Details the Museum's celebration event on Sunday 2 October 2022, published by the ABC on their website. Features photos of trams in Wendouree Parade, Ballarat 27 at Mt Pleasant on its supposed 1,000,000 miles, Richard Gilbert standing by Geelong No 2 and of the event itself with many people standing in front of the new Museum building.Demonstrates the 50 + 1 years celebration held on 2-10-2022Four A4 pages of the print of an ABC news item dated 3-10-2022 following the Museum's successful Tramcar Celebration day (50+1) years,btm, abc news, museums, tramways, tramcars, events, 50 years

Membership cards are issued to members and feature either a historic or current photo of the Museum's activities. The 2023-24 one features a photo of three trams on the depot fan outside the New Museum building led by tram 38 with trams 26 and 28. On the rear along the bottom edge of the rear, has the words "Photo Benjamin Boehle-Mitchell"Demonstrates the method of issuing Ballarat Tramway Museum membership cards.Colour photograph printed onto white card as a BTM Membership card for 2023-24trams, tramways, membership cards, buildings, museum, btm, new depot, tram 38, tram 28, tram 26

Features photos of trams 27 and 1 in Wendouree Parade with an interior photo of 26 of a conductor handing out tickets. Has text describing "Your Trip", the trams, Ballarat Tramways, the museum itself along with maps of the Ballarat system and the Gardens area. Features a photo of tram 26 in the new Museum building. Text revised 2022 for the new building. See Reg. items 712, 1532, 4752 and 8061 for details of earlier productions. Item folded as presented to a passenger.Demonstrates the methodology of interpreting the tram trip for the Museum's visitors.Printed colour A4 folded sheet, 2022 version of BTM "Welcome Aboard" pamphlets for handing out to passengers on trams. Three copies held.trams, tramways, ballarat, btm, handouts, passengers, pamphlets

View of tent-town from the top of Big Hill, Bendigo (untitled?) c 1858-1861 by Gustavus Ferdinand von Tempsky. Pencil on paper, unsigned. Provenance: from Waikato Art Museum, New Zealand (1978) - attached correspondence for details.bendigo, streetscape, big hill

This was used in the Gynaecology Outpatients Department at the Mater Maternity Hospital, Brisbane. Subsequently stored in Dr Brunello's shed. He has another 3 identical items. A second identical item is held - for archival purposes. James Ernest Ayre was a Canadian; he spent time studying with Papanicolaou in his New York laboratory. Ayre's spatula was developed for taking Pap smears, but was never patented. Received subsequent to the opening of the new museum in early November 1997. This was a replacement for a similar item left after the February 1997 Council meeting. This was apparently lost. Dr Brunello was the president of the College at the time. First item subsequently located.Stainless steel pap smear spatula 18cms in length. The surface is smooth, except for parallel scoring along the spatula's head.pap smear

Museums are changing from being static storehouses for artefacts into active learning environments for people. New forms of museums, new ways of working with objects, new attitudes to exhibitions and above all, new ways of relating to museum publics, are emerging. At the end of the twentieth century, old structures are being replaced to prepare for a new century. Many social institutions are reviewing their roles and potentials, and museums and galleries are among them.incl. bibliographical references; 213p; endpaper: Susan Barnett museums

Design based on the Electric Supply Co of Victoria tokens. Used by the Museum as a fare payment mechanism or system. With the use of coins or banknotes being phased out and replaced by digital means, it is not possible for the traditional fare payment system to be demonstrated by conductors or tram crews. Maintains the mechanism or practice of exchanging a "coin" for a tram ticket. Visitors pay an entry fee at the new Museum and are given a token for each person. When ready for a tram ride, each passenger gives the token to the Conductor or Driver who issues a paper ticket. Tokens are: Green - 1/- Adult, blue - 6d - Child, red - 3d - concession, purple 1d - members and guests, and orange - no value - baby or under 4. Also maintains the traditional system of conductors accounting for tokens (or cash) and the number of tickets issued.Demonstrates a fare payment system that maintains a strong interpretative link to traditional methods for visitors.Set of 5 plastic fare tokens used by the Ballarat Tramway Museum manufactured during 2021. Four of the tokens have a fare value on one side and the Museum's pictogram and name on the rear. Made by CombiCraft Bundall Qld.trams, tramways, ballarat, tokens, fares, tickets, btm

