This artwork was purchased by Patricia Davies (previously Boyd). Nine frames of boats on the sea in blues and brown tones. Signed and dated DOROTHY BRAUND '74 in lower right.dorothy braund, patricia boyd, robin boyd, walsh st artwork, ohm2022, ohm2022_36

This type of wrench or spanner was used as a service tool for H. V. McKay Pty. Ltd. manufactured agricultural machinery. This specific tool belonged to Albert (Bert) Montgomery of 11 Kamarooka St, Albion. Bert Montgomery was born in Sunshine and in 1910 was apprenticed as a carpenter with Sunshine Harvester Works, where he worked as a wood machinist. On 19 August 1914, while still an apprentice, he enlisted in the First AIF. He left McKay's and started business as a builder probably just prior to WW2. After the war he joined the Shire of Braybrook as Assistant Building Surveyor until he retired. In 1962 Bert and his friend Jack Causon (proprietor of an Anderson Road second hand store that previously was Les James grocery) were on a fishing trip to Lake Tooliorook (aka Ettrick) near Lismore, Victoria. Their boat capsized and both fishermen were drowned. Bert was a Past President of Sunshine RSL and at that time it was reported that his funeral was the largest that Sunshine had seen. The information about Bert Montgomery was supplied by a Committee member of the Sunshine & District Historical Society Inc. who spoke to Montgomery's daughter, who also donated the tool. This tool serves as a reminder of the large H. V. McKay agricultural manufacturing works that once existed in Sunshine. The tool is associated with the works, and the design is significant enough for images of the tool to be used in an artistic mural, which is painted on the Eastern Pillar of the new H. V. McKay Footbridge in Sunshine, Victoria 3020.Curved double ended rusty cast iron wrench with 4 open slots plus 2 closed slots'H V McKAY' on one side and 'D324' on the reverse sideh. v. mckay pty. ltd, d324, d324 wrench, d324 spanner, agricultural spanner, antique wrench, agricultural tool, albert montgomery, jack causon, lake tooliorook

Rick Amor was a good friend of three times Archibald Prize winner Clifton Pugh, living and working at Pugh's artist colony Dunmoochin, (Cottles Bridge) during the 1980-1990s. Amor made frequent outdoor painting trips with Pugh. His studies of Williamstown and areas around the port fuelled a period of sustained painting in his studio at Dunmoochin. Amor is an artist of national significance who had lived locally in Dunmoochin (Cottles Bridge) during the time of this work's making. This painting was exhibited/entered into the 1993 Shire of Eltham Art Awards. The work is representative of Amor's style and interest in seascapes as subject matter. Oil on linen, seascape painting. A solitary and motionless male figure in an overcoat stands at the edge of a dock/jetty with his hands in his pockets looking out to sea with his back towards the viewer. A motorised boat is moored close by and a white house with a blue roof can be seen in the distance. The figure is engulfed by the landscape and a resounding sense of desolation. A storm is brewing; the mood forecast by dark, heavy and thick ominous clouds, alternately darkening with the approach of night, a polluted haze and rough seas. In red paint, lower right, signed 'RICK AMOR '93'amor, seascape, painting, personal, boat, dramatic, atmospheric, ekphrasis 2015, dunmoochin

