Purchased in 1900 in Russia by the late Miss C. Sargood. Previously uncatalogued, held in the Collection for some years. This method of enamelling is now a lost art, as the artist died before he could pass on the technique of his process.Believed to be a wedding portrait. Man holding bread and salt. Woman in red, orange and green costume holds container of eggs and a chicken. Black ground and frame.enamel painting, painting, picture, russia

42 page magazine with coloured cover. Includes Secrets of Successful Painting, Pigments, How to Mix Paint, Brushes, How to Hold a Brush, Estimating a Job, Painer's Problems, Painting a New House, Repainting a House, Painting on Galvanised Iron, Painting a Galvanised Bath, Interior Painting, Enamelling Woodwork and Furniture, Doing up Old Furniture, Paperhanging for Amateurs.painting, home beautiful, homecrafts, trades

The first classroom uses of large blackboards are difficult to date, but they were used for music education and composition in Europe as far back as the 16th century.The term "blackboard" is attested in English from the mid-18th century; the Oxford English Dictionary provides a citation from 1739, to write "with Chalk on a black-Board". The first attested use of chalk on blackboard in the United States dates to 1801, in a lecture course in mathematics given by George Baron. James Pillans has been credited with the invention of coloured chalk (1814); he had a recipe with ground chalk, dyes and porridge! The use of blackboards did change methods of education. Manufacturing of slate blackboards began by the 1840s. A green porcelain enamel surface was first used in 1930, and as this type of board became popular, the word "chalkboard" appeared. Various types of easel have been in use since ancient times, in particular for supporting paintings and other artwork. However, the schoolroom easel would have been introduced around the same time as when the blackboard started to be used in educational establishments. Wooden board painted black, resting on wooden easel with rope supporting the three easel legs.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Black & white photo of Billie Thompson in WW1 - AIF Uniform sitting on wooden crossed chair. Black & white photo of Mabel Hopkinson standing, dressed in long white wedding dress with long sleeves, dark hair with large white hat, necklace, holding bunch of flowers, white shoes. Glass in middle of photo with painting of little red robin bird, sitting on a tree branch of white flowers-blossom, with green leaves. Frame has green leaf branches with silver buds. Markings/Inscriptions: Picture frames & gold enamel enlargement & presentation frames a speciality. Picture Gallery. The Hall. Smith street. Collingwood. Near Stanley street. ( DU. RIEU & Co. TYP ) Deframed 2022.Made by L.H.Evans manufacturer of the celebrated lion brand.person, group, wedding portrait

A collection of a group of photographs donated to the Society by Lun Blom, from the Photo Shop in Thompson Avenue, Cowes (was opposite the museum)A collection of 19 photographs of Phillip Island and surrounds. 293-01. Koala sitting in enamel bowl on table 293-02. 20 farmers having a break. 293-03. Reproduction of painting of The Nobbies. 293-04. Photograph of a Trophy for 1st prize for ploughing won by Mr L Morrison 1859. 293-05. Photograph of three men standing in front of a motor vehicle. 293-06. Photograph of view of Cleeland's House at Cape Woolamai. 293-07. Photograph of a whale beached on Phillip Island with people standing around it. 293-08. Photograph of a family and children in front of car - unknown. 293-09. Photograph of a painting of "Innishowen" Harbison's Property. Mr Harbison's portrait inset on the painting. 293-10. Photograph of an early map - possibly drawn by Bass & Flinders. 293-11. Photograph of the San Remo-Westernport Hotel, with vehicles in front. 293-12. Photograph of a fishing boat at the San Remo Jetty with the township in the background. 293-13. Photograph of a couta boat under full sail in Westernport. 293-14. Photograph of an aerial view of the Two Bridges taken from San Remo side. 293-15. Photograph of the Mutton Bird Eggers Camp - Bergins Bay Cape Woolamai. 293-16. Photograph of a Steam ferry decorated with flags. 293-17. Photograph of Fisherman's hut at Cowes with pier in the background. Possibly Mr Cox's. 293-18. Photograph of a couple standing on the bridge in Lover's Walk Cowes. 293-19. Photograph of an aerial view of Phillip Island looking towards Mornington Peninsula and the Heads to Port Phillip Bay in the distance.293-01. "Koala Pie" Cowes. 293-06. Mr Cleeland's Station. 293-09. "Innishowen" Mr. Harbison. 293-10. Phillip Island. 293-17. Phillip Island - Fisherman's Hut, Cowes. 293-18. Phillip Island - Lover's Walk, Cowes.wildlife - koala, wildlife - whale, the nobbies, ploughing trophy, cape woolamai - cleeland's house, innishowen, mr harbison, phillip island map, westernport hotel san remo, fishing boat san remo pier, couta boat westernport, the two bridges san remo, mutton bird eggers camp, steam ferry, fisherman's hut cowes, lover's walk cowes, aerial view of phillip island, lyn blom

