Reproduced by kind permission of the Australian War Memorial by Royal Australian Survey Corps 1985. Brown wooden frame with gold inner trim & glass front. Mounted with white border & brown paper frame backing. Copy of coloured painting of Landing At Duc Thanh. Original by B Fletcher.Brown wooden frame with gold inner trim & glass front. Mounted with white border & brown paper frame backing. Copy of coloured painting of Landing At Duc Thanh. Original by B Fletcher.RHS bottom corner: Artist's signatureroyal australian survey corps, rasvy

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

A four door Chinese screen held together with six hinges. Brown embossed frame. Decorated with white trees, birds & flowers of bone & mother of pearl. When folded it's 94 centimetres high, 27 centimetres wide and nine centimetres deep. When it's unfolded it's 1100 centimetres wide.Embossing all over framehandcrafts, carving, chinese embossed screen

Two oval tins one is a Yardley's Old English Lavender Solidified Brilliantine with a picture of a lady with two children and dog on top of the tin. The second one is named, The Devon - Concrete Brilliantine, with a picture of two horses and riders with a dog and houses in the background. It has solidified brilliantine inside.Yardley's Old English Lavender - Solidified Brilliantine - Picture of lady with two children and dog on top of the tin. The Devon - Concrete Brilliantine - Two horses and riders with a dog and houses in the background.tins, containers, hair oils, hair toiletries

Born: Mount Duneed, Victoria, Australia 1867; Lived and worked: England 1897-1919; Died: Olinda, Victoria, Australia 1943Heidelberg SchoolLedger Gift, 1977Harbour scene with large ships, buildings, water and a grey sky. Timber frame.Recto: Signed "A Streeton" in dark grey oil in l.l.c of composition; Date obscured by framing; Not titledpainting, seascape, maritime, ships, dock, clouds, sky, industrial

Six framed diagrams of loom operation. The original framed works were deaccessioned, with digital images remaining in the collection.Six digital TIFF files, depicting four framed and two unframed diagrams of loom mechanics and operation, each showing a different process:textile mills, textile machinery, diagram, loom, gordon institute of tafe

Kalorama Memorial Reserve was once the location of 'Mountain Grange', the property of Thomas and Eliza Hand. The pine tree pictured was reputedly planted by Mrs Eliza Hand in the 1880s. Thomas Hand died in 1888 when he was thrown from his horse on Inverness Road. The photograph was taken in 1974 and the pavilion pictured is no longer there. John Lundy-Clarke grew up in the Kalorama/Mt Dandenong area and later in life (1972-74) began to write a comprehensive history of the area working from an original settlement map in an effort to cover all areas.Black and white photograph showing a large pine tree behind a pavilion. Handwritten description on reverse by John Lundy-Clarke.Hand’s pine tree in Kalorama reserve. Planted 1874 approx. Pictured 14-3-73.kalorama memorial reserve, kalorama oval, mountain grange, thomas hand, eliza hand, pine tree, pavilion

This work forms a pair with Untitled #3 (fox bones – ordered) / This work draws on ideas of death and the traces of a body that death leaves behind / The work aims to confront the viewer with the concept of death, but it is not morbid or macabre in its consideration of it / Instead of fear the work presents a quiet and beautiful image that aims to portray a feeling of acceptance in the inevitable destruction of one's body / In this work the bones of a deceased fox were meticulously cleaned, bleached and layed out for photographing / No digital manipulation was used to arrange the bones / The same bones from the same fox were rearranged and used for the other work in this series.This work was completed in 2012 as part of the artist's residency in 2011 at Birrarung, Laughing Waters (Laughing Waters Artist in Residence program - LWAIR) managed by Nillumbik Shire Council / Works produced there take inspiration from the natural landscape and the creatures living within that particular environment.Print - A digital photograph printed on hahnemuhle photo rag paper / edition 2 of 8 + 2 artist prints / Individual fox bones placed/layed out on a white background and arranged in an outward circular pattern. Beige/neutral in colour / Blonde timber frame. No signatures / no personal markings / no framers identified.digital print / fox / bones / pattern / photograph / laughing waters / birrarung / imam / death

Metal frame with stand containing black and white photograph of a group of soldiers from HQ Coy 38 Bn taken n Seymour in July 1941."David HUGHES" "B/35 Mis Hughes” (Back of Frame).38th bn, seymour, photographs

