These are corporate greeting cards from NMIT and Preston Technical College. Estimated date mid 1990s - 2007. These would be sent to sponsors and businesses associated with the institute.A number of different designed cards with "Seasons Greetings" from NMIT mostly by Visual Arts students. Date from 1997-2007. Coloured illustration on front, some artists named, including Irene Webb, 1997, Sarah Duke, Elizabeth Buckley 2005, Rhiannon Shaw 2005, Dimity Gray 2004, Jennifer Zeller 2004, Annelies Billeter, Rebecca Wheller, Andrew Baker, Andrea Crisp, Damian Frazer.postcards, corporate communications, preston technical college, nmit,

Sonia PAYES (1956- ) Born Melbourne, Victoria Sonia Page is a conceptually-based artist Australian artist working with photography, multi-media, animation and sculpture. She continually pushes the boundaries between photography, sculptural work and new media, with a strong environmental narrative permeating her work. A large photographic tryptich depicting the studio of prominent Australian artist Jeffrey Smart. Sonia Payes art practice is grounded in her training as a photographer. In 2005 Sonia Payes started a large project involving photographing artist's portraits, art works and surrounds. Depicting the idiosyncratic, and often private, lives of artists the project resulted in a visual book titled ‘Untitled. Portraits of Australian Artists', published by McMillan Art Publishing in 2007. studio, eisel, geoffrey smart, sonia page

Carole WILSON (1960- ) Born Canberra, Australia Carole Wilson is an artist living and working in Ballarat, Victoria where she is Associate Professor in Visual Arts and Deputy Dean in the School of Arts. Carole studied at both the Canberra School of Art and Philip Institute of Technology, now RMIT, in Melbourne and completed a PhD at the University of Ballarat in 2001. Her original training was in printmaking and she was a founding member of Jillposters, feminist poster group, in 1983 and worked at Another Planet Posters, Melbourne. For over a decade Carole Wilson has utilised discarded and salvaged materials such as floral carpets, maps and atlases to create works which engage with aspects of botany, garden history, travel and historical ornament. In recent years she has undertaken residencies in Italy, the US, Malaysia and The Netherlands which have all had a significant impact on her work. 'Woven Mantra: A Visual Expression of Meditation' is the title of Carole Wilson's thesis undertaken for a PhD - Visual Arts at the University of Ballarat in 2001. The research project examines the links between spiritual practice and visual art. More specifically, the research examines the relationships between repetition of a manta, and repetition of an image. 2010- Senior Lecturer in Visual Arts, Honours and Research Degrees Co-ordinator 2009-2011 Lecturer in Studio Practice and Postgraduate Co-ordinator 1999-2008 Lecturer in Visual Arts (Sessional) 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 artwork by Carole Wilson.art, artwork, carole wilson, wilson, university of ballarat, doctorate, arts academy, mixed media, monoprint, haberdashery

Tony GRIFFIN Born Melbourne Ballarat-based painter and printmaker Tony Griffin has over forty-years’ experience in the visual arts. He completed a Diploma of Fine Art in 1980 and has recently completed a PhD (Visual Arts) at Federation University. 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.art, artwork, woodcut, linocut, printmaking, tony griffin

This photo of the first train from Ararat to the Portland Freezing Works in 1895 is a visual record of transport and industry in the early industrialisation of the region.Black and white photograph mounted on cardboard, featuring a steam engine with nine carriages and five men. The train has stopped in a siding surrounded by forest. The photo has text written along the right side of the image and repeated across the face of the photograph. Further information is written on the rear.Front: "First Train / Portland Freezing Works / from Ararat." "FIRST / TRAIN / OF / FROZEN / MEAT / RUN BY / ARARAT / LOCO / MEN / SIDING / AT / PORTLAND / FACTORY / 1895" Rear: "1st train ["loading" is struck out] / 1st train of frozen meat / run by Ararat Loco men / Siding at Portland Factory / 1895".locomotive, train, portland, ararat, portland-freezing-works, railway-siding, 1895

