These items are a collection of paints etc for those artists wanting to produce lustroleum and crystoleum works of art in the late 19th century and early 20th century. These works of art using lustroleum and crystoleum which were mainly metallic paints, were produced on a variety of surfaces, including glass, wood, tapestry, china and ivory. These items have no known provenance but it is known that lustroleum and crystoleum painting were popular pastimes with women in Warrnambool in the late 19th century. There are several records of women advertising classes in lustroleum and crystoleum painting in the 1880s and 90s in Warrnambool. One was these was Annie Newcombe, an art teacher who offered classes at her studio in Timor Street in 1884.This is a metal tin with a metal catch and a hinged lid. The tin contains 10 items - four glass bottles of Lustroleum, one glass bottle of gold paint, one glass bottle of purple metallic paint, one tube of green paint, one china bowl with a lip for pouring, one dish to hold paint with a broken base and one small dish for holding paint. There is also a sheet of paper containing information on the Crystoleum Company of London advertising that they supplied photographs, price list for classes, silk frames and crystal glasses. On bottles: ‘Lustroleum Registered’ ; ‘H. Bessemer, Gold Paint’, ‘Purple’, On tube: ‘Winsor & Newton, Chrome Green, Vert Anglais, London England’ crystoleum and lustroleum painting, warrnambool, paint set, artist's paints

White painted set of BP Pumps on stand.Accessory Pack No 1/Made in England/By Lesneytoys, general

Original clock from Wandin North Post Office, Circa 1920.Wooden round wall clock with a white dial, which is losing paint, set in a wooden frame, with Roman numerals.clocks, wall clocks

Cypriot Bichrome Ware from Cypro-Geometric PeriodThe exterior painted with sets of concentric black circles, the handles originally painted red. cypriot

This pen and ink set is part of a collection donated by Mrs. Jean Raper. It was used by the teacher at Upper Gundowring Primary school, Victoria. The school, number 2733, opened on 13 July 1886. Due to changing demographics in the region, in 1953 the school was merged with schools from Dederang North, Kergunyah, Gundowring, Kiewa, Red Bluff, Charleroi and Gundowing North on a 10 acre site with 11 rooms at Kiewa to become Kiewa Valley Consolidated School.This item is from Raper Collection donated to the Wodonga Historical Society by Mrs. Jean Raper. A china pen and ink set painted with a floral design.pen and ink, personal items, teacher supplies, upper gundowring primary school

Used in kitchen to measure quantities up to one pound.Kitchen scales, painted cream with set of 5 weights and aluminium dish (not original)1 oz, 2 oz, 4 oz, 8 oz, 1 lbscales, kitchen scales, balances

OLIO - STAGE CURTAIN [PHOTOGRAPH] IN CLUNES TOWN HALL.PHOTOGRAPH OF AN OLIO - STAGE CURTAIN - OIL PAINTING LANDSCAPE PART OF STAGE SET. PAINTED BY RICHARD FORDlocal history, photography, photographs, town hall, richard ford

Belonged to Ida Baker.9 Piece hand painted children's tea set. Blue and pink flowers, with green leaves and green border.tea sets, toy cups, tea and coffee sets, toy bowls

A Boch Delfts wall plate with hanger. The blue-painted scene is set outside a pub where 4 men and a woman are drinking, smoking, making music and gambling.On the back one reads: " Boch La Louvière Delfts". These words are encircled with decorative floral designs. All is in blue.

These hand painted bowls were the work of Ethel Mary Ellen Hose who married Albert Ernest Uebergang in 1917, who was an uncle of Ray and Joyce Uebergang. After leaving the family farm at Cudgee the couple moved to Surrey Hills in Melbourne. [Ref: p.228 The Uebergang Families in Australia] The donor, Heather Mclean, daughter of Charles Henry Uebergang, is a cousin of Ray and Joyce Uebergang. A visitor to the museum in March 2018 advised that the bowl with no 'U' was a replacement piece. It is unsigned and undated.This fruit set indicates the work of amateur china painters and is in pristine condition.Black hand-painted fruit set consisting of a large bowl and six small bowls. Each bowl has an individual fruit design and a gold-painted letter 'U' except one small bowl which only has the fruit design. The bowls have a gold rim.[on base] E M Uebergang/ 8/5/1923 [except for bowl with no 'U']uebergang, ethel mary uebergang, china painting, crockery, allansford, food & drink consumption

