JOHN HALL COLLECTION: PHOTO OF THE ORIGINAL WATER COLOUR PAINTING: Hustlers Reef Written on the rear Hustlers Reef 2John Hallartwork, water colour, gold mines

JOHN HALL COLLECTION: PHOTO OF THE ORIGINAL WATER COLOUR PAINTING: Chinese Camp Written on the rear Chinese Camp 2John Hallartwork, water colour, gold mines

Artwork based on a Vietnamese custom called "Dancing Unicorn Festival" Occuring at the "TET" during New Years and Autumn's full moon. Typical scene would include boys dancing with a "unicorn" and others dancing around. Sometimes this festival can be seen in Victoria. Artist associated with The Living Museum of the West.Le Van Tai. Dancing Unicorn. Gouache on paper, 76 x 52cm. Blue painting in a cubist / futurist style.

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 painting of red flowers. If you can provide information on this artist or artwork please use the email link below.art, artwork, jennifer duffy, horsham campus, flora, horsham campus art collection, alumni

Since moving on from tonal pen and pencil work many years ago watercolour has been my medium preference for painting Flora and Fauna. Although better known for my Australian bird studies I do like to portray remnant grassland featuring the terrestrial orchids that occur there. As a Forest Officer for the past 40 odd years working in and around the Grampians area I have been blessed with the opportunity to observe and study much of the wildlife of the area. If you can imagine a peregrine falcon swooping down from a ledge, echidna playing trains, goanna striding to a tree or a sittella placing shingles on the nest This has been much of my life as a forester and artist. This work is one of a number painted by the artist after bushfires in the Grampians. Roger Edwards was a Forest Officer, posted to Cavendish, in SW corner of the Grampians, in 1975. In the 1980s he photographed details of the wildflowers and their recovery after fire. He retired in 2018, enabling him to devote more time to his art.Environment, Wildflowers, Landscape, Botanic artGift of Rob Youl to commemorate artist, Betty Conabere.This painting shows orchids and other native plants regrowing after Grampians bushfire. It is an aesthetic depiction of important ecological processes. wildflowers, lanscape, orchids, bushfire, grampians, environment, recovery after fire, botanic art

Colour photograph of a painting by Rodney Symmonds showing lake between overhanging trees with ocean beyond, Lake Bunga Victoriatopography, waterways, forest

Fine muslin appliqued onto machine made net is decorated by hand with needlerun embroidery stitchesCarrickmacross lace collar.

An original painting of Nicholas Leray-Meyer Flight Lieutenant No 9 Squadron 1971. There is a helicopeter in the middle of the painting. to the left os a portraint of Nicholas Leray-Meyer in recent years wearing a suit jacket proudly displaying his medals, and on the right hand side is Nicholas Leray-Meyer sitting inside a helicpoter.vietnam lest we forget, 9 squadron raaf

'Bush Idyll' painting by McCubbin has changed owners many times and will be auctioned on 17 August 1998 for an expected record price. The girl in the painting is Mary Jane Lobb, mother of Mrs Doreen Gibson. It was found by a local farmer in Cambridshire, England unframed and dusty and bought by David Waterhouse in 1984 for $150,000.'Bush Idyll' painting by McCubbin has changed owners many times and will be auctioned on 17 August 1998 for an expected record price.mccubbin, frederick, streeton, arthur, roberts, tom, gibson, doreen, lobb, mary jane, waterhouse, david

Framed Chinese glass oil painting on stand. The painting features a Chinese fishing boat and two fish, one is a large gold fish jumping out of the water and the second is a small black fish. Brown laquered wood frame set in a decorative carved wood stand. Chinese writing on the sails of the boat.