Piers Bateman was a local artist, held in very high esteem by his peers and community. He was born in Perth in 1947, moving to Eltham in 1955 as a young child with his family. In 1966 Bateman moved to London for eighteen months to develop his craft. In 1969 he settled in St Andrews, where he built a studio. The St Andrews locale is said to have been a strong influence on his work. Bateman’s talent was such that he was promoted and mentored by such ilk as Charles Blackman, Clifton Pugh and Arthur Boyd, among others. Bateman’s work is an intimate dialogue with the environment, renowned for his paintings of the outback, wilderness frontiers and the sea. He spent a year in the mid-seventies sailing the Greek Islands and the French canals to Amsterdam. In 1980 Bateman and Marcus Skipper embarked on a trans-Australian venture to the red centre and across northern Australia from Cairns to Broome. In the mid-eighties Bateman returned to the Mediterranean, before returning to the Australian outback in the late-eighties. His international career continued on an upwards trajectory between the Australian outback and European seas, providing a unique contrast throughout the course of his career. Bateman's work questions our relationship with the natural world, and in particular, reconciling our colonial heritage with our indigenous past. This line of questioning and his genuine response to place is the key to Piers Bateman’s work, for which he is lauded and celebrated. On September 4th 2015, Piers Bateman died in a boating accident on the NSW coast line. Piers Bateman was an instinctive painter whose inspiration came from nature. He reworked and scraped off the paint, moving it around until forms and colours of the landscape took shape. Although Bateman lived in Spain and Italy, his time in Europe made him aware of the contrast between the two continents and the bright clear light that defined the Australian landscape. At the time of this work, Bateman was living in St. Andrews, but travelled regularly to New South Wales and South Australia on painting trips. The ‘Grass Tree’ Xanthorrhoea johnsonii (commonly known as ‘blackboy’) is indigenous to these areas. It is a uniquely Australian, slow growing plant with twenty-eight species growing within Australia. Old examples of this tree are survivors of many wild fires, which can cause their blackened trunk, of one to two metres, branch into two or more heads. These heads consist of thick, rough corky bark, surrounded by long, wiry leaves and flowers that produce seed capsules with hard black seeds. The tree’s ability to be one of the first to flower after a wild fire ensures a food source for many insects and birds.Oil on canvas painting. Detail of three grass trees resting on the side of a mountain/hill. Green and gold palette throughout depicting the colours and light of the Australian landscape. Hand written, low right in capitals: 'BATEMAN'bateman, grass trees, xanthorrhoea johnsonii, landscape

Cypress Gardens was built by Bert and Flo Foster to encourage holiday makers to visit Yarrawonga Mulwala and enjoy aquatic pursuits. Boats were accommodated. Built in the 1950’s and opened 19th December 1959, demolished around 2000, land sold and luxury homes were built along the lakeside. Four fold coloured ( red, black, blue, yellow) brochure, printed on both sides featuring black and white photos. Taken around about and inside resort buildings. tourism, advertising, aquatic sports

Originally framed by William Hayward, carver - gilder and picture frame manufacturer 54 Upper Richmond Road, Putney, EnglandFramed needlework sampler - five lines of alphabet and numbers worked in red cross stitch on a light brown material, followed by a verse, then a house, birds, boat, windmill, animals worked below. Cross stitch sampler. (See 'Other Information' for verse).Signed in cross stitch by the embroiderer, Sarah Moats, aged 10, 1836.handcrafts, embroidery

Tribute Certificate from the Citizens of the Shire Of Dandenong.A tribute from the Citizens of the Shire of Dandenong..."James Mathew McQuade".... No 7038 23 Reinforcements 7th Battalion....Australian Imperial Forces... In appreciation of his Patriotism in Enlisted for the Service of the Empire in the Great War which began on 4th August 1914,..... Signed by President/Councillor/Shire Secretary,,,, Seal of The President Councillors & Ratepayers of the Shire of Dandenong. The certificate is surrounded by---Various flags including Union Jack and Australian Red ensign/ photographs of His Majesty the King, Right Hon.Sir Edward Grey Bt MD Lord Kitchener/ Actual Photograph of the beach where the Australian and New Zealanders landed landed at Gaba Gallipoli. Taken by Sergeant Robt.Carnie Inset is small view of the men landing from the boats. THE CERTIFICATE IS ENCLOSED IN A WOODEN FRAME

Colin COLAHAN (1897-1987) Born Australia Colin Colahan was a student of Max Meldrum, and was one of the first tonalist painters to have his work purchased by the National Gallery of Victoria. He contributed cartoons to 'The Bulletin'. Colahan was working in Paris in the 1920s and had a studio in Mont Martre. He returned to Melbourne by 1927. He next lived and worked in London in 1936 for the next 22 years. During World War Two his house in Chelsea was bombed and everything destroyed. Some photographs donated to Xavier College, his alma mater, are the only evidence of the destroyed work. Cola ham was an Australian War Artist after 1942, with over 90 of his works held by the Australian War Memorial. He moved permanently to Itsly in 1958. Images of a framed watercolour by Colin Colahan. Signed lr "Colin Colahan 1915"colin colahan, watercolour, boats, coast, beach