Digital image of one of the side panels from tram 35, on display in the Ballarat Tramway Museum, new building. Photo by Peter Knife 5/9/2023.Yields information about former Ballarat tram 35.Digital image of one of the side panels from tram 35.tramways, tramcars, btm, tram 35, displays, tramcar part

Digital image of the Melbourne Tramcar Preservation Association Victorian Railways Tram No. 41 on display in the Ballarat Tramway Museum, new building. Photo by Peter Knife 5/9/2023.Yields information about Victorian Railways tram 41.Digital image of VR 41tramways, tramcars, btm, mtpa, tram 41, vr class tramcars

Set of four digital images of trams on display in the Ballarat Tramway Museum, new building. Geelong 2 and Ballarat 27, and includes interior photos. Photo by Peter Knife 5/9/2023. Included are photos of tram 38 on No. 2 road and No. 12.Yields information about trams on display at the Museum.Set of six Digital images,tramways, tramcars, btm, tram 2, tram 27, interiors, tram 38, tram 12

Yields information about the supplier of the original track in Ballarat for electric trams and the extent of the work Hadfields undertook in providing curves, not just pointwork.Illustration from Hadfields Ltd of Sheffield, of the "Special Curves for the Ballarat Tramways". T Grenville St end of Sturt St. From page 9A of a catalogue publication of Hadfields held by the Wellington Tramway Museum, New Zealand. Shows the curves laid out in Hadfields yard. btm3679i - image of the printed version. Full size pdf copy held - filed as "Hadfields pic Ballarat Trackwork - btm3679i" on the high resolution image file.trams, tramways, trackwork, sturt st, hadfields, pointwork, grenville st

Set of 11 newspaper cuttings about the planning for the Hawthorn Tram Museum Depot and the redevelopment of the site to apartments. .1 - The Age - 14/8/1998 - "Old trams to get boost as depot reaches end of line", featuring comments from the Minister for Transport Robin Cooper, quotes Michael Norbury. Has a photo of Senior Trainer Margaret Drew at the Southbank depot sitting inside tram V 214. Article by Lyall Johnson, photo by Luis Ascui. .2 - Progress Press - 17/8/1998 - "Site sale plan to fund new museum" - notes Urban Land Corporation .3 -The Age, 19/8/1998 - "Tram depot is saved by the bell" - about the proposed redevelopment - article by Paul Robinson, photo of the building by Sebastian Costanzo. .4 - Progress Press - 2/11/1998 - "Doubt over tram depot" - George Svigos .5 - Progress Press - 2/11/1998 - "Vintage tram a turn up", about the ownership of Ballarat 36 by the City of Hawthorn. Also notes the Box Hill extensions. .6 - Progress Press - 16/11/1998 - "Tram depot plan on track" - about the depot development and the TMSV. Includes a photo of Rod Atkins at the depot. Article by George Svigos, photo Tony Gough. .7 - Progress Press - 16/11/1998 - "Tram plan looks a goer" - Now the Boroondara Council. .8 - Progress Press - 14/12/1998 - "Old depot plans call" - article by George Svigos .9 - Progress Press - 30/11/1998 - "the gravy tram - featuring W1 431 outside the Hawthorn Tram depot and the free historic tram service Camberwell junction for Christmas. .10 - Progress Press - 23/11/1998 - "Heritage tram junction jaunt" - see above. .11 - Inside Melbourne - 14/12/1998 - advertising the heritage tram service with V214 and 164.trams, tramways, hawthorn tram depot, tram museum, museums, minister for transport, city of hawthorn, ballarat, camberwell junction, vintage trams, tram 36, tram v214, tram w1 431

