After a quiet period, interest in bookplates in Australia began to increase in the early 1970s, Entrepreneurial art and book collectors such as Edwin Jewell and others commissioned multiple Bookplate designs from a range of well known fine artists. At a 1997 meeting in Melbourne of the Ephemera Society of Australia Edwin Jewell and others announced the formation of the Australian Bookplate Society. The society was instrumental in promoting the art of the bookplate through establishment of the Australian Bookplate Design competition. The competition includes a design award for International bookplate designers and graphic artists. as well as Australian secondary school students. Art movements Artist’s statement Subjects Bookplate, Australian Bookplate Design awards, Kieth Wingrove Trust Entered in the International Bookplate Design section of the the Australian Bookplate Society's 'Australian Bookplate Design competition for 2020.Pencilled beneath image: 17/40- "Alice e il Bianconiglio" - signature of artist.

After a quiet period, interest in bookplates in Australia began to increase in the early 1970s, Entrepreneurial art and book collectors such as Edwin Jewell and others commissioned multiple Bookplate designs from a range of well known fine artists. At a 1997 meeting in Melbourne of the Ephemera Society of Australia Edwin Jewell and others announced the formation of the Australian Bookplate Society. The society was instrumental in promoting the art of the bookplate through establishment of the Australian Bookplate Design competition. The competition includes a design award for International bookplate designers and graphic artists. as well as Australian secondary school students. Art movements Artist’s statement Subjects Bookplate, Australian Bookplate Design awards, Kieth Wingrove Trust Entered in the International Bookplate Design section of the the Australian Bookplate Society's 'Australian Bookplate Design competition for 2020.

This letter book contains letters written by representatives of the Warrnambool Lance Patent Pan Company to agents in Western Australia during the period 1896 to 1913. This company was formed to market the Lance Patent Cess Pan produced by George Lance in Warrnambool. The Western Australian venture did not prove profitable for the company. George Lance was a Warrnambool plumber and gasfitter who produced the Eureka Pump and the Lance Patent Cess Pan. The latter sold widely in Victoria with the Warrnambool Council owning 1700 of these pans in 1896. George Lance was also prominent in Warrnambool as a musician, artist (eleven of his works are in the Warrnambool Art Gallery)and local history writer. He was also involved in the development of the Warrnambool Mechanics Institute and the establishment of the Warrnambool School of Art and Design and the Warrnambool Art Gallery. This letter book is of considerable interest as it gives details on one aspect of the George Lance invention of the Patent Cess Pan (its marketing) and George Lance played an important role in Warrnambool's late 19th century history.This is a letter book of 506 pages. It has a hardboard cover with a mottled red pattern and red binding on the spine. The pages contain an alphabetical index and copies of letters handwritten in black ink. There are many blank pages. The letter book cover is torn at the edges.george lance patent cess pan, george lance warrnambool, warrnambool plumbers, cess pan patents