B/W no sound 16 mm. Operation Float 1960, showing large numbers of Junior Legatees assembling at the Royal Victorian Motor Yacht Club, getting on and off motor boats and enjoying time on the water. 3 mins 6 seconds. TBC This film has been digitised to preserve its content. Melbourne Legacy gratefully acknowledges the support of the Victorian Government and Public Record Office Victoria for making this possible.Motor boat owners appear to thoroughly enjoy entertaining JLs which is indicative of how much the community valued the work being done by Legacy to care for fatherless children.A spool of film in a blue metal canister showing Operation Float.Canister lid, Supreme Films Pty. Ltd. J.Bushelle Legacy 1970, ftge 224 feet, Legacy Week 5-min Normie Rowe film (handwritten) comp.print, c.4/9/70 (crossed out), 30-8-70 11-15 Young Street Paddington N.S.W. Australia ???0531 operation float, junior legatee outing

Slides showing some of Legacy's work with junior legatees in 1961 and 1962. Most appear to be of Operation Float which was when Melbourne Legacy would take Junior legatees on an outing. It could have been to naval boats such as HMAS Cerberus or to a Yacht club. It gave the junior legatees the opportunity to see a naval boat in action or try sailing.A record of the types of events provided to Junior Legatees33 x 35mm photos surrounded by cardboard border.Various, according to the photo.junior legatee, operation float

From the Wyuna, a twin-screw diesel electric pilot cutter. Introduced in 1953 and served with the Port Phillip Sea Pilots until 1979.The MV Wyuna served as a Pilots tender from 1953 to 1979 before fast pilot boats were introduced. During this time the Wyuna would lower a work boat to transfer a pilot onto a ship which would have had to come to a full stop to allow transfer, thus losing time and extra fuel. Today the fast pilot boats come along side a still moving vessel to allow pilot access outside Post Phillip Heads. Brass ships clock from galley of pilot vessel Wyuna. White face, black roman numerals. port phillip sea pilots, mv wyuna, gally clock

In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. Charles Keefer established this landmark boat hire business in the early twentieth century, shortly after he had built municipal baths at Beaumaris. The original boat shed was damaged in a storm in 1934 and burned down in 1984.Annette Meikle, Keefer's boat shed 1977, ink and watercolour, 33 x 53.5 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, port phillip bay, coastline, beaumaris, keefer's, keefer's boat shed, jetty, boat shed

watercolourlandscape, beach, brighton, coast, water, boat, charles douglas richardson, cd richardson, c douglas richardson, bayside, mountain, bay

watercolournorth road, brighton, coast, landscape, boat shed, elsie barlow, boat, port phillip bay

watercolourcoast, water, landscape, boat, red bluff, half moon bay, sandringham, cliffs, william oliver, bayside, port phillip bay

Sybil Craig, Half Moon Bay c.1930, pencil and watercolour, 21 x 18.8 cm. Bayside City Council Art and Heritage Collection. Purchased 2020.half moon bay, sybil craig, bayside, coast, bathing box, bathers, black rock, boat, landscape

acrylic on papersandringham, craig gough, night, rotunda, coast, boat, port phillip bay, sandringham band rotunda, half moon bay, rooftops

charcoal on papersandringham, craig gough, coast, boat, port phillip bay, sailing, black rock jetty, pier, half moon bay

charcoal on papersandringham, craig gough, coast, boat, port phillip bay, sailing, half moon bay, ship

charcoal on papersandringham, craig gough, coast, boat, port phillip bay, sailing, half moon bay, roof tops, palm tree

charcoal on papersandringham, craig gough, coast, boat, port phillip bay, sailing, half moon bay, palm tree, sandringham band rotunda, fountain, rotunda