Newspaper Clipping (p6 of Ballarat Courier 27/11/96) of handover of 2km of new trolley wire to Museum by Vic Minister for Transport Alan Brown. Photo of drum of wire with horse tram and No. 18 in background. Photo has Paul Jenkins, Alan Brown, James Coghlan (Mayor) and Richard Gilbert. The Ballarat Courier - Gabrielle Hodson (reporter) &Alan Marini (photo). Image of newspaper added 27-11-2016 trams, tramways, trolley wire, btm

Contents: • Past, Present, Future by Jim Connor • Our Next Meeting – Wednesday 13th June 2018 • July Excursion – Along the Diamond Creek • Eltham 1950s – Childhood Reminiscences – Part 4 by Ann Constable • Lavender Park Road Mysteries by Heather Eastman • Was the David Clark “Victoria’s Mayflower”? by Irene Kearsey • Jalna Yoghurt by Wendy Wilson • Office Bearers 2018-2019 • Subscriptions • Andrew Ross Museum • New Life Members by Russell Yeoman • Contacts for the Eltham District Historical Society The Shire of Eltham Historical Society was formed in October 1967. The first newsletter of the Society was issued May 1978 and has been published continuously ever since on a bi-monthly basis. With the cessation of the Shire of Eltham in late 1994, the Society's name was revised to Eltham District Historical Society and this name first appeared with issue No. 103, July 1995. The collection of the Society's newsletters provides a valuable resource on the history of the Society's activities, office bearers and committee members, guest speakers and subjects of historical interest pertinent to the former Shire of Eltham and the Eltham District.A4 newsletter distributed to membersnewsletter, eltham district historical society

Yields information about tramway operations post WW2 throughout Australia tramway cities.Wall Calendar - heavy card covers, 12 gloss art pages inside, titled "Australian Trams - 1999 Calendar" containing cull colour photographs of Sydney, Brisbane, Adelaide, Perth, Bendigo, Ballarat, Hobart, Melbourne, and a list of Australian and New Zealand tramway museums. Ballarat featured in June, 33 in the depot yard during a hail storm - 20/8/1971 - photographer not given. Has a punched hole along the top edge to enable wall use. Provides dates for holidays, school holidays and Pension payment days and phases of the moon. Produced by Topmill Pty Ltd and distributed by Gordon & Gotch Pty Ltd. Photos by Hugh Ballment, Dale Budd, Robert Merchant, Arthur Perry and Sydney Tramway Museum.tramways, trams, ballarat, bendigo, melbourne, adelaide, hobart, brisbane, sydney

This plaque was erected in the Williamstown Sailors' Rest, the former skating ring in Thompson Street. It's one the three memorials to Ethel Godfrey with the stained glass window in the St Peter chapel in the Central Institute (See 0064.2) ) and the optus sectile plaque in the 1888 Port Melbourne Institute (See 2053) . This plaque was moved to the Nelson Place building when the Mission purchased the E,S&A Bank in 1943. In 1982, the plaque ws removed from the Williamstown mission along with 4 other plaques, objects and furniture to furnish the chapel of the new Flagstaff Maritime Museum. The transfer of the 5 plaques was requested in 2020 and they returned to the Mission's collection in 2022.The plaque along with the two other memoriels erected in the memory of Ethel Godfrey demonstrates the gratitude for the her 30 years of work.Rectangular plaque for Ethel Augusta Godfrey ethel augusta godfrey 1861-1935, williamstown, thompson street, seamen's mission, sailors' rest, flasgstaff maritime museum, lhlg

