John EDYE (1944- ) John Edye trained in London at Harrow School of Art in the 1970s, and worked with Peter Dick in Yorkshire and Colin Pearson in Aylesford, Kent before returning to Australia to head the Sturt Pottery at Mittagong from 1974 to early 1978. At Sturt, his trainees included Piers Laverty, Wim Boot, Will Castle, Ruth Elder, Colin McNeill, Penelope Carr, Patrick Forman and Malcolm Campbell. Edye introduced them to salt-glazing, a technique at that time not widely used by studio potters. After leaving Sturt, he established the Little Forest Pottery at Yerrinbool in the Southern Highlands of NSW with Penelope Carr, who moved to Hazelbrook to set up her own pottery in 1983. Edye ran his pottery on a production scale for many years, making reduced and salt glazed stoneware and tutoring part time at East Sydney Technical College. Recently he has been working in Egypt as a technical advisor to an aid project, and he was a speaker at the Australian Ceramics Triennale 09. His works are marked with an impressed 'JE' and/or with the three-lobed tree emblem of Little Forest Pottery. John Edye was a visiting lecturer to the Gippsland Centre of Arts and Design (GCAD).Salt Glazed BowlTwo Stamps on basejohn edye, ceramics, jan feder memorial ceramics collection, gippsland

Sandra JOHNSTONE (1936-Jan 1991) Born Southern California, USA Worked California, USA Sandra Johnstone was awarded a MA in Ceramics and an MFA in Plastic Arts at San Jose State University, where she later also lectured. Specialiing in functional and sculptural forms, with emphasis on wheel-thrown shapes and salt-glazed stoneware and porcelain, her work is best known for salt glazing, using surface texture and colour to enhance the character of the clay. Sandra Johnstone was a visiting artist to the Gippsland Centre for Art and Design (GCAD). Salt glazed platter. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there."Johnstone" on basesandra johnstone, ceramics, artist, artwork, gippsland campus, jan feder memorial ceramics collection

Deborah KLEIN (1951- ) Born Melbourne, Victorian Deborah Klein grew up in the inner southern suburb of St. Kilda and lived and worked in London from 1973 - 1980. The experience of living in both of these places was to have a significant and enduring influence on her work. She gained degree and post degree qualifications from Chisholm Institute of Technology, Melbourne and Gippsland College of Advanced Education, and a Research MA from Monash University, Gippsland. Since 1988 Deborah Klein has held regular solo exhibitions and participated in group exhibitions in Australia and internationally. Her work is represented in public and university museum collections throughout Australia. This work was exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection. 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, handcoloured linocut depicting a butterly with a female head with braided hair.Edition 2/36artist, artwork, deborah klein, klein, butterfly, insect, animal, printmaking, linocut, parallel prints, alumni

Henry MORITZ (1931- ) Born Mainz, Germany Arrived Australia c1952 Henry Moritz was an experienced commercial artist when he left Germany for Australia. After working as a railwayman, coal miner, fruit picker and steelworker, he started teaching commercial art at the Ballarat School of Mines Technical Art School in 1963. He moved to the Mount Helen Tertiary Division, and was head of the Art School at the Ballarat College of Advanced Education (BCAE) when he produced this work. The Ballarat College of Advanced Education logo was derived from the Southern Cross depicted on the Eureka Flag, which was adopted by Ballarat College of Advanced Education in 1978. The logo was designed by former student Debra Garton, who graduated with a Diploma of Art and Diploma of Education. 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.Farmed marquetry using fine woods chosen for their grains and reflective properties: silver ash, cedar, queensland walnut, grey bird's eye maple and African gaboon.art, artwork, henry moritz, marquetry, logo, southern cross, ballarat college of advanced education, available, stars

