Medicines came in bottles sold by the chemist locally or at a large city chemist store on a shopping expedition.The shape and colour the the bottles changed as did the stopper used to seal it. Use of linseed oil and milk of magnesia.Historical: Change of bottles - shape, glass, stopper, embossing and use. Aesthetic: Display showing colour and shape.Clear brown glass bottle used for medicine - possibly linseed oil or milk of magnesia. It has straight sides three quarters of the way up tapering to the neck ending with a lip and a screw top. Rectangular base with embossing. 3 sides and base are slightly indented. The 4th side is flat with an embossed '2' at the bottom in the middle. Side: '2' Base: 'G 374' followed by the common seal 'A' with 'G' and 'M' inside the 'A'chemist, medicines, brown glass bottle, liniseed oil, milk of magnesia

This booklet "looks into Banyule's Aboriginal heritage" by detailing some of the history of the Wurundjeri willam clan, including William Barak. Illustrations are from La Trobe Picture Collection, State Library of Victoria. Booklet prepared for Banyule City Council by Phillippa Sutherland.6 pages, colour illustrations. Cover is mainly orange with line drawings courtesy of the Rare Book collection State Library of Victoria. 2 copiesbanyule, wurundjeriwillam, william barak, phillippa sutherland

Produced to celebrate the end of the First World War. Folds out to reveal coloured illustration with caption: Decorated dummy and car which, electrically illuminated, traversed the Melbourne cable tramways in celebration of peace, on the evenings of Monday and Tuesday, the 14th and 15th July, 1919. Second copy has a note regarding the trams - dummy 482 and trailer 510. Has the images of the King George V, Field Marshall Foch, Lloyd George, King of Italy, and President Wilson on one side. Has the printer's details in the bottom right hand corner of the last sheet. See reg Item 4256 for the associated timetable sheets.Demonstrates a pamphlet by the Tramway Board as a souvenir of the end of the First World War.Pamphlet or illustration or card - folded titled "Souvenir of peace, 1914-1919",On rear of copy 2 "Mr A E Twentyman recalls that the dummy was No.. 482 and trailer was No. 510"trams, tramways, tramway board, world war 1, cable trams, celebrations, peace tram

I was born in Guildford W.A. on 12 November 1940 and at an early age took an interest in painting. Over the years (between lapses) I have completed several hundred pieces of work including pencil and crayon sketches, lino cuts, oil colours - and water colours which have been my main focus. As painting has always been a hobby I’ve never bothered with selling my work through an art gallery - but have donated a good deal of work to fundraisers and charity auctions with some paintings attracting large prices, I’ve also sold quite a number (some years ago) via Joels Auctions before they went up-market, others have gone to friends and family. My pleasure has been in completing painting, I’ve never bothered about recovering costs (including framing) but happy when people take an interest in my work - and I know pictures have gone to a happy home – additional pleasure comes when people remind me they love the painting, sometimes I’ve forgotten what they have and other occasions have been able to see them in their homes and loved they way they have fitted-in. Regarding the little painting of the Bicentennial sailing ships – I did it as a quick sketch at the time (1988) when the ships departed Melbourne sailing down Port Phillip Bay - with the view to doing a larger painting which never eventuated and it has remained in my possession until recently when I decided to dispose of my remaining work/s as I have to move and ‘down-size’. As you will appreciate it is a very simple sketch but it captures a notable moment in time and would be very happy if the MTS could find a place for it in their collection. As it happens I spent 9 years in the Royal Australian Navy and feel a close connection to seafarers and would be honoured that you might wish to include the picture in your collection. Marine art, Maritime artKimberley Dunstan, Mission to Seafarers CollectionSmall rectangular oil painting (landscape format) depicting sailing shipsSigntaure of the artist bottom left corner: KHD At the back in black ink: 1988 / Kim Dunstan / Port Phillip Bay / Bicentennial Fleet Departure / From End Of Martin St Brightonbicentennial, 1988, fleet, kim dunstan, kimberley dunstan

'After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view.' (Margaret Picken, 2020)This property illustration is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c. 1983 and c. 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink property illustration on drafting film of 16A Haines Street, Hawthorn by Margaret Picken. Incorrectly labelled as 18 Haines Street, as signified by the 'wrong sketch' marking at the top.18 Haines Street, Hawthorn, Margaret Picken, 99, Woodards - Hawthorn. Wrong Sketch.artist - margaret picken 1950-