Cypriot Bichrome Ware from Cypro-Geometric/Cypro-Archaic PeriodThe rim painted with sets of black lines, inside and out of mouth with bands, continuing to twin vertical strap handles with zigzags, zigzag line around neck, band at lower neck, body with red band between sets of lines, broad black band on lower body, painted foot. cypriot

Known as Powerlot, built by George Packer, a local builder for Jim McLaughlin in 1914. During Olsen family ownership house was altered. The two acre site once had landscaped garden and orchard. Flat roof has lead lined walkway for viewing lakes and sea. Story goes 'The German raider Wolf was observed signalling during WW1'.Colour photograph of a white painted timber dwelling set on a high vantage point at Stirling Road consisting of two wings, one with flat roof and veranda on three sides, the other more recently built has hipped roof. Metung Victoriahouses, heritage study

Framed oil painting titled: "Misty Morning" painted by Mardie O'Bryan. Set in cream card window mount with brass plaque affixed to lower edge. Gold decorative wood frame.

This item has aesthetic significance and is an example of domestic tableware imported from Japan after WW11.This porcelain cruet set is made up of two lily pad cups with a handle in the middle. Two detachable frogs sit in the cups. The containers are used for salt and for pepper. The set is painted green and pink.On bottom - Made in Japancruet domestic-items-container porcelain tableware

Pittock collection: two metal carpenter's squares for set out * green painted adjustable set out square, with imperial and metric scales, and level bubble, 305 mm L x 120 mm W. Marked Pittock with marker * adjustable set out for full range of angle set out. steel wood and brass construction. Marked Stanley, patented 9-6-04. Tool 204-325 mm L x 25 mm W x 20 mm D Items stored in Pittock box coach builder's box, reference 13000.1.

Five piece painted ceramic tea set, decorated with lawn tennis motif. (.1 and .2) mugs printed with 'WINDSOR/MADE IN ENGLAND' on bases (.3) square teapot (1/2) with lid (2/2) with text 'THE TENNIS MATCH' and printed with 'SADLER/CHAMPIONSHIPS/MADE IN ENGLAND' on base; (.4) Sadler Classic Collection brochure. Materials: Ceramic, Pigment, Paper, Inktennis

Seven piece painted ceramic children's tea set, decorated with dogs-playing-tennis motif. (.1 and .2) saucers (.3) jug (.4) two-handled sugar pot; (.5) teapot with lid and (.6) cup. No makers marks. Materials: Ceramic, Pigmenttennis

Cypriot Bichrome ware from Cypro-Geometric PeriodWith an inward turning rim, two bands are painted on the inside of the twin loop handles (one missing). The interior has a painted dot and a set of concentric lines between two painted bands. The exterior has a broad band painted beneath the handles, a set of concentric black circles and a broad red band at the foot. cypriot

Child's miniature white china tea set, with painted fairy sitting on a red toadstool holding a dandelion. 15 pieces comprise:- 1 teapot with lid and blue spout and handle, 1 milk jug with blue handle, 1 sugar bowl with no lid and blue handles, 4 plates and 7 saucers, all with blue trim on the rim.Superior Quality Made in Japan (in brown paint on the base).tea sets, toy tea sets

Cypriot Bichrome Ware from Cypro-Geometric/Cypro-Archaic PeriodThe inside of the mouth painted, the neck with sets of lines and wavy bands, over frieze of spots, the shoulder with three red bands alternating with sets of lines, over painted twin loop handles, with red and black cross-hatched panels between, red band between sets of lines below, double lines to lower body, band and set lines over painted foot. cypriot

Cypriot Bichrome Ware from Cypro-Geometric/Cypro-Archaic PeriodThe painted interior with a set of black horizontal lines, the rim with sets of trapezoids within lines, the outer rim painted, the neck with black band at top and bottom centred with red band between sets of horizontal black lines, another set of narrow bands on shoulder, the painted twin horizontal loop handles with horizontal wavy line between on each side, over a set of lines between bands. cypriot

