Group at the launch of the Women of Port Melbourne Exhibition & book, October 2005.L-R - Unknown, Dina MANN, Jan SOLDATAS in front of painting of Jerri MANN.Group in front of portrait of Jerri Mann at the launch of the Women of Port Melbourne exhibition18/10/2005 Dina Mann, Jan Soldataswomen of port melbourne, jerri mann, dina mann, jan soldatos

The picture on the tile is a reproduction of the painting "The Mill at Wijk bij Duurstede" which was painted around 1670 by the Dutch painter Jacob Isaacksz vab Ruysdael (1628-1682)Souvenir type item, likely purchases at the souvenir shop of the (Dutch) Rijksmuseum in Amsterdam.Tile with colour print of of Dutch landscape in gold with black line frame protected on back with cardboard nailed to frameCardboard at back of of frame has text " Jacob Isaacksz van Ruisdael 1628-1682. "The Mill at Wijk bij Duurstede" (painted about 1670). Original size 32 5/8 " x 39 3/4" Oil on Canvas (note this is about 892x1009mm) Held in Rijksmuseum at Amsterdamtile dutch painter

Shire of Eltham Art Collection, 'Beautiful Eltham' by Joh Ebeli showing Shillinglaw Cottage and Railway Trestle Bridge. Cross Ref: 00438 (print) and 01910 (neg)Colour positive film 120 6 x 9 formatFujichrome RDP 1 frame (No. 11)bridge, eltham, joh ebeli, paintings, panther place, railway, shillinglaw cottage, shire of eltham art collection, nillumbik art collection

Menin Gate at Midnight (also known as Ghosts of Menin Gate) is a 1927 painting by Australian artist Will Longstaff. The painting depicts a host of ghostly soldiers marching across a field in front of the Menin Gate war memorial. Longstaff painted the work after attending the unveiling of the Menin Gate memorial, at Ypres in Belgium, on 24 July 1927. The memorial commemorated those men of the British Empire, including Australia, who died in the battles of the First World War around the town. The painting is part of the collection of the Australian War Memorial in Canberra. It was purchased by Lord Woolavington for 2,000 Guineas and presented to the Australian government.[1] After a royal command viewing for George V and the Royal family at Buckingham Palace, the painting was displayed in Manchester and Glasgow. It was then taken around Australia, where record crowds paid to view the work. Longstaff oversaw the making of 2,000 prints and 400 of these were given to the nascent Australian War Memorial to sell to raise funds.Rectangular shaped glass covered picture frame showing a print of the MENIN GATE AT MIDNIGHTMENIN GATE AT MIDNIGHT by WILL LONGSTAFF Presented to the Commonwealth Government of Australia by Lord Woolavington paintings, prints, ww1, lara r.s.l. menin gate, world war one.

Nusra Latif Qureshi was trained in Mughal miniature painting in Lahore, Pakistan. From this, she has developed a rich contemporary visual style. Her works feature themes and techniques from the past and present. Qureshi often layers appropriated images from colonial photography. Balancing Act II is a gouache painting that depicts the outline of two figures balancing on bottles placed carefully on a small table. This drawing is layered on top of an orientalist colonial image that has been appropriated for the work.

John Andrew GARDNER (1906-1987) Born Camperdown, Victoria John Gardner studied at the Nataional Gallery School Melbourne. He later travelled with Rex Battarbee through central and eastern Australia. He initially worked as a commercial art before taking up painting full time and became known for painting bush landscape and Aboriginal life in oils. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed landscape featuring mountains. art, artwork, john comoner, john a. comoner, landscape, mountains, available

