The Tower Hill Reserve is located inside a dormant volcano, and features a lake and wetlands. It became Victoria's first national park in 1892, but by the 1930s the early settlers had cleared much of the land for grazing, cropping and quarrying. In the 1960s the bare hills and islands were revegetated based in species identified from Eugene von Guerard's painting of Tower Hill. Tower Hill was formed around 30,000 years ago in a violent volcanic eruption. The initial eruption created the outer rim of the volcano, and later smaller eruptions formed the internal hills that are evident today. The layers of volcanic ash layers include artefacts relating to indigenous communites.A series of colour digital photographs showing Tower Hill, near Port Fairy, Victoria. Tower Hill is an extinct volcano.tower hill, volcano, extinct

Bruce Hutton of Almond Glass Works designed the stained glass window and did the hand painting for the Chapel in St John of God, Ballarat. Almond Glassworks was responsible for the overall construction and installation of the window. The concept was developed with the then head of mission, Maureen Waddington. The window was installed on the 30th of October 2019. Almond Glassworks was founded by Bruce Hutton in 1994. He completed a Fine Arts Degree (Chisholm Institute of Technology) majoring in stained glass in 1988, he then went on to work in the industry both in Australia, England and South Africa. He completed a Postgraduate (Monash University) in 1996, focusing on the conservation and restoration techniques of stained glass. Stained Glass at the St John of God Hospital Chapel .ballarat, heritage, st john of god, hospital, stained glass

Bruce Hutton of Almond Glass Works designed the stained glass window and did the hand painting for the Chapel in St John of God, Ballarat. Almond Glassworks was responsible for the overall construction and installation of the window. The concept was developed with the then head of mission, Maureen Waddington. The window was installed on the 30th of October 2019. Almond Glassworks was founded by Bruce Hutton in 1994. He completed a Fine Arts Degree (Chisholm Institute of Technology) majoring in stained glass in 1988, he then went on to work in the industry both in Australia, England and South Africa. He completed a Postgraduate (Monash University) in 1996, focusing on the conservation and restoration techniques of stained glass. Colour photograph of stained glass feature wall at the chapel in St John of God Hospital, Ballarat.stained glass, st john of god hospital, ballarat, bruce hutton, almond glass works

Bruce Hutton of Almond Glass Works designed the stained glass window and did the hand painting for the Chapel in St John of God, Ballarat. Almond Glassworks was responsible for the overall construction and installation of the window. The concept was developed with the then head of mission, Maureen Waddington. The window was installed on the 30th of October 2019. Almond Glassworks was founded by Bruce Hutton in 1994. He completed a Fine Arts Degree (Chisholm Institute of Technology) majoring in stained glass in 1988, he then went on to work in the industry both in Australia, England and South Africa. He completed a Postgraduate (Monash University) in 1996, focusing on the conservation and restoration techniques of stained glass. stained glass, st john of god hospital, ballarat

Bruce Hutton of Almond Glass Works designed the stained glass window and did the hand painting for the Chapel in St John of God, Ballarat. Almond Glassworks was responsible for the overall construction and installation of the window. The concept was developed with the then head of mission, Maureen Waddington. The window was installed on the 30th of October 2019. Almond Glassworks was founded by Bruce Hutton in 1994. He completed a Fine Arts Degree (Chisholm Institute of Technology) majoring in stained glass in 1988, he then went on to work in the industry both in Australia, England and South Africa. He completed a Postgraduate (Monash University) in 1996, focusing on the conservation and restoration techniques of stained glass. stained glass, st john of god hospital, ballarat, bishop, pectoral cross