William Withers and Edward Ryan drowned near Point Lonsdale on 19 October 1954 when they tried to enter the Rip at Port Phillip Heads against an ebb tide with a strong south-west wind blowing. They were sailing a large crayfishing boat, the 'Robert John', returning with a load of crayfish from King Island.Photograph shows William (Bill) Withers and Edward Ryan who worked in the local Queenscliff and Victorian fishing industry. The commercial fishing industry developed in Queenscliff from the 1860s, with early fishing developing around the couta boat and barracouta fishing. Crayfishing and shark fishing also became important, especially as the supplies and popularity of barracouta as a commercial species waned. Local Queenscliff fishermen often fished outside Port Phillip into Bass Strait and had to navigate the dangerous entry to Port Phillip, known as 'The Rip', with its turbulent and variable water and weather conditions. This added to the everyday dangers of sailing faced by fishermen in their industry. The local fishermen often had the local knowledge of these waters, but the fishing community in Queenscliff also lived with the threat or fear that the Rip could rob them of one of their own. The entrance to Port Phillip with this Rip is the scene of many shipwrecks,often resulting in tragic loss of life or injuries, including passenger and cargo ships travelling to/from Melbourne and Geelong as well as accidents to local Queenscliff and Port Phillip sailors such as the fishermen or sea pilots. A B/W photograph of two Queenscliff fishermen, William (Bill) Withers and Edward Ryaninformation about photo and donation handwrittten on backfishermen, queenscliff fishermen, withers, william withers, ryan, edward ryan, robert john crayfish boat, shipwreck, port phillip

The Child's Education magazines were published for British teachers between 1924 and 2007 to help them plan activities for the season ahead. The internal pages contain a variety of lesson ideas in the form of a music, art or craft activities. This copy was donated to the Kew Historical Society's collection by the Preshil archives.This 1958 periodical, sourced from the Preshil School. is interesting as it represents the continuing influence of English education and culture in the Australian curriculum in the late 1950s.20 page newsletter containing artwork and articles on the theme shipping and boats. Text on page 3 describes the subject of the issue as 'Around our Coasts'. This is amplified by the text as: "In preparation for the children's seaside holiday, descriptions and pictures of ships, boats and lighthouses, and their work are contained in this issue. Suggestions for handwork are also given. The wall picture [not included with this item] in full colour illustrates many different ships which the children might see at the seaside or on a river estuary."periodicals -- child education uk, themes -- shipping and boats, messrs evans bros ltd

The donation was accompanied by the following letter from the donor: "Hi. I found these in with family photos. Taken by family as Mamie McLeod was living in Fellows Street, Kew, so would be near there. Retain (or discard) as you see fit." [Donor's name and address withheld from public view]. To gain an insight into the flood levels at Kew, it is worth reading newspaper accounts of the event. The Age published an article - Valuable Gardens Destroyed at Kew - on 25 September 1916: "VALUABLE GARDENS DESTROYED AT KEW. From the heights of Studley Park, Kew, a splendid view of the flood waters can be obtained, and yesterday afternoon, despite continuous rain, crowds of citizens assembled there to witness the spectacle. There is a vast stretch of water some 300 or 400 yards broad, above the foot bridge connecting Gipps-street, Collingwood, and Studley Park. The river is only about 3 feet from the top of the embankment connecting with the ramp of the bridge on the Studiey Park side. When the upper llood waters come down it is almost a certainty that tne embankment will be submerged and the bridge rendered impassible. Below the bridge the waters again stretch out, and have submerged all the low-lying land on the Collingwood side and invaded the back premises ot the Kodak Co., Phoenix Biscuit Factory, a tannery adjoining thereto, the Shamrock Brewery, and Chinese gardens in the vicinity. At Walmer-street-bridge, at the end of Studley Park, the low-lying land on the Kew side is covered with water to the depth of many feet. Tlie land in question is owned in a great part by Mr Frank Lavers who haa gone in for intense culture on a pretty liberal scale on both the slopes of the hill and on the river flat. On the latter he is cultivating many acres of asparagus, and has at a considerable cost spent three years in preparing the ground and installing an irrigation system, reticulated from the Yan Yean water supply. This year the asparagus was put down, and the plants were in a promising condition. Tlie flood waters are now flowing fast over the land. The crop is ruined, and three years' work and expenditure destroyed. Mr. Laver's private residence fortunately is high above flood level, but two houses he owns off Young-street have been flooded out. Having been warned in time, the tenants removed their furniture hefore the water came down to Mr. Laver's residence, where they themselves have been given accommodation in the meantime. All the river flats in East Kew are under water. One or two low-lying houses have been flooded. Chipperfield's boat shed at Willsmere is nearly covered, and some Chinese gardens in the vicinity are several feet under water."This, and the other three photographs donated of floods in Kew are believed to be the earliest in the collection. Together with our original MMBW River Yarra map showing flood levels, these items, when compared allow researchers to gain a visual perspective of the extent of the flood in 1916. Black and white photograph of flooded trees in Kew with rising dry ground in distance.Inscription on reverse in pencil: "Flood River Yarra Kew Vic"river yarra, kew, floods 1916