School Council, Members of Staff, Editorial, Principal's Page, News and Notes, Prize Presentation, Magazine Committee 1950, Prominent Personalities, The Literary Society, Retirements, Boys Sport, Annual Sports, Football. Baseball, Tennis, Science School, Television in Australia,The Apprentices, Commercial Notes, The Girls Association, Preps and Dressmakers, The Art School, Junior School, List of Full Course Students, Students doing Trade Apprenticeship courses, Junior Technical School Roll CallWhite soft covered magazine with green and gold font.ballarat school of mines, magazine, k. e. scull, g.w. barrel, e. j. tippett, j. harriott, lindsay hillman, a. e. watson (nee jeanette perkins, n. andrews, j. peyton, c.g. fairbank, s. jones, f. benjamin, b. flavel, f. heath, v. jolly, h. browning, m. troon, w. archibald, r. gay, s. ross, d. cotton, b. bryan, rodney t. sheppard, m. j. mccarthy, shirley ross, george m. hetherington, john k. ballinger, roberta gay, lois pedrazzi, robert tantau, joyce eberhardt, louise hamilton, joy lyons, john f. swain, d. mullins, g. cornell, arthur burrow, j. watts, w. carlyon, a. kinnane, j. boag, r. ingleton, b. schreenan, s. deans, j. tinney, r. campbell, j. vernon, j. jopling, d. durant, j. ballinger, j. swain, k. treloar, t. duncan, j. bethune, j. hines, l. owen, c. livitsanso, m. stevens, bob davis, e. boschen, j. sawyer, c. restarick, r. archer, m. tunbridge, j. carmichael, a. brokenshire, m. barker, a. mccallum, l. searle, p. richards, r. simpson, n. ludbrook, r. sheppard, nigel fitzclarence, j. m. blackburn, m. m. phillips, w. k. holmes, william rodgers, barry pearce, e. sobey, norma taylor, pat lavery, heather browning, anne wright, barbara wilson, lynette klein, margaret winberg, pearl monds, d. searle, heather harris, glenys nolan, dorothy wilkie, mary gleeson, phyllis dellaca, valerie jolly, anne turnley, lynette bromley, n. taylor, n. hooker, g. mainwaring, barbara symons, wm. j. paterson, j. jenkin, r. l. whitla, pastor r. m. hunting, r. phillips, r. f. bawden, l. b. doull, g. graham, s. hoffman, j. mulrooney, g. stimson, c. lockhart, b. kennedy, d. irish, l. dow, s. saw, m. winberg, h. clark, f. case, r. braybrook, g. holmes, e. mackie, j. collier, a. johnstone, n. newey, f. young, b. baldock, b. graham, n. caldow, c. hay, e. carter, g. delaland, r. millar, r. kennedy, g. wittingslow, h. flack, r. quayle, g. ditchfield, j. parrot, a. brogden, m. hodder, r. satchell, r. lyons, j. gilmer, f. andrewartha, b. tozer, d. jones, l. fuhrmeister, r. furlong, j. twaits, c. hocking, n. andres, d. quick, g. vickers, b. mann, s. kellett, b. matthews, g. gilbert, afl, vfl