Bruce Hutton of Almond Glass Works designed the stained glass window and did the hand painting for the Chapel in St John of God, Ballarat. Almond Glassworks was responsible for the overall construction and installation of the window. The concept was developed with the then head of mission, Maureen Waddington. The window was installed on the 30th of October 2019. Almond Glassworks was founded by Bruce Hutton in 1994. He completed a Fine Arts Degree (Chisholm Institute of Technology) majoring in stained glass in 1988, he then went on to work in the industry both in Australia, England and South Africa. He completed a Postgraduate (Monash University) in 1996, focusing on the conservation and restoration techniques of stained glass. Stained glass panel of 'Weeping Bailey's' house, now part of St John Of God Hospitalstained glass, st john of god hospital, ballarat, bailey's mansion, weeping bailey, architecture

The 8 Kings/Queens Royal Irish Hussars was affiliated with 8th Light Horse and later 8/13 Victorian Mounted Rifles. Gifts and visits were exchanged between the regiments. The artist, Henry Martens (b. 1790, London; d. 1868, London) was an English military illustrator and artist. He created works for the firm of Rudolf Ackermann who ran the Eclipse Sporting Gallery at 191 Regent Street. The majority of these depicted military uniforms and battle scenes, particularly images of the Sikh Wars and the Kaffir Wars. He worked mainly in water-colour although a few oil paintings do exist.Framed print of "Visiting the Outposts" by Henry Martens. This was a gift to 8/13 Victorian Mounted Rifles from its affiliated regiment 8 Queens Royal Irish Hussars in 1980.Presented by Queens Royal Irish Hussars 1980military, light horse, hussars, irish, martens, girt, affiliation

Nyukana BAKER (1943-2016) Born Ernabella, South Australia Country: Kanypi Language: Pitjantjatjara A Pitjantjatjara artist from Ernabella who began painting, designing and weaving in 1963 and producing batik in 1971. Founded in 1949 Ernabella Arts is the longest running Aboriginal arts centre in Australia. It was established o create employment opportunities for young women from the local Pitjantjatjara people. Nyukana Baker died 17 April 2016 at Alice Springs, Northern Territory. 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. 6/20 Tjitji Kutjara Two Children Nyukana Baker Feb 1996art, artwork, printmaking, linoprint, nyukana baker, pitjantjatjara, kanypi, aboriginal, ernabella

Marjorie Evelyn GARNER Although not a fully enrolled student, Majorie Garner attended Pottery classes at the School of Mines) run by Neville Bunning. She also took advantage of other classes offer to 'non-students' such as oil painting classes for women run by Geoff Mainwaring. These popular extension programmes promoted the Ballarat School of Mines and their Technical Art School, especially among middle-class women who would otherwise have had little connection with the institution. Majorie was married to Leslie Garner, the Principal of the Ballarat Junior Technical School, a division of the Ballarat School of Mines. Two hand thrown ceramics 'sherry glasses' with the Ballarat School of Mines shield in oxide. The glasses are houses in a small blue and white lidded box. marjorie garner, leslie garner, geoff mainwaring, neville bunning, alumni, ceramics, ballarat school of mines, ballarat junior technical school

Two photos of Legatee Saltmarsh with widows in Legacy House. L/ Saltmarsh was the Widow Committee Chairman and was involved in organising events for widows and in publishing the newsletter. The photo shows him with two widows, Marion Scammell was working on a her tapestry under the guidance of Nancy Crooks, the instructor. One was published in the newsletter in April 1996 to show widows the types of activities that Legacy provided. For many years there were workshops for craft and others for painting. The timetable for activities was published in The Answer (prior to Sept 1992 it was called the Melbourne Legacy Widows' Newsletter) each month. These regular meetings and workshops provided important opportunities for widows to meet, socialise and be active.A record of the type of activities Legacy provided as a social outlet for the widows.Colour photos of widows and Legatee Saltmarsh during craft meeting at Legacy House.widows, craft, activities

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

Shaun Tan is best known for his illustrated books and short films that deal with social, political and historical subjects through dream-like imagery and fantastic creatures. In addition to his book and film work, Tan is a respected and prolific painter. Tan’s paintings capture a sense of place and atmosphere, even when the specific location is not made explicit. Tan says of his practice: “Often I don’t know why I need to paint a certain scene, only that I do, as if to stop it from drifting away too quickly, to just allow a little more time to think about it. Or to just say ‘I saw this’”.