The Bendigo based Sander family business Sander and Sons, were producers of eucalyptus oil/extract in the 19th and 20th centuries. Carl Sandner established Sander and Sons Eucalyptus Distillery in 1875. It operated until 1967Advertising card. The top half has a black and white illustration of a young woman peering between curtains. Printed in black and purple "I use Superba Skin Food. That's the secret of my beauty. Have you tried it."advertising, sander, sandner

MEDIUM: Oil on canvas DESCRIPTION: Oil painting on canvas. Brown, blue and green. No outer frameTitled, signed and dated on reverse of frame2, oil, banksia, howie, bluff, canvas

The jug and cup were purchased from a second - hand shop in Bairnsdale. Jug is older than cup as the chalet is represented as a single storey structure. The cup is later as the second storey appears in the illustration. 'Souvenirs in relation to the Chalet and Mount Buffalo wee first mention in December 1912... A large range of souvenirs has since been associated with the Chalet and Mount Buffalo from crafted wooden items, silver spoons, cups etc... The collection includes a broad selection of products that have been sold throughout much of the Chalet's history, each representative of the transient fashions of their period.' (Pg. 114. Historica) 'A group of tableware items is notable for its black transfer printed decoration, which features the Chalet building. Interestingly, the printed designs represent the Chalet at two different stages in its building history under the Victorian Railways, in 1926 after completion of the north wing, and 1937-39, after the second storey is added to the front.. manufactured in England by A.B. Jones and sons, a Stoke on Trent pottery firm which operated under the trade name of Grafton China between 1900-1972.' (Pg. 114. Historica)Listed in Draft Inventory of Significant Collection Items . Appendix A.3. Souvenirs. (Pg 168. Historica)..1] Ceramic jug. Souvenir of Mt Buffalo. White ceramic squat milk jug with a black transfer illustration/drawing on front side. Picture is of the MtBuffalo Chalet from the front. Some worn gold glaze detail. It appears to be a single story building with a planted garden at the front with a fence. Trees to one side and people walking up steps. "THE CHALET, MT BUFFALO NATIONAL PARK, VICTORIA." is written under the illustration. Jug has a faint crack. .2] White ceramic cup with gold edging around top of cup. Black transfer drawing of the chalet with a second storey. Rocks and tree in foreground and "THE CHALET. MT BUFFALO." underneath transfer. .1] "THE CHALET, MT BUFFALO NATIONAL PARK, VICTORIA." is written under the illustration. On the base of the jug, with sun motif, "ENGLAND / GRAFTON CHINA /A / B J / & SONS / LOFTUS MORA / PTY. LTD" .2] "THE CHALET. MT BUFFALO." underneath transfer. Under cup, "A.B.J. / GRAFTON / CHINA / MADE IN / ENGLAND"

Four NSWTD Railway marker Oil lamps at Nobelius Packing shed Item stamped numbers unknown Oil burning lamps have always been an important part of Australian railway signalling systems and have been used for communication, safety and lighting. It is called a marker lamp and was hung on rolling stock (carriages and wagons) such as the guard’s van to indicate the rear of the train at night. They were also used to indicate the rear of steam locomotive tenders for identification and safety purposes. This type of lamp was introduced to the railways around 1860 and continued to be used for over one hundred years. Oil lamps were phased out on the railways during the late 1960s and early 1970s, when they were replaced by battery lamps. Railway lighting included not only stations but yards, engines, rolling stock, signals, signal-boxes and crossings. There were a number of different types of lamps used for a variety of railway purposes. Historic - New South Wales Transport Department.- Railway Marker Oil LampFour NSWTD Railway marker Oil lamps made of metal and glass Railway lamp, paraffin, metal / glass / fabric, used for attaching to railway rolling stock to mark the end of the train, made by the New South Wales Transport Department, Sydney, New South Wales, Australia, 1870-1970 This lamp comprises a hollow cube of metal. One lens at the front transmits light from an interior light source. Fuel was either signal oil or kerosene. The burner inside the lamp used either cotton or felt wicks to create the light source. The lamp has a carry handle for carrying by hand and a bracket with a slot on the back for hanging onto the hook of a locomotive or item of rolling stock. It is marked "NSWTD" which stands for New South Wales Transport Department.NSWTDpuffing billy railway , pbr, four nswtd railway marker oil lamps