Produced 2015 to commemorate WW1. Possibly Anzac-linked given the centenary of this event.Framed and glazed depiction of Flinders Street Station with a $2 coin with enamelled poppy and an engraved description on a small brass plate. Engraved plaque at lower edge of print: Donated by Adam Baker ( Bakewell ?) / Canberra 11/11/2015world war 1, flinders street station, prints, collage, poppy, ww1, first world war, great war, coin, memorabilia, adam baker, canberra, 11 november, 2015, artwork-paintings

Opera Glasses came into existence as a result of a long line of inventions, and further improvements upon those inventions. The process started in the year 1608 when a Dutch optician by the name of Hans Lipperhey developed the first pair of binoculars with a magnification capability of X3. Less than a year later, a well-known inventor and philosopher by the name of Galileo developed what became known as the Galilean telescope. Advertisements were first found for opera glasses and theatre binoculars in London as early as 1730 in the form of a long collapsible telescope. The "Opera Glass" as it was referred to; was often covered in enamel, gems, ivory, or other art and paintings. For almost 100 years opera glasses existed merely as telescopes. In Vienna, in 1823 the first binocular opera glasses and theatre binoculars began to appear. They were two simple Galilean telescopes with a bridge in the centre, each telescope focused independently from the other by extending or shortening the telescope until the desired focus was achieved, which was useful, yet very cumbersome. Two years later in Paris, Pierre Lemiere improved on this design and created a centre focus wheel. This allowed the focusing of both telescopes together. After this development, opera glasses and theatre binoculars grew in popularity because of the superior view they facilitated in opera and theatre houses. The beautiful design of the glasses themselves also added appeal to the opera-going crowd. By the 1850's opera glasses and theatre, glasses had become a must-have fashion accessory for all opera and theatregoers. A vintage pair of 1920s opera glasses probably made in France by an unknown maker the item is significant due to it's provenance that can be traced and it's completeness as a useful social item and fashion accessory used by theatergoers from the mid 19th century and well into the 20th century. Some people still use modern variants of theater glasses today to improve their enjoyment of the theater.Both glasses and case are covered with black and white snake skin. Case lined with purple velvet, and has brass closure clip.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, flagstaff hill maritime village, great ocean road, opera glasses, serpentine opera glasses, binoculars, accessories, optical instrument, scientific instrument, theater glasses, french opera glasses, hans lipperhey

Opera Glasses came into existence as a result of a long line of inventions, and further improvements upon those inventions. The process started in the year 1608 when a Dutch optician by the name of Hans Lipperhey developed the first pair of binoculars with a magnification capability of X3. Less than a year later, a well-known inventor and philosopher by the name of Galileo developed what became known as the Galilean telescope. Advertisements were first found for opera glasses and theatre binoculars in London as early as 1730 in the form of a long collapsible telescope. The "Opera Glass" as it was referred to; was often covered in enamel, gems, ivory, or other art and paintings. For almost 100 years opera glasses existed merely as telescopes. In Vienna, in 1823 the first binocular opera glasses and theatre binoculars began to appear. They were two simple Galilean telescopes with a bridge in the centre, each telescope focused independently from the other by extending or shortening the telescope until the desired focus was achieved, which was useful, yet very cumbersome. Two years later in Paris, Pierre Lemiere improved on this design and created a centre focus wheel. This allowed the focusing of both telescopes together. After this development, opera glasses and theatre binoculars grew in popularity because of the superior view they facilitated in opera and theatre houses. The beautiful design of the glasses themselves also added appeal to the opera-going crowd. By the 1850's opera glasses and theatre, glasses had become a must-have fashion accessory for all opera and theatergoers.Not very significant as not associated with a historic event or person and made during the first half of the 20th Century and many are still available and easily sourced.Vintage Pair of Opera Glasses, with cow bone barrels and eyepieces, both barrel pieces have split in them, both metal end barrels each have a minor dent, optics are pretty clear no mould although have very minor dust spots inside, they look like they were gilded at some point but most of this has rubbed off glasses have a black leather case with blue lining. No markings whatsoever anywhereflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, binoculars, opera glasses, theatre glasses, optical instrument, cow bone