Bruce Hutton of Almond Glass Works designed the stained glass window and did the hand painting for the Chapel in St John of God, Ballarat. Almond Glassworks was responsible for the overall construction and installation of the window. The concept was developed with the then head of mission, Maureen Waddington. The window was installed on the 30th of October 2019. Almond Glassworks was founded by Bruce Hutton in 1994. He completed a Fine Arts Degree (Chisholm Institute of Technology) majoring in stained glass in 1988, he then went on to work in the industry both in Australia, England and South Africa. He completed a Postgraduate (Monash University) in 1996, focusing on the conservation and restoration techniques of stained glass. Detail of a nun in stained glass window at St John of God Hospital, Ballarat.stained glass, st john of god hospital, ballarat, nun, bruce hutton

WARM was a community textile art project that saw over 250 knitters come together to create a beautiful collage tapestry. Made entirely from wool, the artwork contains more than 1000 individual hand knitted sections. The project takes aim at global warming, it highlights both the causes and solutions for us to create a sustainable and safe climate for future generations. Lisa Kendal, the co-creator of the project, said “One of the problems in the world is that we have forgotten how to warm ourselves with wool. We have become too dependent on fossil fuels (for heating)”. This is the key idea surrounding the project. WARM began as two large scale images created by Lars Stenberg. The first image is a landscape scarred by coal mining. The second image is the same landscape only many decades later. Regeneration and regrowth have taken over the landscape and hidden the past coal mine completely. In its place is a beautiful landscape including trees, native flowers, a lake, lots of greenery and wind turbines. From March to the end of August in 2016, knitters worked hard to create the over one thousand pieces that came together to form the final tapestry. The pieces were all designed by Fibre Artist Georgie Nicolson of Tikki Knitting Designs, who converted the second image of the healed landscape into patterns for the 250 plus knitters to follow. These patterns included unusual designs such as gum leaves, trees, native flowers and even the wind turbines. During several days of installation, the knitted pieces were stitched together by Lars Stenberg over a picture of the first image of the operational coal mine. They worked to create the second image of the renewed landscape; like an enormous collage. The WARM project was donated to the National Wool Museum in 2021. It was a much-loved hanging within the Ballarat Hospital for many years before coming to the museum. More information about the project can be found on the following website. http://www.seam.org.au/warm The tapestry is made from 1000+ hand knitted sections stitched together to make an image. In the foreground of this image is a large gum tree that stretches from the bottom left to the top right corner. The trunk of this tree follows the left edge of the tapestry, with foliage from the gum tree spanning its top border. The bottom third of the tapestry is predominantly green grass with yellow, pink and red flowers providing sporadic colour. The middle third encompasses a lake, with orange colours surrounding the banks of the water as opposed to the green grasses of the bottom third. To the right of the lake are wind turbines. The top third of the tapestry is blue sky with white clouds. It also contains the previously described gum tree leaves. Each piece of the tapestry is 100% wool and was hand knitted and stitched together. The Tapestry is accompanied by an oil painting on canvas. It is a painting that matches the tapestry and served as a template for the final tapestry. Finally, the tapestry is accompanied by another pointing on wood board. This final panting is of a coal mine. This is the setting before regeneration and regrowth have reclaimed this site, which is the theme captured in the final tapestry. In the foreground of the coal mine painting is the same gum tree described in the tapestry; however, it is grey and sickle with only 4 leaves visible at the top border, compared to the numerous leaves in the tapestry. Also in the foreground is a broken barb wire fence adding to the unwelcoming nature of the site. The colour scheme of this image is of dark greys and browns. A coal fired power plant can be seen in the final third of the image with four chimneys emitting plumes of smoke into the sky. In front of this power plant is the spiral shape of a coal mine, burrowing deep into the earth’s crust. Inside of the coal mine 3 yellow trucks are seen mining and transporting coal to the top of the mine.warm, community textile tapestry, knitting, community artwork, global warming

