Colour photographs of a cottage in Hepburn Springs built by artist Victor Zelman.zelman cottage, victor zelman, hepburn springs

Norman BAGGALEY (b1937- ) Born in Staffordshire, United Kingdom . Arrived Australia c1978 Norman Baggaley obtained a National Diploma of Design (Painting ) at Stroke on Trent College of Art, UK. His first Australian appointment was from 1978 to 1980 where he was Dean of the School of Arts at Ballarat College of Advanced Education. He spent the next two years as Dean of the Faculty of Art and Design at Prahran College of education. From 1982 until 1991 Baggaley was Professor of Visual Arts and Dean at Prahran CAE, before moving to the Victorian College of the Arts as Associate Professor and Dean of the School of Art at the University of Melbourne Victorian College of Art. Norman Baggaley was Head of School at Ballarat College of Advanced Education. He offered the work for donation with the Art Acquisition Committee commenting that "it was desirable that works from previous heads of School of the Arts be held by the College and that initially the painting could be located in the Art staff room for the first year then displayed else where on campus. 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. An oil on canvas abstract work by Norman Baggaley Gift of the Artist, c1984art, artwork, baggaley, ballarat college of advanced education, norman baggaley, oil on canvas

Harry Thompson's grandfather worked on the Cobram to Numurkah rail line. Pencil Drawing of Numurkah Railway Station and Walkbridge.. Artist: Harry Thompson harry thompson, railway, numurkah, station, walkbridge, footbridge

James Tissot is most famous for his artwork that depicts the European bourgeois society of the late 19th century. This societal period is often referred to as La Belle Époque, where affluent bourgeoisie living created a complicated mode of manners and dress. This subject matter used in his art made Tissot popular with the bourgeois society, however it made him unpopular with critics who deemed his works as of loose morals due to his subject matter. Tissot’s art style of Realism also put him at odds with his fellow artists and friends such as Degas and Manet who were greats of the European Impressionist movement. This print was made using the printmaking technique of etching, which allowed Tissot to make multiply prints of a particular artwork to sell on mass at a more affordable price to the general population who wished to emulate the bourgeoisie lifestyle of the wealthy.RealismRural City of Wangaratta Collection, Purchased with funds from the Wangaratta Art CouncilA rectangular portrait etching of a 19th century European young lady dressed in her best attire seated in a fashionable manner, printed in black ink on white paper. Obverse: J J Tissot/ 1883 (Artist's signature and date - located in the bottom right corner of the print)james tissot, 19th century, print, etching, portrait, tissot, wangaratta art gallery

When scrimshaw is mentioned, most people think of carving on sperm whale teeth only. But scrimshaw also includes engravings on skeletal whale bone–such as the jaw bone, called pan bone and ivory from other marine mammals such as walrus. Although scrimshaw is widely associated with nautical themes and designs of the 19th century whaling industry, vintage scrimshaw was also produced as tribal art in many cultures. Today, scrimshaw is recognized as a unique medium in which present-day artists have developed their own modern themes. Scrimshaw reproductions may take several forms. There are - New carvings on genuine ivory or bone with the deliberate intent to create an "antique” - New carvings on genuine ivory or bone sold as signed and dated contemporary art - Clearly marked synthetic museum reproductions and mass marketed - Unmarked synthetic replicas This scrimshaw work is done on a sperm whale's tooth. It is one of two pieces by artist Gary Tonkin in Flagstaff Hill’s collection. Sperm whales can live for 60 or even 70 years, so the tooth could be quite old. It came from the whaling station in Albany, Western Australia, which ceased processing whales in 1978 and is now a whaling museum. The two works were commissioned by Flagstaff Hill in the 1980s. Tonkin could spend from a few days to a few months in intensive work on each piece of scrimshaw. He is a world-renowned Master Scrimshander and a Fellow of the Australian Society of Marine Artists (FASMA), and lives in Albany, Western Australia. Gary Tonkin, FASMA – Tonkin was born in 1949 in Portland, Victoria, and grew up there with a history of whaling and related industries. He moved to Albany in southwest WA in 1971 and worked as an Export Meat inspector for the Federal Government. This small town also had a historical connection to whaling. The Cheynes Beach Whaling Station was still operating, and there were even three whaling ‘chaser’ vessels at the old jetty. In 1975, his employment now permanent, Tonkin bought an old cottage near the bay, purchased some whales’ teeth, and began learning the sailors’ art of scrimshaw, combining this with his artistic skills and knowledge of history. His job gave him access to buy as many whale teeth as he could afford, straight from the whaling station. Tonkin gained further marine knowledge as he sailed on the schooner ‘Esperance’ from Fremantle to Mauritius in 1988. He watched the sailors at work and experienced the rough and stormy sea conditions first-hand. Tonkin later visited whaling museums, galleries and libraries in England and America to gather reference materials and information on all aspects of whaling and scrimshaw. In 1993 he was Commissioned to engrave six large whale teeth, from the Albany whaling station, for the USA Gallery at the Australian National Maritime Museum in Sydney. This work is now in the museum’s permanent collection. From that time, Tonkin began working full-time as a Scrimshander. Tonkin’s work is now in galleries and museums in America and Australia, as well as in private collections. He is the founder of the Albany Maritime Heritage Association and was the inaugural President. In the 1990s he actively and successfully campaigned for the preservation of the Cheynes Beach Whaling Station in Albany, which is now Whale World, an open-air whaling museum. His continuing work as a Scrimshander contributes to the preservation of the art of scrimshaw and the history of whaling. This scrimshaw represents the ancient craft of scrimshaw, associated with mariners in the whaling trade in the early 19th century. The work is also Nationally significant for being created by world-renowned Scrimshander, Gary Tonkin, from Albany, Western Australia. Scrimshaw; whale tooth carved with an image of two whaleboats hauling a dead whale back to the mother ship. Inscribed Title and signature of artist Gary Tonkin.Inscribed "Bringing in the whale". Signature "G Tonkin"flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, maritime museum, flagstaff hill, perth, whaling, whales, australia, scrimshaw, scrimshander, gary tonkin, g tonkin, bone, tooth, craft, albany, western australia, cheynes beach whaling station, whale world, portland, engraving, maritime art, sperm whale's tooth, albany whaling station, albany whaling museum

