Showing 1379 items
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Federation University Art Collection
Drawing - Artwork, 'Data In' by Debbie Hill
Debbie HILL Born Melbourne, Victoria Debbie Hill graduated from the University of Ballarat (later Federation University Australia) with a Bachelor of Fine Arts in 2001. IN 2018 she completed a Graduate Diploma in Ceramics 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.Framed drawingart, artwork, debbie hill, available, alumni -
Bendigo Historical Society Inc.
Document - BASIL MILLER COLLECTION: TRAMS TICKETS
Twelve(12) State Electricity Commission of Victoria Provincial Tramways tickets. Eight(9) 8d(eight pence) tickets printed in red, Nos. C668538, C667380, C668542, C668543, C66544, C668545, C668546. Three(3) 10d(ten pence) tickets printed in black, Nos. A747804, A747805, A747806. One(1) 1/-(one shilling) ticket printed in mauve, No. A592800. One 1/3d(one shilling and threepence) No. Csg 074933.person, individual, basil miller -
Bendigo Historical Society Inc.
Document - LYDIA CHANCELLOR COLLECTION: ''THE BENDIGO CHORAL SOCIETY,'' 31ST GRAND CONCERT
A cream programme with blue print. On the front cover is a photo of Mr. W.C. Frazier A.R.C.O. The Conductor. Also are the words, ' The Bendigo Choral Society.' Season 1925. Third Season. 31st Grand Concert, Town Hall, Bendigo. Wednesday, December 2nd. 1925 and a list of the artists. Z.S. Martin Hon. Sec. C/- Commercial Bank. W. Mansell, Assist. Hon. Sec. C/- P.O. Bendigo. Programme Price 3d. On the inside is the programme. 4 pages.program, music, bendigo choral society, lydia chancellor, collection, ' the bendigo choral society, ' entertainment, music, singing, choir, amusements, bendigo town hall, programme, buildings, concert -
Ballarat Tramway Museum
Administrative record, Electric Supply Co. of Vic (ESCo), "Ballarat Tramways Punch Register", c1905
Form headed "Ballarat Tramways Punch Register" - with extensive entries required for the record of tramcar operations on ESCo Ballarat tramways. Principally around the number of tickets sold, punched and trips with the pay-in details along the lower edge. HP James notes the use of Bell punches of two types in his notes on tickets - see item 2541. See item 2531 for a 4d ticket that states it had to be Bell punched. Has space for 4d return, 1d night school, disabled soldiers, and various values of dockets. Has a piece of paper glued to the top - lower right hand area to record 4d and 3d exchange tickets.Demonstrates an ESCo trip waybill and bell punch register.Preprinted form - double layer of paper with red horizontal ruling.tramways, ballarat, fares, pay-in forms, tickets, trip waybills, esco, bell punch -
Nillumbik Shire Council
Print (Lithograph) Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin. Pugh's Gate, before the Fire, / Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Black and white lithograph on paper depicting the elaborate stone and wrought iron (open) gate/ entrance to Pugh's artist colony 'Dunmoochin' situated at Cottles Bridge. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gate, fire, lithograph -
Nillumbik Shire Council
Print (Lithograph) Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Sunlight, / Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Black and white lithograph on paper depicting the elaborate stone and wrought iron (open) gate/ entrance to Pugh's artist colony 'Dunmoochin' situated at Cottles Bridge.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, sunlight, lithograph -
Nillumbik Shire Council
Print (lithograph) Alice Blanch Chehovski, Alice B. (Blanch) Chehovski, Dunmoochin, Pugh's Garden, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (very dark image) detailing Clifton Pugh's garden at Dunmoochin.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, garden, lithograph -
Nillumbik Shire Council
Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Print Studio, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white depicting the Print Studio at Dunmoochin.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, studio, lithograph -
Nillumbik Shire Council
Print (lithograph): Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Artist's Gallery, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white detailing the Artist's Gallery at Dunmoochin, located within bush surrounds at Cottles BridgeBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gallery, lithograph -
Nillumbik Shire Council
Print (lithograph): Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Gate 1, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her Mother took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin.Lithographic print in black and white depicting Gate # 1 at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gate 1, lithograph -
Nillumbik Shire Council
Print (lithograph): Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Pond Reflecting Pugh, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white depicting bushland and a pond reflecting light.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, pond, lithograph -
Nillumbik Shire Council
Print (lithograph): Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Evening at Pugh's Garden, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Print - lithographBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, garden, evening, lithograph -
Nillumbik Shire Council
Print (Lithograph): Alice Blanch Chehovski, Alice B. (Blanch) Chehovski, Dunmoochin, Interior Pugh's House, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (dark image) detailing the interior of Clifton Pugh's house at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, interior, house, lithograph -
Nillumbik Shire Council
Print (Lithograph): Alice Blanch Chehovski, Alice B. (Blanch) Chehovski, Dunmoochin, My Cottage, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (very dark image) depicting Chehovskis' cottage at Dunmoochin. Small cottage, bushland and shrubs.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, cottage, lithograph -
Bendigo Historical Society Inc.
