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Federation University Art Collection
Work on paper, Alun Leach-Junes, 'Untitled' by Alun Leach Jones, 1970
Alun LEACH-JONES (1937- 24 December 2017) Born Maghull, Lancashire, United Kingdom Arrived Australia 1960 Alun Leach-Jones is recognised as one of Australia's leading abstract colour painters. He spent his childhood in the Welsh village of Glasfryn, Denbighshire. At the age of 14 he started a three year apprenticeship with the Solicitors Law Society, Liverpool illuminating manuscripts and hand copying legal documents. While working with the law society Leach-Jones studied painting and drawing in the evenings at the Liverpool College of Art between the years 1955-57. He immigrated to Australia in 1960, settling in Adelaide and attending the South Australian School of Art, after which he travelled and exhibited throughout Australia and abroad. In 1966 Leach-Jones celebrated Noumenon series was shown with Australian Galleries in Melbourne and he was immediately recognised as being part of what was then labelled as ‘the New Abstraction’ in Australian art. Later in 1968 his work was included in the influential exhibition "The Field" held at the National Gallery of Victoria. 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, alun leach-jones, leach-jones, printmaking, screenprint -
Federation University Art Collection
Work on paper - Printmaking - Screenprint, Leach-Jones Alun, 'No 2 Untitled' by Alun-Leach Jones, 1967
Alun LEACH-JONES (1937 - 24 December 2017) Born Maghull, Lancashire, United Kingdom Arrived Australia 1960 Alun Leach-Jones is recognised as one of Australia's leading abstract colour painters. He spent his childhood in the Welsh village of Glasfryn, Denbighshire. At the age of 14 he started a three year apprenticeship with the Solicitors Law Society, Liverpool illuminating manuscripts and hand copying legal documents. While working with the law society Leach-Jones studied painting and drawing in the evenings at the Liverpool College of Art between the years 1955-57. He immigrated to Australia in 1960, settling in Adelaide and attending the South Australian School of Art, after which he travelled and exhibited throughout Australia and abroad. In 1966 Leach-Jones celebrated Noumenon series was shown with Australian Galleries in Melbourne and he was immediately recognised as being part of what was then labelled as ‘the New Abstraction’ in Australian art. Later in 1968 his work was included in the influential exhibition "The Field" held at the National Gallery of Victoria. 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.Framed screenprint.art, artwork, printmaking, alun leach-jones, abstract colour, south australian school of art -
Federation University Art Collection
Painting - Artwork - Painting, 'E.J.T. Tippett' by Geoffrey Mainwaring, 1973
Geoffrey MAINWARING (29 October 1912-13 April 2000) Born Adelaide South Australia Geoffrey Mainwaring studied at the South Australian School of Arts and Crafts before becoming an art teacher at Thebarton Technical School (1928-36). Mainwaring was adept at depicting a variety of subjects, from landscapes to portraits, and was very competent using a variety of media, including pencil, oils, and watercolour. He was a confident draftsperson, and completed many sensitively rendered portraits that give an insight into the character of the sitter. In June 1941 Geoffrey Mainwaring (SX13471) joined the 2nd Australian Imperial Force, and after five months was transferred to the Engineers and employed as a Sergeant-Instructor, specialising in demolitions. In late 1942, he was sent to New Guinea as an Australian army artist on probation. On 27 May 1947, Mainwaring was discharged from the Army, having served for five and a half years. He was appointed as an artist on a civilian basis until his paintings were completed in March 1948. In 1949 he was appointed Head of the Art School at the Ballarat School of Mines (now Federation University Australia). He continued to paint commissioned portraits for the Australian War Memorial until the late 1950s. Geoffrey Mainwaring died at Ballarat in April 2000. 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.Framed portrait of the bust of a man wearing glasses. He is E.J.T. Tippett.art, artwork, e.j.t. tippett, available, portrait, geoffrey mainwaring, geoff mainwaring -
Federation University Art Collection
Sculpture (exterior), [Untitled Sculpture] by Mary Modeen, 2000
Mary MODEEN (1953- ) Born United States of America Lives Scotland Mary Modeen is an artist/printmaker and interdisciplinary academic who also works in artist books, installations, and recently, in video and sound. She is also an academic of nearly 30 years full-time experience in higher education, residing in Scotland where she convenes the Art, Philosophy and Contemporary Practices at the Duncan of Jordanstone College of Art and Design, University of Dundee. Modeen’s research has several threads: perception as a cognitive and interpretive process, and place-based research, which tends to connect cultural values, history and embodied experience. In 2000, while a Visiting Research Fellow at the University of Ballarat (later Federation University Australia), Mary Modeen was commissioned to create a sculpture in a Public Art context for the campus. 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.An external sculpture commissioned in a Public Art context for the Mt Helen campus Business Building (B Building) by Scottish Artist and Visiting Research Fellow, Mary Modeen. Mary Modeen's three dimensional sculptures and installations draw on her interest in "light" relating to artworks and conceptual art. The 'plugs' in the sculpture represent students, while the blue acrylic disk represents alumni, and the spread and impact of our students throughout the community. art, artwork, sculpture, mary modeen, business school art collection -
Federation University Art Collection
Photograph, Steinfort, Jessie, 'Mushrooms' by Jessie Steinfort, 1998
