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.Nude study paintingart, artwork, justin mcguinescan, painting, nude, available (horsham), horsham campus, wimmera campus, horsham campus art collection

‘Adeney Avenue’ was the title given to this painting following its donation to the Kew Historical Society, yet the work’s origins predate the naming of Adeney Avenue in 1907 [originally gazetted as ‘Park Street’ (1865) and ‘Park Street South’ (1875).] Park Street ran between High Street and Parkhill Road beside what was later to become ‘Victoria Park’. This area was described in 1851 as “…a dense forest of gums and wattles which were to be largely cleared by 1888 after the naming of a recreation reserve”. The Reserve was still bisected by an unnamed creek in 1896, when the area was surveyed by the MMBW. The panoramic vista selected by the artist would appear to include ‘Eborensis’ (c.1895) on the corner of Parkhill Road and what was then Park Street, with views across cleared land towards the distant ranges. In the 19th century, north Kew was largely undeveloped farms stretching down to the Yarra. Oil on canvas by an unidentified artist of a panoramic view depicting what is now known as East Kew with mountains on the horizon. In the foreground is a two storey brick residence - Eborensis - located on the northeast corner of Parkhill Road and what is now Adeney Avenue. The view of the landscape and its rolling hills resulted from farming practices adopted following colonisation and settlement. Trees in the foreground and in the distance include remnant Eucalypts and introduced exotics.Label on rear of frame states "House on corner of Adeney Ave & Parkhill. [Regd. 254"]. Otherwise unsigned and undatedadeney avenue (kew), eborensis, park street (kew)

Photograph of painting by Alan Sartori called Desert Gums.Alan Sartori was a local Greensborough artist who captured many images of the local area.Digital image of a painting by a Greensborough landmark.alan sartori, eucalypts

Rural City of Wangaratta Collection, purchased with funds from the Wangaratta Art CouncilA rectangular landscape painting of trees and rocks at night painted in oil in shades of blue and brown.wangaratta art gallery, howard sparks, landscape, painting

abstract, contemporaryRural City of Wangaratta Collection, purchased with funds from the Wangaratta Art Council.An contemporary abstract painting using a wide range of colours with shades of white being prominent. Obverse: RESSOM/ (bottom right)wangaratta art gallery, richard ressom, abstract, painting

Framed abstract painting by Catherine Chapmansigned lower right "Catherine Chapman"painting, abstract, catherine chapman

Bookplate featuring an artist painting a nude"Nancy Johnson - Ex Libris"artist, painting, nude

Section of a painting owned by Ida Brown depicting her childhood family home. [Probably located in Williams Street, Greensborough]Photograph of section of painting.ida brown, richards angland family

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

Photograph of painting by Alan Sartori called 'Farmhouse East Gippsland.Alan Sartori was a local Greensborough artist who captured many images of the local area and beyond.Digital image of a painting by a Greensborough artist.alan sartori

1970 National Bank painting reproduction Fitzroy Bar, at the junction of the creeks by G.F. Angas 1851 Below the picture title the words - Reproduced by the National Bank in 1970 from the lithograph by courtesy of Dr. E. Graeme Robertson , Melbourne .At the foot of the painting are the words Gold Washing and Fitzroy Ophir diggingspainting, watercolour, g.f. angas 1851/

Lyn COOKE An artist specialising in wildlife, Lyn Cooke draws from the rich heritage of wildlife art in Australia beginning with the natural history illustrations of John William Lewin and John and Elizabeth Gould. Her aim is to accurately depict the natural environment and this is reflected in her highly detailed paintings. 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.Framed painting of a frog in landscape.Signed lrs 'L. Cooke'art, artwork, lyn cooke, frog, available, rainforest

