Neville Bunning taught Sculpture and ceramiCs at the Ballarat Technical Art School, a division of the Ballarat School of mines, from 1945 until 1964. During that time he formed the Ballarat Artist's Society, a group that sponsored art and invited modernist artists to visit Ballarat to speak to students and the public. Bunning wrote a weekly column in 'The Courier', where his insightful comments made readers aware of significant trends in art. 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.Oil painting depicting a horse and rider.art, artwork, neville bunning, horse, bunning, available

Gift of Judy Sheldon, 1998watercolour on paper

Wes WALTERS (06 August 1928 - 19 August 2014) Born Mildura, Victoria From 1940 t0 1945 Wes Walters attended the Ballarat High School. He then studied architecture at the Gordon Institute in Geelong, followed by art at the Ballarat School of Mines (a division of the Ballarat School of Mines). During his time at the Ballarat Technical Art School (later Federation University Australia) Walters studied under Neville Bunning and Taylor Kelloch, and was awarded the Ballarat Ladies Art Association Scholarship in 1948. He next moved to Melbourne to work as a commercial artist with the George Patterson advertising agency. Each evening Walters studied life drawing at the Victoria Artists’ Society and taught himself anatomy. Wes Walters excelled in both abstract and realist art. He won the Art Gallery of Ballarat’s Minnie Crouch Prize for watercolour art in 1953 and 1956. He won the prestigious Archibald Prize in 1879 for his portrait of Phillip Adams. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed abstract painting by Wes Waltersart, artwork, wes walters, walters, ballarat school of mines, ballarat technical art school, federation college, alumni

Painting showing Helicopters coming into field to evacuate soldiers,-. Peter Scott Co 3RAR VN 1971-Mike Eggleston 2783957 112/250

This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Abstract painting in mixed media including plaster on canvas. If you can provide information on this artist or artwork please use the email link below.art, artwork, horsham campus art collection, horsham available, abstract

A portrait of Her Majesty Queen Elizabeth II by William Dargie that was acquired in 1967. It was previously hung alongside a painting of HRH Prince Philip, Duke of Edinburgh, but has been moved to storage in the archive. A newspaper article in 1967 shows Governor of Victoria, Sir Rohan Delacombe and President of Melbourne Legacy, George Cowan at the unveiling of the portrait.Oil painting of Queen Elizabeth by William Dargie in a gilded wooden frame.Author signature in bottom right, not legible.portrait, queen elizabeth, dargie, delacombe, george cowan

UnknownPortrait of a man in dress uniform (navy blue suit, gold cuffs and epulets, belt and sash, with dress sword hanging in sheath on his left hip). He has white hair and a beard and is looking out of the frame to the upper left. His right elbow is resting on three books on top of a stone plinth. To far left of image is a domed uniform hat with an insignia on the front and a spike on top. Background is a modulating colour field: green/brown on left to darker browns and reds on right. Framed in ornate wooden frame.Front: J. Trangmar Esq. Mayor (brass plate affixed to lower centre front of frame).

Winner of Bayside Acquisitive Art Prize 2017. oil on linensnow, figures, animals, painting, michael vale, dream-like, skeleton, pipe, city, bayside acquisitive art prize

Donated through the Australian Government's Cultural Gifts Program by Mack Jost, 1986

An original watercolour painting surrounded by a white backing under glass in a plain brown timber frame'Present site of Hudsons Hotel'. Edward Heffernan 86 Corner of Inglis and Stead St. 1914

This work was painted following Rob McHaffie’s Australia Council Residency at Cité Internationale des Arts in Paris in 2007. Despite Paris being a beautiful city, McHaffie also found the experience challenging and felt that on a bad day, the city was no more than an ornately decorated concrete jungle. In this painting a monkey looks out from a green building onto an imagined scene abound with art historical references. A classical European figurative sculpture is surrounded by flowers from Monet’s gardens, while a contemporary sculpture by Franz West dominates the foreground of the work. McHaffie questions the so-called evolution of cultured humanity in comparison to the imagined contentedness of our pre-evolved species.oil on linenmonkey, sculpture, painting, rob mchaffie, paris, flowers, franz west

poreepunkah, springtime

If you can provide information on this artist or artwork please use the link below. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Abstract portraitart, artwork, horsham campus art collection, portrait, horsham student collection

painting, australian artist, abstract, camouflage, rainbow

Rural City of Wangaratta Collection. Gift of the Wangaratta BPW Club for their 21st Anniversary.A landscape oil painting in shades of yellow, blue, green, and brown.Obverse: Marg Woollard 6.1977- (bottom right corner) Marg Woollard 'NATURE'S CORROBOREE'/ Y.M.C.A 1978 Art Show prize/ Presented by Wangaratta B.P.W. Club. for its 21st anniversary/ to the City of Wangaratta./ (plaque mounted on frame)wagaratta art gallery, margaret woollard, painting, landscape

IT IS ON PERMAMENT LOAN FROM HEPBURN SHIRE PAINTING BY WILLIAM TIBBITS, CIRCA 1870. HE WAS A WELL KNOWN FIGURE TO BE SEEN RIDING HIS BICYCLE FROM ONE GOLDFIELD TO ANOTHER WHERE HE PAITED MANY OF HIS FAMOUS PAINTINGS.OWNERSHIP TRANSFERRED FROM SHIRE OF TALBOT AND CLUNES TO HEPBURN SHIRE COUNCILWATERCOLOUR PAINTING OF CLUNES TOWN HALL BY ARTIST WILLIAM TIBBITS - FRAMEDTOWN HALL CLUNES BALLARAT 1874local history, illustration, watercolour, hepburn shire