Jessie STEINFORT Steinfort was Studied Graphic Design at the University of Ballarat (later Federation University) After 12 years of working in design studios and advertising agencies, Steinfort is now a Senior Designer at Ogilvy Melbourne. And previously, he has been responsible for work on BMW & Mini, Carlton Football club, Melbourne Convention and Exhibition Centre, Melbourne Food & Wine Festival, AAMI, Yarra Valley Water, and Arts Centre Melbourne. From 2008 to 2011 Steinfort was lead designer and front-end web developer at clickDM (now HARDWIRE). Where he worked with such clients as HOSTPLUS, GSK, UniSuper and Swann Insurance. From 2000 to 2008 Steinfort was a designer at Mediation Communications working on print and interactive projects for; City of Melbourne, City of Greater Geelong, City of Port Phillip, Mentor Education, and ACMA. 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 photograph of three mushrooms in a black background. This work was won the 1998 Student Acquisition Award. If you can provide information on this artist or artwork please use the email link below. photography, foto, mushrooms, food, close up, macro, colour, photo, jessie steinfort, alumni, available -
Federation University Art Collection
Painting, Diana Nikkelson, 'My Family, My Life Goes On' by Diana Nikkelson
Diana NIKKELSON (c1943-30 December 2022) Diana Nikkelson is a Ballarat-based Gunditjmara elder. Her grandfather was Watchobaluk. A part of the stolen generation, Diana Nikkelson was one of 10 children, and she had nine children of her own. A founding member of the Ballarat and District Aboriginal Co-operative in the late-70s, Diana Nikkelson was a board director for 16 years and chair for six years. She worked on the Bunjil the Eagle installation at the Koorie Playground at Lake Wendouree, and designed the goanna which was etched into the paving along Police Lane in 2006, and has painted murals across Ballarat. This item is part of the Federation University Art Collection. The Art Collection features over 000 works and was listed as a 'Ballarat Treasure' in 2007.AboriginalThis work by Ballarat-based Gunditjmara elder Diana Nikkelson was commissioned by the University of Ballarat (later Federation University) for use on the Aboriginal Employment Strategy brochure. The central figures in this painting represent the artist and the fathers of her children. The outer groups are Diana Nikkelson’s children and their families. art, artwork, diana nikkelson, aboriginal, dreaming, nikkelson, gunditjmara, aboriginal employment strategy -
Federation University Art Collection
Painting - Artwork - painting, 'Grass Seeds' by Barbara Weir, 1999
Barbara Weir (b. 1945-03/01/2023) Born: In the region of Utopia, North East of Alice Springs, formerly known as Derry Downs Station Language: Anmatyerre and Alywarr Country: Atnwengerrp, Utopia Region, North East of Alice Springs, Northern Territory One of the Stolen Generation, Barbara Weir was removed from her Aboriginal family at the age of nine, and she was raised in a series of foster homes. Reuniting with her mother, Minnie Pwerle, in the 1960s, Weir eventually returned to her family territory of Utopia, 300 kilometres northeast of Alice Springs. Active in the local land rights movement of the 1970s Barbara Weir was elected the first woman president of the Indigenous Urapunta Council in 1985. Barbara’s career as an artist was inspired by the dynamic community of artists at Utopia and the work of her adopted auntie Emily Kame Kngwarreye. Highly experimental in her approach, Barabara Weir tried many mediums before travelling to Indonesia in 1994 with other artists to explore batik technique. She returned full of ideas on how to develop her own style which has since evolved to a more expressive abstract form. Grass Seed is part of her Dreamings and is associated with women’s ceremony and the activity of food gathering of local seeds, grasses, berries, potato, plum, banana, flowers and yams. 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.Barbara Weir's paintings include representations of particular plants and "dreamings". Inspired by a small grass found in Utopia called Lyaw, Munyeroo or Pigsweed, Barbara's Grass Seed paintings consist of a series of small brush strokes that overlap and weave to create a swaying effect. This Dreaming tells the story of grass seed that is part of the bush tucker found in the region of Utopia. This seed is collected, crushed to a fine powder and is then used to make a bread, very similar to damper. The people of Utopia were still using this seed as late as the 1950s. During that time the seed grew in abundance but as the years passed there were very few good seeds to be found due to bullocks roaming the land and eating the grasses. The people then began to eat a substitute that the white man provided, and today very few Aboriginal people collect these seeds. art, artwork, barbara weir, aboriginal, dreaming, stolen generation, acrylic on linen -
Federation University Art Collection
Painting - Acrylic on Linen, 'Tingari Cycle' by Walala Tjapaltjarri
Walala Tjapaltjarri (b. c1960) Language: Pintupi Region: Kiwirrkuru In late 1984 Walala Tjapaltjarri and several other members of the Pintupi Tribe walked out of the remote wilderness of the Gibson Desert in Western Australia and made contact for the first time with European society. Described as 'The Lost Tribe', he and his family created international headlines. Until that day in 1984, Walala and his family lived the traditional and nomadic life of a hunter-gatherer society. Their intimate knowledge of the land, its flora and fauna and waterholes allowed them to survive, as their ancestors had for thousands of years. It is this sacred landscape, and its significant sites, that Walala so strikingly describes in his paintings. His style is generally highlighted by a series of rectangles set against a monochrome background. He paints the Tingari Cycle (a series of sacred and secret mythological song cycles) which are associated with the artist's many dreaming sites - they are Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These Dreamings are the locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015) Walala Tjapaltjarri started painting in 1997. His earliest works were in a classical Tingari style usually reserved for body painting, ground painting and the decoration of traditional artifacts. Within a couple of months his painting had evolved into his own innovative style of work, including the abstraction of classical Pintupi designs which resulted in a highly graphic language to speak of his country and ceremonial sites. The rectangles so prominent in his paintings form both a physical and spiritual map establishing Walala as a discerning draughtsman for his ancient country. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015) 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.Tingari Cycle - During the Tjukurrpa (Creation Era) Tingari ancestors beings gathered at a series of sites for Malliera (Initiation) Ceremonies. They travelled vast stretches of the country, performing rituals at specific sites that in turn created the diverse natural features of the environment. The Tingari men were accompanied by novices and usually followed by Tingari Women. The creation stories and rituals are venerated in the song cycles and ceremonies of today, forming part of the teachings of the post initiatory youths, whilst also providing explanations for contemporary customs. Walala Tjapaltjarri uses a highly personalised and minimal style to represent aspects of the sacred Tingari Cycle, an epic journey of Ancestors of the TJukurrpa (Creation Era). He paints aspects of the Tingari Cycle which are associated with the artist's many sacred sites - such as Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These are locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015)art, artwork, walala tjapaltjarri, aboriginal, dreaming, creation era, acrylic on linen, pintupi, kiwirrkuru, tingari, wilkinkarra, tarrku, njami, yarrawangu -
Federation University Art Collection
Drawing, Alun Leach-Junes, 'Sea Wall at Night (The Mumbles)' by Alun Leach-Jones, 1994
Alun LEACH-JONES (1937-24 December 2017) Born Maghull, Lancashire, United Kingdom Arrived Australia 1960 Alun Leach-Jones is recognised as one of Australia's leading abstract colour painters. He spent his childhood in the Welsh village of Glasfryn, Denbighshire. At the age of 14 he started a three year apprenticeship with the Solicitors Law Society, Liverpool illuminating manuscripts and hand copying legal documents. While working with the law society Leach-Jones studied painting and drawing in the evenings at the Liverpool College of Art between the years 1955-57. He immigrated to Australia in 1960, settling in Adelaide and attending the South Australian School of Art, after which he travelled and exhibited throughout Australia and abroad. In 1966 Leach-Jones celebrated Noumenon series was shown with Australian Galleries in Melbourne and he was immediately recognised as being part of what was then labelled as ‘the New Abstraction’ in Australian art. Later in 1968 his work was included in the influential exhibition "The Field" held at the National Gallery of Victoria. 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.Pastel drawing on Stonehenge paper. Donated through the Australian Government's Cultural Gifts Program by David Thomas and Brenda Martin, 2011Signed verso lower left 'A. Leach-Jones'art, artwork, leach-jones, alun leach-jones, cultural gifts program, new abstraction, the field -
Federation University Art Collection
Painting - Oil on board, Robinson, John Braisted, 'Beaumaris' by John Braisted Robinson, 1929
John B. ROBINSON (c1877 -25 May1935) Born Ballarat, Victoria A latecomer to painting, John Robinson was known to periodically attend the Max Meldrum School. He joined the administrative staff of the Ballarat School of Mines somewhere around 1902, obtaining the position of Registrar. He stayed in the Schools employment for 35 years. His chief recreations were gardening and the study of art. "His many canvases reveal the sincerity of his work and represent a notable achievement from one who adopted art somewhat late in life. (Obituary, Ballarat School of Mines Students' Magazine, 1935) Robinson studied with Max Meldrum in Melbourne. 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 oil painting showing the coast and three boathouses.Verso underneath brown paper No 11 Beaumaris Artists Signation J.B. Robinsonart, artwork, john braisted robinson, beaumaris, seascape, max meldrum school, available -
Federation University Art Collection
Artwork - Printmaking, 'Blind Date' by Stewart MacFarlane, 1992
Stewart MacFARLANE (1953- ) Born Adelaide, South Australia Stewart MacFarlane entered the South Australian School of Art when 16 years of Age. He traveled to New York in 1975 to study at the School of Visual Arts for 2 years. He remained living and working in New York for several years, receiving residences and fellowships to Skowhegan School of Sculpture and Painting in Maine, the Fine Arts Work Center in Provincetown, Massachusetts and the MacDowell Colony, New Hampshire. He exhibited in group shows as well as having three solo exhibitions in New York. Firstly at Razor Gallery, SoHo in 1979, then Belanthi Gallery in 1979 and the Australian Consulate New York in 1983. MacFarlane returned to Australia in 1983, undertaking post-graduate studies at the Victorian College of the Arts in 1984. He taught at The Gippsland Institute of Advanced Education (now Federation University Gippsland Campus) in 1885, and the following year moved to Darlinghurst, Sydney to paint. Later that year, he was artist-in-residence in the Besozzo Studio, Italy. In 1987, MacFarlane lived and painted in Mornington, Victoria for several months before receiving an initial residency with the Roswell Artist-in-residence program, New Mexico, for a year. Over the next eight years he moved between Melbourne, Sydney and Roswell, producing one or more solo exhibitions each year. In 1994 he received a residency at The Bemis Center, Omaha, Nebraska, then traveled to Mexico to paint for 3 months. MacFarlane worked in Queensland upon his return, and for the next seven years. He moved to Hobart, Tasmania in 2002, returning to the mainland in 2011.(http://www.stewartmacfarlane.com/bio-cv/) A framed linocut. This linocut was one of the Patron Print Series produced as a fundraiser to assist Gippsland School of Art students.printmaking, artist, artwork, gippsland campus, stewart macfarlane -
Federation University Art Collection