Russell THORPE Russell Thorpe was a Diploma of Visual Art student at the Gippsland Centre for Art and Design (GCAD) from 1977 to 1979.Ana-gama fired stoneware with seaweed markings.jan feder memorial ceramics collection, russell thorpe, australian studio pottery, alumni

Russell THORPE Russell Thorpe was a Diploma of Visual Art student at the Gippsland Centre for Art and Design (GCAD) from 1977 to 1979.Australian Studio PotteryStoneware ubglazed mpsaic wall hanging.Stamped with the words "But is it art"jan feder memorial ceramics collection, russell thorpe, australian studio pottery, alumni, wall plaque, wall hanging

This photograph is a visual record of Mrs Tatham who was President of the Melbourne District Nursing Society (MDNS) from 1915 until 1923. Mrs. Tatham, with her happy disposition, tact and organizational skills, served the Melbourne District Nursing Society (MDNS) as a very active member for 25 years. At 38 years of age she was elected to the Committee of the MDNS in 1909, and in 1912 was elected as Honorary Secretary until being elected as President in 1915; a role she held until 1923. During this time she undertook roles on fund raising committees, as well as, in 1919, leading the committee in appealing to the public for funds to purchase motor cars for the use of the Society's Nurses so more cases could be visited during the Influenza Epidemic. In 1923 she resigned as President but agreed to take up the role as Vice-president and was the 'Head Almoner' in the Society's newly formed 'Committee of Almoners' who assisted discharged clients from the After-Care to receive assistance from other organizations if required; the name changed to 'Ward Visitors' when the newly formed 'Institute of Almoners' was formed with now trained Almoners. She remained as Vice-President until 1926 when she was appointed as Secretary of the Society and After-Care Home. She remained in this role until her death, aged 63 years, following a tragic car accident in October 1934. Mrs. Tatham was known as "a gentlewoman in the truest sense" and was held in high esteem by her friends and colleagues. Following her death a Ward in the After-Care Hospital was named the 'Constance Maud Tatham' Ward in her memory.Black and white head and shoulder photograph of Mrs. F. (Constance Maud) Tatham. She has a round visage and a small amount of dark curled hair is seen under a dark turned-up brimmed hat with large tails of a flat bow. She is wearing floral frock with buttons down the front; a dark and light coloured scarf is around her neck. melbourne district nursing society, after- care hospital, mdns president, rdns, royal district nursing service, mrs f. (constance maud) tatham

David McMASTER David was a student at University of Ballarat (now Federation University) Arts Academy when this work was undertaken. In 2007 David McMaster completed a Bachelor of Visual Arts (Fine Arts) Honours at the University of Ballarat Arts Academy, after undertaking a Bachelor of Visual Arts (Fine Arts) at the University of Ballarat Arts Academy from 2004 to 2006, with major studies in Painting, and minor studies in Ceramics and Papermaking. artwork, artist, david mcmaster, abstract, mcmaster

The forty-two navigational flags appear to be a complete set. Their purpose-built, grey painted wooden locker is divided into forty-two pigeonholes, each holding one of the rolled up flags. It is simply built and stands on short legs and was originally open-fronted, but has since been covered with a protective clear Perspex panel. The set of alphabetic and numeric visual signalling flags (including substitute and answering pennants) are made of wool in various colour combination designs, with canvas sewn to one end that is threaded with hemp rope. Some of the flags have metal clips attached to the rope. The flags were used for communicating messages to passing ships. Knowledge of visual signalling was mandatory for all lightkeepers and all stations maintained a set of flags. Although used for centuries, visual flag signalling formally developed in the nineteenth century and was published internationally as a system in 1857. By the early twentieth century it had developed into an effective means of conveying all kinds of short range visual messages. Most flags are in good condition and their first level significance is enhanced by their completeness and integrity as a set still housed in their original locker, and by the signal charts that remain in the museum collection which offer further insights into visual signalling.1 - 42. Navigational flag set of 42 individual flags. Coloured linen with canvas sewn to one end which has hemp rope threaded through it. Some flags have metal clips attached to the ends of the hemp rope. 43. Wooden cupboard divided into sections with wooden divides. Used to house the 42 flags. • 1. navy & white. 2. navy & yellow. 3. navy & white. 4. white. 5. red & yellow. 6. yellow & navy. 7. yellow & navy. 8.red. 9.red & white. 10. white & navy. 11. red & navy & white. 12.yellow & navy & & red. 13.navy & white. 14. navy & white. 14. navy & white. 15.navy & white. 16. navy & yellow. 17. yellow & white. 18. white & red. 19. white & red. 20. yellow & red. 21. white & navy. 22. yellow & navy. 23. navy & white. 24. white & navy. 25.red & white. 26. navy & white. 27.red & white. 28.red & white. 29. red & navy. 30. white & navy. 31. yellow. 32.red 7 navy. 33. red. 34 navy,white,red & yellow.35. red & blue. 36. white & red. 37. navy & yellow. 38.red, yellow & white. 39. white. 40. white & red. 41. yellow & red. 42.navy. 43.custom built wooden open cupboard divided into sections to house flags.Yes