This painting of the “La Bella” is associated with Flagstaff Hill’s collection of artefacts from the wreck of the “La Bella”. It was painted around the 1980s by maritime artist Philip J. Gray. Some 15 – 17 ships are believed to have sunk in Lady Bay, but only two have been discovered on the seafloor; the “La Bella” and the “Edinburgh Castle”. Both wrecks are popular diving sites and are preserved as significant historical marine and marine archaeological sites. The Kosnar Picture Framing and Mirrors Shop identified the "GRAY 3135, Y04/111" as their job number for the framing and said that the label "ANOTHER KOSNAR FEATURE" was last used before about 1990. About artist Philip J. Gray “Philip is one of Australia’s leading maritime artists and his meticulous research and social commentary paintings of ships, such as, the Loch Ard and Schomberg form an important part of Warrnambool’s Flagstaff Hill Maritime Museum.” [Dr Marion Manifold, Artist and Art Historian, 2014] Philip James Gray was born in London but has lived most of his life in Australia. He graduated from a London school of art as an illustrator, specialising in technical and scientific illustration as well as other commercial and applied art. He was also a student for a time of Fyffe Christie - British figurative artist, mural painter and humanitarian – who had a great influence on his career. Philip has always worked as a professional artist and illustrator. Many publications on maritime history have featured his work. His paintings have been released and sold all over the world as limited edition prints. The State Library of Victoria’s ‘Latrobe Collection’ holds two of his paintings. His street painting of ‘The Ashes Contest’ decorates the brick wall of Old Bakery Laneway in Sunbury and a Sunbury café owner commissioned him to paint the ‘Sunbury Pop Festival’ as a remembrance of local history. Philip has been an active member of the Sunbury Art Society in Victoria for several years, serving on the committee for some of that time and being involved in exhibitions. He enjoys helping new artists and sharing his skills and experience. About the “La Bella” The wreck of the La Bella lies at the bottom of the Warrnambool Harbour in Lady Bay. Some 15 ships are believed to have been wrecked there but only two have been discovered on the sea floor; the La Bella and the Edinburgh Castle. Both wrecks are popular diving sites and are preserved as significant historical marine and marine archaeological sites. The story of the final voyage of the La Bella is summarised as follows … The ship from which the sailors were rescued was the three-masted, iron and steel barquentine the La Bella, built in Norway in 1893. She was one of two iron and steel ships by Johan Smith, the company being one of the leading shipping families in Tvedestrand, Norway. She was significant to Norwegian shipping, being one of only 27 iron and steel ships ever built in Norway. La Bella was registered in New Zealand and engaged from 1902 in inter-colonial trading of timber in the pacific, between New Zealand and Australia and was often in Port Phillip Bay, Victoria. On 5th October 1905 the twelve year old La Bella left Lyttleton, New Zealand carrying a cargo of timber bound for Warrnambool, Australia . She was manned by a crew of twelve: the Master, (Captain Mylius, previously 1st Mate of La Bella, appointed Captain to La Bella on 6th February 1903) 2 Mates, Cook, six able seamen, one ordinary seaman and a boy. Bad weather en-route caused her to shelter at Burnie on Tasmania's North West coast. On November 10th, the 37th day of her journey, La Bella approached Warrnambool. Captain Mylius steered her towards Lady Bay Channel in heavy south-west seas and evening mist. He ordered the helmsman to steer for the light. As the ship came round, a tremendous sea struck her on the port quarter, causing her to breach broadside in a north-westerly direction into breakers. The helm was brought round twice more, but each time heavy seas broke over her, the third time throwing the La Bella on to a submerged reef in Lady Bay now known as La Bella Reef (about 100 yards from the Warrnambool breakwater). The sea was so rough that it even wrenched a one-and-a-half ton anchor from its fastenings and into the sea. As Captain Mylius headed to the steel wheelhouse, intending to send up a rocket flare, a huge sea slammed the steel door into him (resulting in massive bruising front and back) Despite his injuries he still managed to set off a blue light, which he held up in his hands. La Bella’s lifeboats were filled with sea water and broke up on their chocks. The blue light was the first indication to people on shore that there was a ship in distress. The Harbour Master, Captain Roe (who lived in the Harbour Master’s House opposite Flagstaff Hill), organised a group of volunteers to crew the lifeboat because the trained crew was unavailable; the crewmen were working on a steamer in Port Fairy at the time. He then poured oil onto the water to try and smooth the sea. At around 11pm three of the crew took shelter in the steel forecastle but the sea crashed into it and broke it up. While the rest of the crew and onlookers watched helplessly in the moonlight the bodies were washed away into the sea, never to be seen again. Some of the crew lashed themselves to the weather rail to keep from being washed away. Watson, the ordinary seaman, became tangled in the rigging lines and was too weak to move, so the 2nd Mate, Robertson, put a line onto him so that he wouldn’t wash off. Around 11pm three of the crew were unconscious from exhaustion. The situation on La Bella was becoming dangerous. The 2nd Mate moved to the ‘house’ and soon afterwards the ship slipped in the heavy sea. The lashings of the 1st Mate and the ‘boy’ Denham had kept them safe until about 2am when they were washed overboard; no one was able to help. One