The donation was accompanied by the following letter from the donor: "Hi. I found these in with family photos. Taken by family as Mamie McLeod was living in Fellows Street, Kew, so would be near there. Retain (or discard) as you see fit." [Donor's name and address withheld from public view]. To gain an insight into the flood levels at Kew, it is worth reading newspaper accounts of the event. The Age published an article - Valuable Gardens Destroyed at Kew - on 25 September 1916: "VALUABLE GARDENS DESTROYED AT KEW. From the heights of Studley Park, Kew, a splendid view of the flood waters can be obtained, and yesterday afternoon, despite continuous rain, crowds of citizens assembled there to witness the spectacle. There is a vast stretch of water some 300 or 400 yards broad, above the foot bridge connecting Gipps-street, Collingwood, and Studley Park. The river is only about 3 feet from the top of the embankment connecting with the ramp of the bridge on the Studiey Park side. When the upper llood waters come down it is almost a certainty that tne embankment will be submerged and the bridge rendered impassible. Below the bridge the waters again stretch out, and have submerged all the low-lying land on the Collingwood side and invaded the back premises ot the Kodak Co., Phoenix Biscuit Factory, a tannery adjoining thereto, the Shamrock Brewery, and Chinese gardens in the vicinity. At Walmer-street-bridge, at the end of Studley Park, the low-lying land on the Kew side is covered with water to the depth of many feet. Tlie land in question is owned in a great part by Mr Frank Lavers who haa gone in for intense culture on a pretty liberal scale on both the slopes of the hill and on the river flat. On the latter he is cultivating many acres of asparagus, and has at a considerable cost spent three years in preparing the ground and installing an irrigation system, reticulated from the Yan Yean water supply. This year the asparagus was put down, and the plants were in a promising condition. Tlie flood waters are now flowing fast over the land. The crop is ruined, and three years' work and expenditure destroyed. Mr. Laver's private residence fortunately is high above flood level, but two houses he owns off Young-street have been flooded out. Having been warned in time, the tenants removed their furniture hefore the water came down to Mr. Laver's residence, where they themselves have been given accommodation in the meantime. All the river flats in East Kew are under water. One or two low-lying houses have been flooded. Chipperfield's boat shed at Willsmere is nearly covered, and some Chinese gardens in the vicinity are several feet under water."This, and the other three photographs donated of floods in Kew are believed to be the earliest in the collection. Together with our original MMBW River Yarra map showing flood levels, these items, when compared allow researchers to gain a visual perspective of the extent of the flood in 1916. Panoramic view, believed to be looking north towards Fairfield from the Zig-Zag Bridge on the River Yarra. The inscription on the reverese identifies it as taken before 1920.Inscription on reverse in ink "(pre 1920) Flood from Zig-zag bridge Yarra River, Kew Vic."river yarra, kew, floods 1916, zig-zag bridge