This framed print of the famous clipper ship “Schomberg” is associated with Flagstaff Hill’s collection of artefacts from the wreck of the “Schomberg”. The original was painted in 1992 by maritime artist Philip J. Gray. This limited edition print is number 9/1000. ABOUTH THE SUBJECT – “Schomberg” The Schomberg was a luxury ship built in 1855 to bring immigrants from the UK to Australia in superior comfort. The voyage could take three months or longer but Captain ‘Bully’ Forbes thought that he could sail the Schomberg from Liverpool to Melbourne in a record time of 60 days. On October 6th 1855 the Schomberg left Liverpool on its maiden voyage. She carried 430 passengers plus 3000 tons cargo including rail lines for Geelong and iron for a bridge in Melbourne. After 78 days at sea, on December 27th, Schomberg ran aground near Peterborough, Victoria. All on board were rescued the next day by the passing steamer SS Queen. Gray is well known for his depiction of maritime history. His meticulous attention to detail shows the enormity of the immigrant clipper with its huge billowing sails compared to the tiny figures at work on the deck. The busy crew can be seen attending to the rigging, as can a group of sailors working on the bow under supervision. He identifies the company logo of the Black Ball Ship Line by the flapping white flag with its black circle. Divers from Flagstaff Hill including Peter Ronald (former director) salvaged artefacts and personal effects from the wreck, to be preserved and displayed. Amongst these is the famous Schomberg Diamond ring. ABOUT THE ARTIST – Philip James Gray “Philip is one of Australia’s leading maritime artists and his meticulous research and social commentary paintings of ships, such as, the Loch Ard and Schomberg form an important part of Warrnambool’s Flagstaff Hill Maritime Museum.” [ref. Dr Marion Manifold, Artist and Art Historian, 2014] Philip James Gray was born in London but has lived most of his life in Australia. He graduated from a London school of art as an illustrator, specialising in technical and scientific illustration as well as other commercial and applied art. He was also a student for a time of Fyffe Christie - British figurative artist, mural painter and humanitarian – who had a great influence on his career. Philip has always worked as a professional artist and illustrator. Many publications on maritime history have featured his work. His paintings have been released and sold all over the world as limited edition prints. The State Library of Victoria’s ‘Latrobe Collection’ holds two of his paintings. His street painting of ‘The Ashes Contest’ decorates the brick wall of Old Bakery Laneway in Sunbury and a Sunbury café owner commissioned him to paint the ‘Sunbury Pop Festival’ as a remembrance of local history. [ref. Sunbury Leader, Nov 15 2013] Philip has been an active member of the Sunbury Art Society in Victoria for several years, serving on the committee for some of that time and being involved in exhibitions. He enjoys helping new artists and sharing his skills and experience. The subject of the sailing ship “Schomberg” is significant for is connection with the 1800s vessel “Schomberg” and the historic role the ship, and other similar ships, played to transport migrants and goods into Australia. The print is significant as it is a limited edition of an Australian maritime artist. Print in gilt timber frame. "The Colonial Clipper Schomberg" by Australian maritime artist Philip J Gray, 1992. Signed and numbered, Limited Edition print 9/1000. Depicts clipper ship “Schomberg”, in full sail at sea with land in background. Backing of frame has illegible adhesive label and pencilled text. Stamp In pencil “FLAGSTAFF HILL” and “FLAGSTAFF C”. Illegible text on adhesive label. Signature [Philip J Gray] Stamped as a limited edition of SCHOMBERG Handwritten edition "9/1000"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, sailing ships, schomberg, clipper ship, colonial clipper, limited edition print, 9/1000, philip j gray, marine artist

