l.r; Tucker 89painting, australian artist, surreal, moon, kiss, figures, tucker, face, composition frame

This handmade picture has been painted on a cast plaster or composition frame. Plaster frames were popular in the e19th century. The material is quite fragile and many pictures from this era suffer from damage such as chips and cracks.This simple handmade painting on cast composite frame is typical of 19th century art work found in middle and upper class Victorian homes of that era. It cannot be attributed to a particular artist due to lack of inscriptons.Painting, oil on composite material, handmade Pink coloured cast composite oval frame with decorative border. Painting depicts two figures in a small green boat on the shore, sandy beach, rocks nearby, small surf waves, mild sea, two sailing vessels in background. No inscription on front of painting. flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, victorian art work, maritime scen, composite material, plaster, cast frame, oval frame, victorian era

The painting was purchased from the Eltham Outdoor Art Show. Smith endeavours to capture mood, atmosphere and light in this work by heightening and intensifying the imagery where possible. Smith is concerned with expressing a 'sense of place' inherent in the subject matter. Painting of a landscape at dusk with dirt walking track and trees somewhere in Eltham. Oil on composition board. Moulded frame. Painted in the 'Western Realist Tradition'. Signed 'HARRIS SMITH/84' Hand painted in capitals in red paint; bottom right. eltham, painting, landscape, smith, evening

This frame contains two as yet unidentified soldiers from two of Australia’s earliest overseas conflicts. The WW1 soldier has the rank of Captain and the Boer War soldier has the three stripes of Sergeant. It is possible that he belongs to the Coronation Contingent of Edward V11 in 1902.These soldiers were selected form all over Australia with 42 coming from Victoria. The Australian War Memorial cites a number of approximately 16000 soldiers who fought in the Boer War from 1899-1902. Of that number 282 died in action or as a result of wounds while around 320 died as a result of disease and accidents. Six received the Victoria Cross as well as other awards for bravery. The First World War had more drastic consequences for Australia. From a population of less than 5 million, 416809 men enlisted of whom over 60,000 were killed with 156000 wounded gassed or taken prisoner. Australian fought from 1914-1918 from Egypt, Turkey, and the Western Front in Europe. These photographs are representative of many photos which are kept in remembrance of Australian soldiers who fought in wars particularly the two world wars. The Boer war photo is a rarer one.This bi- fold photo frame is rectangular in shape with a rounded section at each top. It is leather in composition and has the Rising Sun insignia in each arch which appears to be metal. There are glass covering two photographs one of a Boer War soldier and the other of WW1. It is hinged in the middle with a double layer of leather which is broken .The Boer war photograph has a coloured flag and medal ribbons. The two Rising Sun badges have Australian Commonwealth Military Forces. The frame itself has J C Vickery Regent St W stamped on the back in gold with a crown above it. The photograph of the WW1 soldier has Hana Studio Ltd 22**** which although unreadable has been matched with another photograph to read,” 22 Bedford St Strand London. The photograph of the Boer War soldier has no studio identity. warrnambool history, unknown soldiers of warrnambool, boer war soldier, world war 1 soldier

UnknownAbstract composition of 24 circles, evenly spaced across image. In orange, yellow, brown, green, blue and white, with each alternate circle taking on aspects of the colours beside it. Set in dark blue background. Mounted in dark green matt. In wooden frame with glass glazing.Front: (no inscriptions) Back: "Eclipse 3" Neville Touzeau $40 '72 Touzeau 276 (lower right)(blue pen) Touzeau (black felt pen) Flight IV 50 Touzeau (blue pen, scribbled out in blue felt pen)

