The Eureka Circle was commissioned by the City of Ballarat to mark the 150th anniversary of the Eureka Rebellion.The artwork is of historic and aesthetic significance to the people of Ballaratcorten steel artwork with flag pole and Eureka flag at centre

Item number 17 in the catalogue is a reference to sheet music, a tune dedicated to Mrs Charles Schomberg. The original copy is located in the Australian National Maritime Museum.Although the original piece of sheet music is in the Australian National Maritime Museum, the catalogue makes reference to the unique sheet music and to Mrs Charles Schomberg. Of general interest.Catalogue of artworks with reference to a piece of illustrated sheet music The Schombergschomberg, charles schomberg, let her go to hell....., shipwrecks, shipwreck coast

Wes WALTERS (06 August 1928 - 19 August 2014) Born Mildura, Victoria From 1940 t0 1945 Wes Walters attended the Ballarat High School. He then studied architecture at the Gordon Institute in Geelong, followed by art at the Ballarat School of Mines (a division of the Ballarat School of Mines). During his time at the Ballarat Technical Art School (later Federation University Australia) Walters studied under Neville Bunning and Taylor Kelloch, and was awarded the Ballarat Ladies Art Association Scholarship in 1948. He next moved to Melbourne to work as a commercial artist with the George Patterson advertising agency. Each evening Walters studied life drawing at the Victoria Artists’ Society and taught himself anatomy. Wes Walters excelled in both abstract and realist art. He won the Art Gallery of Ballarat’s Minnie Crouch Prize for watercolour art in 1953 and 1956. He won the prestigious Archibald Prize in 1879 for his portrait of Phillip Adams. 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 abstract mixed media artwork featuring natural timberwes walters, artwork, artist, available, abstract

Michael KITCHING (1940 - ) Born Hull, England Arrived Australia 1952 Without any formal art education, sculptor, painter, print maker and designer Mike Kitching emerged as one of the original voices of the 1960s art movement in Australia. 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.Metal and timber 3-dimensional wall artwork in grey and red.art, artwork, michael kitching, kitching, sculpture, wall 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 ceramic artwork made from slip cast earthenware.art, artwork, louise curtis, ceramics

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 large tapestry woven from the artwork 'Diggers' by David Larwill. art, artwork, david larwill, victorian tapestry workshop, weaving, textiles

This is a colour photograph of a gum leaf painting that is one of many done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by A.W. Eustace. A man is panning for gold in a stream with a house and hills in the background. Under glass in a decorative gilt and cream coloured plastic frame.Hand writing on tape at back of frame: COPY OIL ON GUM LEAF 10" x 5" A W EUSTACE owned by Betty & Alf Brownlie 2260alfred eustace, gum leaf painting, chiltern, gold panning, gold

Scott PEARCE (1972 - ) Scott Pearce was awarded at Ballarat Arts Foundation Award in 2005. He completed at Bachelor of Visual Art: Painting (Honours) at the University of Ballarat (now Federation University) in 2007. 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 was one of a body or ten paintings completed in 2004 while Scott Pearce was studying Visual Art at the University of Ballarat (later Federation Univesity)art, artwork, scott pearce, pearce, gippsland campus, churchill, shopping trolley

Robert Thomas Miller Born in Melbourne in 1916 Studied commercial art at RMIT and for many years worked as graphic designer and design director at ACI Ltd. Member of the Victorian Artists's Society (Council member since 1965), Australian Guild of Realist Artists, Old Water Colour Society Club (past president), Australian Watercolour Institute, Hughesdale Arts Group (past president), Burnie (Tas.) Coastal Art Group. His watercolours have won over 40 major awards, including Victorian Artists' Society, 1973 Artist of the Year Award, and the Rotary Club of Camberwell Watercolour Prize (twice). Represented in many Australian collections both public and private.Maritime ArtRobert T. Miller, Mission to Seafarers Victoria CollectionContemporary framed in limed wood, mounted and glazed watercolour painting by R.T. MILLER in portrait format. Mat mount is white. Image features freighter with black hull at mooring in dockland setting; wire hanging systemInterpretation label adhered to back, includes photographic portrait of the artist Value on label Signature M4 in black markermarine painting, port melbourne, artwork, docklands, tug boat, robert thomas miller, robert t. miller, r.t. miller, artwork-paintings, tugboat

