A weekly supplement to the Weekly Times newspaper, these plates each depict a bird or animal. There is a brief written description of each accompanied by a reproduction of a watercolour painting.A complete set of supplements, in original binding. 90 plates. Colour. Cardboard cover.Written inside front cover: 'Lindsay McKellar Black 1932-1934'weekly times, weekly times wild nature series, birds, animals

A mounted and framed watercolour painting of a young lady, holding a tennis racquet, entering via an open window. Artists signature at the lower right. Materials: Paper, Paint, Cardboard, Metal, Paint, Wood, Glasstennis

Cardboard Cover: with a watercolour painting of bushland with a figure in foreground to the right. Picture Painted by Georgina McCrae . at the top is a black rectangle with White writing at the bottom is a logo in green below which is "National Trust in Black PrintAt The top Over a Black Background in white print 'Our Mountain Home' 'The McCraes of Arthur's Seat'. Ath the Bottom in Black Print "National Trust"stawell, victorian history, journal

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 CollectionContemporary framed in limed wood, mounted and glazed watercolour painting by R.T. MILLER in portrait format. Mat mount is white. Image features freighter with black hull at mooring in dockland setting; wire hanging systemInterpretation label adhered to back, includes photographic portrait of the artist Value on label Signature M4 in black markermarine painting, port melbourne, artwork, docklands, tug boat, robert thomas miller, robert t. miller, r.t. miller, artwork-paintings, tugboat

This watercolour painting depicts a scene at Flagstaff Hill Maritime Village, showing some of the buildings and one of the vessels in the lake. The artist, Alfred A. Perry, lived in Victoria at the time of creating this painting. This painting is significant for its association with Flagstaff Hill Maritime Village. It shows a point in time, September 22nd, 1979, at which time the Ship's Chandler store was on the north of the lake. In 2022 the Ship's Chandler' is on the south of the lake and has been there for many years..Painting behind glass, framed in wood, black outline with watercolour. Depicting a scene of vessel at anchor on water, crane on wharf, buildings on track, valley and hills in background. Location is Flagstaff Hill Maritime Village. Artist is Alf Perry, painting dated 22-9-79.Signed "Alf Perry / 22-9-79" Handwritten on reverse "Alfred. A. Perry / 31 Vera St. / Bulleen / 850-3367"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, alf perry, watercolour, alfred perry, alfred a perry, flagstaff hill history, 1979, flagstaff hill village

Born in 1903, Norman Penrose studied at the Bendigo School of Mines. A painter and a teacher, he lived in Bendigo most of his life.Watercolour painting by Norman Penrose titled "Sand Pit Fortuna." It shows a mining sand pit and the Fortuna mine in the background. The painting is signed on the bottom right-hand side. The painting is under glass in a dark brown wooden frame. On the back: Penrose Norman William 14 Barkly Terrace east Bendigo. Price: - guineas. Title: Sand Pit Fortuna. For: drawing, watercolour and graphic art exhibition. Victorian Artista Society 430 Albert Street, East Melbourne bendigo, mining, norman penrose, artist, teacher, fortuna

Framed watercolour painting titled: "A Mirboo Sunset" painted by Neila Peart 1998. Features a landscape with sunset, trees and sky. Painted in shades of browns, pinks and greys. Cream window mount with gold edging. Wood frame with gold on edges.

Watercolour painting of Portland Hospital. The painting shows a bluestone building with a red roof. Above the front entrance is 'Portland Hospital'. Bottom left hand corner of the work has 'Portland Hospital' written and underlined. There are three doors with two lanterns on the wall.K. J / 20.1.'48

1970 NATIONAL BANK PAINTING REPRODUCTION Upper Shaft , Port Lincoln Mine 1848 possibly painted by W.A. Cawthorne 1848 Below the picture title the words - Reproduced by the National Bank in 1970 from the watercolour in the Mitchell Library , Sydney , by permission of the Trustees.The centre of the picture shows mine workings four or five men are shown in the picture the rest of the area is undevelopedpainting, watercolour, gold diggers

1970 NATIONAL BANK PAINTING REPRODUCTION Mt .Alexander Gold Diggings , 1853 Below the picture title the words - Reproduced by the National Bank in 1970 from the watercolour in the Rex Nan Kivell Collection , National Library of Australia , by permission of the Trustees -Artist unknown 1853 .The background shows numerous scattered buildings , some with early Australian flags , men riding horses .The foreground shows much mining activity with ever -present dogs .tents ,painting, watercolour, gold diggers

1970 NATIONAL BANK PAINTING REPRODUCTION The New Chums Arrival on a Gold Digging .Artist unknown c. 1855 Below the picture title the words - Reproduced by the National Bank in 1970 from the lithograph in the La Trobe Collection , State Library of Victoria , by permission of the Library Council of Victoria .Bottom left corner shows a rough sign nailed to an upright post saying The Star Concert Hall Gus Hatton To night.The painting is divided lengthways by a stream with a two plank crossing apparently to show the differences between the seasoned miners above the stream and the new chums below the stream .The above centre of the picture is a windlass surrounded by men - an Aboriginal sitting by a fire , two men with bottles in hand depicting the proliferation of drink .The New Chums below the stream show men and a woman all wearing smart hats and clothes , some carrying unneeded items such as Umbrellaspainting, watercolour, gold diggers

