Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Preliminary sketch of 'Sunninghill', 228 Cotham Road, Kew by the artist Joy Stewart. Inscription: "Sunninghill". Signed and dated by the artist: "JStewart, September 1979"joy stewart, sunninghill (cotham road), cotham road (kew)

The mural of an impression of Macedon Street in Sunbury 100 years ago was painted by Frank Breen, on the brick garage wall of the Catholic Presbytery and it faced the garden in front of the former Sunbury Courthouse. Before the railway arrived in Sunbury in 1859, Macedon Street was the town's business centre. Early local businesses and and institutions that the artist included in the mural include on the LHS former courthouse, Out Lady of Mt. Carmel and the Sir John Franklin Hotel. On the RHS are some shops and the Ballcourt Hotel.The mural gives an impression of Sunbury's first business centre before it shifted closer to the railway station which arrived in Sunbury in 1859.A non-digital coloured photograph of an artist's impression of a street in Sunbury 100 years ago. The photograph has been encased in a cream card with an inscription on the back. 'MACEDON STREET 100 YEARS AGO'/ARTIST: FRANK BREEN/OLD SUNBURY COURTHOUSE/ SUNBURY, VICTORIA, AUSTRALIAmurals, macedon street, frank breen, sunbury courthouse, our lady of mount carmel, hotels

