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

Painting depicting an old man with pipe painting in the landscape. Signed (L.r) 'Howley 79'. On reverse: Label (L.r) '37 Out painting with Clif Pugh by John Howley'. john howley, painting, portrait, clifton pugh, landscape, dunmoochin

This modern photo of a 19C Eugene Von Guerard painting of the Ararat-district homestead of Yalla-Y-Poora, was created ca2009. But the accession information is not clear about the date of accession, or the format of the Von Guerard painting (print, photo, etc.?), or the place where the original painting is held.The photo is not significant in its own right. But despite the lack of detail in the accession information, it does point to a source of information about an important local homestead, Yalla-Y-Poora: i.e. the Von Guerard painting, which merits further investigation. Laminated print, dating from the year 2000 or so, taken of a Von Guerard Painting found in, or part of, a Diary.Text on the back of the laminate [probably written at the time of acquisition] describes how the photo was created: "Painting by Eugene von Guerard / Yalla-Y-Poora / Copied from a diary loaned / by Judy Armstrong".

Painting by Edward H Thornton 2003

This is a photograph of a painting by the noted artist George Webb (1861-1949). Webb was best known for his portraits of civic dignitaries in Melbourne and Adelaide but he also produced many landscapes and seascapes. Some of these feature Warrnambool landmarks as he married, in the late 1890s, Christina Lake, the step-daughter of George Rolfe who owned the property known as ‘Lyndoch’, near the mouth of the Hopkins River. Webb painted the early cottages at ‘Old Lyndoch’ using a photograph taken some time earlier. The painting was given to Dick Allan, the chauffeur in the employ of Florence Lake, Christina’s sister. Florence Lake owned and resided at Lyndoch after her parents’ death. Dick Allan’s son, living in Tasmania, acquired the painting and Les O’Callaghan obtained the photograph of the painting from him. Although this is only a photograph of an original painting, it is of some considerable importance as the painting has great historical significance and this is the only representation we have of it. The man in the photograph represents George Rolfe and the story of Rolfe and his ownership and development of the property of Lyndoch is an important one in Warrnambool’s history. The original by George Webb is also an important work of art in its own right.This is a colour photograph of a painting. The frame of the original painting can be seen at the bottom of the photograph. The photograph is in on old frame which has two wooden edgings with the outer one having an ornate gold plaster edging and an inner one with a gold velvet insert next to the glass. The ornate gold plaster has a piece missing near the top left hand corner. The photograph is set into a gold-coloured wooden frame inside the glass. The photograph is mounted onto cardboard and covered with cardboard at the back with a small piece of wood attached (from the original frame). The backing is nailed on. lyndoch, george webb, george rolfe

Painted by Shirley Jones , a local Artist in 1978Oil painting of Vermont Primary School No. 1022 of the 1880's Shows school with three children in foreground. Two small children kneeling in front Background has a bush scene with figures on a horse Picture is in a wood framehandcrafts, hand painted

Lieutenant Albrecht was interned in Dhurringile during WW2, the images are of articles found in his books by his son Otto Albrecht, who forwarded copies by email. Emailed photo of painting of Dhurringile Mansion, possibly painted by Lieutenant Krampe, pow who is thought to have painted the mural on the internal wall of the Mansion, and which depicted a stallion rearing over a lion. Emailed photo of Lieutenant Krampe, Lieutenant Rahm with Pastor Strellan from Bendigo, probably taken at Camp 1B at Christmas 1946. Emailed notice of Lutheran service given to POW's in Camp 1B, Christmas 1946.Emailed copy of a painting of Dhurringile Mansion in colour. Tree to left and part of tree to right. Yellow border around picture.down right side: by courtesy of Pastor Otto Albrecht POW 4100 bottom left side: Dhurringile (painting found in a book)lieutenant albrecht, dhurringile mansion, otto albrecht, lieutenant krampe, lieutenant rahm, pastor strellan, camp 1b

Norma Kett was a resident of Ringwood and a member of the local Artists Society. She regularly diplayed paintings in local exhibitions .Small oil painting of gum trees, creek and hills. Australian possibly Victorian. Framed in multilayered gold and buff coloured wood. The name ?Accacia Creek in pencil on back of painting.Signed Norma Kett

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 portrait was painted by Evert Ploeg in 2010. Evert Ploeg is one of Australia's most highly regarded portrait painters, who has won a range of painting prizes, such as the 1999 and 2007 Archibald Prize and was awarded the highly coveted ‘Signature Status’ of The Portrait Society of America.. Archibald Prize winner 1999 & 2007. This portrait is part of the Record Series 74. Permanent/Semi-Permanent Displayed Works.Oil Painting of Ms Meg Hansen Principal Ms Meg Hansen Principal 2000-2010

Major Anthony Beale settled in Port Phillip District with his family in 1841. He established an estate called "St Helena" (Greensborough). This photograph is of a painting by Major Beale.Digital copy of colour photograph of painting.anthony beale, st helena

The Heidelberg School of Painting worked in the Yarra Valley area between Box Hill and Heidelberg in the late 19th Century and produced a number of famous artists. This article outlines the history of the School and also lists some paintings.The area in which they worked abuts our area of interest and may have overlapped it in the lower Plenty River area.Foolscap double sided typed document of 6 pages; includes list of paintings..Blue biro word on front page, "Fraser"heidelberg, yarra river, walter withers, heidelberg school of painting, australian art.

