To share information and gain first hand knowledge, organisations sometimes undertook study visits to various countries. In appreciation for the hospitality and information gained as part of this, the Singapore Association for the Visually Handicapped presented a commemorative plaque to RVIB.1 plastic stand with engraved brown platePresented to Royal Victorian Institute for the Blind in appreciation of the warm hospitality extended to our official during study visit on 18th-19th October 1993. October 1993 from Singapore Association of the Visually Handicappedroyal victorian institute for the blind, singapore association for the visually handicapped

Bendigo/Eaglehawk Urban Heritage Study - Study Launch 11th April 1991. Three page document with attachments and appendices. Details of Purpose of the Study; Management of the Study (including names of consultants); budget area, strategy, timing etc. Three pages (illustrated of places to visit (46 numbered localities); map of Eaglehawk with 24 numbered locations; Appendices.City of Bendigo, Borough of Eaglehawk, The Historic Buildings Council, Victoria National Estate Committeebendigo, council, heritage study, heritage study, bendigo, eaglehawk. historic building council, victoria national building committee.

In October 2006, Orbost Secondary College 9/10 Enhancement Studies Class worked to preserve the memories of the Orbost community with three short films describing recollections of Orbost floods. There are ten stories including memories of the 1952, 1971 and 1991 floods. They are narrated by various Orbost identities - Anne Bridges; Kay Lynn; Ken Edlington; Margaret Adams; Max Reynols; Shirley Reynolds and Ngaere Donald.Floods have been part of the history of Orbost since settlement. These stories record impressions of local people.A D.V.D. in a black plastic case. On the cover ia a brown sketch of a tree. Above in black print is the title, "Flood Stories" with " Year 9/10 Enhancement Studies 2006 presents" at the top.sticker and stamp - Orbost & District Historical Society

SoftcoverMandie Boyd, Study notes, and word definitions penciled in throughoutwalsh st library

Practical English Study Guide - NZ Armybooklets

Linguistic study using case markings. Glossary.Maps, tableslinguistics, case relations in languages, pama-nyungan languages

Colour slide in a mount. Platonic shapes studyMade in Australia / 16 (Handwritten)slide, robin boyd

William FRATER (1890-1974) Born 31 January 1890 at Ochiltree Castle, near Linlithgow, Scotland Arrived Melbourne, Australia in September 1910 In a lecture on modern art in 1925, Frater stated the basic position from which the rest of his oeuvre stems: 'Copying nature is not an art; … to copy effects of light tends to destroy form and colour'. Frater gave aggressive leadership to the small group of modernists in the 1920s. His example, teaching, lecturing and crusty style of polemic did much to disrupt the academic style as the arbiter of pictorial values and to pioneer a change of taste in the community.His approach in the 1930s was markedly indebted to Cézanne, especially in the portraits which predominated until his retirement from stained-glass designing in 1940. (L. J. Course, 'Frater, William (1890–1974)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/frater-william-6239/text10739, published first in hard copy 1981, accessed online 3 May 2016.) Jock Frater was on of the first modern painters who opposed the fashionable and academic schools of painting. During the 1930s he exhibited with the Contemporary Art Group along with Arnold Shore and George Bell. During a very conservative period in Australian Art John Frater advanced the cause of innovation and modernism. 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 seated nude study in oil on paper. Lower centre in pencil "W. Frater". In lighter pencil "painted 1932"art, artwork, frater, william frater, life drawing, nude, oil on paper, portrait, jock frater, william jock frater, available

Colour photograph. A student in the Laboratory studying Narcissi.students, laboratory, student inside class, narcissi, microscope

Part of "Woolcock Gallery Collection" exhibition 1989, CEMA.Two flowering plant studies. On left is a grey-green foliaged plant with small leaves growing close to the stem. Multiple stems end in single rounded flowers with many petals. On the left of this study are two details of a florette with many petals. One the right of this study is a detail of a cluster of leaves. The study on the right of page contains multiple stems with narrow, long grey leaves on stems ending with a single rounded yellow flower. To the lower left of this study is a detail of a yellow flower stem.Front: Calocephalus brownii (Cushion Bush). " citreus (Lemon Beauty-heads) (lower left) (pencil) CEW/85 (base of flower, lower left) (coloured pencil) CEWoolcock (lower right, signature) (pencil) Back: 16 (upper left) (pen)

One of the most comprehensive studies of mechanics institute in Victoria. Beginning from 1839 to the present. Arguably Victoria's oldest and most influential surviving institution. History of approx.1,000 institutes including building status, social adult education, library history, heritage listings, plus thematic essays about the Mechanic Institute movement and development. Includes: role of woman, architecture, schools of art and design and schools of mines. This is the most comprehensive study of mechanics institute in Victoria.History of approx.1,000 institutes including building status, social adult education, library history, heritage listings, plus thematic essays about the Mechanic Institute movement and development. Includes: role of woman, architecture, schools of art and design and schools of mines. This is the most comprehensive study of mechanics institute in Victoria.Signed by co-author Ken James on title page.libraries, educational and research establishments, mechanics institutes, surrey hall, (mr) ken james, (ms) pam baragwanath

Book, soft card cover, orange coloured background on front with 3 Soldiers standing & several on the ground. Blue back cover with description of contents by Norman Stone, Tes & Arthur Marwick. 239 cut edged pages, black & white illustrated.Inside front cover: Handwritten study notes Other study notes in pencil in margins & passages underlined in chapters 1 - 4 In ink on top of page 3: “Bruckmann” books, the great war

Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sanson who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which often inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. This work is one of a substantial body of limited edition prints donated by the artist to Federation University in 2022 covering work from Graeme Drendel's earliest years as a student, through to more recent etchings. An etching of a pool and surrounding objects such as chairs and towels. This work was completed during Graeme Drendel's final year at Melbourne State College where he was studying Secondary Art and Craft Teaching and majoring in Printmaking.graeme drendel, printmaking

Albert E. Williams was a teacher at the Ballarat Technical Art School.Framed Study in Colour of a Flowering Plant from Naturealbert e. williams, art gallery design, art teachers' certificate, a.e. williams, ballarat technical art school, staffmember, flora, aqualegia, available