Set two paint sample pots: .1 - Dulux Orange gloss oil paint - marigold colour - provided by Dulux in a sample tin for analysis if needed in the Laboratory. Paint in a steel metal contain with paper labels providing the details of the paint. Container has been opened. Has a date of 22/2/1978. .2 - ditto for "Tramway Cream" - gloss enamel paint - dated 6/2/1976.trams, tramways, paint, colour schemes, tramcars, mmtb

Framed watercolour landscape titled "Memories" (House at Buchan South) painted by Jan Long. Set in white and grey card double window mount with brown wood frame. Small brass plaque affixed to lower edge of mount. Note: Item approved for deaccession August 2023. SGSC will now follow deaccession procedures as outlined in the Arts and Civic Memorabilia Collection Policy - https://www.southgippsland.vic.gov.au/downloads/file/2763/arts_and_artefacts_collection_policy_c69.

Nawurapu Wunungmurra is the eldest son of the late Yaggarriny Wunungmurra, the first Aboriginal artist to have his copyright recognised in an Australian court. From an early age he was trained by his father and assisted him with this painting. Later, as his own spiritual authority increased, he painted in his own right. This pole depicts the sea at Garraparra, a coastal headland and bay area within Mungurru, or Blue Mud Bay. Garraparra has been rendered by the wavy design for Yirritja (deep saltwater) that has many states and connects with the sacred waters coming from the land estates by currents and tidal flow. Garraparra marks the spot of a sacred burial area for the Dhalwangu clan to which Wunungmurra belongs. Sacred songs and dance narrate the heroic adventures of two ancestral hunters who left the shores of Garraparra hunting for turtle. On their journey they passed sacred places and ancestral totems before they came to grief when their canoe capsized. The hunters’ bodies washed back to the shores of Garraparra with the currents and the tides, as the Wangupini, cloud rising from the north, followed with its rain and wind. In the songs, the terns (Gitkit) reel in the breeze around these statuesque clouds on the horizon, and this stylised rendition of clouds seen at the top of this work is the latest motif in Wunungmurra’s ouvre.Ceremonial hollow log poles Arnhem Land, Northern Territory The people of Central and Eastern Arnhem Land refer to themselves collectively as Yolngu, meaning human beings. The Yolngu traditionally use logs naturally hollowed out by termites in a funerary and ceremonial functions, principally as an ossuary. In an Australian contemporary art context however hollow log sculptures are purely memorial in function and made explicitly for public display. In Arnhem Land hollow logs are known as larrakitj; hollow logs known by other names are used in burial practices by a number of Aboriginal peoples in the north of Australia. The logs can also represent the deceased person, as the designs applied are the same as those painted on the body during the burial rites. All Yolngu clans belong to a moiety, one of two complementary halves of society: Dhuwa and Yirritja. All such affiliations play a part in Aboriginal artists' inherited right to paint an established set of designs belonging to their social group; this inheritance is, in fact, the artist's copyright over imagery.stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, painting, nawurapu wunungmurra, garraparra, coastal, yirritja, saltwater, sacred burial, cultural heritage, cultural identity

Gunybi Ganambarr has built a reputation for his innovative techniques, incising and shaping barks and adding materials to traditional art forms. He attributes his confidence in using new materials to his twelve year stint as a part of a building team in remote homelands. Ganambarr primarily lives in his mother’s community at Gangan, which lies north-west of Blue Mud Bay in eastern Arnhem Land, Northern Territory. Ganambarr has absorbed the minutiae and spirituality of place; his paintings can be read as meditations on the specific tracts of land for which he is entitled to speak; in this case, a sacred expanse of water behind the Gangan outstation where this work was produced, referred to as Gulutji. Ganambarr’s designs recount the ancestral formation of the land, the beings that reside within its borders and
the seasonal events that nourish its ecosystem. His work exemplifies the confidence and cultural assertion of a new, experimental Yolngu art, while remaining firmly influenced by elders and senior artists. Ceremonial hollow log poles Arnhem Land, Northern Territory The people of Central and Eastern Arnhem Land refer to themselves collectively as Yolngu, meaning human beings. The Yolngu traditionally use logs naturally hollowed out by termites in a funerary and ceremonial functions, principally as an ossuary. In an Australian contemporary art context however hollow log sculptures are purely memorial in function and made explicitly for public display. In Arnhem Land hollow logs are known as larrakitj; hollow logs known by other names are used in burial practices by a number of Aboriginal peoples in the north of Australia. The logs can also represent the deceased person, as the designs applied are the same as those painted on the body during the burial rites. All Yolngu clans belong to a moiety, one of two complementary halves of society: Dhuwa and Yirritja. All such affiliations play a part in Aboriginal artists' inherited right to paint an established set of designs belonging to their social group; this inheritance is, in fact, the artist's copyright over imagery. stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, painting, gunybi ganambarr, natural environment, cultural heritage, cultural identity, cultural knowledge, landscape

