Embroidered religious figure on padded board. +Additional Keywords: Pullin, E.V.St Raphael, E.V. Pullin, 20 Mullum Rd, Ringwood 3134

Copy of original sketch

Watercolour of the Principal's residence, donated by Julianne Webster, great-niece of Mrs. Dorothy Jessep, widow of Mr A. W Jessep Principal 1926-41, who may have painted it when she resided there 1926-1941. Otherwise artist unknown. The building was demolished July 1980.Framed and glazed watercolour painting of the Burnley College Principal's Residence set in the gardens.julianne webster, mrs jessep, painting, principal's residence, burnley college buildings, decorative arts, artifact

Sketch of the four pottery kilns at East Ringwood, corner of Velma Grove and Mount Dandenong Road (Oxford Road). The kilns shut down in 1926. Judging by the handwriting, the artist and author appears to be John Rodaughan, East Ringwood historian, whose other works include history on Burnt Bridge Hotel and other parts of East Ringwood. The back of the sketch includes a rough hand-drawn map, that appears to be of the insulator works area, between Mt Dandenong Road and Evon Avenue. The timeline includes generic milestones in blue ink and those associated with Ringwood in red writing.Kilns; D.M.

Early image of Alfred Square St Kilda with surrounding builldings. Reproduced from the original at the Athenaeum Clubcolour reproduction of original oil painting 1873. Meet of Melbourne hounds in Alfred Square. Meet of Melbourne Hounds at St Kilda painting by permission of the Committee on the Athenaeum club Melbourne

