8 copies of cardboard tags which are to be attached to the entries in the 'King Cohn Bottle Top Work of Art ' Competition. There are a choice of 3 categories to choose from, they are; 'Crown', 'King Cohn', and ' Free Choice'. On the reverse side there is a form for the Name address and age of the contestants. The printing on the tags is in redcommerce, advertising, competition tags, cohn brothers , king cohn

Framed picture of Captain Cook and crew hoisting the British flag on flagpole possibly at Botany Bay. At bottom of picture is the text: Presented to Collingwood Technical School by The / Australia Day Council / Junior art contest 1960. School prizewinner / Abe Glick First Place Group 4'. collingwood technical school, presentation pieces, abe glick, australia day council, nmit

Colour photograph taken from lookout tower, Queen Elizabeth Oval, Bendigo, looking southeast. Rifle Brigade Hotel on extreme RH side, carpark behind Art Gallery complex in centre of image. Written on back :'January 1972, Bendigo, Victoria. From Lookout Tower'Roy J Mitchellbendigo, streetscape, queen elizabeth oval

BACK TO AND CELEBRATIONS OF 150 YRS IN CLUNES - NOVEMBER 4,5,& 7TH, 1989TWO COPIES OF THE PROGRAMME FOR 150 YEAR CELEBRATION & BACK TO CLUNES MIMEOGRAPHED IMAGE OF THE TOWN HALL AND COURT HOUSE PRINTED ON THE FRONT OF THE LEAFLET. HELD 3,4,5,6 OF NOVEMBER 1989, INCLUDES OPENING OF ART EXHBITION, CONCERT, BACK TO SCHOOL, COMBINED CHURCH SERVICE AND FIRE BRIGADE REUNION.NILlocal history, programmes, back to clunes 1989

Stand Easy - After the Defeat of Japan 1945; Green hardcover with light green text and picture of soldier. The spine also has light green text of title. The inside front and back covers have green art geometric patterns. Illustrations, photographs, cartoons: 208 pages non-fiction A collection of personal stories which extended from the collection of Khaki and Green. The service numbers have been used to identify those who have contributed to the content.blamey, nerve war, medical evacuation, 2nd australian corps, surrender of japan, bougainville, borneo, 5th australian division, 6th australian division, 7th australian division, 9th australian division, tarakan, military - history, warfare

“Warranooke” Homestead in ruins from fire February 1979. Photograph from Wimmera Mail Times Supplement 2000. History Burns - Devasting fire in Feb 1979.Photograph of a building with damaged roof. History Burns: owners of Warranooke Homestead, Mr. and Mrs. Nevil Campbell, lost most of their possessions including a valuable art collection in devastating fire which raged through their Marnoo district property in February 1979.glenorchy

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 1000 works and was listed as a 'Ballarat Treasure' in 2007. 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.Framed drawing of fashion sketches in pen, Ink, and charcoal on paper. This work was donated through the Australian Government's Cultural Gifts Program by David Thomas.artwork, walters, wes walters, fashion, available, ballarat technical art school, sketch, commercial art

1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

Report or plan - 55 A4 pages, clear plastic cover, black card back cover, bound with a black wire binder, titled "Tram Fleet Rationalisation Working Paper" providing information "for discussion purposes only" on the possible methods of disposal of the W class fleet, in particular those stored at Newport and detailed information on the second series of Art trams. Looks at the possible market for the vehicles, disposal methods and the next steps. Includes appendices on tram storage, a EOI or prospectus and draft schedule. Prepared by Boyce Pizzey Strategic July 2004. See also Reg Item 670 and 671 for other reports on the second series of Art Trams.trams, tramways, victrack, w class, newport workshops, disposal, transporting art

"Asylum seekers in great desperation."This artwork was an entry for the Maritime Art Prize 2019. David Rowe, editorial Ccrtoonist of The Australian Financial Review, has won the Art Prize in 2010.Marine artOil on canvas depicting asylum seekers in great desperation as they are helping two men in the water to get on board.mission to seafarers victoria, artwork, mission to seafarers, seamen's mission, flinders street, artwork-paintings, maritime art prize, sea, ship, 2019, migrants, migration, diaspora, asylum, desperation, sinking, david rowe, cartoonist

Kenneth JACK 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 watercolour in predominantly blues and greens showing a bridge in front of a house.artwork, kenneth jack, watercolour, watercolor, available, konagaderra

A catalogue titled ' Acquisitions 1988.' Published by the Bendigo Art Galllery for an exhibition 15th December - 22nd January 1989. This exhibition was arranged to show what was acquired during the year. Cambridge Press, Bendigo. 11 pgs. Bottom left corner of the front cover is a number sticker, 0131 THO.bendigo, hospital, art gallery catalogue, bendigo art gallery. art, exhibition, catalogue, art work, art gallery, catalogue. bottom left corner of the front page is a number sticker, 0131 tho.

