Josh MUIR (1991- 2022) Yorta Yorta/Gunditjmara/Barkinjl Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice. Computer generated image on canvas.josh muir, aboriginal, artwork, artist, hutchinson indigenous fellowship

MEDIUM: Oil on linen DESCRIPTION: Ranges from yellow to deep red Cream outer frameSigned and dated on reverse of canvas and frameoil, janczewski, desert

This work was completed during Harper's Laughing Waters residency at Boomerang House, 2001. The Laughing Waters Artist in Residence Program was run by Nillumbik Shire Council (in partnership with Parks Victoria) 2001-2015. "My painting is about colour and form, and their relationship. I am interested in what one colour does to another colour, the weight of a colour and the feeling of a colour. Colour is very complex; I am looking and responding to what I see and what interests me." Melinda Harper in Artist Profile journal article by Melissa Pesa, 2015.The painting is representative of Harper's artistic practice and the vivid colours and abstraction particular to her work. Small-medium sized oil painting of vivid, bold, coloured shapes arranged in a kaleidoscope pattern. There is an array of colours each placed in proximity to each other to create a vibrant, lively atmosphere. Anna Schwartz sticker on back of canvas. harper, untitled, 2002, contemporary, laughing waters, boomerang, abstract

Josh MUIR (1991- ) Yorta Yorta/Gunditjmara/Barkinjl Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.A computer generated artwork on stretched canvas.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

Josh MUIR (1991-05 February 2022) Yorta Yorta/Gunditjmara/Barkinjl Born Ballarat, Victoria Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on Aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice. He was also a Telstra National Indigenous and Torres Strait Islander Youth Art Award winner. The Koorie Heritage Trust, the National Gallery of Australia, the National Gallery of Victoria, the Art Gallery of the Northern Territory and Federation University Australia all own his work. Digital output on stretched canvas.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

This drawstring canvas bag is amongst the Rocket Rescue equipment. It could have been used to carry equipment, clothing or provisions between the crew on the shore and the victims of a shipwreck or other rescue need. It could be worn on the shoulder or as a backpack or winched out to a vessel on the block and pulley system. The strong canvas could be weatherproof and waterproof to a large extent, provided the drawstring was pulled tight. Saving lives in Warrnambool – The coastline of South West Victoria is the site of over 600 shipwrecks and many lost lives; even in Warrnambool’s Lady Bay, there were around 16 known shipwrecks between 1850 and 1905, with eight lives lost. Victoria’s Government responded to the need for lifesaving equipment and, in 1858, the provision of rocket and mortar apparatus was approved for the lifeboat stations. In 1859 the first Government-built lifeboat arrived at Warrnambool Harbour and a shed was soon built for it on the Tramway Jetty, followed by a rocket house in 1864 to safely store the rocket rescue equipment. In 1878 the buildings were moved to the Breakwater (constructed from 1874-1890), and in 1910 the new Lifeboat Warrnambool arrived with its ‘self-righting’ design. For almost a hundred years the lifesaving and rescue crews, mostly local volunteers, trained regularly to rehearse and maintain their rescue skills. They were summoned when needed by alarms, gunshots, ringing bells and foghorns. In July 1873 a brass bell was erected at Flagstaff Hill specifically to call the rescue crew upon news of a shipwreck. Some crew members became local heroes but all served an important role. Rocket apparatus was used as recently as the 1950s. Rocket Rescue Method - The Government of Victoria adopted lifesaving methods based on Her Majesty’s Coast Guard in Great Britain. It authorised the first line-throwing rescue system in 1858. Captain Manby’s mortar powered a projectile connected to a rope, invented in 1808. The equipment was updated to John Dennett’s 8-foot shaft and rocket method that had a longer range of about 250 yards. From the 1860s the breeches buoy apparatus was in use. The apparatus was suspended on a hawser line and manually pulled to and from the distressed vessel carrying passengers and items. In the early 1870s Colonel Boxer’s rocket carried the light line, which was faked, or coiled, in a particular way between pegs in a faking box to prevent twists and tangles when fired. The angle of firing the rocket to the vessel in distress was measured by a quadrant-type instrument on the side of the rocket machine. Decades later, in about 1920, Schermuly invented the line-throwing pistol that used a small cartridge to fire the rocket. The British Board of Trade published instructions for both the beach rescue crew and ship’s crew. It involved setting up the rocket launcher on shore at a particular angle measured by the quadrant, inserting a rocket that had a lightweight line threaded through its shaft, and then firing it across the stranded vessel, the line issuing freely from the faking board. A tally board was then sent out to the ship with instructions in four languages. The ship’s crew would haul on the line to bring out the heavier, continuous whip line, then secure the attached whip block to the mast or other sturdy part of the ship. The rescue crew on shore then hauled out a stronger hawser line, which the ship’s crew fixed above the whip block. The hawser was then tightened using the block on the shore end of the whip. The breeches buoy and endless whip are then attached to the traveller block on the hawser, allowing the shore crew to haul the breeches buoy to and from the vessel, rescuing the stranded crew one at a time. Beach apparatus equipment - In the mid-1800s the equipment could include a line throwing set, coiled line in a wooden carrying case, rockets, cartridges, breeches buoy, hawser and traveller block, line-throwing pistol, beach cart, hand barrow, sand anchor, crotch pole, and tools such as spade, pick, mallet and hawser cutter. Around the 1860s Warrnambool had a Rocket House installed beside the Harbour. This canvas bag is significant for its connection with local history, maritime history and marine technology. Lifesaving has been an important part of the services performed from Warrnambool's very early days, supported by State and Local Government, and based on the methods and experience of Great Britain. Hundreds of shipwrecks along the coast are evidence of the rough weather and rugged coastline. Ordinary citizens, the Harbour employees, and the volunteer boat and rescue crew saved lives in adverse circumstances. Some were recognised as heroes, others went unrecognised. In Lady Bay, Warrnambool, there were around 16 known shipwrecks between 1850 and 1905. Many lives were saved but tragically, eight lives were lost.Canvas bag; thick beige canvas bag, cylindrical with a round base. The top has a thin rope in a drawstring closure. flagstaff hill maritime museum and village, flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, lady bay, shipwreck, life-saving, lifesaving, rescue crew, rescue, rocket rescue, rocket crew, lifeboat men, beach rescue, line rescue, rescue equipment, volunteer lifesavers, volunteer crew, life saving rescue crew, lifesaving rescue crew, rocket apparatus, survival kit, rescue kit, canvas bag, storage bag, carry bag, equipment bag, drawerstring bag