The original artwork painted by William Yates Holt Titcomb (1858-1930), an English artist specialist in religious subjects, is located in Clifton College Chapel, Bristol, England (visible in their virtual tour online). The original title draws on the Giving of Communion words: The body of our Lord Jesus Christ, which was given for you, preserve your body and soul unto everlasting life. Take and eat this in remembrance that Christ died for you, and feed on him in your heart by faith with thanksgiving. The blood of our Lord Jesus Christ, which was shed for you, preserve your body and soul unto everlasting life. Drink this in remembrance that Christ's blood was shed for you, and be thankful. The body of Christ. The blood of Christ. The body of Christ keep you in eternal life. The blood of Christ keep you in eternal life. The body of Christ, broken for you. The blood of Christ, shed for you. The bread of heaven in Christ Jesus. The cup of life in Christ Jesus.FigurativeReproduction ( Lithograph?) framed mounted and glazed print. The image shows a group of soldiers kneeling before a makeshift altar during World War One in Flanders field with a Red Cross flying on a flag pole at the far right of the composition. A Union Jack flag is being used as an improvised altar cloth. A priest or chaplain in a surplice, also a soldier , administers the sacrament to the reverent congregation. The print is glazed with a substantial window mount and housed in a dark wood frame with eyelet screws and very rusted hanging wire.Preserve Thy Body + Soulpainting, world war one, ww1, wwi, soldier, priest, altar, union jack, red cross, red cross flag, titcomb, andre sleigh and anglo ltd, clifton college, royal academy exhibition, 1915, preserve thy body and soul, reproduction print, the soldiers' communion, william yates holt titcomb (1858-1930), artwork-paintings