Uncle Brian McKinnon (b. 1957 – d. 2023) was a Geelong-based artist and descendent of the Amangu and Wongai people of Western Australia. He created powerful mixed media works that explore his campaign for Aboriginal rights and his childhood experiences growing up in Western Australia. Scars is a deeply personal and political work that reflects on some of the ways in which Aboriginal people have historically been discriminated against and marginalised because of the colour of their skin and cultural practices. Originally exhibited with two other paintings, it was also made in honour of the artist’s children and their struggle to maintain positive self-esteem. Uncle Brian McKinnon said his children inherited keloids from their ancestors: ‘These keloids look like body scars. In this work, I have placed them in the past and the presence of their ancestors through the act of beautifying the marks, which reflect the landscape and the identity of the person wearing the beautification marks. Although the marks on my children are not so beautiful and they are ostracised because of them, this made me think of racist policies and of course the referendum and when my people were seen for the first time as being human.’

Asher Bilu, Untitled (Abstract) 1978, resin, enamel and pigments on composition board, 91.5 x 91.5 cm. Bayside City Council Art and Heritage Collection. Purchased 2022resin, enamel and pigments on composition board

Gareth SAMSOM (19 November 1939- ) Born Melbourne Sansom describes a desire to constantly surprise and challenge himself as an artist. He had his first exhibition in 1959. His paintings of the 1960s were characterised by a distorted use of line, shape and colour and were influenced by abstract expressionism, Francis Bacon and Sidney Nolan. Over time, his work has also drawn on punk, dada, Basquiat, T.S. Eliot, urban graffiti, classical Greek philosophy and art theory across a variety of media ranging from drawing, printmaking and collage to photomontage and photography. Sansom lectured in Art at the Ballarat Teachers' college, and was appointed Head of Painting at the Victorian College of the Arts from 1977-1985, and Dean School of Art at the Victorian College of the Arts from 1986-1991. He was artist-in-residence at the University of Melbourne in 1985, which was when he resumed his full-time painting practice with a series of large works on canvas. The Federation University Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.'Looking for God in Abstract Art 2' is a play on the debate over the respective virtues of abstraction and figuration that has preoccupied artists and critics for more than a century. Sanson has always walked a wobbly line between the two, adroitly avoiding falling headlong into either camp. It is also a gentle dig at the pretensions to higher spiritual meaning in abstract art. In the centre are two photographs, one of rubber masks and the other of the artist in a lurid fright wig and mask and using a spray can like a young tagger. These images, where the artist wears a mask and teeters on bright red platforms, are wonderfully ludicrous send-ups of the 'fine art' of painting. (Geoff Wallis from 'Gareth Sansom: Alternative Person", Art Gallery of Ballarat, 2012) This work was exhibited and published in the catalogue of the exhibition 'Gareth Sansom: Alternative Person' at the Art Gallery of Ballarat in 2012 item. art, artwork, gareth sansom, sansom, mixed media, oils, enamel, photo-collage

Enamel, vinyl, mirror and polymer clay on canvas

Gift of Corbett and Yueji Lyon, 1996enamel on canvas

acrylic and enamel on composition boardLower right, rose paint 'SERLE SEPT 66'

Mixed media painting (pyrite and enamel) depicting a landscape with four male figures with red wheelbarrows and a horse and cart.Inscribed centre 'Tunnel Hill Mine, 1890' and signed (L.r) 'Sam Byrne'.sam byrne, painting, landscape, mixed media, tunnle hill mine

Edith (Alice) WATSON (1914–2010) Murtoa | Australia The monogrammed initials on these buttons are for Alice Watson. Alice Watson studied at the Ballarat Technical Art School (at the School of Mines, Ballarat) from 1930 until 1933. Watson sat several departmental exams, including drawing and painting plant forms from nature, lettering, Composition of Form and Colour and advanced General Design, as well as dressmaking and embossed leatherwork. Her folio applies many Australian native floral elements to design. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths in 1972 and 1988 when she was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio, which was generously gifted to the Federation University permanent Historical Collection by the Watson family. Two circular enamelled buttons with dark blue background and gold edging. The initials A W are the design feature. The A is white with gold edging and the W is red with gold edging. The reverse side is gold. They are contained in a small, green, octagonal shaped cardboard box. buttons, edith alice watson, alice watson, enamelled buttons, ballarat technical art school

Moulded glass drinking vessel with vitreous enamel lid mounted on silver base with lifting mechanism. Lifting lever decorated with fleur de lis. Painting on lid depicts a pastoral scene with a seated male next to standing female with a staff, a dog lying next to the man, and sheep in background. 8 cut planes of glass around 2/3rds of glass circumference, and a rounded, moulded handle.'Schalerin, Schalerin, fri auf der hut!'domestic items, food and drink consumption, drinking, vessel, enamel, picture