1970 National Bank painting reproduction The Myers Creek Rush - Near Sandhurst , Victoria Below the picture title the words - Reproduced by the National Bank in 1970 from the watercolour in the Rex Nan Kivell Collection , National Library of Australia , by permission of the Trustees .A hut in the foreground has a sign Tuck & Sons Branch Store. Centre left appears to be a National Colonial flag on a high flag pole .There are a number of buildings throughout the scene , horses and carts , mine windlasses .A Blacksmith in the foreground is talking to two men .Six men are examining the results of gold panningpainting, watercolour, gold diggers

1970 National Bank painting reproduction Kapunda Mine 1845 by S.T. Gill Below the picture title the words - Reproduced by the National Bank in 1970 from the watercolour in the collection of the Art Gallery of South Australia by permission of the Trustees. The beginnings of a town are shown in the background .There are two Bullock teams with carts and drivers , five men in the fore-ground, and the mine workings are shown in the centre with men operating a sluice.A horse is used to power a winding mechanismpainting, watercolour, gold diggers

1970 National Bank painting reproduction 'Deep Sinking , Ballarat' by S.T.Gill c. 1855 Below the picture title the words - Reproduced by the National Bank in 1970 from the lithograph in the La Trobe Collection , State Library of Victoria , by permission of the Library Council of Victoria .Also on the painting is written -James J Blondell & Co Melbourne 1855. The painting shows mine shafts with windsails and windlasses a horse and cart , three men in the foreground several in the distancepainting, watercolour, gold diggers

1970 National Bank painting reproduction Fitzroy Bar, at the junction of the creeks by G.F. Angas 1851 Below the picture title the words - Reproduced by the National Bank in 1970 from the lithograph by courtesy of Dr. E. Graeme Robertson , Melbourne .At the foot of the painting are the words Gold Washing and Fitzroy Ophir diggingspainting, watercolour, g.f. angas 1851/

Booknon-fictionCatalogue accompanying exhibition at National Gallery of Australia in 2001 with two essays interweaving Hester's life and art, 1920-1960.contemporary art society, angry penguins, painting, watercolour, gouache

Sepia coloured water colour painting of the Gold Mines Hotel Bendigo by W. Rees. Harrison, under glass in a black and gold timber frame with a burgundy mount, markings on image read '1977 Gold Mines Hotel Bendigo W. Rees. Harrison Mitchem Vic', Donated by Mr Atkinson related to Mary ReibyW. Rees. Harrisonpainting, watercolour, buildings, gold mines hotel, w. rees. harrison

A collection of nine prints of watercolours by S.T. Gill, depicting life on the goldfields in 1852 - 53. (a) Tin dish washing, (b) Mt. Alexander Gold escort on road to Melbourne, (c) Road from Forest Creek to Bendigo, (d) Diggers Licensing, Castlemaine Camp, (e) Eaglehawk Gully, Bendigo, (f) Cradling, (g) The license inspected, (h) Puddling, (i) Fryers Creek Nr. CastlemaineS. T. Gillpainting, watercolour, gold diggers, s.t. gill, life on the goldfields, diggers, mining

Original water colour painted by Glunkler an internee at Camp 3Hoefer Familywatecolour of camp 3. 2 half huts half obscured, 2 posts, 9 wire strand fence with an electric powerline. Tall gum tree left hand side, gardens. I. (Note : Glass windows had replaced fly wire by 1941 in the huts.) Glunkler 42painting, watercolour, huts, glunkler, hoefer family, camp 3, tatura, ww2 camp 3, illustrations

Walter Withers was a significant Australian landscape artist and a member of the Heidelberg School of Australian Impressionists. In 1903 Withers bought 'Southernwood', a house on 2½ acres (1 ha) at Eltham, to which he added a studio. Because of ill health, he lived during the week at his studio in Oxford Chambers, Melbourne, and on weekends and holidays with his family at Eltham until his death in 1914. The Eltham rail bridge is a unique and valuable historic relic of an earlier steam locomotive transport era in the Diamond Creek Valley and has long formed an important part of a magnificent Eltham landscape. When built in 1902 it was close to the terminus point of the Heidelberg-Eltham rail extension, on the route of the proposed Diamond Valley Railway that was then planned to continue much further up the valley towards Kinglake. This bridge is situated in attractive river-valley parkland amidst the tall and spreading manna gums and candlebarks of the Diamond Creek Valley. The Alistair Knox Park river-valley landscape, of which the timber trestle bridge is an important visual component, has been classified by the National Trust. Large manna gum and candlebark trees adorn the adjacent creek banks, and historic Shillinglaw Cottage is also part of this much-prized Eltham landscape. Eltham is home to a historic wooden railway trestle bridge. Mainly of timber-pier and timber-beam construction, but varied by a few longer steel-joists spans on timber piers at the main stream channel, this substantial bridge has almost two hundred metres of timber deck. Built in 1902, it is the only railway bridge of predominantly timber construction that is still in regular use as an integral part of Melbourne's metropolitan electric railway network and one of extremely few timber rail bridges in the State that still carry trains. Apart from its important continuing social function as a carrier of rail transport for the Hurstbridge line, this impressive bridge and its beautiful parkland environs contribute much to the character of Eltham township and that town's special reputation as an historic centre of environmental and conservation concerns. This section of the Diamond Creek Valley was the subject of a Walter Withers painting in the earliest years of the twentieth century and has strong historic links with our Heidelberg School of painters. Watercolour painting on paper of Eltham's Trestle Bridge in the middle of the day. A small section of the wooden bridge is located to the left of the painting. The focus is predominately on the wattle, manna gum and candlebark trees that is to the right of the bridge. The golden hues typically represent the australian sunlight and landscape. "W.W" in gothic script on the lower right side of the painting. Not dated. withers, eltham, trestle bridge, railway, watercolour