This large, leather bound journal was made for the Public Library and Burke Museum in Beechworth by book manufacturer, William Detmold in 1875. It was commissioned by the President of the Library and Burke Museum committee, Dr Antoine Mousse, for the purpose of cataloguing all the items in the collection. The cataloguer was the curator at that time, William Morton, whose hand-writing appears in the journal today. When William Morton first started recording in this journal in 1875, there were already a number of existing items in the institution. The Public Library and Burke Museum in Beechworth had actually been operating since the 1850s; first as a Young Men’s Association in 1856, then as Beechworth Athenaeum in 1858, then as the Beechworth Public Library in 1860. Then in 1861 when news of the death of Beechworth’s former police superintended, Robert O’Hara Burke, reached the town, it was agreed that the Public Library would also become a museum to tribute his legacy, renaming it as the ‘Public Library and Robert O’Hara Burke Memorial Museum, Beechworth’. Many of the items from the early institutions would have been used to form the nucleus of this new organisation. Plus, the additional items that were either collected or donated to develop it into a museum. The catalogue is extensive. There are exactly 461 pages of recorded items, each page detailing the various collections the museum acquired in the late 19th century. Collections recorded in this catalogue include a large collection of geological specimens, that were given to the museum in 1868 by the Geological Survey Department of Victoria. A large collection of taxidermy mounts, that were given to the museum as skins by the Museum of Australia in 1865. An extensive collection of Aboriginal artefacts that were purchased from amateur anthropologist R. E . Johns in 1868. As well as artworks, charts, photographs, machinery, maps etc., all of which have been held in the museum since. This catalogue also details the governance and management of the organisation. There were originally 30 rules that governed the actions for the management committee and, while anyone could read in the free library, only subscribers could borrow two books and one periodical. At first, subscriptions rates were 7/6 a quarter. This was later changed to £1 per annum, paid quarterly in advance. This was a considerable amount; 7/6 per quarter meant that the annual fee was £1.10. This was equivalent to about £650.00 or about $1,182.00AUD today, while the reduced subscription fee of £1 a year was the equivalent to £450.00 or about $818.00AUD today. Membership of the athenaeum would have been the reserve of the town's notable citizens. The vale of the catalogue lies not only in its historical connect with the establishment of the Athenaeum and the current museum, but also in its record of the names and positions of all members of the institution's committees of management from 1875-1876. This is a unique object that contains important records for a notable country town. Large brown leather bound book made in 1875 for the Beechworth library and museum by William Detmond. Inside is a comprehensive and detailed itemised listing of the paintings, drawings, charts, photographs, specimens and books that entered the institution from 1850 -1882. non-fictionCover: RULES / CATALOGUE OF BOOKS / INVENTORY OF PICTURES, DRAWINGS, / MAPS, CHARTS, FURNITURE, SPECIMENS / OF THE / PUBLIC LIBRARY AND BURKE MUSEUM / BEECHWORTHburke museum, beechworth, catalogue, museum catalogue, 1875, william morton, william detmold, exposition universelle, ferdinand von mueller, public library, collection, book, leather bound, restored, digitised, robert o'hara burke, hand-written

This tin contained bulk tea which came from the Melbourne Mutual Store. Established in 1872 as a profit-sharing co-operative of shareholders and staff, Mutual Store Ltd was situated at the corner of Flinders and Degraves Street, Melbourne. Fire destroyed the building in 1891 and the new building erected is an important heritage building today. In 1961 Peter Kaye Consolidated Ltd bought the business and it then traded as Mutual Store Holdings Ltd. In 1964 Cleckheaton (from England) took over the business and closed the store in 1965. Tea tins such as this one would have been distributed by the Mutual Store to smaller businesses such as cafes or repackaged for sale at grocery shops etc. Bulk tea can still be bought but the main tea sales are now in the form of tea-bags. This tin is retained as a memento of the days in the 19th and early to mid 20th centuries when tea was sold only in bulk and provided in tins such as this by the importers to small grocery shops and the like. This is a tea tin, cylindrical in shape. It has a tight-fitting lid with a metal clip. There is blue and cream painting around the sides of the tin with images of Greek figures and a wreath with a ribbon. The tin is much scratched and rusted. There is cream printing on the tin.‘Mutual Tea’ ‘Mutual Store Ltd Flinders Street Melbourne Aust. ‘ ‘5 lbs nett’ mutual store, melbourne, warrnambool

Book is part of the Australian War Classics series presented by E E (Weary) Dunlop.Book, soft cover, no illustrations, 275 pages. Top half of front cover is a black square, in it are a red & green band with a copper Rising Sun, print is white. Bottom half of cover is from a painting of AIF Soldiers in Tobruk. F Fullabooks, military history, army

Black and white photograph (from a painting by John Longstaff) of a woman in evening dress, fur trimmed evening coat draped over right shoulder. Woman holding closed fan in right hand. Wearing necklace and hair ornament.Bartlett Bros, Bendigocottage, miners

Eric J Poole, 23 Philpot Street Long Gully invoice dated 21/11/1970 issued to Mr D Richardson for the amount of $ 460.00, $10 deposit. Repairs to roof replacement of tiles & painting & insulating roof.bendigo, buildings, dudley house, eric j poole. mr d richardson. bendigo historical society.