Section of painting of Willis Vale a pioneer's house in GreensboroughHouse built by Edward Maygar and later sold to Partington family. It was located at Partington's Flat.Colour photocopy of section of a painting featuring Willis Vale on the top half of an A4 sheet.A number of pencil calculations on lower part of the page.partington, greensborough, edward maygar, willis vale

Image of a Charles Conder painting on front of soft covered book titled The Artists' Camps: Plein Air Painting In Melbourne 1885-1898. FOREWORD by Margaret Plant - Department of Visual Arts, Monash University. The paintings of the 'Heidelberg school" are the best loved group of works in Australian art. The affection is linked in the national mind with a recognition that the authentic Australian landscape had been discovered and colonial bonds broken. The painting activity of the 1880s and 1890s was by no means confined to Heidelberg. Helen Topliss painstakingly presents the variety of sites around Melbourne, in the bush and on the coast, reconstructing their original character and the history of their accessibility. The major figures are well known — Roberts, McCubbin, Streeton and Conder — but there were a number of 'minor' artists associated with the various painting spots that have been too long neglected. A research programme is here initiated in the hope that some of these figures might be more fully returned to us. The restoration of the sites provokes a more extensive roll-call of artists involved in the plein air phenomenon. Various expressions of nationalism in the late nineteenth century have been accorded attention: the painters contributed in varying degrees. But it is, finally, the quality of the painting, the freshness, the particularity of nuance, the calculated aesthetic angles that have governed response and inspired affection. The elegant relaxation themes of many of the paintings have in fact been overlooked in the intellectualization of the quest for 'national identity'. The orchards and the beaches, the ladies promenading a la mode on the beach at Mentone or in the grasses of Box Hill are as important to our artistic tradition and social history as the shearers of rams.

Watercolour paintingSigned 'John S. Loxton' in lower right corner of painting.

In 1992 the children from the Bulla Primary School had an excursion to Woodlands Park for a Colonial Day where they were introduced to old crafts and skills. In this photograph the children were painting a shed using lime wash instead of commercially produced paint.The purpose of this school excursion was to introduce the children to day to day living in colonial times in Australia by giving them a hands on experience in a number of crafts and leisure time pursuits.A coloured photograph of five children painting a shed wall under the supervision of an adult. One person is mixing the paint while three others are doing the painting.bulla primary school, woodlands park, school excursions, colonial crafts

Photos of an artwork being presented to Legacy by the daughter of the artist. The painting was called 'Rescue' and is of two flying boats, possibly Catalinas, and people in a life raft. It was painted by Legatee Cliff Hull and was donated after his death by his daughter, Elizabeth. According to the note, Legatee John Leeden is shown in the photos accepting the painting. The photos were in a scrapbook of photos spanning 1987 to 1991.A record of a painting being donated to Legacy from the daughter of a Legatee who was talented at painting.Colour photo x 3 of an artwork being donated to Legacy in 1991 and a yellow post-it note.painting, legatee event

Painted from the home (or front) paddock which ran south to the creek. The paddock was used for the cultivation of lucerne and maize crops in the lower regions while closer to the house where Ainwick Crescent is now situated, it was a burgeoning market garden for the cultivation of all varieties of vegetables. The large pines beyond, sheltered the farmyard on the west of Gardenia Road. That complex can be partly glimpsed on the left of the painting. This is a directly painted watercolour relying on the use of white paper and transparencies to impart a feeling of morning light. The figure is the artist's mother for whom the picture was painted. Provenance: Augusta Borrack (nee Ziebell) Collection, John Borrack CollectionWatercolour painting, depicting Ziebell's Farmhouse from the south (Thomastown and Mernda). Painting is mounted in a gold frame with cream board.Artist signature: John Borrack; Last Days at Ziebells "The Pines" Thomastown, 'Pro mea matre hanc picturan feci (In Memoria)'illustrations, watercolours, john borrack, ziebell, watercolour, painting

painting in wooden frame

The painting was donated to ANZCA in 1995 by Dr Bernard Dunn. Bruce Fletcher, from Melbourne Victoria, studied under William Dargie, who had been an official war artist during the second world war. Fletcher followed the same pathway as his mentor and was the first of two official war artists appointed during the Vietnam War. His artwork are held in the art collection of the Australin War Memorial, Canberra. The title of the painting, 'Dust Off' is a term adopted in Vietnam which refers to the medical evacuation of sick or wounded soldiers, from the field, by a helicopter. It was originally a radio call sign selected from a US Navy Signal Operations book in 1963. [ref. 'Medicine at War. 1950-1972'].In June 2012, a Royal Children's Hospital Anaesthetic Registrar attended a College Tour conducted by Dr Rod Westhorpe when he saw the painting and informed us that the term 'Dust off' emanates from the Korean War and is in fact the acronym for Decisive, Unwavering, Support to our Fighting Forces'. The painting was based on a black and white photograph taken in Vietnam in 1971. An image of the photograph is located in the electronic supplementary file. Oil painting on board of a scene in which a military helicopter is about to land with a group of soldiers in the foreground, one wounded and one soldier standing. A cargo military helicopter is in the distance flying away from the scene. The painting is set in a gold frame.[plaque affixed to centre front of frame] DUST OFF \ BY BRUCE FLETCHER \ DEPICTING THE MEDICAL EVACUATION \ OF WOUNDED SOLDIERS FROM THE FIELD \ IN VIETNAM \ PRESENTED BY \ DR BERNARD L. DUNNpainting, dunn, bernard, fletcher, bruce, vietnam war, dust off