School Council, Members of Staff, Editorial, Principal's Page, Magazine Committee, Obituary - Rupert P. Flower, Literary Society, Prominent Personalities, Science School, News and Notes, Prize Presentation, The Apprentices, Boys Sport, Sun Youth Travel Memoirs, The Art School, His Majesty the Late King George VI, Commercial Notes, Gleanings Here and There, Junior School, Girls Sport, Sport, House Notes, Junior Technical School Students', Roll Call - Diploma Students 1952Pale blue soft covered magazine with navy blue titles.ballarat school of mines, magazine, mr bryan, c. sanos, s. deans, j. williams, r. simpson, c. g. fairbank, d. treadwell, e. aitkens, g. birkett, g. allen, f. benjamin, s. gillespie, r. hullick, h. mccallum, h. harris, j. walton, e. walsh, j. stevens, b. clark, rupert p. flower, john bechervaise, w. keith hindson, a. james tinney, walter c. tooth, john d. bethune, vilma sansom, betty clark, travers duncan, joyce wilson, lex lockhart, jim w. beattie, joyce stevens, slim ingleton, a. eddy, john howard, douglas george dean, edgar bartrop, colin mck. henry, tom adams, max kennedy, jeff coward, o. j. nilsen, j. skuja, s. rowe, w. maddox, a. kinnane, d. fraser, a. carpenter, john james, b. flavel, j. murray, d. schmidt, g. habel, t. duncan, l. matthews, n. spiers, b. smith, a. tonnisseu, r. ingleton, j. bethune, j. mills, j. mcneil, b. schreenan, w. carlyon, d. stevens, l. j. hillman, k. hindson, r. furlong, j. beattie, b. taylor, g. heyes, l. quilliam, r. archer, a. johnson, m. gillin, t. seabrook, m. phillips, j. sawyer, c. restarick, j. saggers, g. ditchfield, j. tinney, don stewart, j. faneco, m. stevens, w. tooth, ron simpson, bill maxwell, graham searle, jim tinney, k. treloar, j. barnes, s. j. deans, lynette j. blomeley, georgina cox, heather mcgregor, janet saunders, heather harris, elizabeth mcarthur, norma coffield, pat lavery, imelda lee, gloria white, valerie westbrook, cynthia stone, janice thompson, clare mooney, glenys perry, faida lewis, betty clarke, marion volk, isla veal, valerie yates, coralie mckenzie, lorraine digby, barbara henderson, deidre wilson, margaret henderson, barbara ngip, glenys sleeth, anne duncan, l. dwyer, elaine leishman, j. jenkin, stirling gillespie, w. bridges, b. baldock, b. braybrook, e. mackie, r. braybrook, c. grose, b. mackie, c. garnham, c. schmidtke, t. lugg, j. copeman, b. tozer, g. mathews, n. sutherland, r. lambert, j. sanders, m. quick, j. collier, g. pike, r. digby, r. quayle, r. sharp, n. brogden, r. lyons, p. stevens, j. bastin, b. kay, k. duncan, b. golding, l. norman, b. murnane, k. hocking, c. sealey, b. langdon, f. weightman, m. birch, r. stevenson, r. stewart, r. haintz, k. mccoll, k. jarvis, l. hocking, d. curtain, r. lazarus, e. boak, j. fletcher, b. orchard, j. squires, n. pike, j. shrader, l. reynolds, m. ritchie, g. smith, d. parkes, g. templeton, m. wunhym, v. vincent, d. robertson, d. lang, l. horwood, d. searle, d. new, v. jolly, a. minotti, b. beaumont, m. marshall, e. bowen, j. rogers, d. cody, e. kinnane, j. cunningham, j. schrader, r. horgan, j. white, n. flood, j. matthews, h. gale, k. mitchell, v. rowse, j. mayne, a. gilbert, b. warrillow, g. gilbert, n. quick, m. hall, d. furlong, n. lyons, j. richards, j. jones, l. major, d. baldock, d. dow, g. ruddick, d. howell, j. caddy, b. singleton, b. powell, r. sharpe, c. lockhart, l. daff, c. sharpe, d. irish, l. dow, a. douglas, n. twaites, j. courtney, l. beacham, n. c. cartledege, cliff sealey, j. f. collier, e. g. mackie, m. g. quick, b. l. collinson, j. n. bastin, g. e. timmins, valerie mills, j. a. jenkin, w. cowan, i. mitaxa, n. c. leckie, r. j. austin, n. coffield, d. quilliam, r. courtney, f. m. kilfoyle, p. nunn, king george vi

Jean Appleton (1911–2003) Born Sydney, New South Wales A painter and art teacher who studied at the East Sydney Technical College, completing a diploma in drawing and illustration in 1932. In 1935 she travelled to London on a cargo ship. Strongly interested in modern art, she studied under Mark Gertler and Bernard Meninsky at the avant-garde Westminster School.With the outbreak of the war she returned to Australia, thereafter teaching at Canberra Grammar and then at the Julian Ashton and National Art Schools in Sydney. Portrait of a male by Jean Appletonportrait, jean appleton

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

Sally MILLER (1949-2015) Sally Miller completed undergraduate and postgraduate studies in Fine Art at the Sydney College of the Arts, and in 1995 a Master of Arts, Visual Arts by research at Deakin University. Miller lectured at the Ballarat University College (later Federation University) School of Arts in Printmaking and Drawing from 1994-1998, where her roles included Coordinator, Honours Program, Coordinator Printmaking, Lecturer in Printmaking and Honours Supervisor. In 2000 Sally Miller was an invited Artist-in-Residence and guest lecturer in Drawing and Printmaking at the School of Art, Australian National University, Canberra. She later became Art Director of Art Unlimited studio for adult artists with disabilities for St Laurence Community Services. 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 monoprints showing various depictions of volcanos. art, artwork, sally miller, volcano, available, staffmember, printmaking, monoprint