Khaki coloured canvas legging constructed of three panels, sewn together with beige topstitching. Gaiters fasten around leg by way of nine hooks which fit into metal eyelets; a strip of canvas runs under the foot and is buckled on the other side. One tag on interior and printed manufacturer's information on interior centre panel; printed in black. Cotton shoelace is fed through one eyelet at top; shoelace has one aglet and one end without an aglet.Tag reads "2-R"; printed inscription reads "2R/LEGGINGS,CANVAS, M-1938 DISMOUNTED O.D./THE BRAY COMPANY/10-27-43 W 12-036 OM 114B/72-L-61923/JEFFERSONVILLE OM DEPOT"second world war, uniform, jeffersonville

Brian was born in Melbourne in 1949. Early life was spent in the stimulating bush environment in Montrose. Ramon Horsefield saw a spark and Brian began to paint in oils at the age of thirteen. He contunued tuition with Graham Moore, in class and at night classes. An Art Diploma at Swinburne was not completed. This did not crush his creative spirit and he resumed tuition with Graham Moore. Within a few years he was winning prizes. Many and varied jobs allowed him to survive whilst aspiring to become a full time painter and bring up his growing family. In 1977 Brian resigned from his last employment as a picture framer. He leased a shop in Main St, Mornington and set up classes. Brian taught painting and had his own studio behind the school. Later he was to move and build his "bushland gothic" home in North Warrandyte. Here he developed his reputation as a painter. Brian had his first solo exhibition in 1979. Many more were to follow. He has won many prizes, was a finalist in the 1992 Moran Portrait prize. The Alice Bale Scholarship which he won, entailed a year traveling and studying in Europe. Brian returned home in 1996. Sharing his skills with many students over the years, he taught privately and at various art societies. His oils, pastels and charcoals capture the light of landscape, portrails and nudes. In 2012 it will be thirty-five years since Brian has had a "real job". At times this has been really difficult. He is now semi retired after suffering from Rheumatoid Arthritis for a decade. Now he paints what he loves to. His portraits capture the very essence of the sitter. In 2009 he remarried and moved back into the bushland of North Warrandyte. 'Duet' by Brian E. Armstrong was donated by the Artist to the Eltham Copper Butterfly Appeal Auction.Oil on canvas painting depicting a 'Duet' scene with two children. One is shown playing the flute whilst the other is playing the piano. The painting is fashioned in sombre colours and muted tones, with alternating tones of violet prominent.Signed- Brian E. Armstrong '87 On label - artist's name: Brian E. Armstrong Address: 844.2925 Title of Painting: Duet Medium: Oil on canvas On Frame: 82 enclosed in circle. 31 1/2. C Enclosed in circlebrian e. armstrong