by one, the exhausted crew were being washed overboard, too weak to hold on any longer. During the night the La Bella had broken into two and the deckhouse ran out towards the sea. Two more men drowned when trying to reach the lifeboat. By sunrise the only survivors of the twelve were the Master, 2nd Mate and three seamen. Early in the morning Captain Roe used the rocket apparatus on shore to try and shoot a line to the ship for a safer rescue but each attempt fell short of the target. Several attempts were made by the lifeboat to rescue the stricken sailors, but the rough conditions made this difficult for the boat to get close enough to the ship and the lifeboat had to return to shore. During a final attempt to reach the ship Captain Mylius ordered his men to jump into the sea. Leonard Robertson, 2nd mate, jumped and swam towards the lifeboat, taking hold of the boat hook offered to him. Oscar Rosenholme managed to reach the boat floating on a piece of timber from the ship’s load and a third survivor, Noake, also made the boat. Along with the lifeboat rescue crew, 25 year old William Ferrier rowed his small dingy through the heavy seas and managed to rescue the Captain, whom he landed on the breakwater. Ferrier then returned to the ship to attempt a final rescue, losing his oars and rowlocks into the high sea. Using just a spare paddle he skulled towards the La Bella, reaching her stern in time to cut loose the lone surviving sailor, Payne, from the lashing that held him to the ship; the terrified sailor dropped from the ship and into the dingy. Shortly after the last man was rescued, the La Bella was lifted by a huge wave and crashed back down on the reef; she broke up and sank. The ordeal had lasted ten hours. The survivors were taken to the nearby Bay View Hotel and gratefully received warm food and clothing, medical attention and a place to sleep. In the following days an unidentified body of a young person was washed ashore; it was either Watson or Denham. The body was buried in the Warrnambool cemetery with an appropriate gravestone and inscription. William Ferrier became a national hero as news of the daring rescue spread. In recognition of his bravery in the two daring rescues he was awarded the Silver Medal for Bravery by the Royal Humane Society and was honoured in the letter from the Prime Minister and the Parliament of the Commonwealth, telegrams and a cheque for £20 from the Governor General, over £150 subscribed by the public, including Warrnambool and district and readers of The Argus, and a gold medal from the Glenelg Dinghy Club of South Australia. Ferrier’s rescue efforts are one of the most heroic in Victoria’s shipwreck history. (William Ferrier’s son, Frank, received a similar award almost fifty years later, when he helped rescue four members of the crew on the yacht Merlan, after it ran on to a reef near the Point Lonsdale Lighthouse. ) The wreck of La Bella now lies on her port side in 13 metres of sheltered water inside the reef she struck. The bow section is relatively intact and part of the stern has drifted north-easterly towards the mouth of the Hopkins River. The reef the La Bella struck now bears its name. Those five rescued from the La Bella were Captain George Mylius, Leonard Robertson (2nd Mate, 21 years old), R. Payne, Oscar Rosenholme and Jack Noake. Those seven who lost their lives were Mr Coulson (1st mate), Charles Jackman (cook) Gustave Johnson, Pierre Johann and Robert Gent (all able seamen), Harry Watson (ordinary seaman) and Jack Denham (ship’s boy). Captain Mylius was found guilty of careless navigation; he had sailed into the bay without the services of a pilot. His Master Certificate was suspended for twelve months. Later he was also charged with manslaughter of one of the crew who had died when the La Bella was wrecked, but found not guilty. The event’s adverse publicity and damage to his career took a toll on his health and he died of a heart attack six months after the wreck; he was only thirty-seven. His body was buried in the Melbourne General Cemetery. The La Bella was “the best documented of all sailing ships owned in New Zealand”. Her record books, ship logs, correspondence and supporting papers are still available. At the time of the tragedy she was owned by Messers David C.Turnbull and Co. of Timaru, New Zealand timber merchants and shipping agents, who had purchased her on 13th December 1901. A detailed account of the last journey of La Bella can be read in “Leonard Robertson, the Whangaroa & La Bella” written by Jack Churchouse, published in 1982 by Millwood Press Ltd, Wellington, NZ.This painting of the La Bella by Philip J. Gray is part of the La Bella Collection and is significant at both a local and state level. Its connection to the La Bella shipwreck and the rescue of five survivors highlights the dangers of Victoria’s Shipwreck Coast. The painting connects with other objects and artefacts associated with the wreck of the La Bella. This painting is significant because of its association with the sailing ship “La Bella” . the “La Bella” is of local and state and national significance. It is one of the only two shipwrecks discovered in Lady Bay, Warrnambool, out of the 15-17 shipwrecks in the bay. Large framed painting of the three masted barquentine "La Bella" fully rigged. Painted by Phillip J Gray. A fine printed line squares off the painting. Beneath painting and line is a gold plate with black copper plate designating "La Bella" is encased in glass, surrounded by a silver-metal frame. Yellow and brown paper label is adhered to back of painting. Picture framed by Kosnar in Melbourne."The La Bella" on gold plaque Logo of "K" inside a brown square. "GRAY 3135, Y04/111", "ANOTHER KOSNAR FEATURE" flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, painting, la bella, artist phillip j gray, maritime painting, lady bay warrnambool