Document - LYDIA CHANCELLOR COLLECTION: ' THE BENDIGO CHORAL SOCIETY,' 33RD GRAND CONCERT
A pink programme with black print. On the front cover is a photo of Mr. W.C. Frazier, A.R.C.O., The Conductor, and the words, ''The Bendigo Choral Society's Season 1926. Second Concert. 33rd Grand Concert. Town Hall, Bendigo. Wednesday, September 15th followed by a list of the main artists. Mr. J.E. Paramount, Secretary, 22 View Street. Mr. W.F. Mansell, Asst. Hon. Sec. C/- P.O., Bendigo. Programme Price 3d. On the inside is the programme. 4 pages.program, music, bendigo choral society, lydia chancellor, collection, ' the bendigo choral society, ' entertainment, music, singing, choir, amusements, bendigo town hall, programme, buildings, concert -
Bendigo Historical Society Inc.
Document - LYDIA CHANCELLOR COLLECTION: ''THE BENDIGO CHORAL SOCIETY'' 23RD GRAND CONCERT
A white souvenir programme with a photo of the Conductor Mr. W.C. Frazier A.R.C.O. on the front. Also on the front are the words, ' The Bendigo Choral Society.' Season 1923. First Concert. 23rd GRAND CONCERT Town Hall, Bendigo. Wednesday, May 9th. 1923, at 8 p.m. Hon. Secs. J. Hudspeth, 85 Wills Street, Z.S. Martin, 66 McKenzie Street. Cambridge Press Print, Bendigo. Programme price 3d. Inside the leaflet is the programme. 4 pages.Cambridge Press Print, Bendigoprogram, music, bendigo choral society, lydia chancellor, collection, ' bendigo choral society, ' entertainment, music, singing, choir, amusements, bendigo town hall, programme, buildings, concert -
Melbourne Tram Museum
Document - Form/s, Melbourne & Metropolitan Tramways Board (MMTB), "Conductor's Running Journal", c1965
Form - printed on off white paper, form No. 3/203, titled "Conductor's Running Journal", to be used by conductors to record trips, fares sold along with crews names and number. Has fares from 3d to 2/6. In right hand margin, has Control phone numbers. In the top right hand corner has the date stamp of Hawthorn Tram depot - 13 Feb. 1965 - the last day of operations of the depot. Possibly an Journal that was stamped for use on the day and not used as such.trams, tramways, hawthorn, closure, depot, last day, conductors, running journal, tickets -
Melbourne Tram Museum
Functional object - Coin Dispenser, BIPA Australia, late 1960's?
Manufactured coin dispenser for 1, 2, 5, 10, 20 and 50 cent coins, made from black, white plastic with metal springs under each white coin support plate. Held in position by three metal screws. Manufactured by BIPA Australia. Fitted with two openings at the rear so a leather or belt strap could be passed through. There are a number of 1, 2, 5, 10, 20, 3d, half penny and penny coins in the unit - for display purposes only, not collected.trams, tramways, fares, cash handling, tickets -
Merri-bek City Council
Acrylic on watercolour paper, Mandy Nicholson, Birrarung dragonflies in the rain, 2006
Primarily a painter, Mandy Nicholson also produces ceramics, carvings, murals, prints, designs and children’s clothing. Born in 1975, Nicholson was raised in Healesville and belongs to the Wurundjeri-willam (Woiwurrung language) clan of the Kulin Nation. Mandy’s paintings often represent important cultural rituals and are executed in her distinct graphic style. She uses the traditional motifs of her people blended with contemporary interpretation. -
Ballarat Tramway Museum
Photograph - Postcard and Black & White Photograph/s, c1905
.1 Postcard size Souvenir Tram ticket, printed using blue ink on one side with fare, photos of power station, engine room, boiler room and a tram & No. 1887 stamped on edge. On reverse side is space for stamp, address etc., - with line & "postcard' etc., printed in red ink. Letter/note to Miss A Coote of St Kilda, stamped in Ballarat on 22-8-1905. Fares given on card are : Mount Pleasant and Orphanage and Grenville St. 3d, or Grenville St. and Tram sheds 3d. Printed in a blue/grey ink of various shades onto a white card. Acted as a souvenir card. The letter writer notes the opening of the tramway and having a glorious holiday. One Penny stamp, with Ballarat Cancellation stamp and - "5" stamped on the top of the postage stamp. See also Reg Item 608 for further versions of this object and 7071 for another card used as a letter. .2 - Letter from Melinda McIntyre regarding Agnes Coote story. .3 - Photograph of Agnes Coote.` See document file for correspondence and item for Fares Please!trams, tramways, esco, opening, ballarat, tickets, letters -