After the 1939 bushfires the Forests Commission placed orders for 130,000 feet (nearly 40 km) of 1½ inch canvas hose in Britain to accompany over 200 new pumps of various types. The Altona workshop became a major centre for fabrication, repair and storage of hose. But lack of standardisation of hose couplings plagued Australian firefighters for decadesHose pressure testing kit. Canvas hose needs to be washed, dried, rolled and stored properly after it has been used otherwise it will rot. Unrolled hose is notorious for becoming tangled.FCVforests commission victoria (fcv), bushfire, fire pump, fire tanker

This bottle may have belonged to John (Jack) Henry Teale (NX 53563). Teale was born in Riverstone, New South Wales and enlisted on 20 March 1918 at the age of 18 years and 8 months, joining the 33rd Battalion/1st Infantry Depot Battalion A Company in Liverpool; though interestingly, the stamps on his enlistment certificates predate the date of enlistment. Teale's next of kin is listed as his mother, Rebecca; on both enlistment forms, John's father, George's name is crossed out and replaced by his mother. Both parents are confirmed as being alive in a separate attestation document from 22 February, documenting parental permission for enlisted soldiers under 21 years. John Henry Teale sailed from Sydney to Liverpool via HMAS Osterley (also known as RMS or SS Osterley).This bottle was owned by John Henry Teale, a young enlistee from New South Wales. The service number inscriptions provide great research significance, allowing for research into the service history of the owner. The bottle is representative of the uniform and equipment issued to servicemen of the period, the First World War and when compared with other examples, is in comparatively good condition with the casing mostly intact. Dark blue enamelled metal eliptical-cylindrical shaped bottle with flat top and base, fastened at the top with a cork. Cork has metal handle at top with string attached (now broken where attaches to bottle). Bottle is cased in khaki woollen material, hand sewn in places and detached in others. Bottle is carried via a series of leather straps, one of which passes beneath the bottle and runs up the left and right side, ending in a loop attached to a brass metal circle and held in place with a stud/rivet; this strap carries stamped service number. Two leather straps encircle the bottom horizontally and are fastened with studs. Upper strap has service number stamped. Long leather strap passes through metal circles and each end attaches to canvas strap which sits on the shoulder. Canvas strap carries service number also. Strap is adjustable and has several punched holes through which a buckle can pass.Inscribed on canvas strap in ink: "NX53563". On middle of leather strap: "53563". On leather strap under bottle: "53563". On horizontal leather strap: "53563". john henry teale, jack teale, 1st infantry depot battalion, 33rd battalion, world war i, world war one, first world war, the great war, equipment, uniform

This piece represents the landscapes of Wadawurrung Country. It involves the oceans, the cliffs, the river, the mighty You Yangs. The circles depict gathering on Country. Be this Indigenous, Non Indigenous or both entwined.Painting of series of mountains and rivers. Brown, blue, green, yellow, white used.On bottom right-side of canvas - AJ Howellwadawurrung country, you yangs

This oil painting by Bret Belot was an initiative of his to put something on canvas to celebrate the centenary of ANZAC in 2015. The images depicted on the painting are mostly from the collection of the Bendigo Military Museum in the Soldiers Memorial Institute Pall Mall Bendigo. Some of the figures are Brothers Jack Grinton & Bert Grinton DCM, Bill Durward 38th Bn, the Wright Brothers, Albert Jacka VC, MC and Howard, Poliness & DeAraugo who volunteered to go with Jacka when he won the VC, 38th BN men in Dog Trench, graves of 38th Bn soldiers, a letter written home about the Armentieres raid in 1917 by Robert Suggett 38th Bn. The painting was first unveiled at the Bendigo District RSL Sub Branch Inc pre ANZAC Day 2015. It is now on display in the Foyer of the Bendigo Military Museum.Painting oil on canvas, with numerous images from WW1 covering various aspects of the Great War.“Bret Belot”brsl, smirsl, painting, 2015