Black and White print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Set of three black and white photographs from Keith Kings of the staged closures of the Geelong tramways. .1 - Geelong No. 4 - decorated as the Last tram, has a dash sign "Geelong Tramways No. 4 first car 1912, Last car 1956 Farewell", with the destination of Belmont. Photographed with power station in the background in Corio Terrace. 26/3/1956, KSK Photo (T)(e)(8). Printed on Ilford Paper. See also Reg Item 2667 and 4388 for a colour slide version of the same photograph. .2 - ditto - about to leave the depot - KSK Photo - T(g)(3) .3 - ditto - back at the depot - KSK Photo - T(g)(8)On the rear in ink and with the Keith Kings Copyright stamp: .1 - "Geelong - 4 - decorated as Official "Last" tram -26/3/56" - (T)(e)(8). .2 - "Geelong - 4 - illuminated as last tram Sun 26/3/56" - (T)(g)(3). .3 - "Geelong - 4 - last tram, back at Depot, Sun 26/3/56" - (T)(g)(8). trams, tramways, geelong, closure, depot, last tram, tram 4

Geoff Davidson arrived at Dunmoochin around 1968 and began living and working as an apprentice to the potter Robert Main, who was working in a studio rented to him by Clifton Pugh on the Dunmoochin property. When Robert left, Geoff moved into the studio and began collaborating with Clifton Pugh on many projects for a period of 25 years whereby Clifton would decorate pots made by Geoff. Geoff produce the ceramic panels for Leda and the Emu. He mixed and identified the glazes for Clifton, then fired the panels once he had finished painting. Three or four murals were produced in this way, one of which was purchased by Don Dunston (ex-Premier of South Australia) as a gift to his dying wife.Dunmoochin derives its cultural and artistic heritage from the collaborative efforts of a group of artists who purchased land in Cottles Bridge in the early 1950’s. These artists (Pugh) pioneered one of the first artistic communes in Australia and created a lasting vision of how a community can gain knowledge and inspiration from living in a close relationship with nature. Pugh had explored the ‘Leda and the Swan’ mythological themes previously during the sixties in etchings and paintings, although he was more interested in referencing the original myth as allusions to other truths. Pugh was drawn to the Greek myth ‘Leda and the Swan’ in which Zeus transforms into a swan to seduce Leda. Pugh Australianised the myth so that Zeus transformed into an Emu rather than a Swan, and makes a gentle satirical comment on the sexual behaviour of the Australian male, whereby he sees a parallel between this and the proud yet awkward movements and naivety of our national bird. This particular theme was prevalent in Pugh's work right through the 60s and 70s. Leda and the Emu is a work by two prominent local artists (Clifton Pugh and Geoff Davidson) with a national and international reputation.Flat red background, black foliage. Leda is naked and sleeping with head resting in hand. Emu is to the left watching Leda. Drawing style is typical of Pugh’s work: linear, flat and gestural.Signed 'II Clifton'

A yellow hardcover fiction book for children with a coloured picture of children playing a game of red indians outside a decorated teepee. The girl is cooking with a pot over an outdoor fire and the boys are firing a bow and arrow and painting a pot. The title, The Prize is printed at the at the top of the cover in red lettering surrounded by a boy and girl each side. Publisher details are at the bottom. The spine is brown tape. The back cover has a faded red advertisement for Pears Soap.There are advertisements on the endpapers at both front and back. There is foxing and tanning noted on the edges of the pages. There are stories and poems written by various authors and black and white illustrations and coloured plates throughout. The title page is very ornately decorated with a black and white floral design and covered by a tissue paper page. The coloured frontispiece is of three boys playing soldiers with one sitting on a rocking horse. There are Contents, Poetry and List of Illustrations pages. 164p.fictionA collection of varied stories and poems for young children - 1918 ed. There are practical articles as well, such as some on gardening.children's fiction, poetry

Coloured postcard. On back of card ' Birney Tram no. 30 decorated for a Royal Tour occasion. The Bendigo Trust operates this tram and others on a tourist service between Central Deborah Mine and the Chinese Joss House at Emu Point' Image shows Birney tram decorated with Union Jack and Australian flag on top, with crown on front of tram. Myer building on LH side of image.Nu Color Vuebendigo, tramways, royal tram, bendigo, tram, royal celebration, myer, pall mall

Yields information about the shelter in Sturt at the intersection of Grenville St and its decorated in 1938 for the centenary of settlement in the Ballarat district.Hand coloured print of the Grenville and Sturt St shelter taken looking south, decorated with wax paper flowers for the centenary of settlement in Ballarat district in 1938. See also Reg Item 2917 for another photograph and newspaper details. Has the Spot Cafe, Britts Union Hotel Butlin's Cakes (?) and Thomas Jewellery which appears to have been decorated as well in background.On rear in ink "Tram Shelter Junction Sturt & Grenville Sts / Ballarat Centenary 1938"trams, tramways, grenville st, centenary, shelters, sturt st