Painting is mounted with light blue border in a brown wooden frame with glass front, cream paper backing & a wire hanging strap. Water colour painting of a warship at sea. The ship is grey with 4 twin main gun turrets. It also holds an Albatross Aircraft, 2 funnels & 2 wireless masts. The painted sky shows patchy clouds, the sea is a blue green colour with small white waves. HMAS Perth Artist Ray Parkin 1948hmas perth, ww2, ran, paintings

MEDIUM: Silver gelatin print DESCRIPTION: Photograph from book, 'Cuba Que bola' - a photographic essay - a series of photos depicting daily life in cuba. Black and white silver gelatin print, cane cutter in cane Black outer frame and white inner boardfieldArtists signature and edition on right proper cornersilver, print, jovanovic, canecutter, el, machetero, gelatin

Photographs and maps from Plenty/Briar Hill Camp 1989. Possibly a school project, includes itinerary. Photographs are not named. Location: "Tandara" Halls Gap.Colour photographs and maps in albumHand drawn front cover with name of artist.plenty, briar hill

Small portrait of a man sitting on a chair and holding a book in his hands. He is wearing a three piece suit with a long jacket. The shirt collar is very high and he has a bow tie.Mrs Higgins, Photographic Artist. Maiden Lane.photograph, portrait, male, portrait of a man

Bill Delecca was born in Bendigo, Victoria in 1929. A Bendigo-based teacher and painter, he has exhibited widely in the local area from 1951, including a retrospective in Bendigo Art Gallery, 1990. He has twice won the Bendigo Art Prize for watercolour and his work is represented in galleries and private collections throughout Australia and overseas. Instrumental in the establishment of degree courses in Art at Bendigo College of Advanced Education, he is also the author of an Education Department report to the Australia Council, 1987.Untitled Oil painting depicting an old miner's cottage. The cottage has two wooden doors the one on the left is open and a window can be seen at the other end. The second door is closed. On the right hand side there is another building. A large tree and a tree stump on the foreground.The signature of the artist at the bottom right hand side landscape, miner's cottage

Coloured photographic postcard of Lane Cove River with 1.7cm white border on lower edge. The image depicts a bend of the Lane Cove River with many houses on the opposite shore at the apex of the bend and in the distance. A boat is on the far left, while trees and a person walking along a path are in the foreground. The words Lane Cove River. One of Sydney's Charming Suburbs are printed in black on the left hand side of the border. Handwritten across the border are the words Wishing you many happy returns of the day and a signature. On the reverse is a black and white image of an indigenous man lighting fire with a stick and the words Fire by friction printed across the image. Card is addressed to Miss Dean McKenzie St Golden Square. A one penny stamp is affixed and postmarked Bendigo.Symbol of artists palette with initials HB enclosedpostcard

This bronze sculpture of King George V was created to commemorate the King’s 25th year on the throne. It shows the King wearing the full robes of the Order of the Garter. Sculptor Victor Greenhalgh modelled the artwork in Ballarat and sent in to Italy for casting in bronze. The work is set on bluestone with a granite backdrop and features a drinking fountain and a seat. This monument is of historical and aesthetic significance to the people of BallaratBronze sculpture of King George V set on bluestone with a granite backdrop and features a drinking fountain and a seat. George V 1910-1936. Signed by the Artist.kind george v

Contents in a Binder Book. Arthur Boyd's Artist Revenue is featured in the catalogue.christies, art, walsh st library