The artefact is the lower portion of a rectangular shanked ‘planking nail’ with a straight-edged ‘flat point’. The distinctive ‘point’ of a planking/skirting nail was designed to be driven into timber across the grain in order to prevent the wood from splitting. This relic is from the shipwreck of the SCHOMBERG, which ran aground near Peterborough in 1855. It was retrieved in 1875 from a large section of the ship’s bow which had been carried by ocean currents to the western coast of New Zealand’s South Island. The nail is still fixed in a fragment of the original timber that it secured in the SCHOMBERG. The top portion, or ‘head’ of the nail, has corroded away but the pronounced rectangular shank and its flat point indicate its likely purpose and position on the vessel. Most fastenings used in sailing ship construction were either wooden treenails or copper bolts, which were relatively resistant to seawater corrosion. In addition, the preferred hull-frame timber of British Oak has a high content of gallic acid which rapidly corrodes unprotected iron work. The ferrous composition of this planking nail suggests it came from an internal and upper portion of the ship’s bow (protected from exposure to the sea or oak). According to an 1855 edition of the Aberdeen Journal, the five outer layers, or ‘skins’, of the SCHOMBERG’s pine hull were “combined by means of patent screw treenails”. However the “beams of her two upper decks” were of “malleable iron”, and “part of the forecastle” was “fitted for the accommodation of the crew”. It is therefore possible that iron nails of this description were used by the ship’s builders to secure floor and wall planks in enclosed areas of the crew’s quarters. (The same reasoning would apply to officer and passenger accommodation amidships and at the stern of the vessel, but it was the bow that floated to New.Zealand.) The SCHOMBERG was a 2,000 ton clipper ship, specifically designed for the Australian immigration trade (back-loading wool for Britain’s mills), and constructed in Hall’s shipyard in Aberdeen, Scotland. She was owned by the Black Ball Line and launched in 1855. Alexander Hall & Son were renowned builders of sleek and fast 1,000 ton clippers for the China trade (opium in, tea out) and were keen to show they could also outclass the big North American ships built by Donald Mackay. Consequently the SCHOMBERG was ‘overbuilt’. Her hull featured five ‘skins’ of Scotch Larch and Pitch Pine overlaying each other in a diagonal pattern against a stout frame of British Oak. Oak has been favoured by builders of wooden ships for centuries. Its close, dense grain made it harder to work, but also gave it great strength and durability. In addition, the lateral spread of its branches supplied a natural curvature for the ribs of a vessel’s hull, as well as providing the small corner or curved pieces (‘knees’ and ‘elbows’) that fit them together. At the launch the SCHOMBERG’s 34 year old master, Captain ‘Bully’ Forbes, had promised Melbourne in 60 days, "with or without the help of God." James Nicol Forbes was born in Aberdeen in 1821 and rose to fame with his record-breaking voyages on the famous Black Ball Line ships; MARCO POLO and LIGHTNING. In 1852 in the MARCO POLO he made the record passage from London to Melbourne in 68 days. There were 53 deaths on the voyage but the great news was of the record passage by the master. In 1954 Captain Forbes took the clipper LIGHTNING to Melbourne in 76 days and back in 63 days, this was never beaten by a sailing ship. He often drove his crew and ship to breaking point to beat his own records. He cared little for the comfort of the passengers. On this, the SCHOMBERG’s maiden voyage, he was going to break records. SCHOMBERG departed Liverpool on her maiden voyage on 6 October 1855 flying the sign “Sixty Days to Melbourne”. She departed with 430 passengers and 3000 tons cargo including iron rails and equipment intended to build the Melbourne to Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. She also carried a cow for fresh milk, pens for fowls and pigs, 90,000 gallons of water for washing and drinking. It also carried 17,000 letters and 31,800 newspapers. The ship and cargo was insured for $300,000, a fortune for the time. The winds were poor as she sailed across the equator, slowing SCHOMBERG’s journey considerably. Land was first sighted on Christmas Day, at Cape Bridgewater near Portland, and Captain Forbes followed the coastline towards Melbourne. Forbes was said to be playing cards when called by the Third Mate Henry Keen, who reported land about 3 miles off, Due in large part to the captain's regarding a card game as more important than his ship, it eventually ran aground on a sand spit near Curdie's Inlet (about 56 km west of Cape Otway) on 26 December 1855, 78 days after leaving Liverpool. The sand spit and the currents were not marked on Forbes’s map. Overnight, the crew launched a lifeboat to find a safe place to land the ship’s passengers. The scouting party returned to SCHOMBERG and advised Forbes that it was best to wait until morning because the rough seas could easily overturn the small lifeboats. The ship’s Chief Officer spotted SS QUEEN at dawn and signalled the steamer. The master of the SS QUEEN approached the stranded vessel and all of SCHOMBERG’s passengers and crew were able to disembark safely. The SCHOMBERG was lost and with her, Forbes’ reputation. The Black Ball Line’s Melbourne agent sent a steamer to retrieve the passengers’ baggage from the SCHOMBERG. Other steamers helped unload her cargo until the weather changed and prevented the salvage teams from accessing the ship. Later one plunderer found a case of Wellington boots, but alas, all were for the left foot! Local merchants Manifold & Bostock bought the wreck and cargo, but did not attempt to salvage the cargo still on board the ship. They eventually sold it on to a Melbourne businessman and two seafarers. In 1864 after two of the men drowned when they tried to reach SCHOMBERG, salvage efforts were abandoned. Parts of the SCHOMBERG were washed ashore on the south island of New Zealand in 1870, nearly 15 years after the wreck. The wreck now lies in 825 metres of water. Although the woodwork is mostly disintegrated the shape of the ship can still be seen due to the remaining railway irons, girders and the ship’s frame. A variety of goods and materials can be seen scattered about nearby. Flagstaff Hill holds many items salvaged from the SCHOMBERG including a ciborium (in which a diamond ring was concealed), communion set, ship fittings and equipment, personal effects, a lithograph, tickets and photograph from the SCHOMBERG. One of the SCHOMBERG bells is in the Warrnambool Library. This nail is a registered artefact from the wreck of the SCHOMBERG, Artefact Reg No S/35 and is significant because of its association with the SCHOMBERG. The SCHOMBERG collection as a whole is of historical and archaeological significance at a State level, listed on the Victorian Heritage Register VHR S612. Flagstaff Hill’s collection of artefacts from the SCHOMBERG is significant for its association with the Victorian Heritage Registered shipwreck. The collection is primarily significant because of the relationship between the objects, as together they have a high potential to interpret the story of the SCHOMBERG. The SCHOMBERG collection is archaeologically significant as the remains of an international passenger ship. The shipwreck 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 shipwreck and the ship, which was designed to be fastest and most luxurious of its day. The SCHOMBERG collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history. Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. The object is the bottom end of a slightly curved iron planking nail with remnant of timber still attached, recovered from the wreck of the SCHOMBERG (1855). The shank of the nail is rectangular and it narrows to a flat (chisel like) ‘point’. The ‘head’ is missing although there is a quantity of dark red corrosion within the top of the surrounding wood, suggesting where it might have been. The artefact is from the wreck of the SCHOMBERG (1855) and was retrieved from part of the ship’s bow which was carried by sea currents to the South Island of New Zealand. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, schomberg, planking nail, rectangular ship’s nail, cast iron nail

The diorama of mounted specimens of seaweed was framed by Richard Foster Norton for Thomas Watson and is dated 1860. Watson was the Warrnambool District Surveyor at the time (1860). The inscription on the back of the frame links the artwork to the Pigeon Hill property, which was located on Allansford Road (corner of Staffords Road – north side of the Princes Highway-A1). In the 1860s, the property known as Pigeon Hill was owned by William Wall who was a publican who ran several hotels in Warrnambool and district. In 1860 Wall, was running a hotel in Wangoom, near Pigeon Hill. Further research is required to determine the exact location, but Pigeon Hill could also have been the name for that area and may have had other people living there. Thomas Watson was a member of the local horticultural society. Another possible creator of the artwork is Samuel Hannaford, a biologist with a particular interest in collecting marine flora. Hannaford left Warrnambool in 1857 and went to Geelong, so it is possible he collected the specimens had them framed in Geelong, and then arranged for their return to Watson. The other known seaweed collector was Henry Watts, who lived in Warrnambool in the mid-19th century. The seaweed collection in this box was possibly one of Watts' and could have been prepared for the Victorian Exhibition of 1861, Richard Foster Norton, also known as R.F Norton, was one of only a handful of picture framers in 1850s Melbourne. Norton was born on the 24th of July 1822 in Yelvertoft, Northamptonshire and prior to his arrival in Australia, Norton is listed in England as having the occupation of a painter. It appears that he established his business in Melbourne in 1854 or 1855. Between 1855 and 1865 he operated from 87, then 83, and later 80 Collins Street. In the Argus newspaper, Norton advertised his business as a Print seller, Carver, Gilder and Picture Frame manufacturer, supplying the growing demand for artworks and decorative furnishings in the colony during the Gold Rush. Norton also had a Geelong branch in Market Square, where this work was produced. This framed work is highly significant. Previous research has found that only six frames are in existence that can be attributed to be made Norton, dating from the late 1850’s to the mid 1860’s. Moreover, Thomas Watson the owner of the artwork, is one of the government surveyors of the region during the mid-19th century.Diorama in deep wooden frame, behind glass. Seaweed specimens have been mounted within the frame. The back of the frame has handwritten inscriptions including the framer's label (portions missing). The diorama was framed by Richard Fraser Norton. Printed label; "RICHARD FOS --- Picture Framer and -- MANUF -- CARVER, GILDER, ---- PAINTINGS CLEANED, LINED AND --- GLASSES RESILVERED, FRAMES --- Architectual Decorations created to any design in Paper Mache, Carlton Pierre, or Composition, Country Orders promptly attended to, The Order Suppl ---, BRANCH ESTABLISHMENT, MARKET SQUARE, GEELONG" flagstaff hill, warrnambool, maritime museum, richard foster norton, r.f norton, picture framers, melbourne, geelong, artwork and decorative furnishings, gold rush, seaweed, botanical specimens, 1860, pigeon hill, district surveyor, thomas watson, william wall, wangoom, samuel hannaford, henry watts, victorian exhibition, 1861, yelvertoft, northamptonshire, market square

Born: Yorkshire, England 1850; Arrived Australia: before 1874; Died: 1908RealismLedger Gift, 1975Rural landscape setting with horse, dogs and a figure heading towards a house. Gold brushed grey painted frame.Recto: Signed “J A Turner / 1889” in black paint l.l.c of composition; Not titledlandscape, figure, animals, house, colonial, trees, australian art

