Linocut print on paper. Printer's Proof.'P/P' bottom left under printed area, '...AND THEY FLEW FROM THE AIRFIELD AT NGURUPAI II' centred under printed area, signed along bottom right edge of printlinocut, cultural reference, pattern, symbolism, aircraft

Lithographic printSigned and dated in lower right along bottom edge within printed image "John Peart 73" Titled "THORNHILL BLUE" centre along bottom edge of print Edition 10/100, inscribed lower left in printed image

Linocut printSigned and dated 'Stewart MacFarlane 1985' in bottom right beneath image. Titled 'Love Come Down' bottom centre under image. Edition 1/10, lower left corner under printed image.

This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed print of 3 yellow 'button' flowers. art, artwork, jenny nolan, flora, nolan, print, printmaking

Series consists of a folder of contact prints ("proofs" taken directly from 35mm film) accumulated by photographers working for the Shire. Each sheet is usually devoted to one event, eg. Opening of the new Eltham Library in May 1994. Subjects documented include Shire Handbook photographs, executive staff, the Shire President, Maternal and Child Health Care, Recreation Facilities, a Statutory Council Meeting, General Staff Xmas 1991, Garbage Collection, Building of Pound 1990, and many others.shire of eltham archives, series listing

In the 1930s and 1940s the Victorian Railways was facing serious competition with not only the increasing popularity of the car but also many bus coach services that in many cases served the same tourist destinations that could be reached by rail. To counter the impact on its passenger business, the Victorian Railways extensively advertised on posters and printed brochures. [State Libray of Victoria Blog Jan 2023]]HistoricalSmall, cream coloured brochure with a round photo of a koala on front cover. Other pages contain information on tourist spots, concentrating on the abundance of koalas.Koalas and enchantment. Phillip Island Fairyland for fascinating holidays. Victorian Railways Print November 1938tourism, tourist brochure, koalas, railways

This print is a portrayal of Nurses during WW1The print shows nurses on location during WW1, their environment and conditions they worked in.nurses in locations

Coloured woodblock print.Signed and dated bottom right corner beneath image, pencil 'Hiroyuki Tajima '64' Titled bottom left corner beneath printed image 'Ququ' Edition 20/20, written in pencil to the left of signature and date.

An older female and male sit either side of a desk. The lady holds a pen and a sheet of large print music in front of her, with a small pile of similar sheets to her right. The man holds a pen and looks at sheets of paper (presumably music) whilst sitting next to a box with the title 'Family Fun Box Organ course' to his left. In the background are filing racks, The Australian Hymn book and Braille volumes in various bindings. Over time, the RBS built up a considerable music collection thanks to the work of its dedicated supporters such as Dulcie Magnus.Digital image of two people working together to produce braille music Second century 24royal blind society of new south wales, braille music

Linocut print on paper. Printer's Proof.'P/P' bottom left under printed area, 'HUNTING DHANGAL' centred under print, signed along bottom right edge.linocut, symbolism, pattern, cultural reference, astronomical, hunting

Bound booklet. Biographies. Soft cover, lightweight cardboard, yellow front, black back. Black print on front with wreath of oak leaves black silhouette. 71 pages, cut, plain, white, illustrated black & white photos. Printed front cover: “OUR GALLANT HEROES, MARONG HONOUR ROLL 1914 - 1919 WAR”booklet, marong, gallant heroes

This is the twenty fourth catalogue of trees and it contains fruit trees, nut trees, berries and some ornamental trees. Carl Nobelius wrote in his General Remarks that he had one million trees to sell, clean, healthy and pest free. The nurseries were 250 acres in extent and contained two and a half million trees in various stages. His nurseries were at Emerald, Railway Siding and his office half a mile from Emerald Railway Station. He imported new varieties from overseas and the nursery was the largest in the Southern Hemisphere, employing 80 people between 1903 and 1930.Green Catalogue 1915 of Fruit Trees, also Elms, Oaks, Planes, Poplars and other Deciduous and Ornamental Trees. The catalogue contains 5 black and white prints of landscape views of the nursery, plus there are 5 bright colour inserts of individual pears and apples.nobelius