This is a wall decoration intended for a child's room or centre. It shows Humpty Dumpty and a girl nursery rhyme character and is believed to have been on the wall in a children's ward at the Warrnambool Hospital. The painters were A&A Henderson of Ballarat, believed to be Angus and Andrew Henderson who had a sign-writing and house decorating business in Ballarat in the early to mid 20th century. The business operated under the name Henderson Brothers. Angus Henderson was a well known Ballarat signwriter who taught signwriting at the Ballarat Technical Art School in the 1940sThis is a piece of cream canvas material on which are painted two nursery rhyme figures in various colours. There is some evidence of mould on the back of the canvas. A.& A.Henderson Ballarathenderson brothers, signwriters, ballarat

Of Maryanne Coutts' exhibition at the Ballarat Fine Art Gallery Maryanne Coutts wrote: 'The same old story' is a curious phrase. As usual I can't tell you exactly in words what the story is,simply that I hope that this body of work evokes characters and implies the actions and interactions that engender a story. For me the story if seeking itself, trying to understand what about itself is repeatable yet malleable, rememberable yet changeable. The Triumph of Gutenberg' celebrates the seemingly ordinary by manifold ways that information is transferred and transformed. It arises from a fascination with the way a thought evolves from one idea to the next, often repeating itself, but sometime making leaps and in the dark mutating. Famed for introducing movable type and the printing press to Europe in 1450, Gutenberg enabled the mass production of books. He has consequently become a symbol for the power of the dissemination of knowledge. Vehicles for repeatability, like printing, are myriad and range from specific codes, such as DNA, to more ephemeral language systems like visual and narrative. Stories are my favourite vessels of memory, of recording. It seems that a story can have certain characteristics that allow it to be recognised as a particular story, indeed, that allow it to be repeated withing different narrations, different readings. As a visual storyteller, I have been curious about how much can change while the story remains the same, Within this visual exploration of what I consider to be a consistent story, conveyed through different media, scales, shapes, and styles, I have allowed mutations, which I hope will illuminate the repetition. In some ways this work is a direct response to Poussin's 'The Triumph of Pan', whose arrangement of figures approaches a kind of formal abstraction. As I worked through the drawing, painting and print that are in this exhibition, I have looked increasingly to more recent interpreters of that tradition like Beckmann, Layered, then, withing this story are other stories, other histories. In a metaphoric sense repeatability and mutability characterize both how the work came into being and how, being something more than paper, canvas and pigment, it can travel audiences' neural pathways as both memories of sights seen, as new thoughts ans/or as old thoughts and memories now mutated. Maryanne Coutts, January 2003.Maryanne COUTTS (1960- ) Born Australia Maryanne Coutts studied at the Victorian College of the Arts (VCA), The University of Melbourne, 1979 -1981, the University of NSW (UNSW),1984 and achieved a PhD at Federation University Australia in 1999. She has exhibited extensively throughout Australia and internationally including UK, Spain and Thailand and is currently Head of Drawing at the National Art School, Sydney. 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.This work is presented on four linen canvases. It is a very large work showing a person working in an office. Donated under the Australian Government's Philanthropic Programme, 2005art, artwork, maryanne coutts, coutts, work, alumni, office, gutenberg

Maryanne COUTTS (1960- ) Born Australia Maryanne Coutts studied at the Victorian College of the Arts (VCA), The University of Melbourne, 1979 -1981, the University of NSW (UNSW),1984 and achieved a PhD at Federation University Australia in 1999. She has exhibited extensively throughout Australia and internationally including UK, Spain and Thailand and is currently Head of Drawing at the National Art School, Sydney. 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.Etching by Maryanne Coutts showing a corner of the Printmaking Studio at the University of Ballarat, Mount Helen Campus. The etching is presented in an the University of Ballarat Printmaking Artists' Book 1996.art, artwork, maryanne coutts, coutts, artists' book, printmaking, etching