David McMASTER David was a student at University of Ballarat (now Federation University) Arts Academy when this work was undertaken. In 2007 David McMaster completed a Bachelor of Visual Arts (Fine Arts) Honours at the University of Ballarat Arts Academy, after undertaking a Bachelor of Visual Arts (Fine Arts) at the University of Ballarat Arts Academy from 2004 to 2006, with major studies in Painting, and minor studies in Ceramics and Papermaking. 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.Painting of Federation University Australia Vice Chancellor Professor David Battersby, on custom made shaped stretchers.art, artwork, david battesby, david mcmaster, vice chancellor, portrait, mcmaster, federation university

The painting was commissioned by ANZCA to mark the presidential term of Dr Lindy Roberts from 2012 until 2014. The artist Robert Hannaford has a long history of painting portraits of politicians and distinguished professionals in the field. Oil on canvas portrait of Dr Lindy Roberts seated in front of a plain brown background. She is facing front on with legs crossed, one hand over the other resting on her knee. She is wearing the Presidential medal which is slightly covered by her multi-coloured jacket of pink, grey and white. The painting is set in a wide timber frame.[artist signature and date, lower RHS] HANNAFORD ' 13painting, anzca president, roberts, lindy, hannaford, robert

In the early 1900s, Mary Sweeney commissioned artist Charles Bertie to paint the main house at Culla Hill. He charged her 5 shillings for the picture and 18 pence for the frame She took this painting with her when she married Michael Carrucan in 1910 and it hung in the Dalton Street farmhouse for many years. At a later time (1960s), the Burstons (the then owners of Culla Hill) had a card printed from the painting. The original sketch was photographed in 1970 for reproduction in the Shire history publication Pioneers & Painters (1971). The very fragile original was kept in the Council stoungroom and suffered significant damage to its edges over the years, no doubt it has also yellowed. A comparison of the original as digitised (2022) with the negative taken 50 years earlier also reveals that the left 20% of the sketch has been cut off, probably due to damage. In June 1842 Thomas Sweeney applied to the Superintendent, C.J. La Trobe, asking permission to purchase a portion of the recently surveyed ‘Parish of Nillumbik'. His request was allowed and handed to the sub-treasurer and Land Board. He paid £110 for 110 acres and called the land 'Culla Hill'. He first built a temporary house, a slab hut 12 feet by 10 feet, in which he lived with his wife, an Irish girl whom he had married in 1838. (His first wife had been drowned at Port Jackson.) Some time later he built a permanent residence on the model of a Tipperary farmhouse. It was a rectangular building of hand-made bricks and stone quarried from the Western Hill with a recessed verandah in front, and bore a slate roof. The out-buildings consisted of a detached kitchen, stable and a barn. It was in this house that succeeding generations of Sweeneys were reared. The original slab hut became a washhouse and survived till recent years. 'Culla Hill' became a social centre for the district, church services being held there on various occasions. The first wheat crop in the district was planted by Sweeney who also supplied the first grain for a mill that later was built at Eltham. He took an active interest in the development of the district. At this time travelling people--many of them runaway sailors or convicts--often passed the settlement, and some of them stayed and worked with Sweeney. A tribe of aborigines living on the river below 'Culla Hill' were apparently on good terms with Sweeney, for it is said that they helped him with the building of his house. Very little is known about the aborigines who originally lived in the Eltham district. There must have been many of them; their stone axes, grinding stones, and anvil stones have been found in the gullies around Research and canoe trees and artifacts were found on the Kangaroo Ground hills. Early settlers remembered a tribe that camped on the site of the present railway bridge at Eltham. They held corroborees there and visited settlers for hand-outs of 'flour and bacca’. There was an aboriginal reserve on the Yarra, upstream from Eltham, but most of those who had collected there later went to live on the Pound Reserve at Warrandyte, where the last aborigines in the area finally ended their days. The Pound Reserve, of 1,103 acres, was established at Pound Bend in 1841. The chief protector, George Robinson, and his four assistants, were given instructions to care for the aged and sick, to provide blankets and rations for all who lived there, to train the able-bodied men in agriculture and other trades and to find them jobs. The Yarra blacks, who later came under the protection of William Thomas, have been described as a 'fine race, well made and above the average height'. Thomas Sweeney died on 6 September 1867 and was buried in the Eltham Cemetery. To his wife Margaret and his son John, he left the entire property of 'Culla Hill'. To his other son Patrick, he left 150 acres, including a small two-roomed wooden cottage. He had five daughters: Kate and Margaret (twins) who were born in 1842, Ellen 1846, Annie 1848 and Johanna 1851. John Sweeney farmed 'Culla Hill' until his death in 1909. He had ten children; one of them, Mary, became Mrs M. Carrucan whose son, Mr John Carrucan, still lives at Eltham. 'Culla Hill' passed out of the Sweeneys possession in 1939 and was renamed by its new owners, 'Sweeneys', in memory of its pioneers. - Pioneers & Painters: One Hundred Years of Eltham and its Shire, Alan Marshall 1971, pp10-12 Original colour sketch artwork 4 x 5 inch black and white negative of original colour sketchculla hill, art, charles bertie, drawing, mary carrucan (nee sweeney), sketches, sweeney's cottage