significant as a work of art by local Pyrenees artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture townscape painting in watercolourSigned: Barbara Safstrom (lower left) Verso: BARBARA SAFSTROM 'LAYTON' LINTON 3360 WATERCOLOUR $400

MV Neptunia ship's menu for the February 1959 equator crossing. Extra historical context by the addition of ship's passengers and crew signing their names and providing contact details. Representative cruise ship paraphernalia of the period, showing the significance and tradition of celebrating a ship's crossing of the equator. Ship's restaurant menu consisting of single folded light card, with vivid watercolour painting of flowers of orange and purple on the front cover. On opening the card, printed menu selection in Spanish is on the left and is in English on the right. Guests and crew have signed randomly over and around the menu listings. menu, crossing-the-line, equator, neptunia, nick garlick

This framed print is part of a number of items from the St. Nicholas Seamen’s Church, 139 Nelson Place, Williamstown, Victoria, used during religious services there. The Church was operated by the Mission to Seamen organisation. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served seafarers of the world since 1856 in Great Britain. Its symbol is a Flying Angel, inspired by a Bible verse. Today there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the orgainsation began in Williamstown in 1857. It was a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel. This print is significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It originated in Bristol, England when a Seamen's Mission was formed in 1837. The item is historically significant for its connection to the Ladies Lightkeepers’ Auxiliary, an organisation of women, formed to support seafarers. The connection of this item to the Mission to Seamen and to the Ladies Lightkeepers’ Auxiliary highlights the strong community awareness of the life of people at sea, their dangers and hardships, and their need for physical, financial, spiritual and moral support. Print of a watercolour painting, framed in Huon pine wood behind glass.Depicts the artist's impression of the Biblical event referred to as The Last Supper. Inscription marked on the back. Australian, circa 1890. The print is part of the St Nicholas Seamen's Church Collection (NOTE: This is not a copy of Leonardo da Vinci's 'Last Supper'.)On rear of board: "156" flagstaff hill maritime museum and village, flagstaff hill, warrnambool, maritime museum, maritime village, shipwreck coast, great ocean road, religion, religious service, st nicholas seamen’s church, williamstown, missions to seamen victoria, last supper, worship, religious worship, ladies lightkeepers’ auxiliary

Florence Tatham Mellblom (nee Henry) was a painter, naturalist and photographer. She was born at Portland, Victoria, and studied art in Ballarat. She was a talented etcher from childhood, and joined the Portland Camera club. She also produced many watercolour paintings of the historic places of Portland. She was married (1932) to Karl Enoch Mellblom.Image depicts a bluestone building. In the foreground, to the front of the building is grass in shades of green and yellow. The building is in the middle of the image and has a reddish lower building to its right. There are trees either side of the buildings. Bottom left - F Mellblomfemale artists, female artist, women, portland shire, bluestone building

Florence Tatham Mellblom (nee Henry) was a painter, naturalist and photographer. She was born at Portland, Victoria, and studied art in Ballarat. She was a talented etcher from childhood, and joined the Portland Camera club. She also produced many watercolour paintings of the historic places of Portland. She was married (1932) to Karl Enoch Mellblom.Image of a bluestone building to the back of the painting. Next to it is a smaller reddish building. In front of the building there is grass and shrubland. Trees are to either side of the buildings. The sky is blue with white clouds.Bottom left - F Mellblomfemale artists, female artist, women, portland shire, bluestone building

“Letters to ILBA”, compiled and edited by Patricia Ibbotson/Mowat from original letters/postcards held by the family history custodian Peter Roberts Kerang.Book, spiral bound with black metal, cover clear plastic over the title page, back is black cardboard, title page is black print and illustrated in watercolour painting titled “Far away thoughts” by Harry Avery 467”, 123 pages plain white, illustrated in B & W and colour photographs and postcards.On page 3 hand written in black pen,”Donated to the Bendigo RSL Military Museum with compliments from Peter J Roberts/and Patricia Ibbotson (née Mowat) 1st Nov 2019”letters, history ww1, books