Drawing - Conte on paper, David Alexander, Portrait of David Alexander, 1947 by Geoffrey Mainwaring, 1947
Geoffrey MAINWARING (29 October 1912-13 April 2000) Born Adelaide, South Australia Geoffrey Mainwaring studied at the South Australian School of Arts and Crafts before becoming an art teacher at Thebarton Technical School (1928-36). Mainwaring was adept at depicting a variety of subjects, from landscapes to portraits, and was very competent using a variety of media, including pencil, oils, and watercolour. He was a confident draftsperson, and completed many sensitively rendered portraits that give an insight into the character of the sitter. In June 1941 Geoffrey Mainwaring (SX13471) joined the 2nd Australian Imperial Force, and after five months was transferred to the Engineers and employed as a Sergeant-Instructor, specialising in demolitions. In late 1942, he was sent to New Guinea as an Australian army artist on probation. On 27 May 1947, Mainwaring was discharged from the Army, having served for five and a half years. He was appointed as an artist on a civilian basis until his paintings were completed in March 1948. In 1949 he was appointed Head of the Art School at the Ballarat School of Mines (now Federation University Australia). He continued to paint commissioned portraits for the Australian War Memorial until the late 1950s. Geoffrey Mainwaring died at Ballarat in April 2000. David Alexander was a medical doctor in Ballarat for many years. Alongside his medical work he was a committed artist, producing a large body of work over his lifetime. He was an instigator of the Federation University Art Collection and was a great supporter of local artists. Geoff Mainwaring taught painiting at the Ballarat Technical Art School, a division of the Ballarat School of Mines. 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.Framed portrait of Dr David Alexander by Geoffrey Mainwaring. Gift of David Alexander, 2014art, artwork, david alexander, available, ballarat technical art school, portrait, geoff mainwaring, mainwaring, australian war artist -
Federation University Art Collection
Painting - Oil, et al, [The Green Vase] by David Strachan, c1948
David STRACHAN (1919–1970) Born 25 June 1919 at Salisbury, Wiltshire, England Arrived 1920 Adelaide, Australia: 1921 Creswick, Victoria David Strachan attended Creswick State School and Geelong Church of England Grammar school. By the age of 16 he wanted to be an artist. Accompanying his mother to London in 1936, he enrolled at the Slade School of Fine Art, where he met Godfrey Miller. In 1937 he attended the Académie de la Grande Chaumière, Paris, and painted at Cassis on the Mediterranean Sea. He returned to Australia in April 1938 and studied at the George Bell School, Melbourne. He had a growing interest in classicism blended with a fascination for the dream-state which was reinforced in his work after he moved to Sydney in 1941. There he was befriended by Jean Bellette and her husband Paul Haefliger, who were to be driving forces behind the Sydney Art Group (founded 1945). He lived on the top floor of the Haefligers' house at Double Bay, and together the three artists drew from models whom the Haefligers hired. In this period Strachan painted and exhibited some of his most poetic works—mainly figurative and landscape subjects, and still-lifes of haunting beauty. His flowers, bowls of fruit, birds, and angelic figures glimmered out of the darkness as things not of this world, evoked faintly, like mythological personages in a gently spoken narrative. He 'spent an erratic war' painting camouflage at Bankstown aerodrome with other artists, among them (Sir) William Dobell, and dancing minor roles with Hélène Kirsova's ballet company. In 1948 Strachan settled in Paris. His paintings, included by Peter Bellew in an exhibition at the Musée National d'Art Moderne, had been well-received by French critics two years earlier. In 1950 he began tentative experiments in etching. These led to the formation of the Stramur-Presse, a business venture which published etchings and lithographs of leading French and English artists. His most important project was a series of twenty-two colour etchings illustrating Alister Kershaw's book of poems, Accent & Hazard (Paris, 1951). Strachan continued to exhibit in Australia and maintained a lively social life with Australian friends. From Paris, he went for weekend painting trips with Moya Dyring in her car and, after 1957, visited the Haefligers on Majorca. He lived in London in 1955-57. His paintings became progressively less soft in effect, his palette brightened, and his forms, especially the still-lifes, became spikier. In the late 1950s his attention drifted towards the study of Hindu philosophers and Jungian psychology. For most of 1957-58 he was enrolled at the C. G. Jung-Institut, Zürich, Switzerland. In 1959 he worked in Silvio Daneo's silkworm factory at Bricherasio, Italy. In May 1960 Strachan returned to Sydney. He lived at Woolloomooloo before buying a house at Paddington in 1963. Over the ensuing years he involved himself energetically with the art scene, exhibiting, teaching (1960-65) at East Sydney Technical College, fund-raising for memorials for Thea Proctor and Dyring, and as the last president (1965) of the Society of Artists. His paintings were out of harmony with the prevailing fashion for abstraction, but he won the Wynne prize for landscape painting in 1961 and 1964 (shared). Perhaps the most moving works of Strachan's last ten years were the mining landscapes, including those he painted near Hill End, leading up to his vast canvas, 'Lewers Freehold Mine'. This was a history picture, depicting the mine as it might have appeared in 1874. He presented it to the Creswick Historical Museum in 1970 in memory of his father. (Barry Pearce, 'Strachan, David Edgar (1919–1970)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/strachan-david-edgar-11786/text21083, published first in hardcopy 2002, accessed online 6 January 2016.) 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.Framed still lifefeaturing fruit and flowers.art, artwork, strachan, david strachan, still life, flowers, flora, available -
Vision Australia
Text, RVIB Woodend Auxiliary, 1929 - [2000?]