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape with creek and surrounding trees by A.W. Eustace, under glass, in original dark brown timber frame with beige matte and a twist wire stand. One of 3 miniatures. Sticker on back: 188 (original Registration number)alfred eustace, chiltern, oil, landscape

"The fist references the Black Lives Matter movement and also represents the strength of Indigenous peoples all over the world and symbolises solidarity and justice for everyone affected by systematic racism. Bunjil (wedge-tailed eagle) is flying high on the building. He is the creator spirit for Wurundjeri people who looks over us and protects us. Bunjil represents healing and power to our people. The blue circles and lines represent revival and waterways; in particular, they depict the Birrarung (Yarra River), which is very significant for the Wurundjeri people. Our people are known as the Manna Gum people. The leaves in the artwork highlight Wurundjeri people and their Country. These leaves also represent the cleansing of negative spirits. The Manna Gum leaf is also an important symbolic offering in our traditional Welcome to Country ceremony. Leaves are offered to visitors as they are granted safe passage through our land. They are made welcome to everything from the tops of the trees to the roots of the earth. We ask that they take care of the land, plants and animals and to respect the protocols and rules of the Traditional Owners whilst on our Country."In 2020 Council declared its support for the global Black Lives Matter (BLM) movement. In consultation with Yarra City Council's Yana Ngargna advisory group a motion was prepared and passed unanimously by all Councillors. A number of actions were generated from this decision; one of which was for Council to commission a large-scale mural that aligned with the movement. Emerging artist Ky-ya Nicholson-Ward, a proud Wurundjeri, Dja Dja Wurrung, Nguarai Illam-Wurrung, German and Irish woman, created the mural installed on a building in Peel Street Park, Collingwood. Selected by Council's Yana Ngargna, Black Lives Matter Working Group the artwork identifies the cultural importance of the local area to the Wurundjeri Woi Wurrung people as the Traditional Owners. With a strong focus on Aboriginal identity the mural outlines the local context of the Black Lives Matter movement, which is connected to racism, policing of Aboriginal and Torres Strait Islander peoples and associated deaths in custody. The artwork acknowledges the ongoing challenges faced by Aboriginal community members and their struggle to survive white systems, policies and institutions. Ky-ya's mural tells the story of Aboriginal resilience, strength and self-determination; and will support the process of healing. It is a celebration of the local Aboriginal and Torres Strait Islander community; the significant Aboriginal history of Fitzroy, Collingwood and surrounds; and community's continuing cultural connection to the area. Importantly, this artwork provides a platform to educate a broader audience about the local context of the Black Lives Matter movement and Aboriginal deaths in custody. The mural will activate this site, enliven the area, promote inclusion, incite conversation and contribute to the creative capital of this locale. A welcoming environment for Aboriginal and non-Aboriginal communities.Aboriginal Lives Matter Ky-ya Nicholson WardOn a black background a hand fist (strength, solidarity and justice) is placed at the centre of the building; Bunjil (wedge-tailed eagle) is depicted flying high on the building; blue circles and lines represent revival and waterways (Birrarung-Yarra River) and the leaves in the artwork highlight Wurundjeri people (cleansing of spirit and welcome to Country)The artist name 'Ky-ya Nicholson Ward' painted in white, low right of the wall facing into Peel Street Park. black lives matter (blm) movement, wurundjeri woi wurrung, bunjil, identity, birrarung, country

