Stamped on back of frame "International Art 81 Kerk Street PO Box 10455 (Opp Langham Hotel) Johannesburg.Framed townscape. A woman collects water in the right foreground. If you can provide information on this artist or artwork please use the link below. LRS "F.N. Zinger"painting, townscape

This is a colour photograph of a gum leaf painting that is one of many done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by A.W. Eustace. A man is panning for gold in a stream with a house and hills in the background. Under glass in a decorative gilt and cream coloured plastic frame.Hand writing on tape at back of frame: COPY OIL ON GUM LEAF 10" x 5" A W EUSTACE owned by Betty & Alf Brownlie 2260alfred eustace, gum leaf painting, chiltern, gold panning, gold

Lieutenant Albert Borella, 26th Battalion AIF, was awarded the Victoria Cross for his actions at Villers Bretonneux, France, in March 1918.Possibly the only self portrait of an Australian VC winner.Framed self portrait of Captain Albert C Borella VC MM MID in World War One (1914-1918) uniform with 'Sam Browne' belt and medals. Stained wooden frame has been covered with a protective clear acrylic sheet.Engraved plaque on lower face of frame "Capt Albert C Borella VC MM MID presented to 8/13 VMR by Mrs E Borella"borella, victoria cross, self-portrait

This wrought iron "ladder-frame" bookcase, which includes a drop-down table, is located in Suzy's bedroom. A second "ladder-frame" bookcase with desk is located in Penleigh's bedroom (item F085). They were both designed by Bruce Anderson - in the past they have been incorrectly attributed to Clement Meadmore. This type of furniture was featured in 'The Age' Small Homes Service and a similar one was featured in 'The Age' Dream Home Exhibition in 1955. From 1947 to 1953, Robin Boyd was the director of The Small Homes Service, set up by the Royal Victorian Institute of Architects in conjunction with 'The Age' and he produced a weekly article for 'The Age'.Wrought iron black frame with 10 ladder slots, and 3 cross brace frames, with 4 timber shelves. In the centre, there is a drop down table to use as a desk. Shiny metal feet, rubber covering top of metal frame. bruce anderson, robin boyd, dream home, small homes service, walsh st furnishings, ohm2022, ohm2022_39

Demonstrates the typical vehicle of the time of the picture. Demonstrated the mode of transport for agricultual goods.Shows the means of transport for agricultural goods in the period.Black and white rectangular picture. Featuring a early truck with tray. The truck is stacked with wool bales and is tide with thick rope. There is a dog curled up on top of the cabin of the truck. A male is leaning against the door with his thumb in his pants, smiling. On the bonnet of the truck the letter "P" can be seen.On back "Ron with the truck & a load of wool on" written in grey lead.

Library Committee purchased enlargement 18 August 1919. Mr J Burgis donated frame.Portrait of John Treweek, Athenaeum secretary and librarian. Oak frame - natural finish, oval. Gold mount with copy of original (enlargement of smaller photograph in Treweek family).

Navy blue woman's swimsuit marketed under the Miss Jantzen label by Jantzen, Australia. The swimsuit is made of navy blue fabric with a metallic threaded tie on the bodice.Labels picturedswimwear, miss jantzen - australia

Owned and used by the late Mr W.T. Sebire 1900. The frame was rebuilt by Russell Sebire.A large sandstone grinding stone disc with a pale blue wooden frame and metal turning handle/ It was used for sharpening tools such as axes in the late 19th or early 20th Century. grinding stones, sandstone, equipment, sharpeners, sharpening stones, steel, wood

Circular metal frame and dials with mixed internal components, on a hinged, hollow cylindrical base.Partially removed label on circular frame: 'NAT. PH[...] [...] / NO. [...]' Partially removed label on base: 'J. H 4' Attached handwritten tag: 'Optical bench / A / Thermopile' thermopile, scientific equipment