The Woodend RVIB Auxiliary formed on November 8, 1929. This small collection contains index cards which were maintained by RVIB and contain the amount of donations made by the Auxiliary between 1976 - 1995 as well as the presentations delivered by RVIB employees to Auxiliary meetings between 1973 - 1985. Correspondence to and from RVIB head office ranging between 1990 - 2000. Newspaper article from 1990 'RVIB honour'; The Gisborne and Woodend auxiliaries of the RVIB have been invited to the unveiling of two plaques made in honour of the late Miss Betty Ross Watt and the late Mrs Caroline Mary Goldie at RVIB in St. Kilda Road. These ladies were foundation members of the Gisborne and Woodend auxiliaries respectively, and they worked hard and inspired others for over 50 years. As a result of their generous bequest to the institute, four sound-proofed recording studios have been completed. Other funds donated by the two women have been used for the extensions of the RVIB talking book library building and additions to library facilities. Letters -- newspaper clippings -- index cards and various loose papers royal victorian institute for the blind -
Vision Australia
Administrative record - Text, Radio club papers, 1967-1988
The RVIB Radio Club was established initially as an entertainment for the RVIB 18th Box Hill Scout group, however anyone who was interested was welcome to join. In 1966 a licence application was submitted and approved, with the call sign allocated initially being VA1277 and used by the group in their initial transmission of September 25, 1967 . An appeal was made to change this to VK3VIB however this was rejected. An alternative call sign of VK3AVI was approved however, and first used on October 23, 1967. The club fostered an interest in radio communications and some later obtained licences of their own. The Radio Club lasted for 20 years and eventually concluded on November 16, 1988 with the equipment donated to the Kooyong Radio Club. A potted history of the club has written by Alex Paterson.3 log books and various loose papers including a brief history, radio licences, rosters and Wireless Institute of Australia Victorian Division membership cards.royal victorian institute for the blind, rvib burwood school, esme dunnell, alex paterson -
Vision Australia
Document - Text, Rifle Club papers, 1966-2003
A collection of papers made by Betty Williamson for a presentation at RVIB, and includes newspaper articles as well as a potted history of the Club. In the 1960's, the RVIB approached engineer George Glover to produce equipment to allow blind people to shoot, based upon that made available at St Dunstan's Hospital in the UK. The rifle range opened in February 1966 at the rear of St Kilda Road with 30 members, and soon became involved in matches with sighted rifle clubs in the area. The club had many successful years, competing against teams from Canada and New Zealand in 1968, and had the support of ICIANZ which provided them with free munitions as well as teams to compete against. In 1977, George Glover passed away and some of the skills required for maintenance of the equipment was lost, however the club continued until the late 1980's/early 1990s.1 folder of papers and pennantsrvib rifle club, george glover -
Vision Australia
Painting - Artwork, Portrait of Malcolm Daubney, 2003
Framed portrait of Malcolm Daubney who was President of Vision Australia Foundation 1999-2002. It is part of a series of paintings commissioned by the AFB/VAF Board to commemorate the work of past presidents of the organisation. Mr Daubney wears a navy suit, pale blue shirt and navy blue Kiwi tie. Mr Malcolm Daubney has worked closely with blind and vision impaired people for many years. In the 1980s Mr Daubney was “volunteered” by John Wicking to the Vision Australia’s Kooyong Committee. Shortly after his appointment he was posted to Singapore for business, where he served on the committee of the Singapore Association for the Blind for five years. Upon his return he rejoined the Kooyong Branch Committee. Later he was appointed to the Vision Australia Board of which he was President from 1999 to 2002, and then Chief Executive Officer from 2002-2005.1 art original in old gold frameThe plaque at the base of the painting reads 'Mr Malcolm Daubney / President 1999-2002 / Vision Australia Foundation'.vision australia, malcolm daubney -
Port Fairy Historical Society Museum and Archives
Domestic object - Sewing Box, C.1850
This work box belonged to Miss Mary Southcombe who, with her parents Thomas and Mary came from Devon Wales to Portland on the sailing ship "Clara" in 1854. Later that year they settled in Belfast (Port Fairy). Miss Southcombe resided in Port Fairy all her life and carried a wonderful record of citizenship extending over a period of more than 80 years.This workbox used by Miss Mary Southcombe a pioneer of Port Fairy is also a beautiful piece of it's type.Pearl inlaid wooden sewing box with many compartments made of card and covered in purple silk each compartment had a lid made of the same componentsdomestic items, sewing, box, miss mary southcombe -
Port Fairy Historical Society Museum and Archives
Functional object - Lamp
Port light from the s.s.Casino - authenticated by sale at Apollo bay - John McDonald purchased 2 lamps the green lamp was later broken and discarded. He planned to use them on his fishing boat "Inverness".This port lamp was used on the s.s.Casino a coastal trader that serviced the towns from Portland to Melbourne for almost 50 Years quite a significant achievement for a ship of its kind.Port Lamp - SS Casino Metal Casing - Red Glass - Kerosene Fuelledlight, s.s.casino, john mcdonald, inverness, port, kerosene lamp -
Port Fairy Historical Society Museum and Archives