Maryanne COUTTS (1960- ) Born Australia Maryanne Coutts studied at the Victorian College of the Arts (VCA), The University of Melbourne, 1979 -1981, the University of NSW (UNSW),1984 and achieved a PhD at Federation University Australia in 1999. She has exhibited extensively throughout Australia and internationally including UK, Spain and Thailand and is currently Head of Drawing at the National Art School, Sydney. 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.Etching by Maryanne Coutts depicting a portrait of a man wearing a hat and glasses. The etching is presented in the 1997 University of Ballarat Printmaking Artists' Book.Signed and dated lower right 'Coutts '97'art, artwork, maryanne coutts, coutts, printmaking, alumni

Kees HOS In 1956 Kees and his wife Tina made a new life with their two children in the arts community of New Zealand. In Australia Kees established the art school at Gippsland College of Advanced Education in 1971 with a radical multidisciplinary approach to art education. He generously delivered encouragement and opportunities to many people including lecturers, visiting artists and students. His small team literally built an art school from zero. Temporary accommodation in an old factory and service station in Morwell moved to three student-built studios on the Gippsland Campus. His highest recognition was 1997 when the names of Kees and Albertine Hos were added to the Wall of Honour in the Garden of the Righteous at Yad Vasheem in Jerusalem along with many others who put their lives on the line against the biggest killing machine the world had known. The ‘hiding-place’ in Kees and Tina’s home was discovered but Tina managed to rescue a baby as her own while the Jewish parents were transported to Auschwitz and Dachau. Kees was on the run using his printmaking skills to forge passports but was eventually captured and jailed, the war’s end saving his life. Gippsland Director's Collection, Acquired 1973.Signed and dated lower right in pencil "Kees Hos '64"artist, artwork, kees hos, gippsland campus, gippsland director's collection, printmaking, wall of honour in the garden of the righteous

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby.Stoneware bowl with flange. Glazed in white matt crackle with a faint copper red tint. Dry black glazed rim. Gift of the artist.Robin Welch stamped on baseceramics, robin welch, gippsland, gppsland campus, jan feder memorial ceramics collection

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. Stoneware bowl on a tall foot. Calcium matt glaze, underglaze colour with underglaze metallic lustre. ceramic, jan feder memorial ceramics collection, robin welch, gippsland campus, mungeribar pottery, stadbroke pottery

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby. Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965.Stoneware bowl with split flange, glazed with matt white, black and a touch of copper red Tobin Welch stamped on basejan feder memorial ceramics collection, ceramics, robin welch, gippsland campus, jan feder

Neville Bunning taught Sculpture and ceramics at the Ballarat Technical Art School, a division of the Ballarat School of mines, from 1945 until 1964. During that time he formed the Ballarat Artist's Society, a group that sponsored art and invited modernist artists to visit Ballarat to speak to students and the public. Bunning wrote a weekly column in 'The Courier', where his insightful comments made readers aware of significant trends in art. 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.A framed unfinished portrait by Neville Bunning, teacher of Ceramics at the Ballarat School of Mines. The portrait of the artists shows a camera around his neck, a ceramic pot in one hand, and some of Neville Bunnings paintings in the background.art, artwork, neville bunning, bunning, available

Neville Bunning taught Sculpture and ceramiCs at the Ballarat Technical Art School, a division of the Ballarat School of mines, from 1945 until 1964. During that time he formed the Ballarat Artist's Society, a group that sponsored art and invited modernist artists to visit Ballarat to speak to students and the public. Bunning wrote a weekly column in 'The Courier', where his insightful comments made readers aware of significant trends in art. 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.Oil painting depicting a horse and rider.art, artwork, neville bunning, horse, bunning, available