'A Research on The Eucalypts and their Essential Oils by Richard T. Baker ( Curator and Economic Botanist and Henry G. Smith ' 2nd edition / large brown hard covered book with gold lettering / aged and stained , partly damaged / first page - ' A Research on The Eucalypts especially in regard to their Essential Oils , second page -'Department of Education New South Wales , Minister : The Honourable Thomas Davies Mutch , M.L.A., Under Secretary , Peter Board Esq , M.A., C.M.G., , Superintendent of Technical Education James Nangle Esq . , F.R.A.S. , O.B.E. / fourth page -Technical Education Series No. 24 Department of Education Technical Education Branch Technological Museum , New South Wales, / published - Sydney : William Applegate Gullick , Government printer 1920 / Contains 471 pages with illustrations in black and white and some coloured ,books, technical, a research on the eucalypts and their essential oils by richard t. baker and henry g. smith ' 2nd edition

Before Mt Tarawera erupted, the Pink and White Terraces at Lake Rotomahana in New Zealand’s North Island, were considered one of the wonders of the world. Tourists came to soak in the thermal hot pools and view the marble-like terraces. Due to a volcanic eruption of Mt Tarawera On June 10 1886, between 108-120 people were killed and several settlements were destroyed. It also destroyed the world-famous Pink and White Terraces. The terraces became a crater over 100 metres deep. Within 15 years it filled with water, forming a much larger new Lake Rotomahana. The chain of craters at Waimangu became the site of many new geothermal features, including Waimangu Geyser, the largest in the world, and New Zealand’s largest hot spring, Frying Pan Lake. The Burton brothers (photographers), Alfred Burton was born in 1834 in Leicester and died in 1914 in Dunedin. His brother Walter Burton was born in 1836 and died in 1880. Many of the Burton Brothers' works and original equipment were collected by Dunedin photographer and historian Hardwicke Knight, and are now housed in the Museum of New Zealand Te Papa Tongarewa in Wellington. This album was donated to the Ballarat School of Mines Museum by James Oddie in 1887. (See Cat. No. 458, No. 1720) Alfred Burton was born in 1834 at Leicester and died at Dunedun, New Zealand, in 1914. Walter Burton was born in 1836, and died in 1889. Large green album containing numerous B/W original photographs of New Zealand, especially volcanos. - Includes Pink and White Terraces (no longer in existance). Photos were taken before and after volcanic eruption. A recent inclusion is article on the terraces by Federation University's George Hook and Stephen Carey.Each photo has a caption.pink terrace, white terrace, new zealand, sumner, burton bros, rotokakahi wairoa, rotomahana crater, tikitapu bush, wanganui bridge, maori, canoe, volcano, mount tarawara, james oddie, ballarat school of mines museum, eruption, waterfall, bridge, sulphur pool, crater, mt tarawera, tikitapu lake, rananga house, wairoa, waikato, maori church wairoa, ganaru, taherepokiore, golden bay, paterson, dowling st dunedin, rocky hill, harison's cove, milford sound, tall ship, hydraulic mining, hale's arm, james oddie (donor), george hook, stephen carey, lake rotomahana

Bruno LETI (1941- ) Born Rome, Italy Arrived Australia 1950 Bruno Leti was nine years old when he came from post World War Two Italy. Known as a painter, printmaker, photographer and publisher of artists’ books, he studied at RMIT, studying Printnaking under Tate Adams, and Melbourne Teachers' College. He has taught art in Italy, Canada, USA, and Melbourne, Australia. Bruno Leti lives and works in Melbourne. 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.This etching by Bruno Leti was exhibited as part of "Parallel Prints", a limited edition print project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection.trees, printmaking, etching, bruno leti, artist, artwork, parallel prints, landscape

Deborah WILLIAMS (1967 - ) Printmaker Deborah Williams completed a Masters by Research at the National Art School, Sydney in 2011. She later worked at RMIT in the Visual Arts TAFE program teaching Printmaking and is the Advanced Diploma Coordinator, and sessional lecturer in the Drawing and Printmedia department at the Victorian College of the Arts, School of Art. 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 etching exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection.Edition 2/36deborah williams, parallel prints, artist, artwork, printmaking etching, dog, animal, shadow

Antoinetta COVINO-BEEHRE born Avellino, Italy arrived Australia 1968 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.This work was exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection. lls '2/36' lc 'Shadow of the Night' lrs ''Antoinetta Covino-Beehre'artist, artwork, antoinetta cravino-beehre, printmaking, parallel prints