F. M. Brown & Co were a foundry located (in 1892) on the corners of Creek and High Street in Bendigo. This embosser was manufactured by them for the City of Bendigo. Large, decorated, hand operated cast iron embosser with an top iron winder. Winder has a large knob on each end and when turned lowers and raises the seal. Embosser is decorated with a layer of plaster with is black with gold hand painted decorations including scrolls and flowers. Object is extremely heavy. Seal head is still attached and holds the embossing stamp for the City of Bendigo. 'F.M Brown Bendigo' on both sides of the embosser 'City of Bendigo' on seal head.city of bendigo commerce

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

Watercolour, front view of Town Hall, Portland, off-white mount, black matte wooden frame, reflective glass, silver hanging wire on back. A bluestone building with four chimneys. Centre building with one smaller wing either side. Red/brown front door. Two long windows either side. Each wing also has a smaller window.Front: 'K.J. 27.1.48' - hand written, black ink, bottom left hand corner of painting 'TOWN HALL PORTLAND 1863' - hand written, black ink, bottom centre of painting Back: Black stamp centre. 'K.W.D, Jack P/L P.O. BOX 1, Doreen, Vic, 3754portland town hall, kenneth jack

Chinese and Japanese artwork was fashionable c1900 and early settlers made decorated boxes to store special items Early settlers in Moorabbin Shire c1900 used decorated boxes to store jewellery, and special items.A wooden box with blue velvet lined lid and with Chinese decorationcraftwork, woodwork, chinese decoration, containers, bentleigh, cheltenham, early settlers, moorabbin

Sewn to the hat band that decorated the straw hat worn by girls at Williamstown High School in the 1950s and 1960s.Metal badge enameled in black, red and gold. 'Williamstown High School Hold Fast' around the perimeter, an anchor in the centre. Three loops around the edge so the badge can be sewn to the hat band.Makers Mark on back: Swann & Hudson Frankstonwilliamstown high school, school uniform, hat, hat badge, 1950s

The Holden V U ute was decorated with a paint job to represent " Bushfire" with the combination of the colours and how they are applied.This vehicle was a promotional car built and decorated to be shown at motor shows.V U Model utility vehicle with gold and burgundy swirls, the name Sandman written in brown across the tailgateSANDMAN across the the tailgate Holden badge bonnet centre HOLDEN across windscreenvehicle, promotional, v u sandman

Six assorted postcards with various themes : (a) Painting of a young lady with a blue dress and hat , (b) Young lady carrying a flat basket of Roses , (c) Loch Leven , (d) Truro Cathedral , (e) Miss Nellie Stewart , (f) Painting of a lady in a very ornate costume and a small child catching Butterflies.postcard, various themes, loch leven, truro cathedral, nellie stewart

Water colour painting in gold frame and cream matt. The painting depicts a centurion tank, an armoured personnel carrier, two Huey Helicopters and a Chinock Helicopter. There are two army personnel on top of the APC, one behind the tank one walking towards the tank and a couple to the right.Two more centurion lie to right of picture.APC.Blue Bell in Action Signed K.C. Mc Fadyen 72painting, centurion tank, armoured personnel carrier, hueycobra (helicopter)

This painting was part of the original furnishings of the St Nicholas' Mission to Seamen's Church at 139 Nelson Place, Williamstown, Victoria. 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 was an Anglican charity that served seafarers of the world since 1856 in Great Britain. It 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 organisation began in Williamstown in 1857 as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’ in 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 painting 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 painting is historically significant for its connection to the Ladies Lightkeepers’ Auxiliary, an organisation of women, formed to support seafarers. The connection of this painting 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. Painting, oil on board, behind glass framed with wood. Portrait of a child dressed in white, kneeling in prayer, within a dark room. The artist, P Butcher, titled the picture "The Infant Samuel". This object is part of the St Nicholas Seamen's Church Collection. Painted at centre bottom edge "THE INFANT SAMUEL.", and right bottom edge "B. BUTCHER"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, painting, oil painting, religious painting, infant samuel, p butcher