Synthetic polymer paint on paperSigned and dated on reverse u.c., black crayon (monogram) / "A 1984" Titled on reverse top c., black crayon "NOLAN'S FIRED" Typed label on reverse bottom r. "NOLAN'S FIRED" / (760 x 560) mm A/P 1984 / $300.00landscape

WARM was a community textile art project that saw over 250 knitters come together to create a beautiful collage tapestry. Made entirely from wool, the artwork contains more than 1000 individual hand knitted sections. The project takes aim at global warming, it highlights both the causes and solutions for us to create a sustainable and safe climate for future generations. Lisa Kendal, the co-creator of the project, said “One of the problems in the world is that we have forgotten how to warm ourselves with wool. We have become too dependent on fossil fuels (for heating)”. This is the key idea surrounding the project. WARM began as two large scale images created by Lars Stenberg. The first image is a landscape scarred by coal mining. The second image is the same landscape only many decades later. Regeneration and regrowth have taken over the landscape and hidden the past coal mine completely. In its place is a beautiful landscape including trees, native flowers, a lake, lots of greenery and wind turbines. From March to the end of August in 2016, knitters worked hard to create the over one thousand pieces that came together to form the final tapestry. The pieces were all designed by Fibre Artist Georgie Nicolson of Tikki Knitting Designs, who converted the second image of the healed landscape into patterns for the 250 plus knitters to follow. These patterns included unusual designs such as gum leaves, trees, native flowers and even the wind turbines. During several days of installation, the knitted pieces were stitched together by Lars Stenberg over a picture of the first image of the operational coal mine. They worked to create the second image of the renewed landscape; like an enormous collage. The WARM project was donated to the National Wool Museum in 2021. It was a much-loved hanging within the Ballarat Hospital for many years before coming to the museum. More information about the project can be found on the following website. http://www.seam.org.au/warm The tapestry is made from 1000+ hand knitted sections stitched together to make an image. In the foreground of this image is a large gum tree that stretches from the bottom left to the top right corner. The trunk of this tree follows the left edge of the tapestry, with foliage from the gum tree spanning its top border. The bottom third of the tapestry is predominantly green grass with yellow, pink and red flowers providing sporadic colour. The middle third encompasses a lake, with orange colours surrounding the banks of the water as opposed to the green grasses of the bottom third. To the right of the lake are wind turbines. The top third of the tapestry is blue sky with white clouds. It also contains the previously described gum tree leaves. Each piece of the tapestry is 100% wool and was hand knitted and stitched together. The Tapestry is accompanied by an oil painting on canvas. It is a painting that matches the tapestry and served as a template for the final tapestry. Finally, the tapestry is accompanied by another pointing on wood board. This final panting is of a coal mine. This is the setting before regeneration and regrowth have reclaimed this site, which is the theme captured in the final tapestry. In the foreground of the coal mine painting is the same gum tree described in the tapestry; however, it is grey and sickle with only 4 leaves visible at the top border, compared to the numerous leaves in the tapestry. Also in the foreground is a broken barb wire fence adding to the unwelcoming nature of the site. The colour scheme of this image is of dark greys and browns. A coal fired power plant can be seen in the final third of the image with four chimneys emitting plumes of smoke into the sky. In front of this power plant is the spiral shape of a coal mine, burrowing deep into the earth’s crust. Inside of the coal mine 3 yellow trucks are seen mining and transporting coal to the top of the mine.warm, community textile tapestry, knitting, community artwork, global warming

Early Mitcham settlers Elizabeth and John McGlone ran a hotel 'The Harvest Home Hotel' in the front room of their home in Whitehorse Road Mitcham. The hotel closed in 1889Copy of a watercolour painting of McGlone's Harvest Home Hotel Mitcham by Shirley Jones. Cottage with verandah is white with pink roof centre with palm trees either side of verandah with trees behind. Shirley Jones in bottom left corner . Right front corner Early Hotel Whitehorse Road Mitcham 1956 McGlones Harvest Home Hotel (near Richards Street)illustrations, reproductions