Photograph of painting by Alan Sartori of the Tom Lane Pharmacy, a Greensborough landmark.Alan Sartori was a local Greensborough artist who captured many images of the local area.Digital image of a painting of a Greensborough landmark.alan sartori, tom lane pharmacy, main street greensborough

The painting was on public display in the Ballarat Town Hall. Photograph of an oil painting of William Collard Smith.portrait, william collard smith

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Painted using acrylics, ink and charcoal on canvas. This abstract image features what looks like two figures merged into one against a red background with sprays of black paint. liza posar, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, painting, graffiti

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Oil on cotton fabric. Image of two young boys standing beside each other looking out to sea. They are painted against a background of blue-green water and a clear blue sky. The pattern on the sand is repeated in the boys' swimming costumes. One of the boys has his head turned away from the water.leah mariani, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, painting, www.leahmariani.com

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Acrylic on canvas. Stylistic depiction of mountains in blue tones, set under a golden sky.amy mills, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, painting, www.amymills.com.au

Photo of the painting scanned by Morrie Forte 2011. "The Minns’ Hotel, the was originally a butcher shop, before owner George Minns transformed it into a hotel. It later became known as Mac’s Hotel, which remains a popular place in Melton today".Oil Painting by D C Power Minns Hotel Meltonlocal architecture

Timber framed oil on canvas. Painting depicts a woman sitting at a table reading a letter (her back to viewer). To her left on the table is a framed photograph of a WWII soldier, immediately in front of him is a poppy and behind him to his right, is a mantel radio and to his left, an oil lamp. Timber framed oil on canvasPlaque "Lilydale Art Society Inc / Spring Show Nov 18 & 19 1995 / "Australia Remembers 1945-1995" / Art Competition / 1995/ 1st Prize / Sponsored by Lilydale Sub Branch RSL / and "Australia Remembers 1945-1995 Assoc."

Professor Kate Leslie was ANZCA President from 2010 - 2012. The portrait was commissioned by ANZCA to mark the presidential term of Professor Kate Leslie and was unveiled at the ANZCA staff Christmas event on the 15 November 2013. The artist, Robert Hannaford, is from South Australia and was a political catoonist. He has a long history of painting portraits of politicians and distinguished professionals in the field. Oil on canvas portrait of Professor Kate Leslie wearing the Presidential medal without the Presidential gown. She has her arms casually crossed in front with legs crossed, and is seated in front of a plain brown background. The painting is set in a wide timber frame.[lower RHS] HANNAFORD '13painting, leslie, kate, anzca president, hannaford, robert

Small square tin, used for tea leaves. Cream colour with gold & black printing. Paintings.Teedose. English Afternoon Tea. 250g net. Painting of an afternoon tea scene with mother & two children.

Maude Glover-Fleay b. 1869 was a painter who studied under Frederick McCubbin. Glover-Fleay was regarded for her natural history subject matter. She was also a writer and music teacher, and in the 1930s she established a reputation for painting Australian marsupials. Her works are inlcuded in the Art Gallery of Ballarat Collection, Victoria significant as a work of art by a modernist-era woman artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture watercolour picture of a fallen treesigned: Glover-Fleay '30 pyrenees, maude glover-fleay

Ann FERGUSON (1939- ) Country: Wingetllina Area: Alice Spring, Kalka/Pipalyatjara Language group: Pitjantjarara Ann Ferguson (Ann Cleary Nyankulya Bnaka) is a member of the Stolen Generation, she was removed from her family and take to Kalgoorlie Mission, South Australia. She started painting in 1973 when her care givers noticed her artistic talent. Ann Ferguson is also a basket weaver, carver and lino block printmaker at Indulkana Community, South Australia, Acrylic painting on stretched canvasaboriginal, bushfood, anne ferguson, bush food, bush foods, ann cleary, ann ferguson, indulkana

Original painting of the Isolation Ward done by student nurse Una J Fitts in 1921. Una graduated in 1922.Original watercolour painting of a building with two trees in front in a wooden frame with glass cover and cardboard mount.Signed by Artist- U Fitts On the back, an article from a "The Alfred" - Dec, 1941 called Memory of 'The Cottage" by GAM.building

PETER CLARKE (1935 - ) Born Deloraine, Tasmania Peter Clarke was both artist and teacher. He held 14 exhibitions between 1957 and 1977, as well as participating in a number of group exhibitions, including Contemporary Australian Painting shown in Los Angeles and San Francisco. He is best known for large colour-field works. Peter Clarke's abstract painting emphasises texture, colour and gesture. He won the George Crouch Memorial Prize in 1967 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.Abstract painting with black, red, yellow, green, blue and white predominating.art, artwork, peter clarke, clarke, abstract, colour-field