.1) Belgium Flag printed on canvas .2) Italian Flag printed on canvas .3) France Flag printed on canvas .4) English Flag printed on canvas .5) USA Flag printed on canvas .6) Australian Flag printed on canvas .7) Russian? Flag printed on canvas (horizontal white, blue & red stripes)flags, allied

A canvas racquet cover Materials: Canvas/Cotton, Thread, Metaltennis

A canvas racquet cover Materials: Canvas/Cotton, Thread, Metaltennis

This backpack was manufactured in the 1960s. It was typical of backpacks used to carry in packages, small boxes and supplies by early residents of Falls Creek before any oversnow transport was available. The pack may have belonged to Julian Newton Brown as it was found outside the old Falls Creek Flats, commonly referred to as Alcatraz, where he lived for some time. The Flats were built in 1961 and quickly earned the name Alcatraz as they were only 2½ squares each so were compared to prison cells in Alcatraz. The name stuck and was later officially adopted.This item is significant because it demonstrates how ski equipment has changed over time.A backpack made from canvas with a wooden frame and canvas strapsski equipment 1960s, falls creek flats, alcatraz falls creek, julian newton brown

John Day Fredrick James Day (Grandfather) 60th A.I.F (Jack Fry gov a stroy) on note with dontation)791.1 +.2 Pair of gaiters - lace up with lovel (cotton) Khaki 791.3 Khai army bag internal (small pocket inside at base) Pockets on side (right and left) Pocket at back (internal) has top (cover) 791.4 Khaki belt with brass fastnerBlack stamped arrow inside top of canvas bagwebbing, equipment

Canvasequipment, ww2, army

A Ditty Bag (or box) was originally called “ditto bag” because it contained at least two of everything, two needles, two spools of thread, two buttons, etc. With the passing of years, the “ditto” was dropped in favour of "ditty" and remains so today. Before World War I, the Navy issued ditty boxes made of wood and styled after footlockers. These carried the personal gear and some clothes of the sailor. Today, the ditty bag is still issued to recruits and contains a sewing kit, toiletry articles and personal items such as writing paper and pens. Another source says a Ditty Box or Ditty Bag is possibly from the Saxon word “dite”, meaning tidy or from the English word “dittis”, a type of canvas material. A small box or bag in which a sailor kept his valuables such as letters, small souvenirs and sewing supplies.An item that is socially significant as it gives insight into a sailors life aboard ship and is another part of marine history. Items such as these although they were regarded at the time as everyday objects help us now to map various aspects of marine archaeology thorough the ages.Sailors Ditty Bag, canvas bag for holding all the sail making and roping tools, with tie and brass clasp. Holed.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Heavyweight canvas bag. Has side gussets and two canvas handlessee photo "Monsoon" brand - very fadedcanvas bag, carry bag