Black and white photo shows the front of the Rutherglen State School No. 522 with women in long dresses and big hats. Probably for the opening of the school. The colour photograph is a post card reproduction of a painting "The Sabbath Hat" from Henry John Dobson, R.S.W. (1858-1928)Two postcards pasted onto either side of a piece of green cardboard, probably cut from an album. One photo is a black and white photograph. One is a colour reproduction of a painting.At bottom of black and white photograph: "State School, Rutherglen" On the top left corner of the colour photograph: "A Happy New Year" At bottom right corner of the colour photograph: "The Sabbath Hat" rutherglen state school, school buildings, sabbath hat painting, henry john dobson

Black and white photograph is of the Prentice and Southern Mine. Colour image is of a painting identified as The Angelus by Jean-Francois Millet.Two postcards pasted onto either side of a piece of green cardboard, probably cut from an album. One photo is a black and white photograph. One is a colour reproduction of a painting.At bottom of black and white photograph: "The Prentice and Southern Gold Mine, Rutherglen"prentice and southern gold mine, angelus, gold mining, millet, painting

Painting by B Watt. Painting of Two Soldiers (Ziggy &Garry} dressed in jungle greens holding weapons in Nui Dat Vietnam 1967On top of frame -Donated to the Dandenong RSL Sub Branch in Dandenong Victoria- In Memory of hr. Dr Zygmunt A.Gizycki de Gozdawa .M.D,D,S.(Poznan-Poland) B.D,Sc (Melb) L.D.S (Vic) By Gizycki de Gozdawa Family Heritage Foundation.---- On bottom of frame-Ziggy Garry 7 Bn R.A.R. Nui Dat 1967.

Gouache on paper illustration of a woman from Pátzcuaro region, Michoacán, Mexico, by Mexican fashion illustrator Alfredo González Bouret (1926-2018). Likely created in 1953, prior to being exhibited in Mexico and Paris in 1954. From the Patzcuaro region of Michoacán state, Mexico, this woman wears a wide-brimmed 'sombrero' on top of her 'rebozo' - a long rectangular shawl made of wool or cotton with an intricate hand-knotted pattern, popular throughout Mexico. Her hair is held away from her face, likely in long plaits down her back in the traditional style of the region. Her ears and neck are decorated with long earrings and strings of beads, while her plain white blouse is tucked in to a bright red 'refajo' skirt, gathered at the waist by a textile belt with geometric designs. In her hands she holds long-stemmed lilies. While resembling other illustrations of fashion from the Patzcuaro region, this costume stands out for the bright colour of the skirt, and the lack of embroidered decoration on the blouse. Rebecca Lloyd, 2019.Mounted painting of a woman in traditional regional dress from the Patzcuaro region of Michoacán, Mexico. Gouache on paper, c.1953.Signed in green paint, bottom right, 'AG Bouret'.mexico, 1953, fashion design, painting, illustration, mexican, fashion illustration, dress