Small brochure titled ''Bendigo ….the Golden Heart of Victoria''. On the cover arial view of Bendigo. Inside short chapters on: the discovery of gold, sporting facilities, accomodation, art, Easter fair, Bendigo. Please note; 2 photos attached to the bottom of each page have note been scanned.bendigo, tourism, brochure

Document. Norman Penrose collection: annual report and Balance Sheet 1949 for The Ballarat Fine Art Public Gallery Association. Has list of acquisitions and some pictures of paintings including 'Richmond Bridge, Tasmania' by George Lawrence, 'A Football Game' by Russell Drysdale and 'Eaglemont, 1889' by Arthur Streeton.person, bendigo, norman william penrose, norman penrose collection, ballarat art gallery annual report and balance sheet 1949

Document. Norman Penrose collection: 10 Department of Education Technical Schools Certificates (9 First Grade and 1 Second Grade.) with notes pertaining to art written on the back. Ballarat School of Mines No 10. 2 Department of Education Technical Schools Certificates. Ballarat School of Mines No 10.person, bendigo, norman william penrose, norman penrose collection, notes on eras, department of education technical schools certificates

Certificate inscribed, 'Presented with a Commemorative Medal to Thomas Thornell.' Signed Albert ? Executive President and Philip Cunliffe Owen, Secretary to the Royal Commission. Produced by Fac-simile chromo litho art studio, London and W. Griggs, imp. London. (Also see B92.545, framed and glazed copy.)Inscribed, 'Presented with a Commemorative Medal to Thomas Thornell.' Signed Albert ? Executive President and Philip Cunliffe Owen, Secretary to the Royal Commission.thomas thornell, philip cunliffe owen, secretary, royal commission, w. griggs, colonial & indian exhibition, certificate, medal

Framed oil painting seascape titled: "Mahers Landing" by Adrian Johnson. A Fish Creek Acquisitive Art Show Prize 1991.Set in cream card window mount with gold painted woood frame. Small brass engraved plaque affixed to lower edge. Details of artist on reverse.

Yields information about the appearance of one Geelong's single truck trams and its city streets.Black and white photograph of Geelong No. 22 photographed in Moorabool St at a Safety Zone stop. Safety Zone stop sign in photograph. Tram has the destination of Belmont. Chemist, Crofts Stores and Austral Art Furnishers store building in the background. Photographed by John Webster, 6/6/1950. Copy 1 - On rear in ink "Tram 22 Geelong Vic" and on right hand edge "BB31 F2 / T20 / F16 / 6/6/50 1/100 at 12, VV HP3".tramways, trams, geelong, moorabool st, safety zone, tram 22

Diggers & Mining. The gold licence. The Government Camp. Slide depicts 2 miners, and a Commissioner inspecting their Gold Licence. S.T.G. art work. The Licence Inspected. The licence had to be shown, on demand to the Commissioner or one of the goldfields police. Markings: 29 994.LIF. 4. Used as a teaching aid.hanimounteducation, tertiary, goldfields

Book: 'The Art of Lawn Tennis'. 176 pages. Hardcover. Second edition (first published 1920). Autograph & inscription by author on front free endpaper: 'SINCERELY YOURS/WILLIAM J. TILDEN 2ND/INDIANAPOLIS JULY 1923/NATIONAL CLAY COURT/CHAMPIONSHIP'. Materials: Paper, Ink, Cardboardtennis

Images collected by donor for Williamstown High School archives and scanned by Lindy Wallace for Botanic Gardens archiveThe images demonstrate the social value of the Gardens to the local community and how they used as a place for meeting, playing and celebrating with friends and family. Image 2014.007c also demonstrates the changes over time to the Gardens structures: for example when the gates and fence was painted white. Colour image of approximately 18 children sitting in front of and drawing dates of the Gardens. Most have blue jumpers on over the top of their light blue school uniforms. The gates, posts and picket fence are painted white. They are students of Williamstown High School Art Class. The name of the teacher is unknown. williamstown botanic gardens, hobsons bay city council, williamstown high school

Victor GREENHALGH (1900-1983) Born Australia Victor Greenhalgh studied at at the Ballarat School of Mines, and was appointed to the staff in 1938. He was the commissioned sculptor for the King George V statue located in Ballarat's Sturt Street Gardens, as well as eight of the portrait busts of Australian Prime Ministers which line the "Avenue of Prime Ministers" in the Ballarat Botanical Gardens. From 1938 he taught at the Royal Melbourne Institute of Technology (RMIT). The bust of Dick Richards was Victor Greenhalgh's last work, and was cast after the sculptors death. It was donated to the Ballarat School of Mines by Victor Greenhalgh's wife Violet Greenhalgh (Hambly). Dick Richards and Victor Greenhalgh were brothers-in-law. Dick Richards was a member of Shackleton's ill-fated Trans-Antarctic Expedition, and was awarded the Albert Medal for his heroic contribution as a member of the Ross Sea Shore party. In 1972 the Albert Medal was exchanged for the more widely recognised George Cross. Speaking at the unveiling of the sculpture in Dick Richards said that on his return fro the expedition in 1917 he had little inclination for a sedentary or a teaching career. By the time he retired in 1958 he was not at all sorry that he had spent his life as a teacher. Victor Greenhalgh died in Queensland in 1983. 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.Bronze bust of Antarctic Explorer and former Principal of the Ballarat School of Mines, Richard W. Richards.art, artwork, dick richards, r.w. richards, richard w. richards, victor greenhalgh, antarctic explorer, alumni, violet greenhalgh, violet hambly, sculpture, staffmember, ballarat technical art school, school of mines ballarat

Art CollectionThe picture depicts a giraffe's neck sloping from the bottom right corner progressing into a giraffe's head at the top left. The background is plain, except for a yellow streak across the giraffe's neck close to the bottom. It is a front-view of the giraffe. Wood frame, thin white mount and glass.Front: 1/10 Giraffe 11 Mary MacQueen 69 (lower left centre, lead pencil) Back: Mary MacQueen "Giraffe 11" (1969) Litho (Bottom right, rectangle piece of white paper, printed)

Established: Worcester, Worcestershire, England in 1751 by Dr John Wall and William DavisArt NouveauLedger Bequest, 1993Cream vase with two gilded handles and top and bottom gilded rims. Floral decoration.Verso: green inscription with Royal Worcester makers mark above "RdNo 5434" in a rectangular box , above "1021". "X4" stamped to the left of mark and "10" stamped to the right. Initials "L.D" at lower left.ceramic, vase, gilded, worcester