The University's mace was carried in procession for the first time during the Graduation ceremonies in May 1996. The mace was presented to the University by former Chief Commissioner of the Ballarat City Council, Vern Robson, at a ceremony on 02 February, following a national competition for its design, sponsored by the Council. (The Flag, Issue 2, July 1996) Nineteen artists responded to the competition which called for a design that would embody a distinctive Australian image reflecting the heritage of the city and in relationship with gold, an Aboriginal element and the history of the University. The winning entry, dominated by a poppet head, was submitted by Central Victorian artist/sculptor Trefor Prest, a sessional lecturer in sculpture at the University.(The Flag, Issue 2, July 1996) The Herald Sun of 03 February 1996 reported 'the new mace shows importance elements of Ballarat's heritage as well as the university's focus on the future. The artist emphasises the egalitarian nature of Australia as embodied in Ballarat's famous slice of history - the Eureka uprising. ... The mace has a poppet head at the top of the shaft - an unusual element for a mace - but it represents Ballarat's mining history and the University's evolution from the Ballarat School of Mines. An opening egg at the top stands for the nurturing of development and learning. The mace's straight shaft is depicted as the tree of knowledge and, incorporating a bark canoe scar, Ballarat's Aboriginal heritage. At the end of the shaft is a surveying device, which represents precision and accuracy ads embodied in the university's academic pursuits.' Bob Morrell of the University organised the national competition to design the mace and said 'It is in keeping with the university's logo, 'proudly flying the flag', which incorporates the Southern Cross.' 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. Trefor Prest lectured in Sculpture at the University of Ballarat from 1995-1996.The mace symbolises the office of the Chancellor. The design of the mace is the outcome of a national competition and represents the cultural diversity of Australia. The poppet head on the top of the mace refers to gold mining, which underpinned the development of Ballarat. The protruding spikes recall the Eureka Stockade. The 'egg' shape enfolds and nurtures the development of knowledge and learning. The shaft with the three 'branches' represents the Tree of Knowledge, and includes a bark canoe scar which recognises the integration of black and white Australian traditions. The lower part of the shaft culminates in a device suggestive of scientific or surveying and measuring technology. This represents precision and accuracy embodied in the academic pursuits of Federation University Australia.art, artwork, trefor prest, prest, mace, federation university, university, eureka stockade, aborigines, scarred tree, mining, university mace, ballarat

"My current practice explores and questions ideas about social, cultural and historical inherited gender stereotypes. The images used are sourced from toys, games, models and references to childhood from my own collection. One such toy is a model plane of the Enola Gay. This screenprint, sourced from the box, shows an image of young boy happily clutching his toy plane. The surface of the print is embossed with images of the nuclear weapon that was dropped on Hiroshima."Darren BRYANT ( 06/06/1971- ) Born Lismore, New South Wales Darren’s work explores the familiar landscapes of childhood, identity and the everyday. He received a Bachelor of Visual Arts (Printmaking) from the Southern Cross University, Lismore, NSW, in 1992 and a Bachelor of Visual Arts in Fine Art (Printmaking) from Griffith University, Brisbane, in 1993. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed limited edition print of a boy playing with a toy aeroplane. art, artwork, printmaking, toy, aeroplane, darren byant, print council of australia, available

My work is informed by a philosophical and spiritual engagement with Buddhist ideas, particularly in response to environmental concerns. In this work I wanted to challenge myself and explore the limits of clay material. Clay allowed me to express myself and free my mind. When I revisited Australia in 2010 form my residency, the natural environment here still was the best to me. Li-Feng LO (1967- ) Born Taiwan Ceramic artist Dr Li-Feng Lo completed a PhD at Monash University in 2008. She was a resident artist in the Federation University Arts Academy ceramics studio in 2010. Li-Feng worked with Southern Ice porcelain to create sculptural forms in response to environmental concerns. Her work is informed by a philosophical and spiritual engagement with Buddhist ideas. These works were exhibited in the exhibition 'AIRed' at the Post Office Gallery in 2011. This was a group exhibition showcasing the work of six artists who undertook residencies at the Arts Academy over a couple of years. 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.Handbuilt (pinched), coloured porcelain form. Artist's Statement: In the beginning I try to use clay to achieve a dream-like quality by providing a feeling of flexibility like paper and fragility like glass. I was my artwork to the one with nature. Gift of the artist, 2010art, artwork, li-feng lo, ceramics, artist in residence, available, available ceramics, chinese