HMAS Australia (1) The largest war ship in the Australian fleet was the first flagship of the Australian fleet in WW1. She was Commissiond and paid for by the Australian Goverment to ensure sdequate protection for the Australasion Pacific Region. She had a crew of 900 "Officers and Crew" and was equipted with four sets of 12 inch breech loading guns,side firing torpedos and fourteen 4 inch guns for surface and air contacts. On the 12 of April 1924 HMAS Australia (1) was with "Full Military Honours" Scuttled 50 km east of Sydney. Only 14 Years old.Framed Oil Paintinghmas australia oil painting pictures

MEDIUM: Oil on canvas

MEDIUM: Oil on linen

MEDIUM: Oil on canvas

MEDIUM: Oil on paper

MEDIUM: Oil on linen

MEDIUM: Oil on linen

MEDIUM: Oil on silk

MEDIUM: Oil on canvas

A. C. Parkin & Co, Carlton: manufacturers of grocers' sundries, spice merchants and general importers. A. C. Parkin had their warehouse on the corner of Rathdowne and Herbert Street North CarltonSalad oil bottleA. C. Parkin & Co, Carltonsalad oil, bottle, parkin, household object

Vial of Castor oilequipment, ww1, army

Gift of the Department of Infrastructure, 2002diptych, oil on canvas

Gift of the Department of Infrastructure, 2002diptych, oil on canvas

Gift of the artist, 1999oil and graphite on canvas

Gift of the artist, 1995oil on Belgian linen

Gift of Mack Jost, 1986oil on canvas board

Mack Jost Bequest, 2001oil on paper on board

A Willoughby – Linseed Oilstawell

Penelope Aitken lives and works in Melbourne, Australia. She makes paintings and installations about relationships: between people, between things and between people and things. Recurring subjects include friendship, genealogy, romantic liaisons, and cross-cultural exchange as well as gardening, craft and landscape design. 'I am interested in the social, psychological and aesthetic motives behind organisation, belonging and displacement and I often make work that investigates such arrangements.' She has held regular solo exhibitions since 1995 and has been represented in group exhibitions since 1989. These have included shows in public and commercial galleries, artist run spaces, outdoor projects and festivals in Melbourne, Sydney, Perth, Brisbane, Bundaberg, Kuala Lumpur, Taipei, Tokyo and Famagusta, Northern Cyprus. Aitken has previously worked at the Australian Centre for Contemporary Art and at Asialink at the University of Melbourne. From 2006 - 2009 she was a board member of the Melbourne artist run gallery, West Space and she has also curated and coordinated numerous exhibitions and written and edited catalogues, articles and essays. She holds a Bachelor of Arts and a Bachelor of Education (Visual Arts) both from The University of Melbourne and completed her Masters of Fine Art at the Victorian College of the Arts in 2004. In 1997 Aitken was selected to be a studio artist for two years at Gertrude Contemporary Art Spaces, Melbourne and in 2000 she undertook an Australia Council Studio at the Taipei National University of the Arts, Taiwan. More recently she spent two months in 2007 at the Laughing Waters Residency, Birrarung, in Eltham, Victoria. There she began her current interest in the rocks used in the landscape designs of Gordon Ford. Paintings of Ford's rocks made since 2007 as well as glacial erratics, meteors, and other natural and displaced rocks were exhibited in March 2011 at the Light Factory Gallery in Eltham in a show called My History of here, and Second Nature, one work from this exhibition, was awarded first prize at Eltham Masterworks 2011. Other work made about rocks in nature and culture include: the project, A dark archive, as well as in two installations: You seem so settled for one that doesn't belong held at West Space in 2009 and Gathering these things to remind me of home shown in 2010 at the Bundaberg Regional Art Gallery, Queensland. In July and August 2007 Aitken undertook an arts recidency at Birrarung, a house and garden designed by Gordon Ford and managed as the Laughing Waters Artist in Residence Program by the Shire of Nillumbik Victoria. The rocks depicted in the painting 'Mapping Mass & Void 10' are all taken from the garden at Birrarung. Aitken has made reference to those rocks and the way in which Ford thought of the rocks as individuals that need to be handled and placed with consideration to show off their best aspects.oil and acrylic on linen ek prac 2015

Oil on composition boardSigned 'F. Verheesen 67', underlined in felt tipped pen - lower right corner