This majestic peacock embodies the technical achievement, skill and ingenuity of artisans during the 19th century. It is now known as the 'Loch Ard Peacock' and was designed and modelled in 1873 by Paul Comolera (1818-1897) and fired in one piece at the Minton factory at Stoke-on-Trent in the United Kingdom in 1875. The peacock has been portrayed in symbolic motifs and has figured heavily in folktales and fables since antiquity, and many cultures around the world see it as a symbol of beauty, rebirth and power. Wealthy Victorians loved majolica, and the large peacock would have been the ultimate home accessory as a conservatory ornament – combining their desire for nature, the exotic and vibrant colours. The peacock model was listed in catalogues by Minton & Co. for a retail price of 35 guineas or sold as a pair for 90 guineas. Minton & Co. was founded in 1793 by Thomas Minton (1765–1836) and became a famous pottery and porcelain manufacturer. Comolera was a French artist and sculptor, renowned for dramatic naturalistic forms and life-size renditions of birds and animals that won him admiration in public and artistic circles. He was employed by Minton & Co. from 1873 to 1880, and the life-sized peacock became his best-known work. Comolera kept a live peacock loaned from the nearby Duke of Sutherland's Trentham Hall Estate in his studio to create a life-size model of fine buff earthenware model, which was then hand painted in brilliantly coloured green and blue glazes to mimic the peafowl’s dazzling plumage. There are no surviving production records, but according to documents in the Minton Archive, nine peacocks were made by Comolera. However, today, some historians now believe that twelve were fired at the Minton factory; research is ongoing. These peacocks were so admired that Minton & Co. used them as exhibition showpieces at International Exhibitions in London, Paris, and the United States of America, ensuring the company had a worldwide reputation. So, when Melbourne hosted an International Exposition in 1880, Minton & Co. sent out ceramics and tiles, and in particular, this peacock was intended to be part of their exhibit in the British Court in the Exhibition Building, built in the Carlton Gardens. The early dispatch date (1878) indicates that the company may have intended to exhibit their wares, including the peacock, at the 1879 Sydney International Exhibition, but the company did not take up this option. The ship that Minton & Co. used to bring the peacock and their other wares to the Australian colonies was the ill-fated Loch Ard, which sunk after striking Mutton Bird Island near Port Campbell, Victoria, in calm foggy weather in June 1878 on the final leg of the ship's journey to Melbourne. The loss of 52 lives made it one of Victoria’s worst shipwrecks. Therefore, this peacock never made it to the grand exposition in Melbourne, as Minton & Co. had planned. Charles McGillivray dragged this peacock, still in its original packing case, onto the beach in the gorge just two days after the Loch Ard went down. The peacock was rescued unscathed apart from a chip on its beak (only repaired in 1988). After a disagreement with a Melbourne Customs Officer, Joseph Daish, McGillivray stopped his salvage operations, leaving the peacock on the beach. The second salvagers were James Miller and Thomas Keys. Miller was a member of the firm Howarth, Miller and Matthews, Geelong, who had brought the salvage rights to the Loch Ard wreck on 10 June. When Miller and Keys arrived at the wreck site, a storm had washed many of the salvaged goods, including this peacoc,k back into the sea. The two men found the peacock in its case ‘bobbing along in the water’ and pulled it back to the beach. To ensure the peacock wasn't washed out to sea again, Miller and Keys hauled the packing case containing the peacock up the gorge's cliff face to the top, ready to be transported. In an interview in 1928, Keys claimed that at the time of the rescue, the head had broken from the body. This account was proven to be true in 1988, following the birds' display in Brisbane. This peacock began its life in Australia, not in the grandeur of an International Exhibition as intended, but in the hallway of a simple domestic house in Geelong. It appears Minton & Co. did not attempt to buy this peacock back. Florence Miller, daughter of James Miller (Loch Ard salvage rights holder), later remarked that the only item of real value rescued from the wreck had been the peacock and that this had been kept by her father in the family home at Malvern for many years and became a treasured family possession. As such, this 'Loch Ard peacock' was almost forgotten and mistaken with other Minton peacocks around the world. Miss Florence Miller tried to sell the peacock due to financial difficulties in the 1930s but was unsuccessful. While attempting to sell her Loch Ard relic, it was displayed in the window of the old Argus newspaper office, which was at 76 Collins Street, Melbourne; the Argus had relocated to the corner of Elizabeth and La Trobe Streets in 1926. Between 1935 and 1939, the old Argus building was occupied by the Joshua N. McClelland Print Room, which sold not only paintings and prints but also antiques and authentic replicas, as well as hosting exhibitions. Miss Florence Miller loaned her peacock for display at the Victorian Historical Exhibition held in the National Gallery on 1st June 1935, the 57th anniversary of the Loch Ard wreck. As a result, the peacock attracted public attention in books, newspapers and magazine articles that told the story of its survival from a shipwreck. Miss Florence Miller was keen to sell the peacock, even writing overseas to Captain Blain on November 30th, 1938, about the possibility of a sale, but this became no longer possible due to the outbreak of war. Recent information points to the Loch Ard peacock being owned by John S R Heath before its sale to Frank Ridley-Lee in May 1941. Research is ongoing, but it seems likely that John Samuel Robert Heath, a leading Melbourne dentist with a practice in Collins Street, and his wife, a dental mechanic, had purchased Miss Miller’s Loch Ard peacock before its sale in 1941. They were lovers of fine arts, music, wine and food. The peacock in the window of the old Argus building could have attracted their attention as they had already purchased the old stone Presbyterian Church on Warrigal Road, Oakleigh, in 1933 and had converted its interior. The home, renamed The Studio, even included Melbourne’s first all-electric kitchen. The peacock was perfect for display in the Studio’s entrance. A magazine article published after the conversion was completed included photographs of the interior. The picture of the ‘portico’ had a caption below that stated, “Some of her [Mrs Heath’s] finest pottery was salvaged from the Loch Ard Wreck”. In 2025, Heath’s two remaining sons remember running around in the entrance with the peacock standing there, oblivious to its value. Heath was an accomplished artist, studying under Max Meldrum. He painted and exhibited his works at The Studio and in a public exhibition, and he was a finalist eight times in the coveted Archibald Prize portrait competition, including the submission of his self-portrait that is now part of his grandson’s collection. The next owner of the Loch Ard Peacock was Frank Ridley-Lee. He displayed it at his home in Ivanhoe after buying it at an auction in May 1941. The peacock remained in the hands of the Ridley-Lee family until it was offered for sale by auction in 1975 as part of an art collection belonging to Mrs Ridley-Lee's estate. The peacock was not sold at this time, as the reserve price of $4500 was not met. This news was passed on to the board of the newly created Flagstaff Hill Maritime Village. Urgent efforts were made to collect the necessary money through fundraising by the Warrnambool City Council and public donations. The Fletcher Jones Company and the Victorian Government contributed half the cost. On 9 September 1975, the Loch Ard peacock was purchased by Flagstaff Hill Maritime Village, and it found a new home at the maritime museum. Since then, it has only left Warrnambool twice. Firstly, in 1980, at the centenary celebrations of the Royal Exhibition Building in Melbourne, and secondly, in 1988, the peacock was given pride of place at the entrance to the Victorian Pavilion at the Brisbane World Expo, acknowledging that this Minton Majolica peacock is the most significant shipwreck object in Australia. The Minton majolica peacock is considered of historical social and aesthetic significance to Victoria and is one of only a few 'objects' registered on the Victorian Heritage Register (H 2132), as it is a most notable and rare object associated with the Minton factory of the 1870s and works by the celebrated sculptor Paul Comolera along with the wreck of the Loch Ard on the Victorian coastline. This Minton peacock is historically significant for its rarity; it was one of only 9-12 known to exist. The shipwreck of the Loch Ard is also of significance for Victoria and is registered on the Victorian Heritage Register Ref (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's early social and historical themes. The collection is historically significant is that it is associated, unfortunately with the worst and best-known shipwreck in Victoria's history. The peacock, resplendent in polychrome glaze, stands perched on a rocky plinth decorated with vines, leaves, flowers, blackberries and wild mushrooms. The peacock’s breast is cobalt blue; the wings and legs are in naturalistic colours. The tail is a mass of feathers coloured in green, ochre blue and brown — a fantastic display of artistry and Minton expertise. Inscribed at the base :P Comolera, and a Minton & Co. design number: 2045.flagstaff hill, warrnambool, maritime museum, shipwreck coast, loch ard, loch ard gorge, peacock, paul comolera, victorian heritage register, minton peacock, minton & co., stoke upon trent, bird figures, mintons, ceramics, international expositions, majolica, naturalistic, staffordshire, john samuel robert heath, peacock statue, loch ard peacock, majorca peacock