This photo is from 1917 and is of Private Harry Groves (standing) with his cousin Arthur Whitter (seated). Private Groves was the Uncle of Ron Ellis, who was a Lara Sub-Branch member. Cpl. Ronald Warren Ellis, EM (VX502517) was born in Brunswick in 1927. His family moved to Lara when he was young, and his schooling took place at the Lara State School. After finishing his education, Ron took up employment at Sims Coopers in Corio. Ron was enlisted in the second AIF at Melbourne, and posted to the 3rd Recruit Training Battalion at Greta west of Newcastle, NSW. After 3 months training, he was sent to the Service Corps Training Centre for driver and maintenance training in Ingleburn, south of Sydney. When this course was completed, Ron was posted to the Australian Army Service Corps as a driver motor vehicle with the 2nd AIF. Rons service with the AIF lasted 425 days, when he was then transferred to the Interim Army for a further 309 days. The duration of his service was in NSW. Ron was discharged from the Army in Melbourne on the 4th of May 1948. In 1957, Ron enlisted in the CMF and served with 22nd Construction Squadron for 17 years with the last 5 as a Corporal, and was awarded the Efficiency Medal for long service and good conduct. This photo represents the connection that Lara RSL members and their family members have to the conflicts that Australia has been involved in over time. Photograph of Harry Grove (standing) with his cousin Arthur Witter (seated) - France 1917. The black and white photo is framed within a wooden frame, and above it is a piece of paper with details about the photo written in red texta. The photo is black and white, and in the bottom right corner in pencil is written: Sincerely Yours, Arthur. The remainder of the text extends under the frame, but looks as though it says: Arthur, France. world war 1, ww1, wwi, photo, family, private, corporal

Framed illuminated nominal roll of the 7th Australian Light Horse (VMR) 1907. Stained wooden frame with glass panel. Lists officers, NCOs and men of the regiment arranged in troops drawn from Avenel, Broadford, Yea, Seymour,Murchison, Nagambi, Rushworth, Dookie, Shepparton, Numurkah, Mansfield, Cathkin and Alexandra. Boer War battles listed around the periphery.On reverse of frame, paper label "Purchased from Geo. Styles Gallery 50 Hunter Street Sydney Phone 233.2628"military, victoria, 7th light horse

Framed collage of Australian raw wool by wool artist Pauline Osborn. Titled "Jimba on Manooka" (Sheep on Hill). Work specially made for the National Wool Museum after a visit by the artist in 1991.Wool collage of pastoral scene entitled "Jimba on Manooka" (English translation - Sheep on Hill). Framed and glazed.handicrafts

.1) & .2) Group photo mounted on card of 17th Light Horse Regiment taken at Bendigo Race Course. .3) Framed photo of 2 soldiers, on left is E P SEYMOUR known as Padge..1) & .2) Labels stuck on mounts under photos. .3) Loose label stuck into frame.photography-photographs, frame accessories, military history - army, passchendaele barracks trust

Framed photo of VVAA (Vic) Sub Branches assembly at The Shrine, Melbourne, in August 2006 at the 40th Anniversary of the Battle of Long Tan.Historical record of some of the Vietnam Veteran Sub Branches in Victoria as at August 2006.Framed photo of VVAA (Vic) Sub Branches assembled at The Shrine, Melbourne, on 18th August 2006 at the commemoration of the 40th Anniversary of the Battle of Long Tan.Vietnam Veterans Day - 18th August 2006. 40th Anniversary of the Battle of Long Tan.vietnam, vietnam war, diamond valley vietnam veteran sub branch, long tan day

Framed photo of VVAA (Vic) Sub Branches assembly at The Shrine, Melbourne, in August 2016 at the 50th Anniversary of the Battle of Long Tan.Historical record of some of the Vietnam Veteran Sub Branches in Victoria as at August 2016.Framed photo of VVAA (Vic) Sub Branches assembled at The Shrine, Melbourne, on 18th August 2016 at the commemoration of the 50th Anniversary of the Battle of Long Tan.Vietnam Veterans Day - 18th August 2016. 50th Anniversary of the Battle of Long Tan.vietnam, vietnam war, diamond valley vietnam veteran sub branch, long tan day

