of green, yellow and pink. The work is unframed and glued to a piece of faded blue cardboard.Front: I. Watson '67 (yellow paint, bottom right corner) Back: Green label: Artist: Ina Watson 3 Palmer Street Portland Vic 3305 Title: Miss Beauvaise's Cottage (where Darby & Joan flat's now stand) Yellow Sticker: 3021 Yellow Sticker: 8 1999 written in pencilcema, female artists, female, women

CEMA Art Collection Winner of 1965 Portland Art Society Art Prize for category Any other medium.The drawing depicts the burnt remains of a mountain top. In the foreground are two mountain edges which are black with a patch of blue and patch of orange/brown. In the background are remains of several burnt tree stumps on a purple/brown ground. The work has a thin wooden frame, white painted hessian and glass.Front: M Macqueen 64 (signature, lower right, black chalk) Back: MARY MACQUEEN "BURNT MOUNTAIN" (1964) (lower left, typed label) 1964 (upper right, yellow sticker and also pencil)female artist, women, landscape

CEMA Art Collection Previously located in History HouseA house set amongst trees with a small body of water in front. The house has smoke rising from the chimney. Pinkish sky. On the water is a small wooden boat, and to the right of the house stands a person. In the background is a green hill with buildings set in the foothills. The hill and trees of the foreground are set against an orange/pink sky. The work has a gilded ornate frame with no mounts and exposed canvas. Signed front of painting bottom rightFront: Jessie Shevill 1894 Plaque attached to frame: The Lonely House Back: (no inscriptions)european painting, 1800s, country

For this series - refer to Cat No's 9546.7, 9547.4, 9548.4, 9549.5. Items in the collection of "William John Sullivan" VX 57829. Refer Cat No. 9523P for his service record.1 - 4. Hardcover books with dust covers. Hardcover - cardboard, green buckram with dark blue print on front and spine. All books have a front cover illustration of a scroll and anchor with the words "FEAR GOD HONOUR THE KING" Dustcover - paper. All pages, cut, plain off white colour paper. Illustrated in black and white and colour photographs, paintings, maps, sketches and diagrams. 200 pages per book. All end papers illustrated. 1. "HMAS" 1942. Dust cover - dark blue print front and spine. Illustrated stylized white Ensign flag with naval personnel. 2. "HMAS MK II", 1943. Dust cover white print on dark blue and red colour background front and spine. Illustrated - white ensign flag. 3. "HMAS MK III" 1944. Dust cover - red and white print on front and spine. Pale blue background. Illustrated - white ensign flag. 4. "HMAS MK IV" 1945. Dust cover, white and orange print front and spine on orange and dark blue background. Front - illustrated silhouette of a ship's funnel and gun in foreground with the sea, palm trees and hills in the background. Back - photograph and information of Australian War Memorial, Canberra.book series, ran, ww2, william john sullivan