Martin KING (1957 - ) Born Melbourne This work was exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection. 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 limited edition print Editioned lls '2/36' Signed lrs 'King'artist, artwork, printmaking, parallel prints, martin king

Balang [John MAWURNDJUL] (1952 - ) Born Mumeka, Northern Territory Country: Milmilngkan, West Arnham Land, Northern Territory Clan: Na-Kurulk Language Group: Kunwinjku Location: Milmilngkan John Mawurndjul is an Australian indigenous artist. He is a member of the Kuninjku people of West Arnhem Land, Northern Territory. Growing up John had only occasional contact with non-indigenous people and culture. He was tutored in rarrk, a traditional painting technique using fine cross hatching and infill, working on small barks. During the 1980s he started producing larger and more complex works. The artist has painted 'Wayarra', a generic term which can include both malevolent spirit beings which continually inhabit certain sites or objects but can also mean the Spirit of a recently deceased person. These spirits are one of two spirits of the dead, the other being the 'Kun-malng' soul. The 'Wayarra' is the shadow or 'shade' of the dead and may take on the form of the deceased and haunt areas where the deceased recently inhabited. In order to prevent Wayarra spirits from harassing relative of the recently deceased, a smoking ceremont is performed where Ironwood leaves are burnt around the camp of the recently deceased and ochre is rubbed on all objects belonging to the deceased. Ochre may also be rubbed on vehicles, houses and trees. Some Wayarra are a particular Dreaming totem for people of certain clans. This is why many artists depict Wayarra in their bark paintings and sculptures. They are depicting clan totems particular to their lineage and which are celebrated in major regional patrimoiety ceremonies. In 1989 the work of John Mawurndjul was included in the landmark exhibition "Magiciens de la Terra' at the Centre Pompidou and Grande Halle de la Vilette in Paris, France. His works have also been exhibited in numerous solo and group exhibitions in Australia, New York, Paris and Japan. Mawurndjul is one of eight artists whose work in part of the largest inernational commission of contemporary Indigenous art from Australia at the Musee du Quai Branly, Paris. The work was exhibited in the Australian survey "John Mawurndjul: I Am The Old And The New", at the Museum of Contemporary Art, one of the 160-odd works all chosen by Mawurndjul for inclusion in the exhibition. 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.This artwork was chosen by John Murwurndjul as on of around 160 works for exhibition in the 2018 Australian Survey of his work at the Museum of Contemporary Art. The artist is known for his rarrk work, which is evident in 'Female Wayarra Spirit'.Aboriginal bark painting featurung rarrk. The artwork is associated with Dilebang, a duwa moiety place that belongs to the Kurulk clan. This work is currently on loan for exhibition in 'John Mawurndjul: I am the old and the new'. The exhibition will be shown at the Museum of Contemporary Art Australia (Sydney) from 6 July – 23 September 2018, and the Art Gallery of South Australia, Adelaide from 26 October 2018 – 28 January 2019.art, artwork, john mawurndjul, aboriginal, bark painting, rarrk, wayarra, kuninjku, maningrida, loan

Deborah KLEIN (1951- ) Born Melbourne, Victorian Deborah Klein grew up in the inner southern suburb of St. Kilda and lived and worked in London from 1973 - 1980. The experience of living in both of these places was to have a significant and enduring influence on her work. She gained degree and post degree qualifications from Chisholm Institute of Technology, Melbourne and Gippsland College of Advanced Education, and a Research MA from Monash University, Gippsland. Since 1988 Deborah Klein has held regular solo exhibitions and participated in group exhibitions in Australia and internationally. Her work is represented in public and university museum collections throughout Australia. This work was exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection. 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, handcoloured linocut depicting a butterly with a female head with braided hair.Edition 2/36artist, artwork, deborah klein, klein, butterfly, insect, animal, printmaking, linocut, parallel prints, alumni