Black and white photograph and 2 Souvenir copies enclosed in folders. Photo by T.R.G. Williams.Attached to photograph: Champion Floral Display Royal Agricultural Show, Melbourne, 1946 Image shows a floral exhibit with a sign at the base of the display reading- "Display by Ringwood Horticultural & Agricultural Society. One souvenir copy includes the following names: J.W. Gillespie, B. Hubbard, H.D. Bott, E.C. Bolitho, Roger Webber, H.C. Howship, E. Maggs, L.W. Caterer, R.W. Wheeler, H. Sjogren, E.S. Murray, John ?, ?, E.M. Polson, Geo.W. Burns. Copy given by Mr Ron Burns.

Red enamel tie pin featuring the logo to the Ararat Technical School. The pin is clipped onto a covering letter from Principal A.L. Johnson21st May, 1984. Miss Therese Scanlon P.O. Box 668 Ballarat 2250 Dear Miss Scanlon, In response to a letter received from Mr Peter Shiells, I have pleasure in enclosing a tie bar from the Ararat Technical School. We wish you well with your exhibit and look forward to seeing the display the next time we visit the Ballarat School of Mines and Industries. Thank you for giving us the opportunity to participate Yours faithfully signed A.L. Johnson Principal ararat technical school, ballarat school of mines, therese scanlon, a.l. johnson, peter shiells, logo, numismatics, tiepin, tie pin

Newspaper clippings of 4 photos.Captions are: (1) "A dainty basket of dahlias arranged by a girl student at Burnley Horticultural School yesterday for the Royal Horticultural Society's display of autumn blooms in St. Kilda Town Hall." (2) "Miss Freda Lette arranging a basket of Madame Edouard Heriot roses for Mrs. J. S. Oliver at the National Rose Society's show in Melbourne Town Hall." (3) "Gardening girls (pupils at the Burley Horticultural School) taking in their dahlia exhibits at the Royal Horticultural Society Show at the St. Kilda Town Hall today." (4) " Floral Beauty and a fair admirer at the Royal Horticultural Show - Miss Jean Scott, of Burnley Horticultural School, with three choice specimens of gladioli, champions in their class. Left: Emile Aubrun variety, grown by Mr. G. Swensen, Ballarat. Also see B99.1046. (5, 6) Charlemagne and Sunnyside varieties, grown by Mr. R. Hayes, Ballarat."burnley horticultural college, students, female students, burnley horticultural gardens, freda lette, madame edouard heriot roses, mrs j.s. oliver, national rose society, flowers, dahlias, jean scott, royal horticultural society, royal horticultural show, g. swensen, r. hayes, national rose society show, gladioli

Set of two pamphlets or booklets, titled "Victoria's tramway museum", providing details of the Tramway Museum Society's TMSV collection, the site and its exhibits and a brief time line history of Victoria's tramways and a location map on the rear cover. See Reg Item 5151 for a print of the photograph that was cropped for the front cover. .1 - 12 pages -folded A5 size - white cover - centre stapled - has a photo of the Royal Park horse tram operating on the Bylands site - mid 1970's? See Reg Item 5151 for a print of the photograph that was cropped for the front cover. .2 - 12 pages - folded A5 size - blue cover, white sheets internally - centre stapled - has the TMSV logo on the front cover - late 1970's. .3 - as above, white cover with an tram front image on the front cover, has "Interim edition July 1983 - internal connects the same as .1.1601.2 - has a price lable of 20c on the front cover.trams, tramways, tmsv, bylands, museums, horse trams