Photograph
Thomas and Margaret Maria Bermingham came to Australia from County Kildare in 1854. By 1856 Thomas was doing business as a Shoemaker in a three roomed dwelling with workshop and garden in Bank street. The stone hotel building was erected in 1867, and named Bermingham’s Victoria Hotel where he conducted the business with his wife. Thomas Bermingham died suddenly in 1874 only 48 years old. His wife continued to run the hotel until 1901. It was not unusual for women to run hotels at this time, although they had to be widowed To be granted a license.. John Maloney took up the license but the hotel closed in 1909. The building still stands and has been renovated Photograph of a building in Bank Street possibly the late 1800'sBlack and white photograph of weatherboard building with two multi panel windows 2 females and 2 males on footpathhotel, building, bermingham, bank street, john maloney -
Port Fairy Historical Society Museum and Archives
Photograph, 1921
HMAS Huon berthed at the wharf in Port Fairy Nov 1921. HMAS Huon (D50), named after the Huon River, was a River-class torpedo-boat destroyer of the Royal Australian Navy (RAN). Originally to be named after the River Derwent, the ship was renamed before her 1914 launch because of a naming conflict with a Royal Navy vessel. Huon was commissioned into the RAN in late 1915, and after completion was deployed to the Far East. In mid-1917, Huon and her five sister ships were transferred to the Mediterranean. Huon served as a convoy escort and anti-submarine patrol ship until a collision with sister ship HMAS Yarra in August 1918 saw Huon drydocked for the rest of World War I. After a refit in England, Huon returned to Australia in 1919. The destroyer spent several periods alternating between commissioned and reserve status over the next nine years, with the last three spent as a reservist training ship. Huon was decommissioned for the final time in 1928, and was scuttled in 1931 after being used as a target ship. She visited Port Fairy on a goodwill trip in November .Black and white photograph of naval ship berthedship, boat, sea, river, h.m.a.s.huon, moyne, naval ship -
Surrey Hills Historical Society Collection
Photograph - Digital photograph, George L Coop, 692-694 Whitehorse Road Mont Albert, 1958, c1958
The donor George Lister Coop was about 21 years of age when he took this photo in 1958. This photo is of Annesley Home for the Aged at 692-694 Whitehorse Road. It was originally a Methodist, later a Uniting Church facility. The new section in the photo was part of an extension built in 1958. The Queen Anne / Edwardian brick attic home was built in c1908 for William Pilkington, a manufacturer and was called 'St Martins'. Ownership stayed in this family until c1950. A new brick veneer 2 storey building sits adjacent to a red brick Edwardian home. Elderly-looking people can be seen sitting behind the window of the new section.george l coop, whitehorse road, mont albert, annesley home for the aged, uniting church, st martins, pilkington family -
Surrey Hills Historical Society Collection
Photograph - Digital photograph, George L Coop, 692-694 Whitehorse Road Mont Albert, 1958
The donor George Lister Coop was about 21 years of age when he took this photo in 1958. This photo is of Annesley Home for the Aged at 692-694 Whitehorse Road. It was originally a Methodist, later a Uniting Church facility. The new sections in the photo was part of an extension built in 1958. A further extension encompassing 21 beds occurred in 1971. A Queen Anne / Edwardian brick attic home was built on No 694 in 1908 for William Pilkington, a manufacturer and was called 'St Martins'. Ownership stayed in this family until c1950. It was retained as part of the facility. Alan Holt's register of 3127 properties list 34 residents in 1980, of which all but 3 were female. The property was replaced by apartments in c2018 but had ceased function as a nursing home quite a number of years prior to this and in the interim appeared to be used for temporary accommodation. A street view of new brick veneer 2 storey extensions to Annesley Home for the Aged. It does not show the original home 'St Martin's' that the facility was built around. In the foreground the pile of soil relates to the excavation works undertaken in widening Whitehorse Road.george l coop, whitehorse road, mont albert, annesley home for the aged, uniting church, st martins, pilkington family -
Surrey Hills Historical Society Collection
Photograph - Mont Albert Primary School, 1926
This was reproduced from a copy of the 1926 flyer relating to the Annual Speech Night. See vertical file re Mont Albert Primary / Mont Albert Central School. It was reproduced with the consent of the school archives in the early 1980's by Kenneth Tudor Hall. Mont Albert Primary was built in 1917 and was designated as a Central School in 1918 when Forms 1 & 2 were added. It remained as such until the 1964 when the secondary years formed the basis of a new high school, known as the Box Hill North High School, (later changed to Koonung Secondary College). The original building was constructed of solid red brick and consisted of seven rooms. In May 1924 a further four rooms, also in red brick, were added. The school opened with an initial enrolment of 147 students in Prep to Grade 6. A further 72 children were admitted during the year, making a total enrolment in the first year of 219. The land facing Kenmare Street was purchased in 1919, adding another 2 acres to the 5.5 acres which the school occupied in 1917. The first Principal was Charles Hyland, who was assisted by three teachers. The first official meeting of the School Council in May 1917 reveals that the building was in some senses a shell, requiring additional input from parents. Mention is made of the need for asphalting of playing areas, providing a letter box and electric lights for the lobby, double room, office and sewing room. Mont Albert was the first School in Victoria to have the interior purely constructed of Victoria hardwood, from floor to ceiling. An Honour Board was erected in 1919. mont albert central school, mont albert primary school, mont albert, schools -