ABOUT THE ARTIST – Philip James Gray “Philip is one of Australia’s leading maritime artists and his meticulous research and social commentary paintings of ships, such as, the Loch Ard and Schomberg form an important part of Warrnambool’s Flagstaff Hill Maritime Museum.” [ref. Dr Marion Manifold, Artist and Art Historian, 2014] Philip James Gray was born in London but has lived most of his life in Australia. He graduated from a London school of art as an illustrator, specialising in technical and scientific illustration as well as other commercial and applied art. He was also a student for a time of Fyffe Christie - British figurative artist, mural painter and humanitarian – who had a great influence on his career. Philip has always worked as a professional artist and illustrator. Many publications on maritime history have featured his work. His paintings have been released and sold all over the world as limited edition prints. The State Library of Victoria’s ‘Latrobe Collection’ holds two of his paintings. His street painting of ‘The Ashes Contest’ decorates the brick wall of Old Bakery Laneway in Sunbury and a Sunbury café owner commissioned him to paint the ‘Sunbury Pop Festival’ as a remembrance of local history. [ref. Sunbury Leader, Nov 15 2013] Philip has been an active member of the Sunbury Art Society in Victoria for several years, serving on the committee for some of that time and being involved in exhibitions. He enjoys helping new artists and sharing his skills and experience. [other references: Sunbury Art Society Inc. Oct-Nov 2012] HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Print of the sailing ship Loch Ard by artist Philip J. Gray, 1993. Depicts the Loch Ard in full sail at sea, figures on deck. Limited Edition number 54/925. Print is adhered to a piece of chipboard and is stamped by the framer, Ian's Picture Framing of Warrnambool.Signature of "Philip J. Gray" , "54/925" Stamped on back "IAN'S PICTURE FRAMING, 48 KEPLER STREET, WARRNAMBOOL 3280, PH: (055) 628 022, FAX: (055) 628 145"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, print, philip j. gray

Linocut print on paper. Printer's Proof'P/P' in bottom left under printed section, 'DAWN RAID STRATEGY' in centre under printed area, signed on bottom right edge.linocut, line, pattern

Linocut print on paper. Printer's Proof.'P/P' bottom left under printed section, 'ILAN REGATTA' centred under printed area, signed along bottom right edge.linocut, line, pattern, cultural reference, symbolism, boats

Linocut print on paper. Printer's Proof.'P/P' bottom left of printed image, 'Marrkai gub (cyclone Anthony)' centred under image, signed and dated in bottom right of printed area.linocut, cyclone, patterns, symbolism, cultural reference

Rev. Richard Fletcher (1800 - 1861), born in Newcastle-upon-Tyne, was agent of the Colonial Missionary Society and came to Australia with his wife and five children after the discovery of gold in Australia. The original of this engraving is in the Scottish National Portrait Gallery (Print Room).Black and white portrait print of engraving of the head and shoulders of Rev. Richard Fletcher with an inscription. He is wearing Regency clothing, looking to his left and is holding a paper. The print appears to be taken from a book and tipped onto a piece of brown paper."Revd. Richard Fletcher Manchester"colonial missionary society, rev richard fletcher independent minister

Linocut print on paper. Printer's Proof.'P/P' bottom left under printed image, 'Bu bu (tides)' centred under printed area, signed and dated in bottom right corner of image. cultural reference, linocut, cultural symbolism, patterns, waves, tides

Reproduced by kind permission of the Australian War Memorial by Royal Australian Survey Corps 1985. Brown wooden frame with gold inner trim & glass front. Mounted with white border & brown paper frame backing. Copy of coloured painting of Landing At Duc Thanh. Original by B Fletcher.Brown wooden frame with gold inner trim & glass front. Mounted with white border & brown paper frame backing. Copy of coloured painting of Landing At Duc Thanh. Original by B Fletcher.RHS bottom corner: Artist's signatureroyal australian survey corps, rasvy

shipwreck at Barwon HeadsSS ORUNGAL shipwreckPencil sketch, post card and B&W photo of SS ORUNGAL agroundReverse - " NIL ".historical references

Linocut print on paper. Printer's Proof.'P/P' in bottom left under printed section, 'MARKS OF A PRINTMAKER (BODY PARTS I) centred under printed area, signed along bottom right edge. linocut, line, cultural reference, pattern, hands, making

A photographic print of a postcard depicting a major church in Kew.Holy Trinity Church, Kew, ca. 1920-54. Reproduction of a Rose Stereograph Co. postcard in the State Library of Victoria. The reproduction is without the original printed inscription at base which reads "The Rose Series P. 13058 Holy Trinity Church, Kew, Vic." Annotation in pencil on reverse: "KH-4. Holy Trinity Church of England Cnr. High St and Pakington St Kew."holy trinity church -- kew (vic.), churches -- kew (vic.), high street -- kew (vic.)

Print Council of Australia Members' Print Commission, 1973Four figures swimming in a swimming pool. In the upper image there are reflected objects in the pool. The top of the image does not include the reflected object, being instead framed with a theatrical stage awning motif. These objects include a canopied shelter, rails, trees and part of a building. Four naked male figures (different views of the same figure) are swimming, jumping or standing. Foreground shows edge of pool with two deckchairs. Printed n pale blue and black inks. Mounted in cream matt with a timber frame, with glass glazing.Front: 2/15 (lower right) Swimming Pool (centre) Ermes De Zans '73 (lower left) (pencil) Back: Ermes De Zan "Swimming Pool" Etching (1973) (typed lable, upper left) 1973 (yellow sticker, upper left)

Print depicts Jesus in his metaphorical role as a 'shepherd' of 'sheep'. Common type of Catholic devotional picture.Print - "Christ with Sheep"Giovannisheep - art, logo merino: sheep in australian art and design - exhibition (29/07/2000 - 04/02/2001)