Born: Casterton, Victoria, Australia 1887; Died: 1935TonalismGift of an anonymous donor, 1978Seaside landscape with trees, grass and rocks. Old gold coloured timber frame.Recto: Signed “C Beckett” in brown paint l.l.c of composition; Not dated; Not titledseascape, landscape, trees, water, australian art

Born: Dorchester, Dorset, England 1856; Arrived Melbourne 1869; Died: Kallista, Victoria, Australia 1931Heidelberg SchoolLedger Gift, 1978Rural landscape with dirt road. Copper coloured timber frame.Recto: Signed "Tom Roberts. 24." in white paint l.l.c of composition; Not dated; Not titledlandscape, trees, bush, road, hill, forest; australian art

Born: Enmore, New South Wales, Australia 1883; Died:1937ImpressionismLedger Gift, 1980Seaside landscape with sailing boats and lighthouse. Gold painted timber frame.Recto: Signed “CHARLES BRYANT.” in brown paint l.l.c of composition; Not dated; Not titledseascape, boats, building, marine, sunset, australian art

Born: St Petersburg, Russia 1873; Arrived Australia 1887; Died: 1930InterwarLedger Gift, 1980Garden setting with seated figures and a standing figure depicting a nurse. Bronze brushed gesso frame.Recto: Signed “G.W. LAMBERT.” in black paint l.r.c of composition; Not dated; Not titledgarden, figures, shrubs, chairs, australian art

Born: Melbourne, Victoria, Australia 1855; Died: 1917Heidelberg SchoolLedger Gift, 1980Landscape with house, golden hills and trees. Painted bronze gesso frame.Recto: Signed “F McCubbin” in brown paint in l.r.c of composition; Not dated; Not titledlandscape, rock, house, australian art

Born: Mt Duneed, Victoria, Australia 1867; Died: Olinda, Victoria, Australia 1943Heidelberg SchoolGift of Wooleen Pty. Ltd., 1980Flat rural landscape with sheep and standing figure. Black stained timber frame.Recto: Signed “A Streeton“ in brown paint l.l.c of composition; Not dated; Not titledlandscape, animals, figure, trees, summer, australian art

Born: Birmingham, England 1854; Arrived Australia 1882; Died: 1914Heidelberg SchoolLedger Gift, 1980Rural landscape with grazing sheep and trees. Gold brushed grey painted timber frame. Recto: Signed "Walter Withers" in brown paint l.r.c of composition; Dated: "~ 10 ~" in brown paint; Not titledlandscape, animals, trees, sheep, australian art

Born: Kyneton, Victoria, Australia 1860; Died: Surrey Hills, New South Wales, Australia 1940 Heidelberg SchoolLedger Gift, 1984Rural landscape and rustic house surrounded by trees. Gold painted timber frame.Recto: Signed "C. Southern" in brown paint l.r.c of composition; Not dated; Not titledlandscape, rural, house, trees, australian art

Born Morges, Vaud, Switzerland 1814; Arrived Australia: 1865; Died: Victoria 1888ColonialLedger Gift, 1986Sailing boat on river in middle of landscape and sheep are grazing. Gold painted timber frame.Recto: Signed " L Buvelot/ 1870" in brown paint l.r.c of composition; Not titledwaterscape, boat, river, animals, house, colonial, landscape, australian art

Born: Casterton, Victoria, Australia 1887; Died: 1935TonalismLedger Gift, 1988Urban landscape with view of partial house, trees and figures. Gold brushed wooden frame.Recto: Signed "C.Beckett" in red paint l.l.c of composition; Not dated; Not titledlandscape, house, figures, trees, australian art

Born: Mt Torrens, South Australia, Australia 1872; Died: 1947ImpressionismLedger Gift, 1988Figure in blue dress lying on grass under trees reading. Gold painted frame.Recto: Signed "M.Tuck" in brown paint l.r.c of composition; Not dated; Not titledlandscape, figure, reading, trees, blossom, spring, australian art