Surrey Hills Historical Society Collection
Photograph - Mont Albert Primary School, 1926
This was reproduced from a copy of the 1926 flyer relating to the Annual Speech Night. See vertical file re Mont Albert Primary / Mont Albert Central School. It was reproduced with the consent of the school archives in the early 1980's by Kenneth Tudor Hall. Mont Albert Primary was built in 1917 and was designated as a Central School in 1918 when Forms 1 & @ were added. It remained as such until the 1964 when the secondary years formed the basis of a new high school, known as the Box Hill North High School, (later changed to Koonung Secondary College). The original building was constructed of solid red brick and consisted of seven rooms. In May 1924 a further four rooms, also in red brick, were added. The school opened with an initial enrolment of 147 students in Prep to Grade 6. A further 72 children were admitted during the year, making a total enrolment in the first year of 219. The land facing Kenmare Street was purchased in 1919, adding another 2 acres to the 5.5 acres which the school occupied in 1917. The first Principal was Charles Hyland, who was assisted by three teachers. The first official meeting of the School Council in May 1917 reveals that the building was in some senses a shell, requiring additional input from parents. Mention is made of the need for asphalting of playing areas, providing a letter box and electric lights for the lobby, double room, office and sewing room. Mont Albert was the first School in Victoria to have the interior purely constructed of Victoria hardwood, from floor to ceiling. An Honour Board was erected in 1919. mont albert central school, mont albert primary school, mont albert, schools -
Vision Australia
Administrative record - Text, 77th Annual Report 1970 - 1971 Braille Library of Victoria, 1971
Articles include the decision to add a talking book collection to the library, including sponsorship for players, a survey conducted into reading habits of blind people, former Chief Cataloguer at State Library has volunteered to undertake reclassification work, highest number of Braille volumes produced this year than ever done previously in 77 years of operation, four Braille Proficiency Certificates awarded, resignation of Joan Armytage, new fire service installed, Christmas card sales boomed but rents from hall fell due to stricter control over late night functions.25 pages of text with drawingsbraille library of victoria, corporation records -
Vision Australia
Badge - Object, RVIB Rifle Club badge
This badge has 'Royal Victorian Institute for the Blind' written in gold against a dark blue background around an oval shape, with the words 'Rifle Club' in the same lettering at the base. Inside the oval, on a light blue background, is a lighthouse and a rifle either side of it, the butts crossing at the apex. In the 1960's, the RVIB approached engineer George Glover to produce equipment to allow blind people to shoot, based upon that made available at St Dunstan's Hospital in the UK. The rifle range opened in February 1966 at the rear of St Kilda Road with 30 members, and soon became involved in matches with sighted rifle clubs in the area. The club had many successful years, competing against teams from Canada and New Zealand in 1968, and had the support of ICIANZ which provided them with free munitions as well as teams to compete against. In 1977, George Glover passed away and some of the skills required for maintenance of the equipment was lost, however the club continued until the late 1980's/early 1990s.Lighthouse with two rifles either side and crossed at top on blue backgroundRoyal Victorian Institute for the Blind Rifle Clubroyal victorian institute for the blind, badges, rvib rifle club -
Vision Australia
Photograph - Image, Man using rifle at competition, 1966-2003
An image taken of a man holding a rifle whilst two other men, one wearing a Canada Rifle Club blazer, look on. In the 1960's, the RVIB approached engineer George Glover to produce equipment to allow blind people to shoot, based upon that made available at St Dunstan's Hospital in the UK. The rifle range opened in February 1966 at the rear of St Kilda Road with 30 members, and soon became involved in matches with sighted rifle clubs in the area. The club had many successful years, competing against teams from Canada and New Zealand in 1968, and had the support of ICIANZ which provided them with free munitions as well as teams to compete against. In 1977, George Glover passed away and some of the skills required for maintenance of the equipment was lost, however the club continued until the late 1980's/early 1990s.1 Black and White image of man at shooting galleryrvib rifle club, royal victorian institute for the blind -
Public Record Office Victoria
Legal record (item) - Divorce Papers for Frank Paice and Florence Paice (otherwise Cox)