Document. Norman Penrose collection: 5 notebooks - 3 blue, 1 light red and 1 with no cover containing notes on using colour in art. Subjects include Painting ?, Reproduction Processes, Outdoor Sketching, A to L and M to Y.person, bendigo, norman william penrose, norman penrose collection, colour in art, outdoor sketching, reproduction processes, painting

Associate Professor Neville J Davis, was appointed President of ANZCA in 1995 until 1996. Professor Davis was a member of both the last Board of the Faculty and the first Council of the newly formed Australian and New Zealand College of Anaesthetists. Further information about Professor Davis can be found on Lives of the Fellows,http://anzca.online-exhibition.net/fellows/fellows-1992/neville-james-davis/ The artist Ben Joel is a Western Australian artist, well known for his commissioned portraits and contemporary pieces in most media. Joel's artworks are represented in private and public art collections. Oil painting on canvas of Associate Professor Neville J Davis, seated at an angle, wearing the Presidential gown and badge. The backdrop is plain with a mock outline of a window. Mounted in a plain gold frame with a brass plaque affixed to center of frame[plaque] ASSOCIATE PROFESSOR / NEVILLE J DAVIS / PRESIDENT 1995-1996painting, anzca president, davis, neville, joel, ben

Leonhard Adam was a Dunera internee Camp 2 Tatura.RomanticismWatercolour painting of internee standing beside eucalypt in Tatura Internment Camp 4. The internee is wearing a dark blue jumper with a white vest underneath. He has on light blue trousers and a white hat. Camp barracks are in the background.Leonhard Adam. No. 4 Internment Camp, Victoria, Australien. 4-7 Dec 41tatura, dunera, internee camps, illustrations, watercolour

A framed print of a painting detailing an artists impression of the memorial service held at Long Tan on Aug 18 1969. Image is monochrome and shows solders standing in from of a large white grave marker. No artist name is visible of the print. Plate underneath image states 'BATTLE OF LONG TAN MEMORIAL SERVICE 18 AUG 1969'battle of long tan, vietnam, vietnam war, memorial

Wes WALTERS (06 August 1928 - 19 August 2014) Born Mildura, Victoria From 1940 t0 1945 Wes Walters attended the Ballarat High School. He then studied architecture at the Gordon Institute in Geelong, followed by art at the Ballarat School of Mines (a division of the Ballarat School of Mines). During his time at the Ballarat Technical Art School (later Federation University Australia) Walters studied under Neville Bunning and Taylor Kelloch, and was awarded the Ballarat Ladies Art Association Scholarship in 1948. He next moved to Melbourne to work as a commercial artist with the George Patterson advertising agency. Each evening Walters studied life drawing at the Victoria Artists’ Society and taught himself anatomy. Wes Walters excelled in both abstract and realist art. He won the Art Gallery of Ballarat’s Minnie Crouch Prize for watercolour art in 1953 and 1956. He won the prestigious Archibald Prize in 1879 for his portrait of Phillip Adams, and the sketch was completed tin preparation for that portrait. 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.Charcoal portrait study of Arthur Boyd on Fabriano paper. This sketch is one of several head studies made for the portrait of Arthur Boyd portrait entered into the 1982 Archibald Prize. The painting is in the collection of the Art Gallery of New South Wales. Signed lower right: 'Walters'art, artwork, walters, wes walters, arthur boyd, portrait, available, archibald prize

Art Collection. William Anderson is an Australian printer and sculptor. He was born in Scotland in 1951.The painting depicts a white background with a dark circle in the centre. In this dark circle are white-outlined circles and lines, as well as cogs and mechanical parts. These parts vary in shades of grey. The frame is dark timber with a white mount and glass covered.Front: 7/18 Visual Diagram of a Clock William Anderson 69' (Starting from lower left side of clock, progressing to right, lead pencil.) Back: (no inscriptions)

The ferry was built at Brisbane Water and Drummoyne, NSW in 1936. There is a model of the ship in the Museum, built by John McGuigan. Model is Registration number 3190 This photo is taken from a painting.Coloured photo of an Ferry on the water with passengers on front and back decks.ferries, ferry eagle star, photographs

Book contained series of poems, jokes, savings and drawings. Only one photo of a landscape painting. Sources drawn from servicemen during WW1 (from 1914 - 1919).Small album containing photos, poems and drawings. Dark brown leather bound. inside pages of various pastel colours. Word "Album" inscribed in gold in centre of front cover.Front Titled "Album". Page 3 inside is written "Jan 1st 1912, W.A. Phillips, Plymouth". ww1, album

Flyer, collected 1979, Once Upon a Time Land: pony rides, painting and sculpture, gnomezville, aquarium and reptile house (from collection of Peter and Diana Bassett-Smith).main road, eltham, businesses, once upon a time land

It was reported in the City of Ballarat Community Magazine, September 2007 that the Victorian Governor planted two Caledonia Pines and that banners of aboriginal paintings were hung in the Robert Clark Conservatory.These trees add to the Ballarat Botanical Gardens collection as they are planted near the Robert Clarke Centre where nearly all the trees are deciduous. Also, the Aboriginal banners on display feature the platypus used by Ballarat's Aboriginal community to signify unity.One page of black newsprint on a white sheet.None.john garner, doctor, ballarat botanical gardens, city of ballarat community magazine, friends of ballarat botanical gardens, cook island pines, caledonia pines, araucaria species, victorian governor, professor david de kretser, wathaurong peoples, john garner collection, gardens, ballarat

