Black and White Photograph - Sept 19th 1974rts, ringwood tech

Stawell High School Students 1955stawell education

6975-32 Stawell High School Form 3A, 1973 Form Teacher Mr Kruger Back Row, Julie Start, Robyn Murphy, Kerryn Slater Middle Row, Christine Slorach, Julie Martin, Pam Robson, Pamela Guy, Judy Jeffery, Ruth West, Elizabeth McCracken, Helen McAllister, Front Row, Karen Vendee, Poppy Mangana. Margaret van Leeuwan, Wendy Mason, Mr Kruger, Julie Roe, Zanda Seng-Hpa, Geraldine Rathgeber, Angela Hayes. Students and Teacher Class Photo in front of OvalStawell High School Form 3A 1973education

Laminated copy of black and white photograph of Williamstown High School form 3B of 1972.williamstown high school, 1972, class photographs, form 3a

Black and white photograph of a Collingwood Technical College Guitar class, annotated on the reverse side as 'Oct 1971 Room 2C3 / Mr. R. Tate. Solid Geometry teacher .. / Student of Guitar / Daniel Schiodino Form 3A / Anthony Lawler Form 2B / Mario Iacccone Form 1B / Gregory Marshall Form 4A / Ljubivoje Bzenic Form 3C / mr. R. Howard Guitar Teacher (Not in this photo'. Also referred to in Scott's history p.66.collingwood technical college, students, guitar class, nmit

Cream Document. W.D.Mason Collection, Enrolment form for Military Service for Home Defence for Mason Walter David (born 5.10.1898), signed and dated 11.2.1942 (Defence Act 1903-1939 -Part IV A.A.Form , M.3A ( Introduced December , 1940).Commonwealth of Australiabusiness, retail, w d mason

Set of 6 technical data sheets, published by the British Standards Institution in 1959 / 1960 providing information about the standards for various railway products in a summary sheet form. Each sheet has been folded into 8 with the title and other sheets on the outside when folded. .1 - Sheet 3A - Flat Bottom Railway Rails, fishplates and Steel sleepers - PD 3876 - August 1960. .2 - Sheet 3B - Axles, Tyres, Solid Rolled Steel Wheels and disc wheel centres - PD3277 - December 1959 .3 - Sheet 3C - Steel billets, blooms, bars and forgings for railway rolling stock - PD 3361 - April 1959 .4 - Sheet 3D - Steel slabs, plates, sections, bars and rivets for loco boilers, locomotives, carriages and wagons - PD 3387, May 1959. .5 - Sheet 3E - Laminated springs and spring steels - PD 3365 April 1959 .6 - Sheet 3F - Helical and Volute Springs and Spring Steelstrams, tramways, steel, wheels, springs, specification, materials

John O'LOUGHLIN Born Snowtown, South Australia In 1980 John O'Loughlin's life changed when he started wheel throwing ceramic vessels. During this time he discarded the superfluous and unnecessary clutter collected on the journey of life, yet retaining the essence of what mattered to him. John O’Loughlin's later artworks engages with the way in which organised religion, specifically the Catholic Church, deals with the translation of the spiritual into the material. Informed by his extensive travels and studies, O’Loughlin’s ceramics reference the reliquaries and church artefacts that connect the life of this world with that of faith in another world. Completing undergeduate and post graduate works at Federation University John O'Loughlin's honours thesis was entitled "Ways and Means of Meaning, The Use of Symbol and Surface as Expressive Media in Ceramic Sculpture". The University provided a serious ceramic studio equipped with all the research tools for advanced ceramic exploration. Access to raw materials and a variety of kilns combined with excellent lecturers, mentors and technicians inspired, motivated and challenged him to push his accumulating knowledge to higher levels. O'Loughlin's working method in the studio is one of quiet, determined interaction with clay, idea and content. Experimentation with a variety of temperatures, firing methods and atmospheric conditions has produced a broad tonal and textural palette. He has worked with various clay bodies overlaid with coloured oxides, slips and engobes as the foundation for many of his works. O'Loughlin ufilised raised surfaces from old cemetery tombstones using the impressed forms and textures in his constructions. This research led him to the use of dry engobes to create a sense of antiquity, with crusty and distressed surfaces that resemble objects neglected in the oceans. These objects seem covered with the accretions and accumulations of history when re-discovered and brought to the surface as miraculous objects of mystery and magic. (https://www.thefreelibrary.com/John+O%27Loughlin%3A+a+man+re-invented.-a0216897107, accessed 12 September 2020) in 2007 John completer a Masters at the University of Ballarat. 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.Botanical inspired wheel thrown goblet with decorative incised leaves on stem and flower head shaped cup. Glazed 'JOL' on bottom.art, artwork, goblet, botanical, ceramic, john o'loughlan, alumni