Herbert James Woodhouse (1854-1937) was born in Essex and arrived in Australia with his family in 1857. A painter-lithographer like his father and three of his brothers, he was a prizewinner in the South Australian Society of Arts exhibition of 1885. He also received commendations in exhibitions at the Victorian Academy of Arts and the New South Wales Arts Society. At an exhibition of his paintings at Scott’s Hotel in Collins Street in 1892, the reviewer for Table Talk noted that the ‘artist paints almost solely in the open air, and his studies are generally carried out during the trips of the Victorian Sketching Club’. One of the paintings singled out for praise was: ‘A very effective river scene at Willsmere, aptly named A Midstream Mirror, ... a picture powerful in its effective reflection of sunlight in the river.’ Herbert Woodhouse died in Geelong in June 1937, aged 82, and was buried in the Eastern Cemetery. A number of his sketchbooks are held in the collection of the State Library of Victoria.Framed oil painting on board of the River Yarra at Studley Park, Kew, by Herbert James Woodhouse (1858-1937). The artist has framed the narrow painting with trees in the foreground and a view of the Yarra River and rolling hills in the background. Verso, written by artist: "River Yarra Near Dights Falls"australian art - 19th century, herbert james woodhouse (1854-1937), yarra river - studley park

White information labels - black print ink. At top - HMAS Kanimbla crest with two lions. Printing: "HMS - HMAS/KANIMBLA/ Donated by the Kanimbla Association Inc/ Painted by Bob "Bluey" Paton ex crew member/and Ship's Artist "HMAS Kanimbla"HMAS Kanimbla, original painted by Bob "Bluey" Paton, ex crew member and ship's artist. Painting: colour oil painting of a ship at sea. Foreground - sea, background - sky and clouds, ship in camouflage colours. Signed bottom right corner by artist. Two white information labels - one front, one back. Handwriting on back.Artist signature, white paint "R. "BLUEY" PATON / EX KANIMBLA" Handwritten on back in black felt HP pen 'IAN S DIXON' Two white information labels - see context.framed painting, ships, navy

Robert Thomas Miller Born in Melbourne in 1916 Studied commercial art at RMIT and for many years worked as graphic designer and design director at ACI Ltd. Member of the Victorian Artists's Society (Council member since 1965), Australian Guild of Realist Artists, Old Water Colour Society Club (past president), Australian Watercolour Institute, Hughesdale Arts Group (past president), Burnie (Tas.) Coastal Art Group. His watercolours have won over 40 major awards, including Victorian Artists' Society, 1973 Artist of the Year Award, and the Rotary Club of Camberwell Watercolour Prize (twice). Represented in many Australian collections both public and private.Maritime artRobert T. Miller, Mission to Seafarers Victoria CollectionA framed and glazed mat mounted watercolour painting by award winning artist Robert T Miller in ''landscape" format showing moored, masted ships; The modern frame is of moulded or carved wood with appearance of brushed gilt type gilding; image is mounted with pale grey window mount; Backing sealed with paper wire strand hanging system;Artist signed front lower right corner of painting in black ink; no date; sepia label adhered on top centre Verso with artist bio and brief CV ; Other exhibition labels adhered ; inscription describing acquisition and title of work; ( details TBA) M3 in black markerharbour, dockside, artwork, marine art, robert thomas miller, robert t. miller, watercolour, artwork-paintings

Local Artist CV Artist StatementSignificant artwork by nationally renowned local artist Petrus Spronk.Large Scale Outdoor Sculpture made up of a bronze chair with an open book, a bronze shadow and 6 story rocksArtist signature - underneathlocal artist, petrus spronk, sculpture, public art, victoria, daylesford, mineral springs reserve, environmental art, hepburn shire public art collection, hepburn shire, hepburn springs, hepburn springs mineral reserve, bronze, granite, tourist attraction, art, clare gervasoni, joan mcewen, marie butler, laurie sullivan, bonnie howell, vera, lutea, merv keating, silent