Ballarat Tramway Museum
Ephemera - Ticket/s, State Electricity Commission of Victoria (SECV), Set of 9 pre-decimal or imperial currency, 1959 to 1965
Has a strong association with the Ballarat and Bendigo tramway system as being identified as being used on the system and for which trip on a specific date and demonstrates the ticket style prior to the time of decimal conversion in Australia.Set of 9 pre-decimal or imperial currency tickets used on the Ballarat or the Bendigo tramway system with three of them noted as to their use on the rear. 1 - 3d - orange ticket, over printed "City Section" - A 198391 - used "Charing Cross to Station - tram 23 - Sat 22 May 1965" 2 - 3d - orange - V437554 - on rear "Tram 34 Going to Mt Pleasant Easter Tuesday 31 March 1959". 3 - 5d - green - Q565064 - on rear in pencil "Quarry Hill to Charing Cross (No. 3) 4 - 5d - green - Q565055 - ditto, with addition of "2nd tram" 5 - 7d - black A987991 - on side in pencil' "Eaglehawk to Q Hill No. 3" 6 - 8d - red C209572 - "18 Drummond from L St N Sun 8 Nov. 1964" 7 - 8d- red - C209585 - "ditto" 8 - 8d - red - C582546 - "Q Hill to station tram 23, Sat 22 May 1965" 9 - 1/- purple - A 180987 - "18 decorated for Sebastopol Gold Cent. Sun 8 Nov. 1964 to Sebastopol" trams, tramways, tickets, secv, ballarat, bendigo, gold, sebastopol, quarry hill, mt pleasant, lydiard st north -
Ballarat Tramway Museum
Ephemera - Ticket/s, State Electricity Commission of Victoria (SECV), Set of 9 mixed SEC tickets found in Ballarat No. 28, mid 1960's to late 1960's
Set of 9 mixed SEC tickets found in Ballarat No. 28, behind the north side sandboxes No. 2 end 6/1/1999. Tickets have been used and have varying degrees of dirt. The image file shows the nature of the damage. Tickets have not been individually numbered with the Registration Number, but can be identified by their ticket number and denomination. All SEC decimal tickets with one SEC pre decimal issue. All on white paper unless otherwise noted. 3d - 45 004131, black ticket with 3d in blue on pink paper, plain back 4c - B 177166 - red ticket, SEC logo on back 5c - B 271063 - yellow ticket, SEC logo on back 7c - B251545, turquoise ticket, SEC logo on back 7c - B385254 - turquoise ticket, SEC logo on back 7c - B447403 - turquoise ticket, SEC logo on back 10c - B873852 - black ticket, SEC logo on back 10c - B995920 - black ticket, SEC logo on back 15c - A202245? - brown ticket, tartan back trams, tramways, tickets, used tickets, secv, ballarat -
Ballarat Tramway Museum
Ephemera - Ticket/s, State Electricity Commission of Victoria (SECV), Set of 9 mixed SEC tickets ex Bendigo, 1963 to 1965
Set of 9 mixed SEC tickets ex Bendigo, donated by Peter. W. Watt. Tickets do not appear to have been used in traffic - no punch marks. Tickets have not been individually numbered with the Registration Number, but can be identified by their ticket number and denomination. All on off white paper unless otherwise noted with a tartan style back unless noted. 3d - 1 -000001- orange paper, plain back, green ink price, black printing and number. 3d - City Section - A 167759 - light orange printing, over stamped in black ink. 2d - City Section - A 181409 - red print, over stamped in black ink. 4d - Z207011 - light brown printing, black number. 5d - B886009 - light green printing, black number. 6d - B652006 - teal printing, black number. 8d - C668537 - red ink, black number. 10d - A747801 - black ink, black number. 1/- - A592805 - purple printing, black ink. See Alan Bradley prepared scheduled of fares on SEC Systems. trams, tramways, tickets, secv, bendigo -
Bendigo Historical Society Inc.
Book - MERLE HALL COLLECTION: ROSALIND PARK CREATIVE VILLAGE BENDIGO PROJECT BOOK, 1995
Merle Hall Collection: Rosalind Park Creative Village Bendigo Project Book. August 1995 Book contains a description, aims of the programme and a linking plan. 35 Pages: Cover Intoduction, The Design Team, Acknowledgement Project Brief Map of Linked Park The Linking Plan described Linking plan graphic Golden Beacon Design Concept Bridge Beacon Entrance to Linear Park Gasworks Café Pavillion Gasworks layout plan Golden Beacons Concept Botanical Gardens Café Botanical Gardens layout plan Victoria Hill Interpretation Centre Victoria Hill layout Victoria Hill plan Victoria Hill continued Victoria Hill continued Rosalind Park Lookout Method 3D Road Map 3D Road Map Continued Implementation Community Participation Oppurtunities, Mosaic Works Appropriate sites Appropriate sites continued Consultaion Summary and Issues Ideas Areas for further consideration Graphic The Design Team - Grant Fink, Jane Marriott, Laszo Biro, James Brearley Graphic Layoutbook -
Federation University Art Collection
Painting, 'Where Shall I Go?' by David McMaster
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 -
Federation University Art Collection
Ceramic, Woodfired Stoneware Jar by Ben Richardson, c1986
Ben RICHARDSON (1951- ) Born Hobart, Tasmania In 1972 Ben Richadson was awarded a B.Commerce degree in 1972 at the University of Tasmania. From 1978-81 he studied ceramics at the School of Art in Hobart and completed a Master of Art, Design and Environment degree in 2004. Starting out with raku, he was converted to working with local materials and firing with wood by Col Levy, Les Blakebrough and Gwyn Hanssen Pigott, who conducted a woodfiring workshop he attended in 1980. In 1982, he set up the Ridgeline Pottery at Sandford, where he still lives and works, teaching two days a week at TAFE. He was a part-time lecturer in ceramics at the School of Art from 1985-95, and a researcher in the development of Southern Ice porcelain from 1995-97. In 2004, he completed a Master of Art, Design and Environment degree and, in the same year, participated in an international woodfiring workshop and conference in the United States. His work is marked with an impressed 'BR'.Woodfired stoneware jar purchased from Woodfire 86.ben richardson, ceramics, jan feder memorial ceramics collection, gippsland campus, ridgeline pottery, woodfire 86 -
Federation University Art Collection
Ceramic - Ceramic - Stoneware, Pilven, Peter, Autumn Vessel, 1998
Peter PILVEN (1956- ) Born Ballarat Peter Pilven is acknowledged by his peers for his high level of tacit skills, including throwing, and for his sound technical knowledge of materials.Training with John Gilbert's Edinborough Pottery from 1972-1975, Pilven trained with Joan Campbell in Fremantle in 1976. In 1977 Peter Pilven obtained a Diploma of Fine Art (Ceramics) from Ballarat College of Advanced Education (now Federation University). The following year he worked with Ian Dowling at Geraldton, WA, and with the Western Australian Aboriginal Education Unit in 1979. He next trained with Alan Cagier-Smith in England between 1980 and 1981. Peter Pilven established his own studio in 1982. He has been teaching ceramics at Federation University since 1983, and is considered by his students, to be a living treasure. 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.art, artwork, ceramics, peter pilven, pilven, stoneware, wheelthrown, madeinballarat -
The Beechworth Burke Museum
Photograph
This photograph depicts Camp st in Beechworth looking east. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life.Black and white rectangular photograph (copy) printed on gloss photographic paper. Obverse: The Rose Series P.3469 Copyright FORD STREET Reverse: BMM7744 PH150 1998.00059 beechworth, ford street, rose series, photograph, post card, black and white -
The Beechworth Burke Museum
Photograph, c1940
This copy of a postcard depicts Ford Street in Beechworth looking North. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life.Black and white photograph (copy) on gloss photographic paper. Obverse: THE ROSE SERIES P.3481 COPYRIGHT FORD STREET, LOOKING NORTH, BEECHWORTH, VIC Reverse: BMM7743 PH 149 1998.00059beechworth, ford street, rose series, postcard, photograph, black and white, burke museum -
The Beechworth Burke Museum
Photograph
This copy of a postcard from the Rose series depicts Camp Street looking East. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life.Black and white photograph (copy) on gloss photographic paper.Obverse: THE ROSE SERIES P.3459 COPYRIGHT CAMP STREET, LOOKING EAST, BEECHWORTH, VIC Reverse: BMM7743 PH 149 1998.00059beechworth, rose series, camp street, burke museum, black and white