SoftcoverHandwritten note from the artist to Patricia and Johnaustralian art, national gallery of victoria, clifford last, geoffrey edwards, noel hutchison, walsh st library

Collected by Dorothy Brumby in relation to Great Western ResearchTwo boys seated with corsages and girl with lace collar standingMater W.J. Chapman Photo Artist Stawell

Framed landscape paintingSigned lower right by artist 'D. Alexander'. david alexander, landscape, artwork, artist, available

Carved heraldic coat of arms with motto of Bishop Peter Connors, seventh Catholic Bishop of Ballarat 1997 -- 2012. Carved by Ballarat sculptor Zivco Micich, a graduate of BCAE {now Federation University). Sculpted motto, "That we may be one".Verso: carved signature of artist Zivco Micich.micich, connors, armorial, coat of arms., crest

Originally published by Carboni in 1856 following the Eureka Stockade at Ballarat this second edition was not published until 1942 almost ninety years later. One of the major productions of the Australian private press movement of the 1920s this second edition was produced in 1942 by Ernest Shea's Sunnybrook Press Sydney, in a limited edition of 150 copies. The book is illustrated with lino-cuts by W.E.Pidgeon and introduced by H.V.Evatt. It has a dustjacket and slip case and is signed by Shea, Evatt and Pidgeon. Only 150 produced on a handpress, rare example of Australian fine printing especially in wartime and only the second edition of Carboni's "Eureka Stockade".Book made with rag paper, dust jacket and slipcase.Numbered 128 of 150, signed by printer and artist. eureka stockade, private press, ballarat, ernest shea, sunnybrook press, sydney, carboni, second edition., evatt, pidgeon.

Stawell Y P Locals the year they win Progress shield, Back Row: Joyce Conner, Lily Vince, StuartHurnald, Dossie Vince, Ruth Clark,. Front Row: Enie Reeve, Jessie Clark, Jean Cornwell.Seven Ladies and one man in Studio Portrait. 3 Seated one holding Shield Young People war Progress ShieldEileen W.J. Chapman Phot Artist Stawell

Gareth SAMSOM (19 November 1939- ) Born Melbourne Sansom describes a desire to constantly surprise and challenge himself as an artist. He had his first exhibition in 1959. His paintings of the 1960s were characterised by a distorted use of line, shape and colour and were influenced by abstract expressionism, Francis Bacon and Sidney Nolan. Over time, his work has also drawn on punk, dada, Basquiat, T.S. Eliot, urban graffiti, classical Greek philosophy and art theory across a variety of media ranging from drawing, printmaking and collage to photomontage and photography. Sansom lectured in Art at the Ballarat Teachers' college, and was appointed Head of Painting at the Victorian College of the Arts from 1977-1985, and Dean School of Art at the Victorian College of the Arts from 1986-1991. He was artist-in-residence at the University of Melbourne in 1985, which was when he resumed his full-time painting practice with a series of large works on canvas. The Federation University Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.'Looking for God in Abstract Art 2' is a play on the debate over the respective virtues of abstraction and figuration that has preoccupied artists and critics for more than a century. Sanson has always walked a wobbly line between the two, adroitly avoiding falling headlong into either camp. It is also a gentle dig at the pretensions to higher spiritual meaning in abstract art. In the centre are two photographs, one of rubber masks and the other of the artist in a lurid fright wig and mask and using a spray can like a young tagger. These images, where the artist wears a mask and teeters on bright red platforms, are wonderfully ludicrous send-ups of the 'fine art' of painting. (Geoff Wallis from 'Gareth Sansom: Alternative Person", Art Gallery of Ballarat, 2012) This work was exhibited and published in the catalogue of the exhibition 'Gareth Sansom: Alternative Person' at the Art Gallery of Ballarat in 2012 item. art, artwork, gareth sansom, sansom, mixed media, oils, enamel, photo-collage

Black shellac phonograph record with red Regal label. A side: Knock at the Door - artist: Fred Douglas, baritone, with orchestra. B side: Show me the way to go home - artists: The Two Gilberts, with orchestra.Reference number G8404 Has a J. Albert and Son Royalty Stamp, Australia, on A side of label. Colour is red white and green.

2 photographs of artists sketch of St Mary’s Anglican church, circa 1869caulfield north, glen eira road, st mary’s anglican church, churches

Magazine coving Sunraysia, Wentworth and Robinvale. It has an article on artist Graeme Drendelnon-fictiongraeme drendel, alumni, ballarat technical art school, artist, ouyen, isolation, post office gallery, ted trevaskis, tasco, mildura, ballarat teachers' college

Artist's Impression of the new Ringwood North State Bank premises, circa 1980At the corner of Dickson's Crecent and Warrandyte Road, Ringwood North

4-page typewritten list of art works, artists, and sale prices (in guineas).