Kew Tapestry The eight panels depict the history of Kew. This was a 1988 Australian Bi-Centennial Project carried out under the auspices of City of Kew Council and the Kew Historical Society Incorporated. Nearly 600 citizens including many children participated in the production by adding a few or more stitches. A book records their names and the panels upon which they worked. Artist: Joy Stewart Co-ordinator: Dorothy BenyeiSydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.2. Turinville. A Handcoloured cartoon created by the artist Joy Stewart as a template for the second of a series of embroidered panels depicting the history of Kew. Wool colour codes at left. Inscription: "TURINVILLE. Early country residence overlooking the Yarra River. Recreational activities of the period included picnics." Signed by the artist "(c) JStewart, 1988"bicentennial project (kew), turinville, joy stewart

Bookplate featuring an artist painting a nude"Nancy Johnson - Ex Libris"artist, painting, nude

Minutes of AGMs, general meetings held at N. Ringwood Elderly Citizens rooms and committee meetings held in members homes. List of the 1989 Committee. Financial statements included for some months.Red covered Universal Account Book-Minute Indexed used from 1987-1990. loose typed minutes of Committee meeting 22 January 1991. Book 3 of 3 +Additional Keywords: Pamment, Stan (Pres)

Book dedication, “Dedicated to the men and women of Victoria’s central Gold Fields who served and made the supreme sacrifice in our name”.1) .2) Books, soft cover, cardboard, white print on front and spine, front cover illustrated sepia tone photo of a soldier in uniform, back cover illustrated sepia tone photo of Soldiers marching with crowd of spectators, 73 pages, plain white, illustrated B & W and sepia photographs.On title page adhesive sticker printed in red ink, “Central Goldfields/Art gallery”, hand written in black, “With Compliments”books military, history, ww1 biography

Members of the Britnell/Duncan family of Greensborough include Jessie Britnell (nee Duncan) and William Britnell, Jonah Britnell and Emma Britnell. Family history notes provided by Faye Fort (nee Partington)Greensborough pioneer family.7 sepia photographs of family members. Notes by Faye Fort.Each has the name of subject written in pen on reverse. The names of the photographer are printed front and back.britnell, jesse duncan, emma duncan

Colour print of three Centurion tanks and 1 APC. All have personnel on or in them.They are accomponied by foot soldiers with arms drawn.Terrain is shrub, bush and palm trees. Sky cloud clearing .Silver Frame, Musk mat, Glass Frame. Under the print on white paper reads Australian Army. 1st Armoured RegimentCenturion "In Country" by Barry Spicer "As the breaking dawn pushed back the morning rain showers the unfolding soft light reveals a troop of Centurions of the Australian 1st Amoured regiment as they prepare to depart their first way point on another 'In Country operation'. Australian Army 1st Armoured Regiment Presentation copy.framed print, 1st armoured regiment, apc, centurion tank

Gold framed coloured oil painting depicting RAAF Iroquois gunship of 9 SqnBarry Spicer 2001iroquois, gunship, helicopter, raaf, 9 squadron raaf, bushranger

Painting colour in Gold/Brown timber frame depicting Mekong River Delta Village..Acrylic / canvas Village life -Houses, Boats and People.Min H Vietnam.mekong river delta villiage, framed painting

Painting / Sketch in Black (Sienna?) in rough timber. Blackened frame depicting Vietnamese man playing a 'Tin Can Fiddle' Vietnamese woman holding child in arms in the side/background.(On Back) Joy with a beer can fiddle 60 Dollars.artwork - vietnamese

Painting in acrylic in gold timber frame. Depicting housing and market in Vietnam. Colourful and vibrant.war in art

Black ink sketch printed on beige coloured paper depicting a soldier carrying a rifle in full Military uniform. Soldier is holding the leash of a large black dog.Sketch was done by Andy C Neilsondrawing, soldier

A black and white laminated etching of two escorts ships at sea. Numbers on ships are 53 and 50. At the top of the etching reads "Vietnam Escorts Limited Edition Series. At the bottom right hand side is the No:001Bottom left hand of the etching is Randall Wilson 1998etching, cerberus collection, vietnam escorts limited edition series

A black and white etching of three escort ships. Left to right are D08 Vendetta, D154 Duchess and D11 Vampire. Top of the etching reads Vietnam Escorts Limited Edition Series. bottom right corner is No:001Bottom of the etching is Randall Wilson 1998cerberus collection, etching, vietnam escorts limited edition series

A black and white etching of two frigates in port. Front of etching is F05 Paramatta frigate with sailors on board. Second frigate is 07 Parramatta. bottom right side of etching reads Randall Wilson 1998. Top of etching reads Vietnam Escorts Limited Edition Series" Bottom right hand side of etching is the No: 000etching, cerberus collectio, hmas parramatta, hmas yarra, vietnam escorts limited edition series

Early image of Alfred Square St Kilda with surrounding builldings. Reproduced from the original at the Athenaeum Clubcolour reproduction of original oil painting 1873. Meet of Melbourne hounds in Alfred Square. Meet of Melbourne Hounds at St Kilda painting by permission of the Committee on the Athenaeum club Melbourne