Framed photo of VVAA (Vic) Sub Branches assembly at The Shrine, Melbourne, in August 2016 at the 50th Anniversary of the Battle of Long Tan.Historical record of some of the Vietnam Veteran Sub Branches in Victoria as at August 2016.Framed photo of VVAA (Vic) Sub Branches assembled at The Shrine, Melbourne, on 18th August 2016 at the commemoration of the 50th Anniversary of the Battle of Long Tan.Vietnam Veterans Day - 18th August 2016. 50th Anniversary of the Battle of Long Tan.vietnam, vietnam war, diamond valley vietnam veteran sub branch, long tan day

In 1969 Robin Boyd was awarded highest RAIA Gold medal, the highest honour.Gold medal (65mm diameter) with design on both faces. (a) RAIA medal with architect and guild figure and stone structure (b) Artem promovemos una Two kangaroos holding shield with wall and column structure. The medal set into a black velvet. The back is black leather in a timber frame. 405mmH X 330mmWThe back of the timber frame is inscribed with //PARTH-40'E' - F + G.royal australian institute of architects award. raia award, royal australian institute of architects gold medal, raia gold medal, robin boyd

This fretsaw frame , with a blade, would have been used for intricate cutting work having tight curves. a fretsaw is capable of much tighter radii and more delicate work. than other saws because it has much shallower blades, which are usually extra-fine,This is an example of a woodworking tool used in the first half of the 20th century.A fret saw with very high frame. It has a plain, simple wooden handle.woodwork saw-fret

‘Aids to Navigation’ schedule. The schedule, dated 1985, is displayed in a black-painted wooden frame attached to the wall of the lantern room. It is presented on the Commonwealth of Australia letterhead and appears to be typed. The Cape Otway lantern room also retains an ‘Aids to Navigation’ schedule of the same date and type. The Point Hicks schedule has first level contributory significance for its historic value and provenance to the lighthouse.Aids to navigation schedule. Framed in black painted timber. Screwed to wall of lighthouse.Yes

Was folded up and pasted into the minutes of the Borough Legislative Committee opposite June/July, 1865. Joan WINTER, City of Port Phillip Collections Manager, paid for conservators to remove and restore it, then framed it for exhibition in 'Dreedging, Draining and Dipping'1995/96. Following end of exhibition it was returned, in frame.Large typeset framed proclamation, "Rules and Regulations for the management of the Sandridge Borough Common" Dated 13 July 1865. Refers to cattle, cows, calves, horses, sheep, goets, pigs and the herdsman rulesbuilt environment - civic, livestock, andrew plummer, edward clark, town clerks

Currency issued to Citizens of occupied countries by Japanese Government to maintain economic control and to reduce Western influence. Items in collection of Richard William McGILVERY, RAAF. Refer Cat No. 7287P for his Service details, photos and awards.1. One Yen currency note. One side No.1 in two corners. Picture of elderly Chinese man in middle and some Chinese writing characters. Predominately black and "No.49" imprinted in red. On other side picture of building and some Chinese characters. Also 9 names written in black pen. 2. One Yen currency note. One Yen written in corner. Picture of more modern man on one side and a crowing rooster in bottom middle. Predominately black on white paper other side blue on white paper and Chinese Symbols and One Yen.Some in Chinese. One side No.1 in corners. On other side picture of building and lots of names scribed (including McGilvery) and date 3/5/47. 2. One side "1 Yen" and No.1. Second side "1 Yen" and Chinese symbols.bcof, japanese currency

Portrait of a man against a dark background (green-brown and black). He is wearing formal attire: a black suit, black waistcoat, a white shirt with small brass (?) buttons and a narrow black cravat. His hair is dark blond and parted on the left. His sideburns are of a more reddish shade and reach to his jawline. Only upper torso visible. Original frame: ornate gold-painted wooden frame.Front: (no inscriptions) Back: Framers label - (Isaac Whitehead Collins St Melbourne) Conservation Centre, Melbourne label.