Neville Bunning taught Sculpture and ceramics at the Ballarat Technical Art School, a division of the Ballarat School of mines, from 1945 until 1964. During that time he formed the Ballarat Artist's Society, a group that sponsored art and invited modernist artists to visit Ballarat to speak to students and the public. Bunning wrote a weekly column in 'The Courier', where his insightful comments made readers aware of significant trends in art. 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.Portrait of a girl in yellow. artwork, art, neville bunning, girl, child, bunning, available, portrait

Neville Bunning taught Sculpture and ceramiCs at the Ballarat Technical Art School, a division of the Ballarat School of mines, from 1945 until 1964. During that time he formed the Ballarat Artist's Society, a group that sponsored art and invited modernist artists to visit Ballarat to speak to students and the public. Bunning wrote a weekly column in 'The Courier', where his insightful comments made readers aware of significant trends in art. 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, neville bunning, bunning

The Ballarat School of Mines Athletics Team of 1919 were the inaugural winners of the Inter Techncal Athletics Competition known as the Herald Shield. The team is photographed with a repouse shield which was made by the Ballarat Technical Art School (a division of the Ballarat School of Mines) The 1919 Ballarat School of Mines Students' Magazine reports: "One of the most successful gathering ever witnessed in Ballarat took place on the City Oval on Saturday 9th, when the Technical Schools of Victoria particiapted in their first combined school sports. This event was the first of its kind ever promoted, and provided an interesting and exciting display of athletics. Last yeat the Junior Technical Schools of Victoria competed for the "Winner Cup" for pepetual competition, in which Swinburne Technical School was the successful winner. This latter competition proved such a success that it was decided to incorporate with the senior Technical Schools, and form an association to encourage sport throughout the Technical Schools of the State. This was achieved by the generous response of the proprietors of the "Herald," who kindly presented a handsome shield to be known as the "Herald Shield' for pepetual competition for the Senior Technical Schools of Victoria. This, by the way, was designed and executed at our own Art School. ..." David McGrath later played 0 game and kicked 6 goals for Fitzroy Football Club in the Victorian Football League (later Autralian Football League).A black and white image of the first inter-technical school Champions in Athletics. Back Row left to right: R.S. Dale, N. Hay, D.G. McGrath, F.M. Larkin Front Row left to right: R. Fleming, W.P. O'Halloran, D. Miller, W. Shttock Front: H.G. Wakelingn. hay, d.g. mcgrath, f.m. larkin, w.p. o'halloran, d. miller, w. shttock, r.s. dale, r. fleming, h.g. wakeling, w. shattock, david gullen mcgrath

"I am an Australian of German parents born in Persia. I was taught by Peter Rushforth, with a very strong Japanese influence. My work attempts to incorporate these four elements of my history. For form, my influence comes from Art Nouveau, or Jugendstil as it is called in Germany. Techniques are informed by pottery from Japan, China, Korea and Germany. My colours are inspired by the Australian landscape. Using the language of woodfiring, I create a personal vocabulary with new subjects, grammar and syntax, which make each pot a one-off object containing all my diverse influences." (Roswitha Wulff)Roswitha WULFF (1941- ) Born Tabrize, Iran. Arrived Austrqalia c1949 Roswitha Wulff spent her early childhood with her mother, potter Helma Klett, in Germany. In 1964, she obtained a ceramics certificate from the East Sydney Technical College. From 1964-65, she worked with Robin Welch and Ian Sprague at Sprague's Mungeribar Pottery in Upper Beaconsfield, VIC. In 1966 she worked at the Sturt Pottery in Mittagong, NSW under Les Blakebrough. Between 1967 and 1969 Roswitha Wulff travelled overseas, spending 6 monthe with Robin Welch after his return to England and 9 months as a full-time thrower at Briglin Pottery, London, as well as working in potteries in Denmark and Germany. From 1969-70, she worked in North-West Pakistan as a research scholar for the Smithonian Institute and the University of NSW. Returning to Australia in 1970, she set up a workshop in Paddington, NSW, with the help of an Australia Council grant and taught part-time at the East Sydney Technical College and the Willoughby Workshop Art Centre. Since then she has been a lecturer and Head of Ceramics in many institutions, including the National Art School. In the 1990s she moved her studio to Botany Bay, NSW.. While working with the vessel form, she sees her pots as abstract landscapes. Recently she has also been working with wall tiles. During a residency at the Canberra School of Art in 2002, she developed tiles that looked like woodfired pillows with soft rounded rims. In 2007, she used such tiles to create a mural commemorating the Sesquicentenary of St Vincent's Hospital in Paddington. Woodfired stoneware bowl with flay ashSigned on baseroswitha wulff, jan feder, jan feder memorial ceramics collection, woodfire, ceramics, gippsland campus, botany bay studio pottery