Malaluba Gumana dedicates most of her artworks to portraying her mother Marratj Gurruwiwi’s Gälpu clan designs of dhatam (waterlilly), djari (rainbow), djaykun (filesnake) and wititj (olive python or rainbow serpent). Gumana demonstrates a very fine ‘marwat’, a cross hatching technique that utilises a fine brush of human hair, applied to bark and memorial poles. The title 'Garrimala' refers to a billabong close to Malaluba’s homeland of Gängan. Dominating this work are realistic representations of dhatam, the waterlily plant. The Gälpu clan miny’tji – the sacred clan design behind the lillies – represents djari (rainbows) and the power of the lightning within them. It also refers to the force of the storm created by the python Wititj, living amongst the waterlilies causing ripples and rainbows on the surface of the water. The dynamic diagonal lines symbolise trees that have been knocked down as Wititj moves from place to place. Ceremonial hollow log poles Arnhem Land, Northern Territory The people of Central and Eastern Arnhem Land refer to themselves collectively as Yolngu, meaning human beings. The Yolngu traditionally use logs naturally hollowed out by termites in a funerary and ceremonial functions, principally as an ossuary. In an Australian contemporary art context however hollow log sculptures are purely memorial in function and made explicitly for public display. In Arnhem Land hollow logs are known as larrakitj; hollow logs known by other names are used in burial practices by a number of Aboriginal peoples in the north of Australia. The logs can also represent the deceased person, as the designs applied are the same as those painted on the body during the burial rites. All Yolngu clans belong to a moiety, one of two complementary halves of society: Dhuwa and Yirritja. All such affiliations play a part in Aboriginal artists' inherited right to paint an established set of designs belonging to their social group; this inheritance is, in fact, the artist's copyright over imagery. stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, painting, malaluba gumana, waterlily, rainbow, filesnake, olive python, rainbow serpent, natural environment, cultural heritage

Louise Hearman used the Norla Dome and painted a mural painted which had taken her around a year to complete. The exhibition called Elephant Room was shown from June 1988. The work was vandalised in 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that time.Black and white copy of a newspaper article, printed on A3 paper.It’s Louise’s masterpiece, come heaven, hell or high water Report: SARAH TURNER PICTURE: LEIGH HENNINGHAM When her Little Bourke St studio was pulled down to make way for a carpark, artist Louise Hearman, above, contacted The Seamen’s Mission in Flinders St to see whether she could use their cottage. They agree. But neither knew what it was going to lead to. When Hearman saw ‘the Elephant Room’ at the mission, a big domed room, she felt she “just had to do something with it”. She applied for and was granted a $3250 grant from the Australia Council, with which she was able to buy the necessary scaffold and paint, and then set about transforming the room. Now, a year later, her masterpiece is complete. Hearman emphasised the the mural doesn’t represent “heaven and hell”. Rather, she said, “people should make their own interpretations”. She said it was “not particularly heaven and hell, it’s not particularly anything”. And there is “no narrative” to the mural. It “just developed with the building”, out of whatever images and feeling Hearman had at the time. Sadly though, Hearman said the mural was likely to fall off the walls and domed ceiling unless the room was waterproofed - water damage is a serious problem at the mission. louise hearman, norla dome, exhibitions, 1988, elephant room, flinders street, melbourne, leigh henningham, cultural events