This lifebuoy is part of the lifesaving equipment from the sailing ship the Falls of Halladale. It is filled with cork and covered with canvas and reinforcing bands. The name of the ship and its origin is printed on the lifebuoy. It has been sealed with several coats of white paint. A lifebuoy, or life-preserver, is used as a buoyancy device to keep a person afloat in the. It is usually connected by a rope to a person in a safe area such a nearby vessel or on shore. The lifebuoy is thrown to a person in distress in the water, allowing the rescuer to pull the person to safety. The lifebuoy is a made from a buoyant material such as cork or rubber and is usually covered with canvas for protection and to make it easy to grip. The first use of life saving devices in recent centuries was by the Nordic people, who used light weight wood or cork blocks to keep afloat. From the early 20th century Kapok fibre was used as a filling for buoys. Light weight balsa wood was used as a filler after WW1. In 1928 Peter Markus invented and patented the first inflatable life-preserver. By WW2 foam was combined with Kapok. Laws were passed over time that has required aeroplanes and water going-vessels to carry life-preservers on board. The Falls of Halladale 1886-1908 The vessel ‘Falls of Halladale’ was a four-masted iron-hulled barque, launched in July 1886, by Russell & Co of Greenock, Scotland and owned by the Glasgow Falls Line, which named its ships after Scottish waterfalls. The ship was built for long distance cargo trade. The Falls of Halladale was one of the last windjammers that sailed the Trade Route. The ship was on its way from New York to Melbourne via the Cape of Good Hope when, after 102 days at sea, its journey suddenly ended. During the night of November 14, 1908, in calm seas with some coastal fog, an ocean swell raised the vessel up then let it down on a submerged reef wrecked at Curdies Inlet, Peterborough. The ship was stranded and the Port Campbell Rocket Crew were sent for, to perform a rescue. However by the time they arrived, all on board had already travelled by lifeboat to the nearby beach at the Bay of Islands. The sight of the slowly disintegrating ship on the rocks attracted many sightseers. This lifebuoy is significant for its association with the famous ship the Falls of Halladale. It is significant for its association with lifesaving equipment used on board vessels in the early 20th century. The Falls of Halladale shipwreck is listed on the Victorian Heritage Register (No. S255). She was one of the last ships to sail the Trade Routes. She is one of the first vessels to have fore and aft lifting bridges. She is an example of the remains of an International Cargo Ship and also represents aspects of Victoria’s shipping industry. The wreck is protected as a Historic Shipwreck under the Commonwealth Historic Shipwrecks Act (1976).Lifebuoy; round white canvas ring, joined with hand stitching. Stencil with inscription is printed in black on first and third quadrant. The canvas has been repainted in white but avoiding the inscription in the lifebuoy. A hanging board for display is attached with white rope. Lifesaving equipment from the Falls of Halladale.“FALLS OF HALLADALE” “GLASGOW”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, life rings, lifebuoy, safety ring, life-saving buoy, ring buoy, life preserver, personal floating device, floatation device, safety equipment, falls of halladale, glasgow falls line, rocket crew, lifeboat, peterborough

Canvas backed paper map of District of Yering, Country of Evelyn, showing proposed waterworks for township of Lilydale. Signed by Hodgson & Smith, water supply engineers. Proposed waterworks for the township of Lilydale. Signed by Hodgson & Smith, water supply engineers. Proposed water main shown with of reservoir etc. Canvas backed paper map of District of Yering, Country of Evelyn, showing proposed waterworks for township of Lilydale. Signed by Hodgson & Smith, water supply engineers. Proposed waterworks for the township of Lilydale. Signed by Hodgson & Smith, water supply engineers. Proposed water main shown with of reservoir etc. evelyn, lilydale, waterworks and irrigation

This item was manufactured in a period where the cheapest containers for portable equipment was canvas. The market place for cheap cameras was still restricted to European, England and its colonies. It was well before the post World War II explosion of the Asian manufacturing juggernaut.This item shows one of the most popular avenues of not only bringing new "modern" age equipment into the Kiewa Valley but also providing the local market with actual overseas inexpensive merchandise. It was a time when the new European fashion and "new age" equipment took years to permeate into regional Australia. The world, through Australia eyes, was still a very large planet and supply of "modern" lifestyle equipment emphasised the geographic isolation of Australia. Post World War II emigrants and an increasing flow of tourists to Australia provided the contact needed by rural settlements to open up not only their social contacts but lifestyle activities.Canvas, yellow, cream in color and with a weave pattern on the external side. It has stitched brown laminated fabric boarders containing all ends and corners. A flap opening top fastened on one side by a large press stud (15mm). A brown coloured leather carry strap (adjustable and 10mm wide) fasted at either of the longitudinal ends of the bag.camera, case photography, hobby, personal equipment

Army issued belts as part of the soldiers uniform. This one was used during World War II. Khaki was used to camoflauge the soldiers.Khaki canvas webbing belt with brass clasp and fittings for attachments which are x2 khaki canvas pockets, x1 khaki woven canvas gun / pistol holster, pair green woven canvas detachable shoulder straps.1. On the back of one of the detachable pockets marked: - Small 2. On the back of the belt the following letters:- M.E.C. 105RA / A.A. 0227 / Larmy belt; world war ii

Painting - lake scene with mountain in background.Canvas - prepared by Windsor and newton 98 Rathbone Place London.illustrations, oil