The Kokoda Track (or Trail) is a single-file thoroughfare that runs 96 kilometres (60ml) overland) - 60 kilometres (37ml) in a straight line - through the Owen Stanley Range in Papua New Guinea (PNG).The trail was First used by Europeans in the 1890s by miners struggling northwards to the Yodda Kokoda goldfields. During the Pacific War of World War 2 a series of battles were fought from July 1942 to January 1943 between Japanese and Australian forces.One of the bloodiest campaigns of World War 2,which has forever sealed the relation ship between Australia and Papua New Guinea began 61 years ago. This Photographic Memorial is dedicated to those Australian and Papua New Guinea forces who fought against the Japanese with courage and fortitude on the Kokoda Trail.Rectangular shaped glass covered picture frame showing a collection of photos,two flags and a Rising sun badge. The Kododa Trail.kokoda track, world war 2, papua new guinea, australian forces, lara r.s.l.

Small circular print in a brass porthole type frame with a hinge on one side. The picture is of a model boat and books.picture illustration reproduction

Colour photograph of a Vietnamese woman sewing a South Vietnamese Flag. The picture is in a black and gold frame with a cream mat.Va~Co'south vietnamese flag

A Colour picture in white frame of a long house with a swimming pool at the front and a sign said "No beer past here"Peter Badcoe Club Vung Tauhistoric landscape image, photograph, vung tau

Religious picture of flowers and 'Christ Jesus Came Into The World To Save Sinners'. Black frame crossed at each corner.domestic items, ornaments / decorative

Margaret Winfred Tarrant, (1888 - 1959) was born in Battersea and was a prolific English illustrator that created posters, greeting cards, calenders, postcards and books for fifty years. She was most popular during the 1920's and 1930's for her romantic depiction of children, fairies and animals.A picture (print) of a painting by Margaret Tarrant of six children playing.- in wooden frame. See Supplementary File for NA248.illustrations, prints

Picture Arthur J Howe in black plastic frame metal clips on reverse side and cardboard backing with standVX54764 Authur J Howe 2/5 Infantry Battalion AIFpicture, wwii, 2/5 infantory battalion

Large white photo album with picture of elegant lady in oval frame with gold embossed pattern on front cover. "Presented to Grace from Ethel". No. 45 for 240 postcards.postcards

The image portrays how the Celia Little room (Celia Little plaque on the wall) was used mid 20th C. and date of similar image (see record 0221) The inclusion of the bell from the 'Moreton Bay' vessel dates the image to post 1957 when the bell was presented to the Mission. Used as a sitting room or lounge area at the Mission to Seafarers Melbourne. The image also shows the style of dress and style of magazine covers of the time. On the table stands the shield for the annual competition by crew of merchant ships presented by Wally Nancarrow, Sydney. (see item 0608)The photograph is significant in that it captures the essence of the Mission to Seafarers mid-20th century. It identifies the main use of the Celia Little room as a reading area. It also helps date and track locations of other objects in the heritage collection. A black and white photograph of two men in the Celia Little room at the Mission to Seafarers Melbourne. The top left of the photograph is a bell fixed to the wall that has a bell pull with a long piece of decorative knot-work attached to the clapper. The room is set up as a lounge area with at table left of the centre against the wall. The table is laden with magazines and papers on top of a tablecloth. A picture frame is sitting on the table and leaning against the wall that has a 'shield' or 'coat of arms' displayed. (see also VC records 221 and 0608) One of the men is standing central in the photograph, in a white jumper holding a magazine and half turned towards the wall.The second man is sitting in a chair in the bottom right side of the photograph and appears to be reading. A few tops of chairs are seen at the very bottom of the photo and on the wall are a plaque to the left, a framed picture to the right of the first man's head and another in the far right top corner. The room appears to be lit from the left.melbourne, bell, men, magazine, chairs, wains coting, papers, mission-to-seafarers, celia-little-room, bell-pull, picture-frame, 1940s, celia little, plaque, shield, soccer, football

Soldier at this time is not specifically known.Heavy timber frame, glass front, border surrounding a black & white photo of an Australian Soldier seated behind a water cooled machine gun. Soldier is holding controls & looking along the top of the gun. Alongside is an ammunition box with belt fed ammunition going to the chamber. Written on frame rear: "Bernie Hinton"photography-photographs, frame accessories, military history - army, portraits

