Portrait of an old man in three quarter view seated in a black chair with hands clasped. Signed (L.r) 'Clifton '68'.clifton pugh, painting, portrait

Photographic tintype portrait of a child.fullarton, ballarat, willetts, man

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Photograph of an oil painting of a man from the Alma Figuerola photograph album. alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)

Photograph - black and white. Portrait of a man, well dressed in a plain suit, wearing a moustache.Foster, Pall Mall, Sandhurst.person, individual, portrait male, photograph. portrait of a man. unknown family collection.

Photograph - black and white. Portrait of a man. From chest upwards. Tight curly hair.Bartlett Bros. - Sandhurst.person, individual, portrait male, photograph. portrait of a man. unknown family collection.

Photograph - Black and white. Portrait of a man, wearing a cravat and buttoned suit, and a unassuming moustache.Bartlett Bros. - Sandhurst.person, individual, portrait male, photograph. unknown family. portrait of a man.

Photograph - black and white. Portrait of a man and a woman. Resting against a pillar, both very well dressed.Bartlett Bros. Sandhurst.person, group, man and woman, photograph. portrait of a man and woman. unknown family collection.

Photograph - Black and white. Portrait of a man. From chest upwards. Well dressed, tie/cravat. Wearing a thick moustache.Barlett Bros. Bendigo.person, individual, portrait male, photograph. portrait of a man. unknown family collection.

Black and white photograph. Studio portrait, half-length, of a young man with a moustache, wearing a suit with a posy on his collar.Front: Charlemont Sydney/ and/ Melbourne/ BY APPOINTMENT TO HIS EXCELLENCY THE GOVERNOR. (gold lettering, lower edge) Back: (no inscriptions)portrait photography

Photograph - black and white. Portrait of a man. From chest upwards. Well dressed, wearing tie/cravat. Wearing a moustache, thinned to points.Bartlett Bros. - Bendigo.person, individual, portrait male, photograph. portrait of a man. unknown family collection.

Sepia portrait of a man. He is standing beside a pedestal with a book in his right hand. His arm is resting on the pedestal beside his hat. He wears a three piece suit with a rather large coat.H. Glenny. Artist. Market Square, Castlemaine. Dublin & Melbourne Portrait Rooms,photograph, portrait, male in suit., portrait of a man, h glenny castlemaine

Photograph - black & white, portrait of a man. Very well dressed looking very official, wearing a sash, letters printed on it 'H A C B S'.Means 'The Hibernian Australasian Catholic Benefit Society', est. 1868John Lay - Eaglehawkperson, family, portrait, photograph. portrait of a man. insigna h a c b s on sash.

Professional portrait of unknown man wearing a pin striped suit, white shirt and tie. 1 B/W portrait of man in pin stripe suit, white shirt and tie26 2917 C.3association for the blind, elanora home (brighton)

A black and white portrait of an unknown man taken by John William Lindt.A black and white portrait of an unknown man taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A black and white portrait of an unknown man taken by John William Lindt.A black and white portrait of an unknown man taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

Portrait of a man in a suit.kevin livingston

Photographic portrait of a man.albert w. steane, steane, ballarat school of mines

This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.A painted portrait of a man.art, artwork, wendy bach, horsham campus art collection

Neville Bunning taught Ceramics at the Ballarat Technical Art School, a division of the Ballarat School of Mines. Famed portrait of a man.neville bunning, artwork, portrait, available

Port of Portland Authority archivesFront: (no inscriptions) Back: DON O'DONNELL (pencil, centre)port of portland archives

Port of Portland Authority archivesFront: (no inscriptions) Back: Capt Don O'Donnell/ HM/ '86 (pencil, centre)port of portland archives, captain donald odonnell

Port of Portland Authority archivesFront: (no inscriptions) Back: Will Sweetland/ Chairman/ PPA (blue pen, lower centre)port of portland archives

Tyree Mr JamesPortrait of bearded man in suitStawell Photographic Co Close Railway Station C. Hewitt. Managerstawell

The telephone number beginning with '9' against the artist's name on the back of the painting dates it as 1995 or later, that being the year this landline telephone numbering format was introduced.Unframed portrait of a man in ceremonial regalia.Handwritten notation on back of painting - "Jan Sebinski 97295172".