The donation was accompanied by the following letter from the donor: "Hi. I found these in with family photos. Taken by family as Mamie McLeod was living in Fellows Street, Kew, so would be near there. Retain (or discard) as you see fit." [Donor's name and address withheld from public view]. To gain an insight into the flood levels at Kew, it is worth reading newspaper accounts of the event. The Age published an article - Valuable Gardens Destroyed at Kew - on 25 September 1916: "VALUABLE GARDENS DESTROYED AT KEW. From the heights of Studley Park, Kew, a splendid view of the flood waters can be obtained, and yesterday afternoon, despite continuous rain, crowds of citizens assembled there to witness the spectacle. There is a vast stretch of water some 300 or 400 yards broad, above the foot bridge connecting Gipps-street, Collingwood, and Studley Park. The river is only about 3 feet from the top of the embankment connecting with the ramp of the bridge on the Studiey Park side. When the upper llood waters come down it is almost a certainty that tne embankment will be submerged and the bridge rendered impassible. Below the bridge the waters again stretch out, and have submerged all the low-lying land on the Collingwood side and invaded the back premises ot the Kodak Co., Phoenix Biscuit Factory, a tannery adjoining thereto, the Shamrock Brewery, and Chinese gardens in the vicinity. At Walmer-street-bridge, at the end of Studley Park, the low-lying land on the Kew side is covered with water to the depth of many feet. Tlie land in question is owned in a great part by Mr Frank Lavers who haa gone in for intense culture on a pretty liberal scale on both the slopes of the hill and on the river flat. On the latter he is cultivating many acres of asparagus, and has at a considerable cost spent three years in preparing the ground and installing an irrigation system, reticulated from the Yan Yean water supply. This year the asparagus was put down, and the plants were in a promising condition. Tlie flood waters are now flowing fast over the land. The crop is ruined, and three years' work and expenditure destroyed. Mr. Laver's private residence fortunately is high above flood level, but two houses he owns off Young-street have been flooded out. Having been warned in time, the tenants removed their furniture hefore the water came down to Mr. Laver's residence, where they themselves have been given accommodation in the meantime. All the river flats in East Kew are under water. One or two low-lying houses have been flooded. Chipperfield's boat shed at Willsmere is nearly covered, and some Chinese gardens in the vicinity are several feet under water."This, and the other three photographs donated of floods in Kew are believed to be the earliest in the collection. Together with our original MMBW River Yarra map showing flood levels, these items, when compared allow researchers to gain a visual perspective of the extent of the flood in 1916. Small black and white photograph of flooded trees in Kew.Inscription on reverse in ink "Flood R. Yarra Kew Vicriver yarra, kew, floods 1916

In the 1920s and 30s, rowing on the Yarra was a very popular weekend pastime. Each of the early boats was individually named in gold letters on its varnished wooden backboard. This is all that remains of one of the Thames pulling boats from Burns' Boatshed at Studley Park which was destroyed by a falling tree in a storm. Their entire fleet of rowing boats has now been replaced by fiberglass boats.Varnished wooden backplate of a rowing boat. The shaped sign is embossed with the name 'Wagana" in gold lettering, outlined and shaded in black paint. Gilt scroll work surrounds the name. The ends of the backplate shows the holes where the plate was once attached to the seat of the boat. The name Wagana means 'to dance' in Wiradjuri language."Wagana"burns' boatshed, thames pulling boats, yarra river -- kew (vic.), boathouses - river yarra

Wes WALTERS (06 August 1928 - 19 August 2014) Born Mildura, Victoria From 1940 t0 1945 Wes Walters attended the Ballarat High School. He then studied architecture at the Gordon Institute in Geelong, followed by art at the Ballarat School of Mines (a division of the Ballarat School of Mines). During his time at the Ballarat Technical Art School (later Federation University Australia) Walters studied under Neville Bunning and Taylor Kelloch, and was awarded the Ballarat Ladies Art Association Scholarship in 1948. He next moved to Melbourne to work as a commercial artist with the George Patterson advertising agency. Each evening Walters studied life drawing at the Victoria Artists’ Society and taught himself anatomy. Wes Walters excelled in both abstract and realist art. He won the Art Gallery of Ballarat’s Minnie Crouch Prize for watercolour art in 1953 and 1956. He won the prestigious Archibald Prize in 1879 for his portrait of Phillip Adams. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed water colour showing boats along a pier.wes walters, watercolour, boats, vessels, sailing, available, alumni, ballarat technical art school

Tate ADAMS (1922-8 April 2018 ) Born Hollywood, County Wicklow, Ireland Arrived Australia 1952 England 1956-58 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 paper linocut, printed in colour inks, from three blocks. art, artwork, tate adams, printmaking, available, woodblock, woodcut, sailing, boats, ballarat teachers' college collection

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 ink drawing.art, artwork, available, david green, fish, boats