WHEN VIEWED THROUGH THE STEREOSCOPE THE TWIN PICTURED SLIDES APPEARED AS A SINGLE PICTURE IN THIRD DIMENSION. PATENTED 11TH JUNE 1901. STEREOSCOPE & SLIDES OWNED BY AN EARLY CLUNES RESIDENT, GEORGE TAYLOR, GIVEN TO HIS GRANDSON, CHARLES FENTON IN 1987HAND-HELD STEREOSCOPE WITH ADJUSTABLE FRAME TO HOLD SLIDES AND 33 ACCOMPANYING SLIDESlocal history, photography, photographs, slides, fenton

Kenneth Flecknoe was president of the Ballarat School of MInes School Council. He was a member of the Council from 1975 to 1988. He was the President from 1981 to 1988.Framed coloured photograph on canvas of Kenneth Flecknoe in a suitBrass plaque attached to frame: "Kenneth Joynson Flecknoe Member SMB Council 1975-1988 President 1981-1988"president, ballarat school of mines, kenneth flecknoe

The Australian Navy's first flagship, the battle cruiser HMAS Australia (I) was the centrepiece of the 'Fleet Unit', whose acquisition signalled the RAN's arrival as a credible ocean-going force. The Commonwealth Government decided upon the name Australia, and it proved a popular choice, carefully avoiding any suggestion of favouritism towards any one Australian State. Notwithstanding some construction delays, John Brown delivered Australia £295 000 under budget. Following successful gun, torpedo and machinery trials she commissioned as an Australian unit at Portsmouth, England, on 21 June 1913 under the command of Captain Stephen H. Radcliffe, RN. Two days later the ship hoisted the flag of Rear Admiral George Edwin Patey, MVO (later Vice Admiral Sir George Patey, KCMG, KCVO), who had been selected to command the Australian Fleet. In company with the new light cruiser HMAS Sydney (I), Australia sailed from Portsmouth on 21 July 1913, and their voyage home was seen as a further opportunity to stimulate public awareness and naval sentiment around the British Empire. Arrangements were made at the first opportunity for the flagship to visit many of the principal Australian ports. On the outbreak of World War I Australia (I) operated (with other ships of the Australian Fleet) as a counter to the German East Asiatic Cruiser Squadron under Admiral Graf von Spee. On 11 November 1918, the signing of the Armistice brought the fighting in Europe to an end. On 21 November, the Grand Fleet came out from the Firth-of-Forth in two divisions to meet the German High Seas Fleet steaming across the North Sea to be interned at Scapa Flow. Australia (I) had the honour of leading the port line at the head of her squadron. After returning home Australia (I) resumed the role of RAN flagship. A year later she played the leading part in the naval activities associated with the visit of the Prince of Wales in HMS Renown, but her time was rapidly running out. In November 1921 she returned to Sydney and the following month was paid off into reserve on 12 December 1921. Less than three years later she was prepared for scuttling to comply with the terms of the Washington Naval Treaty of 1922, which provided for a reduction in naval strengths. The RAN had already removed some of the ship's equipment for use in other warships, and now began the deliberate scrapping of Australia (I) by extracting piping and other small fittings. She was towed to sea by tugs and sunk along with her main armament in position 095 degrees, 24 miles from Inner South Head, Sydney, on 12 April 1924. Extracts from http://www.navy.gov.au/HMAS_Australia_(I)Teak frame photograph Metal Plaque on frame: HMAS Australia First flagship of the Royal Australian Navy 1913-1920 Sunk under terms of the Washington Treaty 12th April 1924 navy, world war one, australia, war, wwi, flagship, hmas australia, ran

This booklet provides a general picture of Prahran as it developed from the first Crown land sales of 1840 to its amalgamation with the City of Malvern in 1994This booklet provides a general picture of Prahran as it developed from the first Crown land sales of 1840 to its amalgamation with the City of Malvern in 1994prahran (vic) - history, toorak (vic) - history, armadale (vic) - history, (ms) betty malone

Used in the mid-seventies in petrology laboratories of BIAE.A petrographic optical microscope, with three objected lens turret. Black enameled frame, chrome components. Blonde polished wood storage box.TOWER No 19621. On frame self-adhesive sticker: "Ballarat CAE GEOLOGY"ballarat cae geology, microscope, petrographic microscope, scientific instruments, lens