Carrie Lam, Hong Kong’s chief executive, had plenty of political support in the territory’s pro-Beijing legislature to pass a bill that would allow extraditions to mainland China. The legislators were set to begin discussing the bill in early June, and intended to vote on it just weeks later. A series of protests took place, and after a June 16 protest saw the largest turnout yet, Ms. Lam made a major concession: She postponed the bill, at least temporarily. It was an undeniable victory for the protesters — but it did little to quell the unrest. Since the bill could later be reintroduced, protesters felt they remained in danger. The police tactics to break up the demonstrations on June 12, including the use of more than 150 tear gas canisters to push protesters far away from the government office, created a new set of demands from the protesters. Now, instead of just calling for the withdrawal of the bill and Ms. Lam’s resignation, they said they wouldn’t be content unless there was an independent investigation of officers’ conduct. They also wanted the release of protesters arrested on June 12, and for the government to rescind its description of the demonstrations as a “riot,” a designation that carries legal significance. None of that has happened. Many analysts say Ms. Lam is unlikely to step down, nor would Beijing accept her resignation if she offered it. She has more wiggle room on the other demands, but has not indicated any willingness to budge. The Hong Kong Protests are a leaderless, digital movement.There is no single leader or group deciding on or steering the strategy, tactics and goals of the movement. Instead, protesters have used forums and messaging apps to decide next steps. Anyone can suggest a course of action, and others then vote on whether they support it. The most popular ideas rise to the top, and then people rally to make them happen. At its best, this structure has empowered many people to participate and have their voices heard. Protesters say it keeps them all safe by not allowing the government to target specific leaders. Their success in halting the extradition bill, which was shelved by the territory’s chief executive, speaks to the movement’s power. Despite the lack of a clear leader, protesters have shown extensive coordination at the demonstrations, having planned the specifics online beforehand. Supply stations are set up to distribute water, snacks, gloves, umbrellas and shields made of cardboard. Volunteer first aid workers wear brightly colored vests. People form assembly lines to pass supplies across long distances, with protesters communicating what they need through a series of predetermined hand signals. Anyone walking in dangerous areas without a helmet or a mask is quickly offered one. No individual can speak on behalf of the protesters, which makes negotiations difficult, if not impossible. (https://www.nytimes.com/2019/07/02/world/asia/hong-kong-protest-explained.html, accessed 07/07/2019) Hong Kong’s amended extradition law would allow the extradition of suspects to mainland China for the first time. Supporters say the amendments are key to ensuring the city does not become a criminal refuge, but critics worry Beijing will use the law to extradite political opponents and others to China where their legal protections cannot be guaranteed. The government claims the push to change the law, which would also apply to Taiwan and Macau, stems from the killing last year of a Hong Kong woman while she was in Taiwan with her boyfriend. Authorities in Taiwan suspect the woman’s boyfriend, who remains in Hong Kong, but cannot try him because no extradition agreement is in place. Under the amended law, those accused of offences punishable by seven years or more in prison could be extradited. The new legislation would give Hong Kong’s leader, known as the chief executive, authority to approve extradition requests, after review by the courts. Hong Kong’s legislature, the legislative council, would not have any oversight over the extradition process. Many Hong Kongers fear the proposed extradition law will be used by authorities to target political enemies. They worry the new legislation spells the end of the “one country, two systems” policy, eroding the civil rights enjoyed by Hong Kong residents since the handover of sovereignty from the UK to China in 1997. Many attending the protests on Sunday said they could not trust China as it had often used non-political crimes to target government critics, and said they also feared Hong Kong officials would not be able to reject Beijing’s requests. Legal professionals have also expressed concern over the rights of those sent across the border to be tried. The conviction rate in Chinese courts is as high as 99%. Arbitrary detentions, torture and denial of legal representation of one’s choosing are also common. Many in the protests on Sunday 09 June 2019 said they felt overwhelmed by a sense of helplessness in the face of mainland China’s increasing political, economic and cultural influence in Hong Kong. Hong Kong’s top political leader is not elected by ordinary voters but by a 1,200-strong election committee accountable to Beijing. Half of its legislature are chosen through indirect electoral systems that favour pro-Beijing figures. Many Hong Kongers also cited the jailing of leaders and activists from the 2014 Occupy Central movement– a 79-day mass civil disobedience movement – as well as the disqualification of young localist lawmakers as signs of the erosion of civil freedoms. Resentment towards China has been intensified by soaring property prices – with increasing numbers of mainland Chinese buying properties in the city – as well as the government’s “patriotic education” drive, and the large numbers of mainland tourists who flock to Hong Kong. Many Hong Kongers are also concerned about China’s growing control over the city’s news media, as they increasingly self-censor and follow Beijing’s tacit orders. https://www.theguardian.com/world/2019/jun/10/what-are-the-hong-kong-protests-about-explainerPhotograph of a street art poster taken on the streets of Hong Kong during the protests against legislation to allow Hong Kong suspects to be extradited to mainland Chinese carrie lam, hong kong protests, extraditions, poster art, posters

Watercolour painting of seascape-coastline of Warrnambool. Artist unknown.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, watercolour painting, watercolour, painting

Australian Studio CeramicsWheel thrown bowl decorated with glazes. Artist unknown.ceramics, bowl

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.Wheel thrown lidded vessel. Decorative glazed. Artist unknown. art, artwork

Small vase glazed with incised banksia designs. Artist unknown.artwork, ceramics

Booknon-fictionA visual record of posters made at Megalomania Print Studio, a print collective in Canberra 1980-2013community, political art, artist unknown, gender, health, environment

Glossy print of a Watercolour painting depicting the Post Office and Survey Office , Sandhurst in 1854 (artist unknown).unknownplace, bendigo, early buildings, post office, survey office, view point, sandhurst, early bendigo

Bendigo Advertiser ''The way we were'' from 2000. New beginning: View Point, Sandhurst; circa 1860. Artist unknown. The clip is in a folder.newspaper, bendigo advertiser, the way we were

Unknown artist

Report of the Magdal-Cum-Moonlight Mn for 1914, 1915 & 1916. by Chas. G Gibson Yellow card Front and rear Cover with colour picture by unknown artist, black plastic spineThe Great Boulder Proprietary Gold Mines Limited Magdala-Cum-Moonlight God Mine Stawell 1916 By Chas. G Gibson Art Work by Unknown Artiststawell gold mining

Pen and ink sketch of a mining scene. Sketch shows poppet legs and mine buildings, overhead mine structures, railway, township, miners cottages in a bush setting. Artist unknownart, mining in bendigo, sketch of mining area