A Royal Humane Society of Australasia silver medal for bravery was awarded to Mrs Isadore Susannah Smith who, although blind, went to the aid of her husband, Arthur who was also blind, when he fell against a gas fire on July 2nd, 1967. Mrs Smith suffered second degree burns to her hands and wrists when she removed his burning pieces of clothing. On the front shows a woman in Ancient Greek clothing standing at left placing wreath on head of young man kneeling at right below Southern Cross; around edge is ' Virtute Paratum' and on the back is at centre within olive wreath 'Awarded to Isadore Smith 2.7.67'around edge is , Royal humane society of Australasia Instd. A.D. 1874. 1 silver coloured medallion and ribbon bar with ivory, brown and yellow striped ribbon. Women in ancient Greek clothing with 'Virtute Paratum' on front. Back is inscribed with 'Isadore Smith 2.6.67' inside a wreath.medals, isadore smith

The Southern Cross Organisation had its origin in a small Foundry in Toowoomba, Queensland, in 1871, and has grown into a Commonwealth-wide organisation with a selling network serving the whole of Australia and supplying Southern Cross Products as far away and Deccan, in India.This object is significant because it is complete and the pages are clean, straight & unmarked with the binding is in good condition.Soft Red CoverSouthern Cross Catalogue for 1939-40windmills, petrol engines, kerosine engines, pumps, milking machines, tanks, lighting plants, home light batteries

After an unsuccessful attempt to gain a seat for the Australia Party in the 1974 Hugh Jeffrey ran again in 1977 for the newly-formed Australian Democrats in one of 5 Victorian electorates. This badge features a green background in enamel with Australian Democrats in gold lettering surrounded by a gold border. A gold Southern Cross and Federation Star feature on the right hand side, next to the lettering. The rear features a pin and MD and Co Badges stamped into the base.1 badge with writing and gold Southern Cross stars on green backgroundAustralian Democratshugh jeffrey, badges

Small round badge with white background and 'Australia Day' written in blue on the upper edge and 'Citizen Award' on the lower edge. In the middle an Australian flag with a single star beneath the Union Jack, and the left side of the flag has a stylised outline of Australia, with the Southern Cross constellation inside it. The edge of the flag is also shaped to a point. Citizen Awards are presented by local councils to individuals to recognise their outstanding contributions to the community.Round badge with Australia flag on arrow and 'Australia Day Citizen Award' around edgeAustralia Day Citizen Awardhugh jeffrey, badges

An overview of activities and achievements during the past financial year. Articles in annual report include: acknowledgement of the passing of Dr Trevor Anderson (President) during the year, merge of organisations, equipment upgrade at Burwood School and transition of early education program out to Southern and Eastern offices and publication of "Little Steps to Learning" and 'Thanks Mate I'll Try That'.1 printed volume of information about the RVIB during the financial yearroyal victorian institute for the blind, annual report, trevor anderson, doug kent

An overview of activities and achievements during the past financial year. Articles in annual report include: continuing involvement with Project Nexus (to merge with RBS and VAF), NILS becoming a separate entity, launch of History Project, launch of Feelix at Melbourne Zoo with patron Sigrid Thornton, funding of "Little Steps to Learning" by Paul Newman Foundation, RVIB For Sight Week, RVIB Gold Ball, Dare to Date ball and hosting Southern Cross games.1 printed volume of information about the RVIB during the financial yearroyal victorian institute for the blind, annual report, jade sanderson, trevor anderson, doug kent, sigrid thornton, rhonda burchmore, ray martin, hi-5, vanessa amorosi, chad kelly, kushbu lal, wanda egerton, russell short

Tony NANKERVIS A graduate student from the Gippsland Centre for Art and Design (GCAD), Tony Nankervis has been a pioneer of the long wood-fired ceramics technique in Australia. He retired from lecturing at Southern Cross University after working there for 19 years in 2004. He describes his work as 'one-off functional table ware', which includes highly-individualised everyday table items. Nankervis prefers the pre-Industrial Revolution method of firing pottery, involving heating the kiln by burning wood for five days, to the modern, quicker methods using gas or electricity. The distinctive surfacing in wood-fired ceramics is generated by the ash and volatile salts from the burning wood. The wood ash and salts blush the ceramic pieces in the kiln, with finished work taking on the nature of the firing process, which has been described as painting with fire.Two woodfired earthernware cylindrical forms by Tony Nankervis. tony nankervis, woodfire, jan feder memorial collection, jan feder, ceramics, gippsland campus, jan feder memorial ceramics collection, alumni

Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal

Nankervis prefers the pre-Industrial Revolution method of firing pottery, involving heating the kiln by burning wood for five days, to the modern, quicker methods using gas or electricity. The distinctive surfacing in wood-fired ceramics is generated by the ash and volatile salts from the burning wood. "Because the wood ash and salts blush the ceramic pieces in the kiln, the finished work tends to take on the nature of the firing process," he said. "One colleague has described the process as painting with fire."(https://www.strathnairn.com.au/studios/artist-in-residence/montessa-maack-ursula-burgoyne-jen-lyall-and-vicki-grima-5ndd6, accessed 09 July 2021)Tony NANKERVIS Tony Nankervis taught ceramics from 1984 when the university was the Northern Rivers College of Advanced Education from 1984. before moving to Southern Cross University (SCU) in 1994. He retired from full time teaching in 2004. Nankervis was a pioneer of the long wood-fired ceramics technique in Australia: a technique he has been practising since the late 1970s Nankervis prefers the pre-Industrial Revolution method of firing pottery, involving heating the kiln by burning wood for five days, to the modern, quicker methods using gas or electricity. The distinctive surfacing in wood-fired ceramics is generated by the ash and volatile salts from the burning wood. "Because the wood ash and salts blush the ceramic pieces in the kiln, the finished work tends to take on the nature of the firing process," he said. "One colleague has described the process as painting with fire. There are particular qualities that only come from firing in that way, he said. "If you see some of these older ceramics, particularly from Asia, the surface qualities are discernible from the surfaces generated by post-Industrial fuels." (https://www.scu.edu.au/engage/news/latest-news/2004/leading-australian-potter-who-paints-with-fire-retires-from-lecturing-at-scu-after-19-years.php, accessed 09 July 2019)Three Lidded Woodfired Cylinders ceramics, jan feder memorial ceramics collection, tony nankervis, tony nankervic

Virginia JONES A ceramic and installation artist, Virgina Between 2002 and 2005 Virgina Jones was the recipient of a Post Graduate Scholarship from Southern Cross University Postgraduate Scholarship from 2002 and 2005 .Nine blackware Formsjan feder ceramics collection, blackware, virginia jones, installations

Virginia JONES A ceramic and installation artist, Virgina Between 2002 and 2005 Virgina Jones was the recipient of a Post Graduate Scholarship from Southern Cross University Postgraduate Scholarship from 2002 and 2005 .Blackware sculpturejan feder memorial ceramics collection, blackware, virginia jones

Virginia JONES A ceramic and installation artist, Virgina Between 2002 and 2005 Virgina Jones was the recipient of a Post Graduate Scholarship from Southern Cross University Postgraduate Scholarship from 2002 and 2005 .jan feder memorial ceramics collection, blackware, virginia jones

Virginia JONES A ceramic and installation artist, Virgina Between 2002 and 2005 Virgina Jones was the recipient of a Post Graduate Scholarship from Southern Cross University Postgraduate Scholarship from 2002 and 2005 .Blackware sculptural form by Virginia Jonesjan feder ceramics collection, blackware, virginia jones, installations, sculpture

Nankervis prefers the pre-Industrial Revolution method of firing pottery, involving heating the kiln by burning wood for five days, to the modern, quicker methods using gas or electricity. The distinctive surfacing in wood-fired ceramics is generated by the ash and volatile salts from the burning wood. "Because the wood ash and salts blush the ceramic pieces in the kiln, the finished work tends to take on the nature of the firing process," he said. "One colleague has described the process as painting with fire."(https://www.strathnairn.com.au/studios/artist-in-residence/montessa-maack-ursula-burgoyne-jen-lyall-and-vicki-grima-5ndd6, accessed 09 July 2021)Tony NANKERVIS Tony Nankervis taught ceramics from 1984 when the university was the Northern Rivers College of Advanced Education from 1984. before moving to Southern Cross University (SCU) in 1994. He retired from full time teaching in 2004. Nankervis was a pioneer of the long wood-fired ceramics technique in Australia: a technique he has been practising since the late 1970s Nankervis prefers the pre-Industrial Revolution method of firing pottery, involving heating the kiln by burning wood for five days, to the modern, quicker methods using gas or electricity. The distinctive surfacing in wood-fired ceramics is generated by the ash and volatile salts from the burning wood. "Because the wood ash and salts blush the ceramic pieces in the kiln, the finished work tends to take on the nature of the firing process," he said. "One colleague has described the process as painting with fire. There are particular qualities that only come from firing in that way, he said. "If you see some of these older ceramics, particularly from Asia, the surface qualities are discernible from the surfaces generated by post-Industrial fuels." (https://www.scu.edu.au/engage/news/latest-news/2004/leading-australian-potter-who-paints-with-fire-retires-from-lecturing-at-scu-after-19-years.php, accessed 09 July 2019)Presented by the artistLidded Raku fired box, dry glazedceramics, jan feder memorial ceramics collection, tony nankervis, tony nankervic