The photo was probably taken by Will Herbert and used at the 1937 "Back to Orbost" celebrations. The photo depicts the Snowy River at Orbost when it was at a high level.A coloured photograph in a brown wooden frame which has gold painted decorated edges. A wire hanger is attached. The photo shows reflections of trees along the bank of the Snowy River in 1937.On bottom right of photo - Snowy River Orbost On back of frame - Back to Orbost 1937 from Will Herbertphotography snowy-river orbost-1937

The watercolour painting depicts a street scene with a grass hill in the background. The street forms the centre of the foreground and features a row of buildings and cars on both sides of the street. Long shadows extend from the buildings and trees with yellow leaves frame both edges of the work. Across the middle of the work green trees are used to separate the street from the hill in the background. The large grass hill features an outlined shape (Scout symbol) on the side and a building surrounded by trees on top. The work is mounted and framed in a brown and gold frame with glass.Front: Mervyn Hill/95 Back: Framing by W.D. & C.M. Davis RMB 1256 Casterton 3311 Phone (055) 75 3290

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. This framed work is considered by him to be the most significant botanically. Boronia pilosa – Hairy boronia. [Wikipedia says it’s a plant in the citrus family Rutaceae and is endemic to south-eastern Australia MH] Pultenaea subalpina - Rosy Bush-pea. Grampians endemic listed as endangered and only found on the tops of Mt William, Major Mitchell Plateau and Mt Rosea - named for the Rosy Bush-pea that grows on its top! This is the only rose-coloured bush pea in the entire genus, which occurs right across Australia!! We have plants ready to plant in the WAMA endemic garden! Boronia latipinna - Grampians Boronia. Grampians endemic only found on the higher peaks of the central Grampians ranges - listed endangered. NB In some records she is called Marianna (as the donor calls her) and in others Marianne. Wildflower art, Wildlife art, wildflowers, Marianne Wehl, Marianna Wehl, Flower paint, Botany, works on paper, von Mueller, Baron von Mueller, Ferdinand von Mueller, Henrietta D'Alton, WAM, Wild Art Museum Australia, Wildlife Art Museum AustraliaGift of Barbara Crick in memory of Marjorie and Lachlan McLennanThree small paintings of pink wildflowers mounted together in original frame. The central image is an oval, flanked by two rectangular images. The frame is probably original – smooth gloss olive green simulating wood or bamboo. It has a new backing paper.Each image LL ' MW' (underlined), central image has signature obscured by oval vignetted matt. On the reverse side it is marked in black felt pen, “McLennan 106 Bennet Rd (4)” This refers to preparation (rematting / framing?) for exhibiting at Horsham Art Gallery in 1981.wildflowers, flowers

Framed papers outlining the courses and coursework for the Textile College at the Gordon Institute of Technology in 1950. The courses include Woolcombing, Worsted Spinning, Woollen Yarn Manufacture, Designing, Weaving and Turning and Finishing. A digital copy of this item was made for the National Wool Museum Collection, with the original remaining with the donor. Digital TIFF file, 100 MB, showing image of framed printed paper.D.P.C. WILSON MEMORIAL BURSARIES. / Textile College / Gordon Institute of Technology. / GENERAL INFORMATION / TERM DATES 1950 ...courses, gordon institute of technology, textile college, geelong, woolclassing, weaving, spinning, coursework, 1950

This set of photographs was found behind photograph #20316 when it was removed from its frame. The people shown are not identified. Thought that one maybe David Holmes and another Bill Holmes.Three small photographs of three soldiers set in brown patterned framing. The left one may be Henry Smerdon Holmes.chatham-holmes collection, soldiers, world war one, henry john holmes, jack holmes