Robert JENYNS (1944 - 16/11/2015) Born Melbourne, Victoria Bob Jenyns' career spanned over four decades. Producing sculptures, prints, drawings, and paintings hee has participated in many of Australia's most significant art exhibitions including the first Biennale of Sydney (1973), the 1973, 1975 and 1978 Mildura Sculpture Triennials, the 1981 Australian Perspecta, the 2nd Australian Sculpture Biennale, and the 1990 Sculpture Triennial. Jenyns was a finalist in the 2006 Helen Lempriere National Sculpture Award, and in 2007 won the award with his work Pont de l'archeveche. At the age of 16 Jenyns studyied advertising art at the Caulfield Institute of Technology. He then studied fine art with artist/teachers including Ken Scarlett, Kenneth Jack and Fred Cress, and night life drawing classes at the National Gallery schools under John Brack. After graduating the 20 year old Jenyns taught sculpture and carving at Aspendale Technical School (Melbourne). Two years later he moved to Daylesford and where he taught art until 1978, having received teaching qualifications from Hawthorn Teachers College in 1972. From 1979 Jenyns was based in Tasmania, initially lecturing in sculpture at the Tasmanian School of Art and later serving as head of the sculpture department until 2005. Gift of the Jenyns family, 2021Painting of a red truck painted onto a stretched canvas.truck, bob jenyns, robert jenyns, transport, available

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.Wheel thrown terracotta vase decorated with oxides and stains. If you can provide information on this artist or artwork please use the comments link below.art, artwork, jill simmons, ceramics, tafe ceramics collection, available, available ceramics

Moran was an Australian realist artist who specialised in floral works in oil. She was highly regarded for her skills as an artist as well as her ability to share her knowledge of painting. realismRural City of Wangaratta Collection, Wangaratta Art Prize Grand Winner 1986.A still life oil painting of pink and white chrysanthemums arranged in a glass vase with rounded gum leaves which has been placed on top of a round dinning table which has been covered in a white tablecloth.Obverse: P. Moran/ (bottom right corner) WANGARATTA ART SHOW/ GRAND WINNER 1986/ (plaque mounted on frame)wangaratta art gallery, patricia moran, still life, flowers, chrysanthemums, painting

Black and white photo shows the front of the Rutherglen State School No. 522 with women in long dresses and big hats. Probably for the opening of the school. The colour photograph is a post card reproduction of a painting "The Sabbath Hat" from Henry John Dobson, R.S.W. (1858-1928)Two postcards pasted onto either side of a piece of green cardboard, probably cut from an album. One photo is a black and white photograph. One is a colour reproduction of a painting.At bottom of black and white photograph: "State School, Rutherglen" On the top left corner of the colour photograph: "A Happy New Year" At bottom right corner of the colour photograph: "The Sabbath Hat" rutherglen state school, school buildings, sabbath hat painting, henry john dobson

Professor Teik Oh was appointed ANZCA president in 2000 until 2002. The portrait was commissioned by ANZCA to commemorate the presidential term of Professor Teik Oh and was presented at the Anaesthesia Western Australia Annual Winter Scientific Meeting on the 7th August, 2004. The artist Ben Joel is a Western Australian artist, well known for his commissioned portraits and contemporary pieces in most media. Joel's artworks are represented in national private and public art collections. Oil painting on canvas of Professor Teik Oh seated on a chair at an angle facing left, wearing the Presidential badge without the Presidential gown. Mounted in a plain gold frame.painting, anzca president, oh, teik, joel, ben

Robert JENYNS (1944- 16/11/2015) Born Melbourne, Victoria Bob Jenyns' career spanned over four decades. Producing sculptures, prints, drawings, and paintings he has participated in many of Australia's most significant art exhibitions including the first Biennale of Sydney (1973), the 1973, 1975 and 1978 Mildura Sculpture Triennials, the 1981 Australian Perspecta, the 2nd Australian Sculpture Biennale, and the 1990 Sculpture Triennial. Humour and subtle satire is a focus of his work. Jenyns was a finalist in the 2006 Helen Lempriere National Sculpture Award, and in 2007 won the award with his work Pont de l'archeveche. At the age of 16 Jenyns studyied advertising art at the Caulfield Institute of Technology. He then studied fine art with artist/teachers including Ken Scarlett, Kenneth Jack and Fred Cress, and night life drawing classes at the National Gallery schools under John Brack. After graduating the 20 year old Jenyns taught sculpture and carving at Aspendale Technical School (Melbourne). Two years later he moved to Daylesford and where he taught art until 1978, having received teaching qualifications from Hawthorn Teachers College in 1972. From 1979 Jenyns was based in Tasmania, initially lecturing in sculpture at the Tasmanian School of Art and later serving as head of the sculpture department until 2005. Gift of the Jenyns Family, 2021Painting of a blue truck painted onto stretched canvas.truck, bob jenyns, robert jenyns, available, transport

Kurt Winker was born in Germany in 1902 and was a survivor of the "Arandora Star". He was sent to Australia on the "Dunera" where he was interned at Tatura 1940-1945.Profile head and shoulders portrait of probably a male internee dressed as a woman. Wearing a straw hat with netting around it. Rimless glasses. A green scarf around the neck that looks like plaid or tartan and a pink/burgundy coloured coat.Tatura Summermodel 1941 on mat board above the painting "The Happy Groom" Kurwin 42 on mat board under the painting Tatura 42 on bottom left hand side of paintinginternee, groom

Soft covered book with an indigenous artwork featuring ochre, blue and yellow.non-fictionsue turale, nursing, indigenous nursing, aboriginal, indigenous nursing education, recruitment, retention, population, health, remote area nurses, royal commission ito aboriginal deaths in custody, life expectency, national aboriginal health strategy

Artwork. Norman Penrose collection: Various drawings in pencil, ink or other.n. Penrosedrawing, pencil, norman penrose collection, artwork, drawings

Step forth with courage

Exhibited at 1986 Sunshine Community Arts Program ExhibitionMixed media artwork - Figure of a woman in movement against red background.

Wes WALTERS (06 August 1928 - 19 August 2014) Born Mildura, Victoria From 1940 t0 1945 Wes Walters attended the Ballarat High School. He then studied architecture at the Gordon Institute in Geelong, followed by art at the Ballarat School of Mines (a division of the Ballarat School of Mines). During his time at the Ballarat Technical Art School (later Federation University Australia) Walters studied under Neville Bunning and Taylor Kelloch, and was awarded the Ballarat Ladies Art Association Scholarship in 1948. He next moved to Melbourne to work as a commercial artist with the George Patterson advertising agency. Each evening Walters studied life drawing at the Victoria Artists’ Society and taught himself anatomy. Wes Walters excelled in both abstract and realist art. He won the Art Gallery of Ballarat’s Minnie Crouch Prize for watercolour art in 1953 and 1956. He won the prestigious Archibald Prize in 1879 for his portrait of Phillip Adams. 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 abstract artwork which involves the use of airbrush and torn paper.wes walters, abstract, available