... in Melbourne’s northern suburbs in 1945, where she died five years later ...A file previously held in the collection of the Supreme Court of Victoria and now in Public Record Office Victoria contains records of the annulment of the marriage of Florence Cox in 1919. As the earliest known record of a person with intersex variations in Victorian history, Cox’s story – and this record – are of unique historical significance to the LGBTIQ+ history of the State. Florence Cox (1887–1950) had a middle-class upbringing in Melbourne. In 1914 she travelled to Bengal to marry her fiancé Frank Paice and to join him in his missionary work for the Baptist church. The couple returned to Melbourne in 1918 and the following year the Supreme Court of Victoria, at Paice’s request, annulled their marriage. The Supreme Court file reveals that Paice declared he had been unable to consummate the marriage, due to ‘a malformation frigidity or other defect of the parts of generation’ of his wife. Both Paice and Cox were subject to medical examination, which established that Cox had what is recognised today as the intersex condition complete androgen insensitivity syndrome. The court determined that marital intercourse, as it was understood at the time, was impossible for Paice and Cox, and granted the request for an annulment. Paice remarried, fathered children and led a successful professional and civic life, serving a period as Mayor of Nunawading, in the middle- class eastern suburbs of Melbourne. Cox’s life was very different. It is unlikely that anyone in her life would have known what had prompted the end of the marriage, but gossip would certainly have focussed on her part in it. She never remarried and, although she remained connected to her family, her story was rarely discussed. Cox was admitted to Mont Park Mental Hospital in Melbourne’s northern suburbs in 1945, where she died five years later. The Supreme Court file preserves one of the most detailed medical descriptions of a person with intersex variations from that period. It is particularly striking that following the court case, the file was closed ‘forever’. This indicates how seriously the court took the case, and its determination to protect Cox and Paice from public scrutiny. It speaks loudly to the thinking of the time on a matter that was rarely, if ever, raised in public. In 1997, Cox’s great-nephew Ian Richardson set out to investigate the secrecy surrounding his great-aunt Florrie. Following a relentless, two-year campaign by Richardson and other descendants of Cox and Paice, the Supreme Court file was finally opened to the public. Richardson’s book, God’s Triangle, recounts his quest and brings Cox’s story out of the archives and into the light. Quoted from "A History of LGBTIQ+ Victoria in 100 Places and Objects" by Graham Willett, Angela Bailey, Timothy W. Jones and Sarah Rood. -
Federation University Art Collection
Painting - Artwork - Drawing, 'Professor Shirley Randell,' 1989 by Geoffrey Mainwaring, 1989
Geoffrey MAINWARING (29 October 1912-13 April 2000) Born Adelaide South Australia Geoffrey Mainwaring studied at the South Australian School of Arts and Crafts before becoming an art teacher at Thebarton Technical School (1928-36). Mainwaring was adept at depicting a variety of subjects, from landscapes to portraits, and was very competent using a variety of media, including pencil, oils, and watercolour. He was a confident draftsperson, and completed many sensitively rendered portraits that give an insight into the character of the sitter. In June 1941 Geoffrey Mainwaring (SX13471) joined the 2nd Australian Imperial Force, and after five months was transferred to the Engineers and employed as a Sergeant-Instructor, specialising in demolitions. In late 1942, he was sent to New Guinea as an Australian army artist on probation. On 27 May 1947, Mainwaring was discharged from the Army, having served for five and a half years. He was appointed as an artist on a civilian basis until his paintings were completed in March 1948. In 1949 he was appointed Head of the Art School at the Ballarat School of Mines (now Federation University Australia). He continued to paint commissioned portraits for the Australian War Memorial until the late 1950s. Geoffrey Mainwaring died at Ballarat in April 2000. 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.A framed and triple mounted pastel portrait of Professor Shirley Randell. Shirley Randell is a long-time activist for gender equality and women's empowerment in education, employment, public service and civil society in Australia, the Pacific, Asia and Africa. She was the first female dean at Ballarat College of Advanced Education (later Federation University Australia). Her appointment as Dean of Academic Affairs made her the first woman to hold a senior management position at the college. In 2019 Shirley Randell is a Member of the Order of Australia, having received the Officer of the Order (AO) award in 2010 for her services to international relations through education, public sector, institutional reform and economic empowerment of women in Australia, the Pacific, Asia and Africa. She is a member of many important boards and committees including the Australian Government Women’s Alliance – Economic Security for Women and the indigo foundation. An Ambassador of Dignity Ltd, the Australian Centre for Leadership for Women, Women’s International Cricket League/FairBreak and The International Alliance for Women, Shirley Randell is also a member of the Independent Scholars Association of Australia Council, Graduate Women International Projects Committee, and sits on the several editorial boards including the BioMedical-Central Women’s Health Journal. Gift of Professor Shirley Kaye Randell, AO, PhD, Hon.DLitt, FACE, FAICD, FIML, first woman in the Executive Team of the Ballarat College of Advanced Education as Dean of Academic Affairs, 1989- 1990signature bottom right - "G. R. Mainwaring 1989."art, artwork, available, geoff mainwaring, geoffrey mainwaring, mainwarring, pastel, drawing, portrait, portraiture, woman, professor shirley randell, ballarat, g. r. mainwaring, shirley randell