Premier 23rd January 1893 – 27th September 1894. Born in Alnwick, England, Sir James Patterson (1833-1895) migrated to Victoria in 1852 to try his luck on the goldfields. After little success he turned his hand to farming, and later operated a slaughter yard at Chewton. Patterson served on the Chewton local council, being elected mayor four times before moving with his wife Anna and family to Melbourne in 1870. Patterson established a real estate business, and after two unsuccessful attempts to enter parliament in 1866 and 1868, he won the by election for Castlemaine in the Legislative Assembly in December 1870. He would hold this seat until his death 25 years later. Patterson served in Sir Graham Berry’s brief August to October 1875 government as Commissioner of Public Works and Vice-President of Board and Land Works. He repeated these roles two years later in Berry’s second government and additionally served as Postmaster-General, and in Berry’s third government was Commissioner of Railways and again Vice-President of the Board of Land and Works. In April 1889 after a time in Opposition, Patterson became Commissioner for Trade and Customs in Duncan Gillies’ Government. The following year he returned to the familiar positions of Public Works, Board of Land and Words and Postmaster-General. By 1891 Patterson was leader of the opposition, and when William Shiels’ government succumbed to a motion of no confidence, led by Patterson, he became premier on the 23rd of January 1893. During his premiership, James Patterson was also Chief Secretary and Minister for Railways. His term as premier coincided with a period of severe economic depression, and his enforced economies earned Patterson few public admirers. In May 1893 his government attempted to prevent a run on bank withdrawals and stabilise the sector, by declaring a 5 day 'bank holiday'. Patterson was awarded a knighthood in May 1894, however this did not increase public confidence in his government who were not returned to power in the August 1894 election. Again leader of the opposition, James Patterson died suddenly of influenza on the 30 of October 1895.This portrait was presented to Sir James Patterson by 'grateful citizens of Victoria' in appreciation of his services during the land boom depression. In 1929 the painting was donated to the Victorian Parliamentary Library by H. Lavinia Patterson, the wife of Sir James Patterson's nephew Colonel George Patterson.Oil on canvas, framed. Frame: ornate wood, gesso mouldings, unglazed. Signed on bottom right corner "G. Coutts" Stamped inscription along inner edge of canvas: "WINSOR AND NEWTON". Inscription on canvas, handwritten in ink: "13 1 92" from reverse.patterson, james brown (1833-1895)

Kurt Winker was born in Germany in 1902 and was a survivor of the "Arandora Star". He was sent to Australia on the "Dunera" where he was interned at Tatura 1940-1945.Profile head and shoulders portrait of probably a male internee dressed as a woman. Wearing a straw hat with netting around it. Rimless glasses. A green scarf around the neck that looks like plaid or tartan and a pink/burgundy coloured coat.Tatura Summermodel 1941 on mat board above the painting "The Happy Groom" Kurwin 42 on mat board under the painting Tatura 42 on bottom left hand side of paintinginternee, groom

Print of painting showing the landing of ANZAC soldiers at Gallipoli. The Landing at Anzac, Anzac Day, April 25 1915 printed on the bottom. Artist signature in print is C Cuneo anzac, gallipoli, 1915, painting

Framed print of the Allan Waite 1993 painting 'Attack at Lone Pine - 6 August 1915' Image details an artists interpretation of trench warfare at Lone Pine in 1915. Print has 'Attack at Lone Pine - 6 August 1915', 'Allan Waite - August 1993', and 'Printed by the Royal Australian Survey Corps 1993' printed along the bottom of the print. lone pine, allan waite, ww1, gallipoli, turkey

Chinese watercolour featuring a landscape scene with trees and birds. Features are predominately in black. Fixed to light grey silk fabric fused to cream paper scroll. Chinese symbol stamepd in red lower right corner. Brown hanging cord at top and dark brown laquered pole at bottom edge.

White certificate in a black, grey and gold frame featuring in image of a framed painting of a teacher pointing to a blackboard with $10,000 written on it and two small logos at the bottom of the page. Black text below reads:Congratulations as our winner of The Age Best of Education. You now have a $10,000 grant for your school/

Destination roll - white lettering on black background for the St Kilda - Brighton tramway, operated by the Victorian Railways until November 1956. Letters are 125 high, with painted black linen (glossy black), leaving the letters white, but with edge to give a shadow effect - see images. Roll quite stiff when rolled out. Roll 790 wide, with a top section (no destinations) 225 long, the destination roll section, 995 long and a bottom 240 long. Destinations in order are: ST KILDA RLY; DICKENS ST; VAUTIER ST; ELWOOD DEPOT; MID BRIGHTON; BRIGHTON BCH. Rolled in direction with destinations on the outside of the roll. Image information: btm1745i1 - photo of roll showing front of destinations btm 1745i2 - close up of part of St Kilda, when held up to light - no flash btm 1745i3 - close up of part of St. Kilda from rear or primary painted side btm 1745i4 - close up of part of St. Kilda from front showing painting method. See Destination City - 5th edition Not to be used in a tramcar destination box - original to be kept in archives.tram, trams, vr trams, destination roll, st kilda - brighton