Neville BUNNING (1902-1990) Born Rockhampton Neville Bunning taught Sculpture and Ceramics at the Ballarat Technical Art School between 1945 and 1964. During that time he started the Ballarat Artists's Society, a group tat sponsored art and invited modernist artists to visit Ballarat to speak to students and the public. Bunning wrote a weekly rt column in 'The Courier' where his insightful comments made readers aware of significant trends in Art. 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 painting of a bird in flight.art, artwork, neville bunning, watercolour, ballarat artists society, ballarat school of mines, available, rooster, bird, animal

Janet MANSFIELD (1934-2013 ) Born Sydney, New South Wales Janet Mansfield studied Ceramics at the National School of Art, East Sydney Technical College in 1964 to 1965. She received a Crafts Board Grants in 1974 to study in the United States of America; to research salt glaze technique in 1975; to exhibit in Japan in 1985; to travel to Hungary fir a symposium, and an Australia-Japan Foundation Grant in 1977 to study in Japan. She was a visiting lecturer to the Gippsland Centre for Art and Design in 1980 and a Spotkanie guest in 1984. Her work was fired to wood kilns and taken to stoneware temperatures. She used salt for shorter firings, or in the anagama kiln depended on the ash and flame for glaze effects. Janet Mansfield has been editor of 'Pottery in Australia' and 'Ceramics: Art and Perception'. In 1987 she was awarded an Order Of Australia Medal for services to art and ceramics. In 1980 Janet Mansfield was a visiting lecturer at the Gippsland Institute of Advanced Education. She was a guest at Spotkanie in 1984.Wheel thrown wood fired and salt-glazed stoneware.jan feder memorial ceramics collection, ceramics, janet mansfield, gippsland campus, visiting lecturer, spotkanie

Juli HAAS (1952–2014) Born Melbourne Juli Haas studied under Euan Heng’s at the Monash University Churchill campus. Haas completed a Bachelor of Arts in 1989, a Graduate Diploma of Arts in 1990 and a Master of Arts (Research) in 1995. Juli Haas has won Sir John Sulman prize in 1995 at the Art Gallery of NSW and in 1994 and 1997 the Martin Hanson Memorial Works on Paper Prize. The Gippsland Art School collects examples of limited edition prints to use as a teaching collection. The collection is largely unframed and comprises works from the Print Council of Australia, staff members and former students.Unframed lithograph4/5juli haas, gippsland campus, gippsland printmaking teaching collection, printmaking, alumni, churchill, dog, fauna

Marjorie Evelyn GARNER Although not a fully enrolled student, Majorie Garner attended Pottery classes at the School of Mines) run by Neville Bunning. She also took advantage of other classes offer to 'non-students' such as oil painting classes for women run by Geoff Mainwaring. These popular extension programmes promoted the Ballarat School of Mines and their Technical Art School, especially among middle-class women who would otherwise have had little connection with the institution. Majorie was married to Leslie Garner, the Principal of the Ballarat Junior Technical School, a division of the Ballarat School of Mines. Two hand thrown ceramics 'sherry glasses' with the Ballarat School of Mines shield in oxide. The glasses are houses in a small blue and white lidded box. marjorie garner, leslie garner, geoff mainwaring, neville bunning, alumni, ceramics, ballarat school of mines, ballarat junior technical school