Born: Florence, Tuscany, Italy 1844; Arrived Australia 1885; Died: St Kilda, Melbourne, Victoria, Australia 1893ColonialLedger Gift, 1990Figures, haystacks and tree in rural landscape with dramatic clouds and blue sky. Gold gesso on decorative wood moulding frame.Recto: Signed "C Rolando" in red paint l.r.c of composition; Not dated; Not titledlandscape, animals, figure, trees, colonial art, rural, australian art

Born: Clunes, Victoria, 1861; Died: Melbourne 1941InterwarGift of Mrs Irwin Bright, 1992Figure depicting female child in blue dress in front of landscape image. Gold gesso painted frame. Recto: Signed and dated “J Longstaff 1934” in ochre paint m.r. edge of composition; Not titledportrait, child, garden, landscape, rural, australian art

Born: Fitzroy, Victoria, Australia 1865; Died: 1915ImpressionismLedger Gift, 1993Rural landscape with fence and buildings in the distance. Gold gesso on decorative wood moulding frame.Recto: Signed "E. Phillips Fox" in black paint l.l.c of composition; Not dated; Not titledlandscape, buildings, rural, hills, fence, australian art

Born: Paris, France 1836; Died: London, England 1944ImpressionismLedger Bequest, 1993Rural landscape with stonewall, trees and mountains. Cream, green, gold and blue wood moulding frame.Recto: Signed with a monogram in blue paint l.r.c of composition; Dated 1939; Not titledlandscape, trees, mountains, pastoral, stone wall, europe

Born: Melbourne, Victoria, Australia 1890; Died: 1947ModernismBennett Bequest, 2000 Figures depicting children on swings. Gold painted wooden frame.Recto: Signed and dated "E.L.Spowers - 1932" in grey ink l.r.c of composition; Titled "Swings - 21/50" in grey ink l.l.c.print, japanese tissue paper, children, playing, swings, linocut, australian art

Born: Fitzroy, Victoria, Australia 1865; Died: 1915ImpressionismGift of Dr Robert W. Henderson 2004Rural night landscape with road, buildings and moon. Gold painted wooden frame.Recto: Signed "E Phillips Fox" in brown paint l.l.c of composition; Not dated; Not titledlandscape, evening, moon rising, rural, road, australian art

Born: Gisborne, New Zealand 1882; Arrived: Sydney, New South Wales, Australia 1883; Died: Sydney, New South Wales, Australia 1939Heidelberg SchoolGift of Mrs E.E. Ledger, 1975Rural farm landscape with wagon, animals and building. Gold patterned moulding with grey velvet insert frame.Recto: Signed "E. GRUNER" in black paint in l.r.c of composition; Not dated; Not titledpainting, rural, wagon, chicken, animals, wheel, fence, trees, farm, australian art

Born: Westbury, Wiltshire, England 1890; Arrived: Melbourne, Victoria, Australia 1893; Died: Warragul, Victoria, Australia 1923InterwarGift of Mrs E.E. Ledger, 1975Beachscape with rocks, trees, water, piers, buildings, sky and sailing boat. Gold wood moulding with fabric and gold insert frame.Recto: Signed and dated "Penleigh Boyd / 21" inscribed in paint l.l.c of composition; Not titledpainting, beachscape, boats, building, trees, rocks, marine, australian art

Born: Hobart, Tasmania, Australia 1836; Died: Hunter's Hill, New South Wales, Australia 1914RomanticismLedger Gift, 1976Rural landscape with cows, track, lake and large mountains and clouds. Golden gesso painted timber frame.Recto: Signed "W. C. Piguenit" in black oil in l.l.c of composition; Not dated; Not titledpainting, landscape, water, animals, cows, boats, trees, mountains, clouds, sky, colonial, reflections

Born: Ballarat, Victoria, Australia 1864; Lived and worked: France and England 1890-1893, England, Wales, France 1897-1939; Died: Looe, Cornwall, England 1939VictorianGift of Mrs E.E. Ledger, 1976Harbour scene with large ships, smoke, a wharf, water and a grey sky. Gold brushed timber frame.Recto: Signed "Davies" in brown oil in l.r.c of composition; Not dated; Not tiltedpainting, seascape, ships, boats, smoke, industrial, dock