"Margaret Robbie was another of the local painters who came late to art or combined it with a quite different occupation. Her grandparents, John Shaw and Margaret (Byers), went to Hobart in 1855 but then crossed the Strait and settled in Kyenton where they remained until 1918. Margaret was the issue of the marriage of Mary Shaw and Robbie. She spent a considerable time overseas for the YWCA, including a period as its General Secretary in Toronto, Canada, and worked in the Middle East during World War 2. Margaret Robbie made her garage in Ringwood Street into a flat-cum-studio-cum-gallery for her painting activities when she was not caring for her sister and an elderly aunt." - Hugh Anderson - Ringwood, Place of Many Eagles [p.218].Painting with cardboard border in glass-fronted frame.Inscription along lower edge of painting - "Margaret Robbie, copied from a postcard", and sticker on back of frame - "Ringwood Framing Gallery, 233 Whitehorse Road Ringwood, Phone 8704930"

This is a photo of one of a series of wildflower paintings by Henrietta D'Alton. This is one of twelve separate original wildflower paintings mounted within one large frame (this one us on the upper right). Beneath the frame is a plaque which reads "Henrietta D'Alton (1836-1922). This collection of wildflower water-colours won an award at the Colonial & Indian Exhibition of 1886 in London".This is a photo of a painting of a spray of flowers and leaves. There are blue flowers in the upper centre, yellow/red flowers to the right and left and white flowers near the bottom. A few pink flowers are on the lower right."2" appears on the right side of the photo. It is on the original painting.painting, floral

This painting was inspired by an original painting by W. Welby and depicts a famous Devonshire coastal region famous now for its lighthouse and the pick up point for the pilot when entering waters approaching Dartmouth. The sailing vessels pre-date the construction of the famous lighthouse. Over the centuries the view would have been familiar to many sailors as they left or approached the English mainland and south coast ports in the English Channel. The artist Miss Lewellin, who had a love of the sea and ships as subject matter is listed in 1910 as a donor as a 10/6 member donating to the motor launch fund and in 1918 as a working member of the Ladies Harbour Lights Guild which involved regular volunteer shifts at the Mission to Seamen on canteen and other duties.The donor of this highly regarded painting at the Mission , Miss Madeline R. Lewellin (1854-1944), the artist of this version was actively painting in Victoria between 1877 and 1910, was a silver medallist for studies of fungi. She liaised with Von Mueller and studied under Eugene Von Guerard at the National Gallery, School of Painting in 1879. Her works are represented in the State Library Victoria and a silver medal awarded in 1884 is held by Museum Victoria. This painting represents a tangible link with one of the ladies who interfaced with the seafarers. This oil painting has a dark polished wood and gold leaf slip. The painting depicts two masted boats. The choppy sea takes up the lower-third of the painting, and the other two-thirds of the image of made up of stormy grey clouds. A rocky cliff face can be seen on the right-hand side of the painting. A small church can be seen on the hillside. The ship on the left third of the painting sits on the horizon line of the sea. The centre ship with two masts appears to be leaning to the right and its deck is exposed to the viewer showing four men attempting to handle the masts and rigging. The left-hand ship with three masts is surrounded by two grey distant silhouetted mast ships. There are three seagulls at the upper left-centre of the image. There are another three gulls down on the lower-left of the image. Front: ENGRAVED PLAQUE: Start Point Light. Devonshire. SIGNATURE: After W. Melby / M.M.R Lewellin. 1875. Reverse: IN BLACK MARKER PEN: * Hang from two points * WHITE STICKER WITH CONSERVATOR DETAILS: Art Conservation Frames / 118 Bridport Street, Albert Park, VIC, 3206 / 9696 9066 / artconservationframers.com.aupainting, ships, mast, church, sea, storm, oil painting, seagulls, madeline r. lewellin, artwork-paintings

Construction date of house depicted1845-1855 for Stonemason Benjamin Bowyer. Style Colonial Georgian. Representative of workman's cottage of the 1850'sOil painting by Jean WilsonPainting signed by Jean Wilson 1 William Street Port Fairy on reverse To the Port Fairy History Group from Phillip Ritchie, past owner of 1 William Streetdwelling, housing

Acquired in Fort Worth, Scotland in August 2019.Allied Memorial to World War II commandos in locations where commando training was undertaken.A4 size framed paintingPrinted by Mark Leggett