Lin ONUS (1948-1996) Language: Wiradjuri / Yorta Yorta Lin Onus played a pivotal role in the recognition of Aboriginal art as an expression of a contemporary and dynamic living culture. Prior to his premature death at just 47 years of age he was a prominent, strident, yet non-confrontational agent in renegotiating the history of colonial and Aboriginal Australia. His father, Bill Onus, was the founder of the Aboriginal Advancement League in Victoria and a prominent maker of artefacts in Melbourne. As a young Koori growing up, Lin lived in a cultural environment that included exposure to visiting Aboriginal artists, including Albert Namatjira. He began his artistic life assisting his father in decorating artifacts, went on to develop skills working with metal and painting with air brush as a panel beater; and by 1974 he was painting watercolors and photo-realist landscapes. In the 1970's he completed a set of paintings on the first Aboriginal guerrilla fighter Mosquito, which holds pride of place on the walls of the Advancement League in Melbourne, to this day. Lin Onus was a largely self-taught artist. Particularly important in his development was his visits to Garmedi (Arnhem Land) starting in 1986. Jack Wunuwun, the Yolngu artist, introduced him into the Murrungun-Djinang clan and gave him permission to use some of traditional images in his paintings. His cultural education on the Aboriginal side was also provided by visits to Cummeragunja with his father, and stories told by his uncle Aaron Briggs, known as 'the old man of the forest' who gave him his Koori name - Burrinja, meaning 'star'. They would sit on the banks of the Murray River within view of the Barmah Forest, Lin's spiritual home, the subject of many of his later paintings and his final resting place. Lin's father had been of the Yorta Yorta people from the Barmah Forest country, and Lin also used images from this area in his paintings. The images in his works include haunting photorealist portrayals of the Barmah red gum forests of his father's ancestral country, and the use of rarrk cross-hatching-based based painting style that he learned (and was given permission to use when in Arnhemland). His painting Barmah Forest won Canberra's national Aboriginal Heritage Award in 1994. (http://www.cooeeart.com.au/aboriginal_artist/lin_onus/A, accessed 18 May 2015) 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 limited edition silkscreen.Signed 'Onus' lower right (posthumously by Tiriki Onus) Edition 68/80art, artwork, lin onus, onus, printmaking, screenprint, aboriginal, dreaming, frogs, available

BHS CollectionWatercolour by John Hall. Gold frame, cream mount board. Painting shows a minescape with many poppet heads and chimneys in middleground. Mine building in foreground has 'Duchess Tribute' written on side of shed. Mine dam in immediate foreground in front of mine buildings. On back of frame, written on copy of image that painting was taken from: 'Devonshire Group of Mines, Snob's Hill and Mungo Mines in background. Written across bottom from LH side ' Duchess Tribute, West United Devonshire, Phoenix, Duchess of Edinburgh, United Devonshire, South Devonshire.'John Hall, Eaglehawkbendigo, mining, duchess tribute

[from a contemporary report:] The festival parade was held at 11.00 am on Saturday, 10 November 1990, commencing in Youth Road (behind Eltham Railway Station) and Diamond Street. As per tradition, the Shire of Eltham Historical Society entered a float in the parade but for the first time combined with the Diamond Valley Arts Society to produce the float. The theme of the parade was ''Spring into Summer". In accordance with this theme the Society's float depicted artists on a spring painting excursion. Part of the group was "Walter Withers" painting a landscape. There was also another artist painting a portrait of a girl in a spring costume. Joh Ebeli was responsible for preparation of the float. The float won the prize for the best display. Originally contained in a 'magnetic' photo album believed to have been donated by Mr Eric Stephenson, Jingalong, 110 Ryans Road, Eltham, Vic. 3095; relocated to archival safe storage.Colour photograph1990, eltham festival, diamond street, diamond valley arts society, joh ebeli, parade, parade floats, walter withers, youth road

Fred Cordingly lived at Maiden Gully via Bendigo, Vic. Print from original painting by Lois Molina of Bendigo. Presented to BILL THOMASON for finding details of service with SAC.Coloured print of man enlisted in South African constabulary, khaki uniform, slouch hat, rifle & horse (in background) sitting on wooden log, pale yellow/white background in glass frame & gold coloured frame, 4 sided. With many thanks for your kind assistance. L Molina.prints, framed, south africa

Relationship between Clifton Pugh and Prue Acton based on their common interest in painting. Clifton Pugh lived at 'Dunmoochin' on the Cottles Bridge-Strathewen Road between Hurstbridge and Arthur's Creek.Text and col. photographclifton pugh, prue acton, painters, hurstbridge