Part of NMIT's marketing strategy, this invitation to NMIT Expo 2003 is aimed at prospective students.Folded invitation to NMIT Expo 2003. Coloured illustration on front (artist unknown). Inside text lists NMIT courses and has reply paid postcard requesting course and career guides. Also posters promoting Expo days for 2001-2004open days, nmit expo, postcards, posters, corporate communications, nmit

Painting of lawn tennis scene; doubles match with several spectators seated on ground in foreground and at tables under large trees in background. Artist unknown, no signature. Ornate gilt wood frame. Materials: Pigment, Canvas/Cotton, Metal, Wood, Adhesive tape, Clothtennis

Artist is unknown. This maritime painting is unsigned and the artist is unknown. The ship in this painting is unidentified.Painting is an example of 19th century artwork. Painting, rectangular watercolour, mounted on card. Maritime pointing depicts a three-masted ship at sea, sails rigged, bow facing left, hull is black, white and red. Second sailing ship on right in background. flagstaff hill maritime museum & village, maritime museum, flagstaff hill, warrnamool, painting, 19th century, ship at sea, seascape, wall decoration, maritime painting

The painting belonged to the Wied family who were in Camp 3 Tatura. Artist unknownThree budgerigars, one blue, one yellow, one green sit on a thin branch of a tree with a Major Mitchell Cockatoo to the right of the picture. Another bird is in the air attempting to land on the branch. The sky is blue and the landscape is yellow with a tinge of green. A blue mountain range is on the horizon. Painted on board with a brown wooden frame.major mitchell cockatoo, australian birds, budgerigars, australian landscape

Part of NMIT's marketing strategy, this invitation to Open Day 1999 is aimed at prospective students. See also posters for Expo days and Taste daysBrochures with programs for Open days for Northern Metropolitan College of TAFE 1992 and 1995, and for Northern Melbourne Institute of TAFE 1997 and 1999, and for NMIT 1999. Also folded invitation to 1999 NMIT Open Day. Coloured illustration on front (artist unknown). Inside text lists NMIT courses and has reply paid postcard requesting course and career guides. open days, postcards, corporate communications, programmes, nmit

This is a book written by a local historian containing historical information pertaining to Orbost and the surrounding district. A spiral bound book of 191pp. On the front and back covers are coloured print of the Morgan Barn c 1900, an original watercolour, artist unknown. The book documents the distinctive slatted barns of the lower Snowy River, Orbost, Victoria. The book was published by the Orbost Historical Society and was written by May Leatch and Ngaere Donald. It contains B/w photographs, drawings and stories of the barns and their histories.history-agriculture-orbost barns-slatted

This painting was presented to the St Vincent's civilian medical team by the people of An Giang Province, Vietnam, in recognition of their work in the area. St Vincent's sent four civilian clinical teams to Long Xuyen, South Vietnam, 1965 - 1966 as part of an aid program administered by the Australian Department of External Affairs to assist Vietnamese medical and paramedical personnel and provide medical aid to everyone who needed it. The service of the Australian civilian teams who went to Vietnam 1964 - 1972 was recognised with a special plaque within the grounds of the Australian War Memorial in October 2008. This item has historical significance because it is a memento of the hospital's involvement in a nationally significant wartime aid program to South Vietnam. Landscape painting of deer near a forest stream. Painted in the traditional Vietnamese style using lacquer and paint. Artwork is framed in a black frame but is not behind glass. The artist is unknown.Plaque is attached at lower left corner and translated reads: The people of An Giang Province / are extremely grateful to the Australian Surgical Team.st vincent's hospital melbourne, paintings, artworks, south vietnam, medical aid

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

This was an artist (unknown) impression of the proposed ground floor and surrounding area of the QVWC. This did not eventuate due to heritage and funding restrictions. Probably commissioned by QVWC Inc. - created before the act came into effect and the first Trust appointed or meeting occurred. A3 copy of an impression of what the QVWC site was to be.heritage site, architectural plan, women's centre