Newspaper Clipping from "The Mail", 17-12-96, Page 5 . 'Sports plan is rejected' - By Jamie DuncanMaroondah Council has knocked back Yarra Valley Anglican School's plans to build an indoor sports complex on its Kalinda Rd site. Nearby residents were concerned abou the potential noise and visual impact of the stadium.

Ken SEARLE (1951- ) Born Sydney, New South Wales Ken Searle worked on this commission through 1997 and 1998. Further works and sketches relating to this commission are held by the Art Gallery of Ballarat. Searle is a self-taught artist who first exhibited his paintings and drawings in the mid-1970s and is known for large, and often whimsical, paintings, of suburban and industrial areas in several Australian cities. From 1998 to 2001 Searle worked as a consultant at the school in the Aboriginal community of Papunya, Central Australia. 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 painting highlighting the artist's favoured aspects of Ballarat. Interested with scenes of suburbia for over twenty years, Ballarat is his first portrayal of a whole city. Searle’s view of Ballarat presents a deliberately untidy city seen from a number of viewpoints. Local scenes are portrayed no matter how pretty or garish, the subject matter providing a snap shot in time. Funded through the Commissions Program of the Visual Arts/Craft Fund, 1998 art, artwork, ken searle, ballarat

Although these scales cannot be identified against a historical period of Australian development they are therefore placed in a time frame when commercial markings from manufacurers were not important enough to have domestic kitchen items labeled. These cast iron scales were made for domestic and possibly rural areas and not for cities where demand for known branded utensils was more an issue. These scales are very "basic" and not to the level of weighing detail that commercial scales had to be at. These scales do not show any visible markers for accurate measurement. The "near enough is good enough" principle can be related to these scales.These scales are significant as they identify one of the basic preparation items for the weighing of foodstuff before the televising of "cooking" shows (1960s onward). The meals for which quantity measurements are required for domestic cooking is not exact however the use of cup measurements for large dishes is tedious and these scales offer the capacity for a larger mixture and an easier method for the "cook". As the need for accurate measurements of ingrediants for rural domestic meals has in the past been not been critical the requirement of accuracy that these scales do not provide is of no consequence. Domestic kitchens in the Kiewa Valley and the type of meals produced would not have required the accuracy of ingrediants that "modern " international cuisines of the later 1900's require. These kitchen scale were used whenrecipes had the terms "pinch, dollop, squidge and smidgen" were about as accurate as most recipes needed to be.Black cast iron, medium weighing scales, with a two arm cradle. On one side of the cradle is a two half circle holding frame for the retention of the metal container scoop. This light weight steel scoop/dish allows for the weighing of loose grain or similar type material to be contained and held in place for establish its saleable contents. On the other side of the weighing cradle is a flat circular platform to hold various metal disc. All the disks used on this platform have their weight stamped on them. When the produced filled in the scoop balances with the metal weight on the opposite end of the balance match (visual horizontal appraisal) the appropriate quantity required is obtained. This scale does not have any visual markings on the arms to identify a true balance. It is therefore reasonable to assume that these scales were for domestic use only and not for commercial transactions. There are two weights that are useable with these scales, one is stamped "1 lB"(pound) and one stamped "1" and both are made as a solid round piece of cast metal.The smaller disc has a "1 lb" moulded and pressed form within a marked inner circle and a mouled ridge outer circle enclosure. The other weight is slightly larger and has a moulded "1" located on the top within a raised circular edge.domestic kitchen scales, weighing scales, metal scales

