Loose photograph inside the photograph album - Geelong Made in Australia Centenary Exhibition 1938textile mills - history textile machinery, fairnie, mr edward john - returned soldiers and sailors mill, textile mills - history, textile machinery

Loose photograph inside the photograph album - Geelong Made in Australia Centenary Exhibition 1938textile mills - history textile machinery, fairnie, mr edward john - returned soldiers and sailors mill, textile mills - history, textile machinery

Display was built at Buna Barracks for Gallipoli exhibition at Tank Museum Puckapunyal April 1993.Colour photograph of museum display of a delayed action rifle in a sand bagged trenchgallipoli, tank museum, puckapunyal

Winner of the Bayside City Council Acquisitive Award at the Brighton Rotary Art Exhibition, 2001.oil on boardbeach, children, leisure, lorraine burns, painting

Gareth SAMSOM (19 November 1939- ) Born Melbourne Sansom describes a desire to constantly surprise and challenge himself as an artist. He had his first exhibition in 1959. His paintings of the 1960s were characterised by a distorted use of line, shape and colour and were influenced by abstract expressionism, Francis Bacon and Sidney Nolan. Over time, his work has also drawn on punk, dada, Basquiat, T.S. Eliot, urban graffiti, classical Greek philosophy and art theory across a variety of media ranging from drawing, printmaking and collage to photomontage and photography. Sansom lectured in Art at the Ballarat Teachers' college, and was appointed Head of Painting at the Victorian College of the Arts from 1977-1985, and Dean School of Art at the Victorian College of the Arts from 1986-1991. He was artist-in-residence at the University of Melbourne in 1985, which was when he resumed his full-time painting practice with a series of large works on canvas. The Federation University Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.'Looking for God in Abstract Art 2' is a play on the debate over the respective virtues of abstraction and figuration that has preoccupied artists and critics for more than a century. Sanson has always walked a wobbly line between the two, adroitly avoiding falling headlong into either camp. It is also a gentle dig at the pretensions to higher spiritual meaning in abstract art. In the centre are two photographs, one of rubber masks and the other of the artist in a lurid fright wig and mask and using a spray can like a young tagger. These images, where the artist wears a mask and teeters on bright red platforms, are wonderfully ludicrous send-ups of the 'fine art' of painting. (Geoff Wallis from 'Gareth Sansom: Alternative Person", Art Gallery of Ballarat, 2012) This work was exhibited and published in the catalogue of the exhibition 'Gareth Sansom: Alternative Person' at the Art Gallery of Ballarat in 2012 item. art, artwork, gareth sansom, sansom, mixed media, oils, enamel, photo-collage

Most likjely taken either arriving or departing from a visit of the display at Spencer Street Railway Station during the 1954 Victorian Railways Centenary Exhibition, 11-25 Sep. 1954 "V.R. Cavalcade" Centenary 1854-1954 Exhibition (11-25 Sep 1954) presented a model railway occupying about 1,400 square feet in the Lower Town Hall featuring a number of model railway working scale models. The exhibition also included a display of rolling stock, track, electrical and other railway equipment held at Spencer Street Railway Station.Digital TIFF file Scan of Kopdak 620 black and white negative transparencygeorge coop collection, v.r. cavalcade, victorian railways centenary 1854-1954 exhibition, red rattler, tait train

Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June-July 2013 (opening night 17 June 2013) and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. The high tea held on 29 June 2013 was an opportunity to visit the exhibition.For over 150 years the Mission to Seafarers in Victoria has continued to meet the welfare needs of seafarers who arrive on Australian shores from around the world. This exhibition presents a selection of stained glass windows and historical photographs from the Mission, to capture a glimpse of some of the people and scenes integrale to this relationship.Slightly pink cream colour flyer An invitation to enjoy an afternoon of high tea and heritage at the Memorial Chapel of St Peter / 2pm-4pm-Saturday 29 June 2013reflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, justine m. philip, mission to seafarers, flinders street, creative victoria, prov, stained glass windows, arthouse, catherine mclay

Taken in 1999, the photograph depicts a section of “The Harvest” exhibition held at the Burke Museum between May 1st and June 20th 1999 as part of the Baking Industry Victoria. In the foreground is believed to be an old seed distributor. The grain mill made by B. M. Purshouse in Wolverhampton, United Kingdom, was of special interest during the exhibition. This photograph is of historical and research significance, connecting with various themes such as farming, adapting to diverse environments, and the promotion of settlement in Victoria. The photograph is an example of an exhibition held at the Burke Museum in 1999, demonstrating the communal interest of Beechworth in their farming history. The photograph contains a strong interpretive capacity as it demonstrates the importance of farming to Beechworth and Beechworth's history, revealing the enduring connection between the local community and the surrounding land. The historical and research value of the photograph is further enhanced by the depiction of historical farming machinery, providing a means for future generations to view historical machines used in farming. Colour rectangular photograph printed on photographic paper.Reverse: 2857burke museum, the harvest, exhibition, baking industry, grain mill, b. m. purshouse, beechworth, baking industry victoria, seed, seed distributor

Letter from Police Department re police attendance at Horticultural Society's exhibition. This is a photocopy of the letter from the Police Department informing the recipient that a sufficient amount of Police Constables would be in attendance at the Exhibition of the Horticultural Society of Victoria to be held the following Saturday. It is signed by Nicholas Standish (?) Chief Commissioner. It is addressed to ? Honorary Secretary Hawthorn.Letter from Police Department to Horticultural Society (?)horticultural society, exhibition, police, nicholas standish, melbourne police presence

Soft cover book, Soft cover, cardboard, red and white colour print on front, spine and back. Front cover - illustrated top copy of illustration in black and white of figure with gas mask. Bottom colour photographs of the two museums. 32 pages paper and lightweight cardboard with foldout pages. Illustrated black and white; and colour photographs, posters, paintings, displays, maps. Front and back and papers - illustrated, sepia tones, handwritten letters.Museum Exhibition - "The Musee de Peronne" the overall conflict. "Musee de Thiepval" Battle of the Somme.books, museums, ww1

The painting explores the mental health issues often faced by those who work at sea as a result of loneliness, isolation and illness, amongst other things. This seafarer’s face is made up of thousands of SOS Morse code symbols: dot,dot,dot dash,dash,dash dot,dot,dot. Morse code was used to signal to land that a ship or crew was in trouble. This seafarer is in trouble- his face says it all and speaks volumes. Mental health issues are often hidden when we look from afar but when we take the time to look closer and listen, the signs are often there.Lisa Carman entered this painting to the Maritime Art Prize 2019 and donated the artwork after the exhibition.Naive, Marine artLisa Carman, MTSV Collection Squared shape painting depicting a portrait in blue and dark tones of a sailor with a beard wearing a beanie. His face is made of dots using the SOS Morse code.sos, seafarers welfare, maritime art prize, 2019, lisa carman, morse code, seafarers, sailors, beanie, blue