John O'LOUGHLIN Born Snowtown, South Australia In 1980 John O'Loughlin's life changed when he started wheel throwing ceramic vessels. During this time he discarded the superfluous and unnecessary clutter collected on the journey of life, yet retaining the essence of what mattered to him. John O’Loughlin's later artworks, such as 'Reliquary No. 20' engages with the way in which organised religion, specifically the Catholic Church, deals with the translation of the spiritual into the material. Informed by his extensive travels and studies, O’Loughlin’s ceramics reference the reliquaries and church artefacts that connect the life of this world with that of faith in another world. Completing undergeduate and post graduate works at Federation University John O'Loughlin's honours thesis was entitled "Ways and Means of Meaning, The Use of Symbol and Surface as Expressive Media in Ceramic Sculpture". The University provided a serious ceramic studio equipped with all the research tools for advanced ceramic exploration. Access to raw materials and a variety of kilns combined with excellent lecturers, mentors and technicians inspired, motivated and challenged him to push his accumulating knowledge to higher levels. O'Loughlin's working method in the studio is one of quiet, determined interaction with clay, idea and content. Experimentation with a variety of temperatures, firing methods and atmospheric conditions has produced a broad tonal and textural palette. He has worked with various clay bodies overlaid with coloured oxides, slips and engobes as the foundation for many of his works. O'Loughlin ufilised raised surfaces from old cemetery tombstones using the impressed forms and textures in his constructions. This research led him to the use of dry engobes to create a sense of antiquity, with crusty and distressed surfaces that resemble objects neglected in the oceans. These objects seem covered with the accretions and accumulations of history when re-discovered and brought to the surface as miraculous objects of mystery and magic. (https://www.thefreelibrary.com/John+O%27Loughlin%3A+a+man+re-invented.-a0216897107, accessed 12 September 2020) 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.Four wheel thrown goblets, two with decorative stems. art, artwork, john o'loughlin, ceramics, goblets

John O'LOUGHLIN Born Snowtown, South Australia In 1980 John O'Loughlin's life changed when he started wheel throwing ceramic vessels. During this time he discarded the superfluous and unnecessary clutter collected on the journey of life, yet retaining the essence of what mattered to him. John O’Loughlin's later artworks, such as 'Reliquary No. 20' engages with the way in which organised religion, specifically the Catholic Church, deals with the translation of the spiritual into the material. Informed by his extensive travels and studies, O’Loughlin’s ceramics reference the reliquaries and church artefacts that connect the life of this world with that of faith in another world. Completing undergeduate and post graduate works at Federation University John O'Loughlin's honours thesis was entitled "Ways and Means of Meaning, The Use of Symbol and Surface as Expressive Media in Ceramic Sculpture". The University provided a serious ceramic studio equipped with all the research tools for advanced ceramic exploration. Access to raw materials and a variety of kilns combined with excellent lecturers, mentors and technicians inspired, motivated and challenged him to push his accumulating knowledge to higher levels. O'Loughlin's working method in the studio is one of quiet, determined interaction with clay, idea and content. Experimentation with a variety of temperatures, firing methods and atmospheric conditions has produced a broad tonal and textural palette. He has worked with various clay bodies overlaid with coloured oxides, slips and engobes as the foundation for many of his works. O'Loughlin ufilised raised surfaces from old cemetery tombstones using the impressed forms and textures in his constructions. This research led him to the use of dry engobes to create a sense of antiquity, with crusty and distressed surfaces that resemble objects neglected in the oceans. These objects seem covered with the accretions and accumulations of history when re-discovered and brought to the surface as miraculous objects of mystery and magic. (https://www.thefreelibrary.com/John+O%27Loughlin%3A+a+man+re-invented.-a0216897107, accessed 12 September 2020) 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.Lidded ceramic form.art, artwork, john o'loughlan, ceramics, available, available ceramics