A Handbook of Visual Speech by J Hounslow Burchett , Principal, The Victorian School for the Deaf , Melbourne, published by The National Institute for the Deaf, London July 1950Blue hard cover, 19cmHx12cmW, 191 pagesvisual speech, j hounslow burchett, national institute for deaf, london, victorian school for the deaf melbourne

An investigation into the problems of the Deaf associated with speech reading and television. Produced by Inta Cirulis ,Research Officer, Department of Audio-Visual Aids, Melbourne University20.5cmHx17cmW, 16 pages, 2 copiesspeech reading and television, inta cirulis, department audio-visual aids melbourne university

Showcasing the diversity of creative talent inspired by the visual arts and community art networking programmes offered at the studio of Northern Support Services for people with disabilities.

From back cover: World War II in Photographs is an innovative visual account of the major events of the greatest conflict of the twentieth century, the Second World War.Soft, lightweight cardboard cover. White print on black background, front, spine & back. Sepia & black & white photos of WWI scenes, six on front, one on back. 159 pages, cut, plain, white. Illustrated, black & white photos.books-military-history, photography-photographs, photographs ww2

This photograph is from the Herb Richmond collection held in the Ballaarat Mechanics' Institute Audio Visual Collection. Please contact BMI for all print and usage inquiries.Plastic mount 35mm slide, brand of film unknownballarat, ballaarat, 1938, victoria-centenary, tram-stop

This photograph is from the Herb Richmond collection held in the Ballaarat Mechanics' Institute Audio Visual Collection. Please contact BMI for all print and usage inquiries..Plastic mount 35mm slide, brand of film unknownballarat, ballaarat, 1938, victoria-centenary, tram

This photograph is from the Herb Richmond collection held in the Ballaarat Mechanics' Institute Audio Visual Collection. Please contact BMI for all print and usage inquiries.Plastic mount 35mm slide, brand of film unknownballarat, ballaarat, 1938, victoria-centenary

This photograph is from the Herb Richmond collection held in the Ballaarat Mechanics' Institute Audio Visual Collection. Please contact BMI for all print and usage inquiries.Plastic mount 35mm slide, brand of film unknownballarat, ballaarat, 1938, victoria-centenary

This photograph is from the Herb Richmond collection held in the Ballaarat Mechanics' Institute Audio Visual Collection. Please contact BMI for all print and usage inquiries.Plastic mount 35mm slide, brand of film unknownballarat, ballaarat, 1938, victoria-centenary, courier

This photograph is from the Herb Richmond collection held in the Ballaarat Mechanics' Institute Audio Visual Collection. Please contact BMI for all print and usage inquiries.Plastic mount 35mm slide, brand of film unknownballarat, ballaarat, 1938, victoria-centenary, unicorn-hotel

This photograph is from the Herb Richmond collection held in the Ballaarat Mechanics' Institute Audio Visual Collection. Please contact BMI for all print and usage inquiries.Plastic mount 35mm slide, brand of film unknownballarat, ballaarat, 1938, victoria-centenary

This photograph is from the Herb Richmond collection held in the Ballaarat Mechanics' Institute Audio Visual Collection. Please contact BMI for all print and usage inquiries.Plastic mount 35mm slide, brand of film unknownballarat, ballaarat, st andrew's church

This photograph is from the Herb Richmond collection held in the Ballaarat Mechanics' Institute Audio Visual Collection. Please contact BMI for all print and usage inquiries.Plastic mount 35mm slide, brand of film unknownballarat, boer-war, statue, ballaarat

This photograph is from the Herb Richmond collection held in the Ballaarat Mechanics' Institute Audio Visual Collection. Please contact BMI for all print and usage inquiries.Plastic mount 35mm slide, brand of film unknownballarat, ballaarat, mid-city, hotel