Unit badge mounted on wooden plaque. Crown above with Southern Cross in blue surrounded by the words "Royal Australian Army Pay Corps" and below - the word "Integrity"Royal Australian Army Corps/Integrity

Book

The Boer War took place from 11 October 1899 – 31 May 1902. Also known as the Anglo–Boer War, or the South African War, the conflict was fought between the British Empire and the two Boer Republics (the South African Republic and the Orange Free State) over the Empire's influence in Southern Africa. As part of the British Empire, the Australian colonies offered troops for the war. Samuel McGowan was born in North Ireland in 1845, immigrating to Australia in 1870. He arrived in Bendigo 1871 and having worked in a large engineering works at home was quickly able to find management work in foundries, later opening a legal manager's office growing this into one of the largest of its type in Bendigo. Samuel McGowan was elected a member of the City Council in 1883 and was elected Mayor in 1885 and again in 1899, resigning as a councillor in 1901. He was the treasurer of the Bendigo Hospital, a senior member of the Zenith Lodge and president of the Bendigo Agricultural and Horticultural Society. Samuel McGowan and Kate Goyne from Epsom married on 29th August 1874. Samuel died in 1921 aged 76 and Kate in 1930 aged 78. This plaque was probably attached to a commemorative board such as an honour board, however its whereabout are unknown. Engraved plaque in the shape of a flag and flag pole. Four small holes indicate that it was previously attached to a larger commemorative board.Flag; Special functions by / Mayor & Mrs McGowan / entertainment and distribution of Comforts to the / Bendigo Soldiers Contingent prior to their / departure for the Boer War. / Reception at the Town Hall / Ball to the Citizens. / Entertainment of distinguished visitors, etc.etc.etc / Flag pole; F. Prescottmayor mcgowan, councillor s h mc gowan, mayoress mcgowan

The Anzac Commemorative Medallion was instituted 1967. It was awarded to surviving members of the Australian forces who served on the Gallipoli Peninsula, or in direct support of the operations from close off shore, at any time during the period from the first Anzac Day in April 1915 to the date of final evacuation in January 1916. Next of kin, or other entitled persons, are entitled to receive the medallion on behalf of their relatives if the medallion has not been issued. Design The medallion is cast in bronze and is approximately 75 millimetres high and 50 millimetres wide. The obverse of the medallion depicts Simpson and his donkey carrying a wounded soldier to safety. It is bordered on the lower half by a laurel wreath above the word ANZAC. The reverse shows a map in relief of Australia and New Zealand superimposed by the Southern Cross. The lower half is bordered by New Zealand fern leaves. The name and initials of the recipient is engraved on the reverse. The medallion is issued in a presentation box. Badge Surviving members were also issued with a lapel badge in the form of a small replica of the medallion to recognise their Gallipoli service. This badge is not issued to other applicants.This medallion was presented to A. F. Hoffman a survivor of the Gallipoli Campaign. The medallion is cast in bronze and is approximately 75 millimeters high and 50 millimeters wide. The obverse of the medallion depicts Simpson and his donkey carrying a wounded soldier to safety. It is bordered on the lower half by a laurel wreath above the word ANZAC. The reverse shows a map in relief of Australia and New Zealand superimposed by the Southern Cross. The lower half is bordered by New Zealand fern leaves. The name and initials of the recipient is engraved on the reverse. The medallion is in the original presentation box that show wear from handling and ageThe recipients name is inscribed A.F. Hoffmanmedallion, anzac medellion, boxed medallion

Small fabric Australian flag on a wooden stick. 6 stars represent the unity of the States. 5 stars on right represent the Southern Cross. The 7the point on the stars denotes the Territories of the Commonwealth of Australia.Union Jack in left top corner. 5 stars representing the Southern Cross on the right.flag