Drum Major Margaret Bennett (formerly Reynolds) attended Ballarat Teachers' College in 1949. She was Drum Major for the Ballarat Ladies Pipe Band from 1950-1975. At times Margaret Bennett was a life model for Geoff Mainwaring. Framed portrait of Margaret Bennett as the Drum Major of the Ballarat Ladies' School of Mines. She wears tartan, blazer and a bearskin hat, and holds a mace.ballarat ladies pipe band, margaret bennett, drum major, geoffrey mainwaring, alumni, available, margaret reynolds, tartan

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.art, artwork, pauline o'shannessy-dowling, tafe business collection, landscame, trees, available

suburbs

Portland Town CouncilPainting of a bluestone building. There are four columns to the front of the building. One either side of a green front door and the other two either side of each side window. Above the front door is a sign which reads ' Town Hall 1869' A footpath is in front of the building, with a man and woman walking together. The man wears a suit and hat and the woman wears a red shirt and blue skirt. At the other side of the building there is another figure - shadowy. A dirt road curves from foreground centre towards and past the building to the left. Two tall pines are behind the building on right.Front: Town Hall Portland '55 (brown paint, lower let). Travis Webber (brown paint, lower right). Back: Geelong Picture Framers, 211 Moorabool Street, GEELONG. Ph. 97805 (blue ink stamp, lower centre).portland town hall, bluestone building, bluestone, 1800s

‘Adeney Avenue’ was the title given to this painting following its donation to the Kew Historical Society, yet the work’s origins predate the naming of Adeney Avenue in 1907 [originally gazetted as ‘Park Street’ (1865) and ‘Park Street South’ (1875).] Park Street ran between High Street and Parkhill Road beside what was later to become ‘Victoria Park’. This area was described in 1851 as “…a dense forest of gums and wattles which were to be largely cleared by 1888 after the naming of a recreation reserve”. The Reserve was still bisected by an unnamed creek in 1896, when the area was surveyed by the MMBW. The panoramic vista selected by the artist would appear to include ‘Eborensis’ (c.1895) on the corner of Parkhill Road and what was then Park Street, with views across cleared land towards the distant ranges. In the 19th century, north Kew was largely undeveloped farms stretching down to the Yarra. Oil on canvas by an unidentified artist of a panoramic view depicting what is now known as East Kew with mountains on the horizon. In the foreground is a two storey brick residence - Eborensis - located on the northeast corner of Parkhill Road and what is now Adeney Avenue. The view of the landscape and its rolling hills resulted from farming practices adopted following colonisation and settlement. Trees in the foreground and in the distance include remnant Eucalypts and introduced exotics.Label on rear of frame states "House on corner of Adeney Ave & Parkhill. [Regd. 254"]. Otherwise unsigned and undatedadeney avenue (kew), eborensis, park street (kew)

Purchased, 1948

Gift of J.T. Tweddle, 1926

Winne of Bayside Acquisitive Art Prize 2018Moya McKenna, Boombox 2018, oil on canvas, 86.5 x 122.5 cm. Bayside City Council Art and Heritage Collection. Winner of Bayside Acquisitive Art Prize 2018.oil on canvasboombox, painting, moya mckenna, bayside acquisitive art prize, antennae, music player

Water colour painting by John Hall of Goldfields United mine poppet head in Collins St Golden Square.John Hallartwork, water colour, gold mines

Shannon Smiley, Beside the tracks 2015, oil on canvas, 92 x 122 cm. Bayside City Council Art and Heritage Collection. Purchased 2017.oil on canvaslandscape, vegetation, trees, train tracks, painting, shannon smiley, photorealist, leaves

This painting is believed to have been created by an amateur artist C W Veale of Colac, who established an early bus service in about 1923, known at the time as the Blue Bus Service, which operated from Colac. This service was available for special trips within the Colac region. The Blue Bus Service became very popular with travellers to Lorne via the Deans Marsh Road. The label on the back of the painting comments on whether the ship would be in full sail at the time of the wreck. History of the Loch Ard: The Loch Ard got its name from "Loch Ard" a loch that lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curle & Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen, and candles, as well as a heavier load of railway irons, cement, lead, and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold their position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as Loch Ard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy that had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost families in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce, and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Loch Ard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Loch Ard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Loch Ard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register.The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collection's objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history.Painting in brown-stained wooden frame. Depicts three-masted vessel 'Loch Ard' in full sail on moderate seas. Ship has figurehead, figures on board, and a Union Jack flag on red background. Ship's hull is black with white stripe, and is red on waterline. Ship's name is on hull. Artist C. W. Veale, painted in 1978, signed on bottom right. Label on back of painting has typed description of the Loch Ard and a comment.Signature "C W Veale / 1978" Text on hull "LOCH ARD" Label on back; " "LOCH ARD" / The clipper ship Loch Ard was wrecked on the 1st June 1878. / Of 54 people on board only two survived : Eva Carmichael and Tom Pearce. / Pearce became hero of the wreck for saving Miss Carmichael. / This picture shows the Loch Ard in full sail in moderate seas. / When approaching Cape Otway from the west, she would be in rough water and would presumably not be in full sail."flagstaff hill maritime museum, colac bus services, blue bus service, cw veale, loch ard paintings, loch ard, veale, warrnambool, great ocean road, eva carmichael, tom pearce, thomas pearce, cape otway, cargo ship 1878