"EMPIRES OF THE DEAD" - HOW ONE MAN'S/ VISION LED TO THE/ CREATION OF WW1'S/ WAR GRAVES"Hard cover book with Dust Cover. Hardcover - cardboard, black colour buckram, gold print on spine. Dustcover - Paper, white, red and black print on front, spine, back and front and back flaps. Illustrated front, black and white photographs (top) soldiers from the rear, (bottom) war graves. Back cover - colour copy of oil painting "The Cemetery, Etaples" 1919 by Sir John Lavery. 289 pages, paper, cut, plain, off white. Illustrated black and white and colour photographs. End papers - red.ww1, books, war graves

Book. ALEC H CHISHOLM COLLECTION. 420 page history of South Australia (1836 - 1936). Illustrated with B & W photos, maps and a colour plate of a painting by Hans Heysen. Published in 1936 by The Royal Geographical Society of Australasia ( South Australian Branch). Printed by the Hassell Press, Adelaide. Chapters written by various contributors. Catalogue sticker ''2165 VAR'' on spine. A typed page stuck on the flyleaf indicates the book belonged to the Education Dept., Adelaide. Handwritten in ink on this typed insert ''Given to me by Adey's successor, Dr. C. Fenner. A H Chisholm''Variousbooks, collections, history, alec h chisholm collection, south australia, centenary, royal geographical society of australasia, history

Artists Of The Bendigo Goldfields 1852 - 1864. Short notes on the paintings and their artists. This Collections was exhibited at the Bendigo Art Gallery, 9 March - 9 April,1989. The Artists were: Ludwig Becker, Edward Thomas Barnard, Nicholas Chevalier, William Dexter, Alexander Fox, S. T. Gill, Thomas Ham, Theodore King, George Lacy, Frederick Nixon, J. A. Panton, C. Rudston Read, George Rowe, G. J. W. Russell, Edwin Stocqueler, A. J. Stopps, W. E. D. Sturat, Thomas Wright. With Index. 32 pages.David Thomasbook, bendigo, paintings, books, catalogues, and newspapers.

Digital copies of two colour photographs taken 26.10.2002 showing the demolition of the former Joshua Bros/UDL distillery building on Pickles St. The site was to become the ID apartment complex. .01 - Viewed from Rouse St looking East towards the city with "Portside" apartments at the rear. Retained walls are to the right, on Pickles St, where some of the walls are decoated with paintings of UDL products. .02 - taken from the same spot on Rouse St but looking to the West side of the complex including other apartments on Johnston St and again with "Portside " apartments at the rear.built environment - domestic, built environment - industrial, joshua brothers distillery, udl, sheridan property, id apartments, portside apartments, pickles street

The School Paper published monthly. Cost 1 Penny (2 Cents) Used in State Schools2 Paper booklets & 3, 4 page, supplements. 0682 has a photo of a boy holding a stick wearing unlaced boots, (after the painting by Bastien Lepage) 0682-1 is a supplement with a Picture of girls in a large room sitting in front of electric sewing machines. 0682-2 supplement: Contains photo of a certificate from the Victorian State Schools League of Kindness. 0682-3 Black and white drawing of two children in silhouette. on the beach with bucket and spade.0682-4 Supplement a picture of a variety of toys. 0682-5. drawing of children of different nationalities.0682: Midwinter. Days grow Longer. - Signs of Spring. Education Department. Victoria Australia The School Paper Grades VII and VIII. No 369. Melbourne Price 1d [July 1 1931. 0682-1: Supplement to the School Paper - Grades VII and VIII July 1931. 1. Made in Australia. 80. Girls and Womans Wear. 0682-2: Supplement to the School Paper - All Grades July 1931.1 The Protection of Animals. 0682-3: Hurrah for the Holidays Education Department. Victoria Australia The School Paper Grades III and IV. No 403. Melbourne Price 1d [Dec 1 1931. 0682-4: Supplement For the School Paper - Grades III and IV December 1931. 1.Made In Australia 85. Toys. 0682-5: No Cold, No Care, November Education Department. Victoria Australia The School Paper Grades V and VI. No 409. Melbourne Price 1d [Nov. 1 1931.stawell education

Number 443/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Number 204/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Number 442/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Number 244/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis