Kingsley MARKS (1929 - ) Kingsley Marks trained at the South Australian School of Art before teaching secondary schools. He became interested in pottery after attending a class one night a week at the John Martins building in Adelaide. He received grants to travel and study ceramics in Mexico the US and Canada, then taught for twenty years at the Torrens and South Australian Colleges of Advanced Education. Upon his retirement in 1985, he moved to Brentwood near Minlaton and established the Brentwood Pottery, specialising in sculptural work using a range of forming, decorative and firing techniques. (https://www.flickr.com/groups/1281707@N21/discuss/72157641492795284/) Kingsley Marks was a guest at Strezleckie Spotkanie in 1984. 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.Electric kiln-fired slipcast decorated earthenware. Kevin Marks uses the mark "K" on his work. Gift of the Artist, 1984ceramics, kingsley marks, artwork, gippsland campus, churchill, brentwood pottery, artist, jan feder memorial ceramics collection

William FRATER (1890-1974) Born 31 January 1890 at Ochiltree Castle, near Linlithgow, Scotland Arrived Melbourne, Australia in September 1910 In a lecture on modern art in 1925, Frater stated the basic position from which the rest of his oeuvre stems: 'Copying nature is not an art; … to copy effects of light tends to destroy form and colour'. Frater gave aggressive leadership to the small group of modernists in the 1920s. His example, teaching, lecturing and crusty style of polemic did much to disrupt the academic style as the arbiter of pictorial values and to pioneer a change of taste in the community.His approach in the 1930s was markedly indebted to Cézanne, especially in the portraits which predominated until his retirement from stained-glass designing in 1940. (L. J. Course, 'Frater, William (1890–1974)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/frater-william-6239/text10739, published first in hard copy 1981, accessed online 3 May 2016.) Jock Frater was on of the first modern painters who opposed the fashionable and academic schools of painting. During the 1930s he exhibited with the Contemporary Art Group along with Arnold Shore and George Bell. During a very conservative period in Australian Art John Frater advanced the cause of innovation and modernism. 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 seated nude study in oil on paper. Lower centre in pencil "W. Frater". In lighter pencil "painted 1932"art, artwork, frater, william frater, life drawing, nude, oil on paper, portrait, jock frater, william jock frater, available

Ron SKATE (1913- 1991) Born Newstead, Victoria This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed landscape showing the cliffs at Point Addis near Anglesea, Victoria. signed l.l. 'Skate'art, artwork, ron skate, skate, r. clayton skate, landscape, available

Elwyn (Jack) LYNN (6 November 1917 – 22 January 1997) Born Canowindra, New South Wales Sydney based artist Elwyn Lynn was a self-taught artist who often used unconventional painting media and expressive surfaces to create abstract work. He trained as a teacher, and was a teacher of English and History in Sydney Secondary schools until 1968. From 1969 to 1983 Elwynn Lynn was Curator of the Power Gallery of Contemporary Art at Sydney University where he built up an international collection, which is now within the Sydney Museum of Contemporary Art. He was an art critic at The Australian for many years, and wrote several books, including one on the artist Sir Sidney Nolan. Elwyn Lynn was awarded Membership of the Order of Australia in 1975. He won the Wynne Prize at the Art Gallery of NSW in 1988, received an Honorary Doctor of Letters from the University of Sydney in 1969, and received the Emeritus Award from the Australia Council in 1994. 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 mixed media artwork. Like most of Elwyn Lynn's work 'The' is essentially abstract, although evoking a sense of landscape. " Lynn’s heavy textures were created by mixing polyvinyl acetate (PVA) with sand, cement or plaster, after which it was left to dry in the sun or near a radiator. With the upper level drying and hardening first, its skin could be cut, sliced, poked, prodded and distressed, pushed into folds and corrugations." (https://www.charlesnodrumgallery.com.au/artists/elwyn-lynn/elwyn-lynn/, accessed 22 October 2019)art, artwork, elwyn lynn, abstract, available

Max MIDDLETON (1922-2013) Born Melbourne In a career spanning 60 years, Max Middleton is known as a 'plein air' landscape painter the artist loved to paint sunrises, aiming to capture what he saw on the spot in paint. Capturing the light was crucial to his artworks. Max Middleton studied Drawing at the National Gallery School under William Rowell in 1938, and painting under Harold Septimus Power in 1940. The first of Middleton's 68 professional exhibitions took place in 1946. 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 oil painting of a landscape near Tallangatta.art, artwork, max middleton, landscape, tallangatta, available, middleton, oil on canvas

This work won the Open section, as well as the acquisition prize, in the Buninyong Gold King Festival 1998. 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 colour photograph of a bush shed illuminated by the sun. The photograph was taken at Vectis near Horsham, Victoria. On backing board 'Katherine Birkin Sun Gilded Shed $280'art, artwork, katherine birkin, photograph, vectis, horsham, available, buninyong gold king festival

Neville BUNNING The whisky distillert was at te foot of Mt Warrenheip. Situated at tje site of a water spring, it later bacame Cottonwood Springs. The Warrenheip breweries near the spring were well established when Mr Henry Brind, opened Brind’s Distillery in 1864. At that tome they claimed to be the first of its kind in Australia, and “the only place where pot stilled whisky was manufactured in the colony.” 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.Oil painting of an old distillery at Dunnstown.art, artwork, dunnstown, distillery, brinds, available, mt warrenheip, neville bunning

Albino PAGANETTI (1915-1974) Born Victoria. This work won Albino Elvezio (Albert) Paganetti won third place in the Department of Agriculture’s poster competition for their official journal in 1937. The previous year, he took home several prizes at the Wiltshire Poster Contest, including first for ‘Bryant and May’; first for ‘Healing’s Batteries’, and second for the Royal Melbourne Show. A MacRobertson prize-winner, when Paganetti, completed his commercial art course at the Ballarat Technical Art School, he accepted a design position at Morshead and Co., Ballarat. Albert’s farming family lived at Italian Hill, near Daylesford, where his father was a vigneron. 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.commercial artFramed original poster, gouache on paper, c1935 In the 1936 Ballarat School of Mines Annual Report it was stated: "It is my pleasure to report a most successful year in the Technical Art School. I the Annual Poster Competition for Technical Schools, organised by Wiltshires Pty Limited, 16 prized valued at 33 pounds 8 shillings - out of 23 prizes valued at 56 pounds - were won by our students.art, artwork, paganetti, poster, ballarat technical art school, farmer, jourmal

The swamp is now known as Lake Wendouree 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.Black and White lithograph in conservation 'window' mount. art, artwork, ballarat, lake wendouree, cogne, francois cogne, deutsch & ferguson, swamp

Christopher HEADLEY Born York, England Arrived Australia 1974 Chris Headley studied at York School of Art before majoring in Ceramics at the Central School of Art in London, learning to throw with (the late) Michael Casson and hand-build with Gordon Baldwin. Chris graduated in 1973 and set out for Australia. He travelled overland across Europe and Asia, through Turkey, Afghanistan and Iran. He was invited to attend a traditional wedding in Pakistan by someone he made friends with on the bus trip from Isfahan to Teheran, got lost several times in India and ran out of money in Thailand. Eventually, a year after leaving England, he arrived in Australia, where he has lived and worked ever since. He undertook his Master’s degree at the Australian National University, graduating in 1991; and in 1999, with Dr Owen Rye as his supervisor, gained his PhD from Monash University, Victoria. (http://www.christopherheadley.net/#!about) While artist-in-residence at the Arts Academy, Federation University in 2009 Chris was spotted dragging his ceramic figures and photographic equipment across mullock heaps near Ullina, around Lake Wendouree and inside the Art Gallery of Ballarat where he was photographing Mount Warrenheip. These figures were used in the photographs. 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.Two white earthenware glazed ceramic figures, one with a kangaroo head.art, artwork, christopher headley, ceramics, sculpture, artist in residence, figures

Jeff WOODGER Born Bendigo, Victoria Jeff studied art at La Trobe University in 1986, and a Graduate Diploma in teaching in 1989. He worked as a teacher from 1990 to 1998. In 1994 Jeff was awarded a Master of Arts from La Trobe University. He then studied at the prestigious Slade School, London and the National Gallery of Art in Washington D.C. Jeff Woodger completed a Doctor of Philosophy (Fine Art) at University of Ballarat (now Federation University) in 2006. This work was part of the exhibition assessment for this study. Jeff Woodger has lived and worked in Japan regularly since 1994. His passion is to paint post romantic landscapes in the classical style which are deeply inspired by many of the seventeenth century greats such as Claude Lorraine and Salvator Rosa. 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.art, artwork, clunes, landscape, artist, jeff woodger, alumni

This work was undertaken in 2001 when the artist was undertaking an Honours year at the University of Ballarat Arts Academy (later Federation University). This item is a part of the Federation University School of Business Art Collection. The Federation University Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed Digital Limited Edition Print by Michael Shiell. "The woven form was made at 'Blue Waters' near Creswick. I remember that I went out hoping to make something and I had a few mediocre starts but nothing really inspired was popping for me. Eventually I sat on the bank and started tossing little pebbles into the water. Finally the immediacy and ephemerality of the dissipating ripples struck me. I made the work by twisting and weaving the reeds which lined the banks of 'Blue Waters'. I then floated the rings together and managed to get a couple of quick photos before the work floated away and dissipated." (Michael Shiell)Edition: 1/10art, artwork, michael shiell, shiell, blue water, creswick, school of business collection, available, photography

David STRACHAN (1919–1970) Born 25 June 1919 at Salisbury, Wiltshire, England Arrived 1920 Adelaide, Australia: 1921 Creswick, Victoria David Strachan attended Creswick State School and Geelong Church of England Grammar school. By the age of 16 he wanted to be an artist. Accompanying his mother to London in 1936, he enrolled at the Slade School of Fine Art, where he met Godfrey Miller. In 1937 he attended the Académie de la Grande Chaumière, Paris, and painted at Cassis on the Mediterranean Sea. He returned to Australia in April 1938 and studied at the George Bell School, Melbourne. He had a growing interest in classicism blended with a fascination for the dream-state which was reinforced in his work after he moved to Sydney in 1941. There he was befriended by Jean Bellette and her husband Paul Haefliger, who were to be driving forces behind the Sydney Art Group (founded 1945). He lived on the top floor of the Haefligers' house at Double Bay, and together the three artists drew from models whom the Haefligers hired. In this period Strachan painted and exhibited some of his most poetic works—mainly figurative and landscape subjects, and still-lifes of haunting beauty. His flowers, bowls of fruit, birds, and angelic figures glimmered out of the darkness as things not of this world, evoked faintly, like mythological personages in a gently spoken narrative. He 'spent an erratic war' painting camouflage at Bankstown aerodrome with other artists, among them (Sir) William Dobell, and dancing minor roles with Hélène Kirsova's ballet company. In 1948 Strachan settled in Paris. His paintings, included by Peter Bellew in an exhibition at the Musée National d'Art Moderne, had been well-received by French critics two years earlier. In 1950 he began tentative experiments in etching. These led to the formation of the Stramur-Presse, a business venture which published etchings and lithographs of leading French and English artists. His most important project was a series of twenty-two colour etchings illustrating Alister Kershaw's book of poems, Accent & Hazard (Paris, 1951). Strachan continued to exhibit in Australia and maintained a lively social life with Australian friends. From Paris, he went for weekend painting trips with Moya Dyring in her car and, after 1957, visited the Haefligers on Majorca. He lived in London in 1955-57. His paintings became progressively less soft in effect, his palette brightened, and his forms, especially the still-lifes, became spikier. In the late 1950s his attention drifted towards the study of Hindu philosophers and Jungian psychology. For most of 1957-58 he was enrolled at the C. G. Jung-Institut, Zürich, Switzerland. In 1959 he worked in Silvio Daneo's silkworm factory at Bricherasio, Italy. In May 1960 Strachan returned to Sydney. He lived at Woolloomooloo before buying a house at Paddington in 1963. Over the ensuing years he involved himself energetically with the art scene, exhibiting, teaching (1960-65) at East Sydney Technical College, fund-raising for memorials for Thea Proctor and Dyring, and as the last president (1965) of the Society of Artists. His paintings were out of harmony with the prevailing fashion for abstraction, but he won the Wynne prize for landscape painting in 1961 and 1964 (shared). Perhaps the most moving works of Strachan's last ten years were the mining landscapes, including those he painted near Hill End, leading up to his vast canvas, 'Lewers Freehold Mine'. This was a history picture, depicting the mine as it might have appeared in 1874. He presented it to the Creswick Historical Museum in 1970 in memory of his father. (Barry Pearce, 'Strachan, David Edgar (1919–1970)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/strachan-david-edgar-11786/text21083, published first in hardcopy 2002, accessed online 6 January 2016.) This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed still lifefeaturing fruit and flowers.art, artwork, strachan, david strachan, still life, flowers, flora, available

Paddy Fordham Wainburranga (1932-2006) Area: Arnhem Land Country: Bamdibu (Bumdubu) near Bulman Station As a child, Paddy grew up in Maningrida an Aboriginal community on the top end of the Northern Territory. He started working as a boy around cattle yards, which finally led him to working as a stockman for 20 years. Before this, he spent much of his time hunting and learning culture and customs from his father and uncles. He could remember being taken to a sacred location where he was told many Dreamtime stories of how customs came to be and why Aboriginal people practice them. Paddy was part of the movement for equal rights for all Aborigines, actively involved in claiming Bumdibu as his traditional land for his clan. He resided over this land as Jungai (caretaker, policeman). Paddy was taught to paint by his father but did not begin to paint seriously until the early 1970s. He was also recognized as a story teller, bark painter, sculpture, dancer, singer and musician. He was familiar with Central Arnhem Land rock and bark painting traditions; however he developed an idiosyncratic style which fused the figurative schema of western Arnhem Land with the narrative capacities of the north-east producing dense pictorial paintings divided into sequential segments. A suite of seven limited edition prints using the sugar lift aquatint technique. .1) Yalk Yalk Woman Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .2) Walga Walga Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .3) Nammooroddoo Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 Nammooroddoo Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .3) Nammooroddoo Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .4) Mun Gruk Gruk Woman Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .5 Mun Gruk Gruk Man Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .6) Mun Gruk Gruk Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .7) Lightning Man Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 Donated through the Australian Government Cultural Gifts Programme by Katherine N. Littlewood, 2014artist, artwork, paddy fordham wainburranga, paddy fordham, wainburranga, printmaking, aboriginal, indigenous, churchill, dreaming

Annual report of the Association for the Advancement of the Blind outlined activities and events over the year, including continued support through donations despite abnormal conditions caused by the war, less attendances at Country Concert Party events however it remains in a sound financial position, a bequest of 200 pounds was received from Jean Bickford for the purpose of accommodating blinded soldiers at Brighton, the work of the Association has largely been limited in area however with the Secretary's visit to both Bendigo and Ballarat it is hoped that more is possible, a new trade of plaiting bark to make small floral baskets has been added, a near miss was incurred at the 'Re-union' at Woodburn after the hot afternoon helped generate a violent tornado which fortunately missed the Home but created havoc a few hundred metres away, and the loss of several members and supporters, including Mr Young who was killed in a tram accident and Mrs G W Paterson, who along with her husband W Paterson, an active supporter of the Home.1 volume of printed material with some illustrationsassociation for the advancement of the blind, annual reports

William Brian (Badger) BATES (1947- ) Born Wilcannia Barkantji Badger Bates is a Barkantji Elder, political activist and contemporary artist. Known primarily for printmaking, wood and stone carving, his work is intrinsically linked to his lifelong fight for the safety and health of the Barka (the Darling River).'Gitji Woman' is carved from a very old piece of log found at Wittabrinna Creek near Tibooburra, Western New South Wales. The tree was dead for 60-80 years, and was hollow inside. "I could see a figure in the wood so I folowed the shapes already three. The woman has a drawn out figure with long fingers and is coming out of the log, she is an ancestral spirit. I put the pink cockatoo and emu feathers in the leg in the way people used to decorate themselves for corroborees."badger bates, paakantyi, wilcannia, timber, aboriginal, barkantji

Framed Limited Edition print showing a mining township at Long Gully, Bendigo. Donated through the Australian Gifts Programme by Katherine Littlewood.29/40goldfields, poppet head, bendigo, long gully, tram

Hugh LEGGE Hugh Legge attended the Canberra School of Art (at time of Alan Peascod) and moved to Rosedale (near Batemans Bay) back in the 1980s where he was wood firing. His work may be marked with an impressed 'HL' in a circleWoodfired bottle with handlehugh legge, ceramics, jan feder memorial ceramics collection, gippsland campus

This photographic exhibition was developed by the Federation University-led Community Wellbeing research stream of the Hazelwood Health Study in collaboration with Morwell Neighbourhood House and Gippsland Centre for Art and Design at Federation University Australia. It highlights people's hopes for the future of Morwell has its roots in two unexpected places: the Hazelwood mine fire in 2014 and an academic study into community recovery from that fire. In late summer of 2014 a bushfire spread to the coal mine near the town of Morwell in the LaTrobe Valley, in south-eastern Victoria. The Hazelwood mine fire burned for 45 days, shrouding communities - especially Morwell - in smoke and ash. Strong calls by the community for an investigation into the health impacts of the Hazelwood Mine Fire led to the Department of Health's (Know the Department of Health and Human Services) decision to fund a ten year study of the potential health effects of this smoke event (Known as the Hazelwood Health Study). This exhibition came out of work undertaken by the Community Wellbeing Stream of the Hazelwood Health Study during 2016 and 2017. Based at Federation University Australia's Gippsland Campus, just a few kilometres from where the fire took place, one of our Study's main aims has been to find out from the community how the smoke event impacted on community wellbeing. We also planned to talk to community members about the effectiveness of community rebuilding activities, and find our how these have aided recovery following the smoke event. In 2017 we began working with community organisations on a project to foster community recovery and wellbeing. What emerged from these discussions was the idea for a photographic exhibition, on the theme of 'Our hopes for the future of Morwell'. Invitations to participate were extended to up to 50 members of various community groups. The groups were asked to think of some object that symbolizes their hopes for the future of Morwell. Individuals were then invited to attend a photographic session kindly hosted by the Morwell Neighbourhood House. Each individual was to hold this object while it was photographed, as well as explain what the object represented in terms of Morwell's future. Out of this process twenty nine photographs with their captions were produced, enlarged and framed for exhibiting. The photographs were taken by Clive Hutchison of the Gippsland Centre for Art and Design at Federation University Australia.Twenty nine framed original photographs.morwell, our hopes for the future of morwell, clive hutchison, photography, morwell neighbourhood house, hazelwood health service, gippsland centre for art and design, hazelwood mine fire, haxelwood health study, morwell neighbourhood mine fire, neale stratford, tracie lund, ian brown, susan yell, sue whyte, ainsley ja, ainsley james, michelle duffy, shaun mallia, valerie prokopiv, morwell art and framing

A now defunct Form 5A registration of playerA now defunct Form 5A registration of player of four time premiership player David McKay Career : 1969 - 1981 Debut : Round 3, 1969 vs Footscray, aged 19 years, 165 days Carlton Player No. 809 Games : 263 Goals : 277 Last Game : Grand Final, 1981 vs Collingwood, aged 31 years, 325 days Guernsey No. 43 Height : 191 cm (6 ft. 3 in.) Weight : 92 kg (15 stone, 0 lbs.) DOB : November 5, 1949 Premiership Player 1970, 1972, 1979, 1981 Carlton Hall of Fame (1996) One of the most spectacular high marks of his era, David Robert James “Swan” McKay was a Carlton star for twelve seasons, and a key member of four Premiership teams. Recruited from Newlyn, near Ballarat in central Victoria, McKay arrived at Princes Park in 1968 as a raw-boned 19 year-old. Coach Ron Barassi liked what he saw, and quickly realised that the laconic, easy-going country kid had the makings of something special after only a handful of games in the Blues’ number 43 guernsey. At 191cm and 95 kg he was robust enough to play in the ruck, while his exceptional aerial skills allowed him to hold down a key position. The problem was that he had joined the reigning premiers, so he wasn’t able to claim a regular place in the side until after the Blues were beaten by Richmond in the ’69 Grand Final. Early in the following season, McKay was given a chance at centre half-back, and took to it “like a swan to water.” Quick for his size and blessed with wonderful judgement, “Swan” soon became a crowd favourite. From that season on and throughout his career, it was only on rare occasions when the weekly televised football highlights package did not include footage of him drifting across the front of the pack to pluck the ball from the hands of an opponent, or leaping high over three or four sets of shoulders to take another soaring high mark. By 1970, McKay was embedded in the Carlton defence and hadn’t missed a game all season. After the Blues wound up second on the ladder, David experienced the thrill of a VFL final for the first time in his 29th senior match, when almost 113,000 fans packed into the MCG to see Collingwood beat Carlton by 10 points in a high-scoring Semi Final. Swan took 10 marks amid his 16 possessions that afternoon, and although his side was beaten, he revelled in the occasion. A fortnight later, after destroying St Kilda in a one-sided Preliminary Final, Carlton met Collingwood again in the Grand Final in front of an even bigger crowd. McKay was in trouble early against his taller, equally athletic opponent Len Thompson, but rallied after half time to get right on top as the Blues came from 44 points down to shatter Collingwood in the greatest of all Grand Final comebacks. Swan took nine telling marks and collected 18 possessions to be hailed as Best on Ground, before collecting the first of his four Premiership medals. One of the hallmarks of the Carlton teams coached by Barassi was their versatility, so as his career progressed, McKay started spending time up forward or in the ruck. From then on, when a game was in the balance and a goal or two was sorely needed, he was the man the Blues often looked for. He worked hard on his shooting for goal and became a reliable forward option. The 1972 final series must rank as one of Carlton’s finest hours, as the Blues fought their way through three hard, cut-throat games to meet the raging favourites Richmond in the Grand Final. In that remarkable encounter on a fine, cool day at the MCG, Swan lined up in a back pocket to cover the Tigers’ resting ruckmen and for once, lowered his colours to Richmond’s Neil Balme, who kicked 5 goals – but the Blues still won by 27 points and McKay picked up his second medal. In August 1973, Swan brought up game number 100 against Footscray at the Western Oval. Carlton won by nine points – thanks to McKay’s 13 marks in great game at centre half-back. A month later, the Blues and the Tigers met again on Grand Final day, and – still smarting from their surprise defeat the previous year – Richmond went head-hunting in a spiteful match. Swan was shifted forward early and kicked two majors, but neither he nor his team could match Richmond’s ferocity and the Tigers won the flag by 30 points. Midway through the following season, in round 14, 1975 - McKay was embroiled in another infamous encounter at Essendon’s Windy Hill – a game that saw eight players (himself included) reported. On a wet and miserable day dominated by a howling wind, Swan’s 22 disposals, 14 marks and eight goals won the game for Carlton, and making that victory even sweeter, he later escaped suspension for striking. By the time Carlton was knocked out of the finals in 1976 by straight-sets defeats at the hands of Hawthorn and North Melbourne, McKay was 27 and had racked up 172 games. But he felt he needed relief from the pressure-cooker life of a VFL footballer, so he agreed in principle to join WAFL club Subiaco. When he requested a clearance from Carlton however, the Blues steadfastly refused. Both sides dug in their heels, and some unfortunate headlines resulted before Swan relented and resumed training some weeks into 1977. In round 13 of that season, on a freezing cold and wet Saturday afternoon at the Junction Oval, bottom side Fitzroy caused a huge upset by beating Carlton by 7 points. In his 181st game, McKay took 9 marks, and his second goal of the game was the 200th of his career. McKay’s fourth Grand Final came in 1979 against Collingwood. By then one of only five survivors from the ’73 team, Swan was approaching his 30th birthday. yet still playing valuable, consistent football. In a close, absorbing match on a wet and slippery MCG that day, Carlton again won a nail-biter by just 5 points, thanks to Wayne Harmes’ famous swipe at the ball from a forward pocket in the last minutes of the game. The ball ended at the feet of Ken Sheldon, whose goal clinched Carlton’s twelfth Premiership, and McKay’s third. Throughout the majority of his career, Swan was a durable type who rarely suffered serious injury. That all changed in 1980 however, when he rolled an ankle, played on, and compounded the injury which hampered him for the rest of his career. Carlton made the finals again, but dropped out after successive losses. That was a bitter blow for the Blues, who promptly sacked coach Peter Jones and reinstated David Parkin. Because of his ankle, Swan missed a number of games early in 1981, but was back to near his best for the finals. Carlton destroyed Geelong by 40 points in the second Semi Final and marched into the Grand Final as hot favourites against Collingwood. In a typically fierce and physical decider, Collingwood led by 21 points late in the third quarter, before the confident Blues overwhelmed them in the last term - winning Premiership number four for Swan McKay, and flag number thirteen for Carlton. One of the goals in that vital last quarter came from the big number 43. It was his second major of the game, and his last kick in league football. Amid the jubilation of victory in the rooms after the game, Swan announced his retirement after 263 games and 277 career goals. He was a few weeks short of his thirty-second birthday and it was an appropriate way to end the playing career of one of the club’s favourite sons. Following his retirement, McKay stayed involved at Princes Park in a number of off-field roles. He was inducted into the Carlton Hall of Fame in 1996, and later became a high-profile critic of Carlton’s President John Elliott. When Elliott was voted out of office in 2002, McKay was appointed a director of the club under new President Ian Collins. During 1999 and 2000, David's son James McKay played eight Reserves games and kicked two goals for Carlton. Milestones 100 Games : Round 21, 1973 vs Footscray 150 Games : Round 2, 1976 vs Essendon 200 Games : Round 10, 1978 vs Footscray 250 Games : Round 9, 1981 vs South Melbourne 100 Goals : Round 13, 1974 vs Geelong 200 Goals : Round 13, 1977 vs FitzroyLetters & copy of form from VFL

Letter was sent to Burnbank, former Ann Dowling (Miers) 1866 Crown Grant. In 1867 she married Henri Miers and their house was located on the site near the Myers Gully part of Ryans Creek. Built in 1867 and later named “Burnbank” by Martha Myers after the Street in Ballarat were she lived before arriving in Melton in 1907. “Burnbank” was vacated by Martha to her new house built on the family land in McKenzie Street. A demolition order imposed by the Housing Commission and it was pulled down by the family in 1969. It was the home of the family and stood for over 100 year.Letter from Edna Barrie and Bruce Myers, children of Martha Myerslocal identities

It was reported in the City of Ballarat Community Magazine, September 2007 that the Victorian Governor planted two Caledonia Pines and that banners of aboriginal paintings were hung in the Robert Clark Conservatory.These trees add to the Ballarat Botanical Gardens collection as they are planted near the Robert Clarke Centre where nearly all the trees are deciduous. Also, the Aboriginal banners on display feature the platypus used by Ballarat's Aboriginal community to signify unity.One page of black newsprint on a white sheet.None.john garner, doctor, ballarat botanical gardens, city of ballarat community magazine, friends of ballarat botanical gardens, cook island pines, caledonia pines, araucaria species, victorian governor, professor david de kretser, wathaurong peoples, john garner collection, gardens, ballarat

Cottage thought to belong to family of Adam Lindsay Gordon. The cottage was moved to the Gardens from original place near Craig's Hotel in City centre. Now used as a Craft space and for the Botanikids events. Of historic significance if the relationship with the Gordon family can be proved.Dark digital image of historic cottage; tiff 4.73 MBadam lindsay gordon, cottage

Eldest daughter of Edna and Bon Barrie, born on 03 November 1943 in Melbourne, Victoria, Memoirs of Wendy Barrie, recalling the early formative years of life in Melton: In 1949 I started school at Melton State School no 430 and was driven the 2½ miles to there by my parents at first. Later we walked home in the afternoons or were picked up by car as we made our way home along the Western Highway. In 1956 I went to Bacchus Marsh High School. There were 4 students in grade 6 and 3 of us went to the High School. The students from Melton, Melton South and Toolern Vale State Schools went by bus to Bacchus Marsh High School as far a fifth form. My parents drove me to the pick up point and during the five years of travel to High School. The bus travelled via Toolern Vale and later went through Exford and through Parwan. On the return journey in the afternoon the bus went in the reverse direction. The bridge at Exford was an old narrow wooden one, and the students had to get off the bus and walk across, with the driver crossing in the empty bus for safety reasons. There was a travelling allowance paid to parents and it was estimated from the distance the crow flies, a straight line. We lived a Ferris Lane, just where the Harness Racing entrance is now situated about 2 ½ miles by road to school too close to qualify for the subsidy. While at State School Melton we would walk home in a group with the Nixon and Gillespie children, along the main road over the bridge near the Shire Offices and down a hill. I was being dinked on Joyce Gillespie’s bike while holding onto the seat, toppled off the bike striking my chin and teeth on the bitumen and cracking my jaw. I was about 9 years old and stayed a couple of days in the Quamby Hospital in Bacchus Marsh, it seemed like and eternity at the time and quite traumatic being separated from my family. I can remember contemplating how I could get out of the window and run away but realised it was too far to walk home. Often we would cut across the Common on our way home from school picking up stray golf balls and collecting them from the creek when it dried out. We were warned about not accepting lifts from strangers passing along the Melbourne/ Ballarat Road. The only danger we faced was being swooped by the magpies particularly on the open ground on the Common. We were also fairly cautious when the Gypsies camped on the Common in the area just about opposite the small reservoir. “Mum” grandma Myers loved to have us call in on our way home, and usually would cut a slice of Jongebloed’s bread and spread it with home made butter. Sometimes we waited there until we were collected by car, usually driven by our mother. Margaret Nixon and Joyce Gillespie were a few grades ahead of me and Barbara Nixon was born just two months earlier than me. Our mothers were great friends for over 6o years, born in the same month three years apart. They lived within a few days of the same age as each other at the time their deaths. Dad and George Nixon attended Melton school at the same time. Sarah nee Hornbuckle Nixon and my grandfather Frederick Myers Snr were at school together at the same in the 1880s. The Nixon family lived in Keilor Road just past the Toolern Creek near the turnoff. Tom and Ann Collins lived on the southern side of the Western highway and Keilor road intersection. Jim and Ruby Gillespie’s house was further long Keilor road on the right. They backed onto the Myers who lived on the north side of Western Highway east of Myers Gully (Ryans Creek). The Bridge over the Toolern Creek as very narrow and as truck traffic increased there were accidents. One truck took out the side railing and plunged upside down into the bank and into the shallow water. Another fatal accident happened between a car and a truck right in front of the Myers house. Grandfather Fred had been a bike rider all his life, as far as the Riverina in his younger years, wryly made the comment about the drivers the speeding along the Ballarat Road were setting out to kill themselves. The road was busy particularly after the Races at Ballarat when the crowds were hurrying home to Melbourne. Train travel had changed very little from the time my mothers generation to mine. The timetable meant the usual rush to Melton South by bike in her case and if she was running late the train pulled up on the crossing. I was driven to the Station from home past Keith and Mary Gillespie’s house near the Ferris Road rail crossing to Bridge road to Melton South for the 7.32 train. While attending Sunshine High School in 1961 I would meet up with three other students, two of whom I knew from Bacchus Marsh High School days. We usually got into the same compartment on the train, it was a typical country train with a corridor along the side and compartments with a door, roof racks and sometimes heated metal containers for the feet in the winter. Some of the trains came through from Horsham and Ballarat, and the Overland from Adelaide passed through in the evening, we could hear it in the distance from the Ferris Lane home. The carriages had 1st and economy class compartments showing photographs of county scenes and holiday destinations. The engine was the large A class diesel. They are still running to Bacchus Marsh 50 years later, due to the need for the greatly increased number of commuters travelling to work in the city. Sometimes the carriages were pull by a Steam engine, these were a problem in the summer time because the sparks caused fires along the train lines and then quickly spread into the dry grass, crops and stubble. The Motor Train left Spencer Street at 4.23 pm and was the best train for me to catch. Ferris Road was a designated stop and train pulled up on the road crossing. It had steps at the door and rungs to hold while alighting to the ground. The ballast along the tracks was rough and uneven and awkward to land on. The train was painted blue and yellow with the letters VR pained on the front. This saved may parents the afternoon trip to collect me from the Station. On the walk home on the gravel road I would pass Uncle Tom and Aunty May’s house before reaching home. Melva Gillespie was studying at Sunshine Technical School and we sometimes both got off the train at the same time. On other occasions the Motor Train was replaced with a diesel engine with carriages, it was also required to stop and the driver had to be notified in advance. This meant getting into the guards van a Rockbank. It was more difficult alighting from the carriage as the gap was greater and more precarious to swing out and land on the ground. A few times in my last year of study at Melbourne Teachers College in Grattan Street Carlton. I managed to catch the 2.30 pm train to Serviceton, it was express to Melton and was very quick trip. The last train, was the 5.25 pm diesel to Ballarat and I usually caught this train to Melton South Station. On one occasion after being held up on the tram in Bourke street I had to make a mad dash to the platform chasing the train as it was just moving off and yelling to the guard, fortunately I was noticed and the train ground to halt. I scrambled into the end door and took most of the journey home to recover. After the last year at High School I continued to travel on the train, 2 years to Prahran Technical School changing at North Melbourne. There were a lot school children travelling to private schools and some at the primary level and mainly from Bacchus Marsh. Rockbank children also travelled by train from the beginning of their high school years, quite a few went to Sunshine High School. During my third year of teacher training I travelled to Flinders Street to RMIT for ceramics classes and Grattan St Teachers College located in the grounds of Melbourne University. There were many teachers being trained at the Secondary Teachers College due to the baby bulge creating a great shortage of teachers. Sunshine High School was very well represented amongst the different courses in Primary, Secondary and Art and Crafts. I attended Melbourne University lectures, studying a Fine Art subject. Bernard Smith was the most notable of the lecturers. he replaced Professor Joseph Bourke who had taken leave for the years. In 1962 he published the art book “Australian Painting”. The secondary art and craft student teachers from the College were in the majority, taking this subject and were well regarded due to their practical art and craft methods and their teaching round experience. In December 1964 I graduated as a Trained Secondary Teacher – Art and Crafts. The graduating ceremony was held at Wilson Hall. I received my appointment to work at Maryborough High School. Uncle Max and Aunty Rosemary Myers arranged my accommodation. Uncle Max was a teacher at the Maryborough Technical School fat the time. The appointment was suddenly changed when just before the school year was about to start when I received notification that I was now required to move to Warracknabeal High School. I was subject to a bond for the three years of training and three years of teaching and was under an obligation to comply with the directive of the Education Department. My father stood as guarantor when I was accepted as student at the Melbourne Teachers’ College, thus enabling me to receive my teacher training, and a 5 pounds a week allowance for expenses. After teaching for two years at Warracknabeal High School I was fortunate enough the gain a transfer to Sunshine West High School, returning to live at home in Melton and travelling by car to work with a fellow colleague, Jock Smith who lived at Station road Melton. I completed bond obligation and resigned at the end of the year. The employment regulations at that time did not allow the option of leave of absence for, indefinite overseas travel. I returned to Australia in October 1969. Visiting Arthur Hart the Principal of Sunshine High School he arranged with the Education Department for my re-employment at Sunshine High School until the end of the year. In 1970 I was transferred, and returned to Sunshine West High School where I worked for the next three years. In January 1968 I sailed on the “Oriana” to South Hampton with two teaching friends from Warracknabeal High School on a travelling and working holiday. Doreen Kiely, a former Bacchus Marsh High student and fellow train traveller from Bacchus Marsh, was already working in London, had arranged our accommodation at the London Travellers Club Hotel, Braham Gardens, Earls Court SW5. We based our stay at this address in London and travelled around Scotland, Ireland and England. In the summer we took a four month trip around the Continent and the Mediterranean. I registered with The Royal Borough Of Kingston Upon Thames as a Supply teacher, and worked at Chessington School form autumn to spring the following year and living with Mrs Rose Gillies at Kinross Avenue, Worcester Park, Surrey. In the spring of 1969 visiting Norway, Sweden and Finland joining an organised camping group to the Artic Circle, entered Russia at Leningrad (St Petersburg) Moscow, Minsk, to Poland and Czechoslovakia. In August returning to Worcester Park for the flight to Montreal to stay with cousin Lynette and husband Jurgen. A side trip was taken to Toronto, Niagara Falls and New York. The flight home from Montreal to Melbourne took 52 hours. A ½ day break in Vancouver before boarding the Qantas boeing 707 via San Francisco, Honolulu, Fiji, Sydney to Melbourne. Around the world in 21 months. Photographs of Wendy local identities

Memories of Train Travel compiled by Wendy Barrie 4/09/2013 Train travel had changed very little from the time my mothers generation to mine. The timetable meant the usual rush to Melton South by bike in her case and if she was running late the train pulled up on the crossing. I was driven to the Station from home past Keith and Mary Gillespie’s house near the Ferris Road rail crossing to Bridge road to Melton South for the 7.32 train. While attending Sunshine High School in 1961 I would meet up with three other students, two of whom I knew from Bacchus Marsh High School days. We usually got into the same compartment on the train, it was a typical country train with a corridor along the side and compartments with a door, roof racks and sometimes heated metal containers for the feet in the winter. Some of the trains came through from Horsham and Ballarat, and the Overland from Adelaide passed through in the evening, we could hear it in the distance from the Ferris Lane home. The carriages had 1st and economy class compartments showing photographs of county scenes and holiday destinations. The engine was the large A class diesel. They are still running to Bacchus Marsh 50 years later, due to the need for the greatly increased number of commuters travelling to work in the city. Sometimes the carriages were pull by a Steam engine, these were a problem in the summer time because the sparks caused fires along the train lines and then quickly spread into the dry grass, crops and stubble. The Motor Train left Spencer Street at 4.23 pm and was the best train for me to catch. Ferris Road was a designated stop and train pulled up on the road crossing. It had steps at the door and rungs to hold while alighting to the ground. The ballast along the tracks was rough and uneven and awkward to land on. The train was painted blue and yellow with the letters VR pained on the front. This saved may parents the afternoon trip to collect me from the Station. On the walk home on the gravel road I would pass Uncle Tom and Aunty May’s house before reaching home. Melva Gillespie was studying at Sunshine Technical School and we sometimes both got off the train at the same time. On other occasions the Motor Train was replaced with a diesel engine with carriages, it was also required to stop and the driver had to be notified in advance. This meant getting into the guards van a Rockbank. It was more difficult alighting from the carriage as the gap was greater and more precarious to swing out and land on the ground. A few times in my last year of study at Melbourne Teachers College in Grattan Street Carlton. I managed to catch the 2.30 pm train to Serviceton, it was express to Melton and was very quick trip. The last train, was the 5.25 pm diesel to Ballarat and I usually caught this train to Melton South Station. On one occasion after being held up on the tram in Bourke street I had to make a mad dash to the platform chasing the train as it was just moving off and yelling to the guard, fortunately I was noticed and the train ground to halt. I scrambled into the end door and took most of the journey home to recover. After the last year at High School I continued to travel on the train, 2 years to Prahran Technical School changing at North Melbourne. There were a lot school children travelling to private schools and some at the primary level and mainly from Bacchus Marsh. Rockbank children also travelled by train from the beginning of their high school years, quite a few went to Sunshine High School. Book provided a timetable and information about the stations the train travels to from Melbourne to Adelaide. transport

Construction of service road in front of the former Ann Dowling (Miers) 1866 Crown Grant, Title dated October 1870. She married Henri Miers in 1867.Their house was located on the site near the Myers Gully part of Ryans Creek. Built in 1867 and later named “Burnbank” by Martha Myers after the Street in Ballarat were she lived before arriving in Melton in 1907. She married Frederick Myers in 1908. He died in 1963, and Martha moved to a new home at 5 McKenzie Street Melton in 1968. Attempts made by the family to retain the historic cottage were unsuccessful. A demolition order imposed by the Housing Commission and it was pulled down by the family. It was the home of the family and stood for over 100 years.East of Reserve Road towards Ferris Roadlandscapes of significance, misc.

Direct Gift won the Novice Trot Ballarat on the 20 May 1922. Direct Gift owned, trained and driven by J Ried. One large black and white mounted photograph. Top line: Ballarat / 20/5/22 Second line: Novice Trot Third line: Won by Direct Gift Fourth line: Owner Trainer Driver J Ried Bottom line: Distance 1 1/4 miles / Time 3 min 14 secs Bottom right corner: A Copley, 440 Flinders Street Near William St Melbournehorses, race, winner, driver, trainer, owner, ballarat, a copley, direct gift, j ried, 1922

Susie Royal won the Trotter's Racer's Handicap Ballarat on the 10 February 1934. Susie Royal owned trained and driven by W Rothacker. One large black and white photograph in a black frame with gold trimmings. Top line: Ballarat / 10/2/34 Second line: Trotter's Pacer's Handicap Third line: Won by Susie Royal Fourth line: Owner Trainer & Driver W Rothacker Bottom line: Distance 1 1/2 miles / Time 3 min 46 secs Bottom right corner: A Copley, Phone F1748 434a Flinders Street Near William St Melbournehorses, race, winner, driver, trainer, owner, ballarat, a copley, 1934, susie royal, wc rothacker, bill rothacker

New Derby won The Redan Handicap Trot Ballarat on the 6 December 1930. New Derby owned by LJ King, was trained and driven by C Robertson. One large black and white photograph in a black frame. Top line: Ballarat / 6-12-30 Second line: The Redan Handicap Trot Third line: Won by "New Derby" Fourth line: Owner LJ King / Trainer & Driver C Robertson Bottom line: Distance 1 1/4 miles / Time 2 min 59 secs Bottom right corner: A Copley, 434a Flinders Street Near William St Melbournehorses, race, winner, driver, trainer, owner, ballarat, 1930, new derby, c robertson, lj king, a copley, charlie robertson, charlie robertson jnr, c robertson jnr