Colour photo of horse tram No. 1 on the rear extension of No. 5 at depot, with the first stairway completed taken from Gilles St. looking back at the depot building. See also Reg. item 740 for photo taken at the same time. Tram body has seat on top deck and detail painting is underway. Photo by Carolyn Dean, 24/3/1991.On rear in blue ink "161.5 24-3-91 / Carolyn Dean photo" and in black ink "(4) Ballarat / Return to" and in bottom left hand corner on a sticker "William F Scott / P.O. Box 2550 / Cheltenham Vic 3192 Australia / (03) 9584 3679". horse tram no. 1, btps, tramcars, reconstruction, tram 1

Yields information about the painting of while lines at crossing lines to indicate clearances between tram lines.Carbon copy of a Hand written memo on SEC memo paper from D/E dated 1/3/1955, titled "Painting of White Lines on Loops”. signed by Les Denmead. BTPS Number "223" Has “223” in biro in bottom right hand and top right hand corners.trams, tramways, sec, crossing loop

Black and White reproduction (copy by scanning and reprinting) of a sepia toned image of an ESCo Bendigo Electric tramcar at the time of opening trails with many people on board, crews, a dog, in the Ball Mall area. Shows details of the car decoration, painting, crew uniforms, seating arrangements, truck arrangements. Information provided with photographs says "Trial run on route to Golden Square 8.4.1903", copied from Leonard C. Bennetts collection by William Scott. Shows edges and edge damage of original photograph. Two copies held.Copy 1 - has "20)" in the top left hand and right hand corners of the front of the photograph. On the rear "140)" in ink in the top left hand corner. In pencil and ink "Bendigo Tramways (Company electric) / Trial run on route to Golden Square 8.4.1903", "copies from Leonard C. Bennetts Collection" and a "William F Scott" address label in the bottom right hand corner. copy 2- has "12" in a circle on the top left hand front. Back has been covered by a sheet of paper, but has similar notes to copy 1 and cropping instructions.trams, tramways, bendigo, pall mall, golden square, trials, esco

Painting on board of female figure playing tennis. Signed bottom right: 'BE. LONG' Materials: Oil paint/Pigment, Wood, Cloth, Papertennis

Wallpaper fragment probably used to border the walls around the cornice areas. Black rectangle with pink and green floral motifs with scalloped edge on the bottom.No visible markings.buildings, painting/decorating, border, wallpaper, cornice, black, pink, green, floral, scalloped.

Wallpaper fragment with two different layers of wallpaper. The bottom layer consists of cloth material with a white background and thin blue stripes. The top layer consists of paper material with a grey background and a linear floral pattern in white, pink and blue.No visible markingsbuildings, painting/decorating, wallpaper, decorating, interior, wall, fragments, floral, pattern, stripes.

In 1870 the Earl de Grey was Grand Master of England, but his rule was short lived. After being converted to Roman Catholicism, he felt it was essential that he resign from Freemasonry as his church at the time was opposed to Freemasonry. Albert Edward Prince of Wales, later King Edward VII, readily accepted nomination as Grand Master of England and continued in office until his Accession in 1901.This portrait the Prince of Wales was painted by Thomas Flintoff. It is held within a very elaborate gilded frame which comes apart in 3 sections and is one of only two known types existing.Portrait oil painting of Prince Albert on canvas stretched over stretcher/strainer. Framed in a very elaborate qilded wood and rosen frame. Heavy ornamentation on top and bottom of the frame. Signed: 'T. Flintoff 1880', Placque: 'Grand Master U.G.L. of England 1874-1901 H.R.H. Albert Edward Prince of Wales by T. Flintoff'. portrait, painting, his royal highness albert edward prince of wales, freemasonry, freemasons, freemasons victoria

Australian bush / rural landscape painting - Impressionistic with four cows under tree in the bottom left of the picturelandscape, impressionist