These works are a display of my frustration of hour our family were lucky we were not beheaded, scalped, taken away and impaled as a warning to others not to enter farming lands, which had been traditional lands of the Nganyaywana country. The word 'Policy' represents the White Australia Policy, the word "Lost' stands for those lost including hundreds of family members, 'Jobs' asks why Aboriginal people can only find employment if through Aboriginal positions and policies. The number 3 symbolises myself and my siblings, red is for bloodshed, blue is for secrets and black the family history. Patrice MUTHAYMILES MAHONEY OAM Anewan/Nganyaywan/Dunghutti country. Patrice Mahoney is a printmaker, sculptor, weaver, drawer and painter. Her work challenges mainstream and Aboriginal Australians and is profoundly influenced by space, place and country, taking inspiration from nature, environment and looking forward to a time when she can return to her family's traditional country to make work. In 2012 the artist completed a Bachelor of Visual and Media Arts at Monash University’s Churchill campus (from 2014 Federation University's Churchill Campus). The Victorian Indigenous Art Awards 2014 were exhibited and judged at the Art Gallery of Ballarat.This unique edition triptych involves the techniques of intaglio copper plate, pigment, soft ground, open bite, aquatint, spit-bite, stamping, relief, drawing and burnishing on paper. It was awarded the 2014 Victorian Indigenous Art Awards Federation University Acquisitive Award for for work by a Victorian regional artist. Text, colour, metaphor and Aboriginal symbolism are important components of her work. This work expresses the artist's frustration with unjust situations experienced by traditional owners of Nganyaywana country. The word 'Policy' refers to White Australia Policy, 'Lost' the hundreds of lost family members, and 'Jobs' highlights the difficulty of Aboriginal peple obtaining work, especially outside Aboriginal positions and policy. The number 3 symbolises Patrice Mahoney's siblings, with black used to denote family history. The violently splattered red represents bloodshed, with the blue washing across the work obscuring details and representing secrets. The Selection Panel of the 2014 Victorian Indigenous Art Awards made the following comments on the work: 'The selection panel for the Federation University Acquisitive Award for 2014 were highly impressed by this work and applauded the vigorous use of symbolism and metaphor in a well scripted visual composition. The poignancy of connectedness to the past, memory, place and country is palpable and enhanced by the suggestive employment of text and minimal colour. A provocative and evocative work of art!artist, artwork, patrice mahoney, aboriginal, victorian indigenous awards, jobs, culture, printmaking, drawing, policies, lost, victorian indigenous art awards, available, alumni

Ken SEARLE (1951- ) Born Sydney, New South Wales Ken Searle worked on this commission through 1997 and 1998. Further works and sketches relating to this commission are held by the Art Gallery of Ballarat. Searle is a self-taught artist who first exhibited his paintings and drawings in the mid-1970s and is known for large, and often whimsical, paintings, of suburban and industrial areas in several Australian cities. From 1998 to 2001 Searle worked as a consultant at the school in the Aboriginal community of Papunya, Central Australia. 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 highlighting the artist's favoured aspects of Ballarat. Interested with scenes of suburbia for over twenty years, Ballarat is his first portrayal of a whole city. Searle’s view of Ballarat presents a deliberately untidy city seen from a number of viewpoints. Local scenes are portrayed no matter how pretty or garish, the subject matter providing a snap shot in time. Funded through the Commissions Program of the Visual Arts/Craft Fund, 1998 art, artwork, ken searle, ballarat

Debbie LLOYD Debbie Lloyd returned to study in 2005 completing a Bachelor of Fine Arts (Visual Arts) degree at the University of Ballarat (now Federation University) in 2007, with honours the following year. She returned to the university as Artist in Residence in 2009. During her time at the University Debbie exhibited in many group exhibitions and her work was selected for the National Graduates Show at PICA in Western Australia. Debbie’s first solo exhibition was held at Space22 in Ballarat, towards the end of 2010. 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.Two artworks featuring a third dimension created with folded paper. Artist's Statement: "My artwork explores the visual experience that can be achieved using black and white, lineal patterns or by creating illusion and surface movement through the simple manipulation and repetition of forms. In these works I have used everyday objects, and shapes, repeated, reconfigured and recontextualised to provide the viewer with visual challenges that slow down and complicate the reading of the work. In the words of a former lecturer of mine, who kindly delivered the opening speech at one of my exhibitions – There is in Debbie’s work a belief in the transcendental power of repetition, a tribute in many respects to the fact that human kind is defined by nothing more noble and uplifting than its ability and obligation to persist." (http://100thgallery.com/gallery/debbie-lloyd/, accessed 08 May 2018) art, artwork, debbie lloyd, available, recycling, envelopes

"Katherine Hattam’s exuberant work, Powerlines Merri Creek equalises the natural environment with man-made constructions as she explores the hybrid landscape of local waterways and their locations. Hattam’s art practice comprises drawing, collage, printmaking and sculpture. She employs a contemplative process in revealing the relationships and tensions between objects, space and placement."Hattam has exhibited widely as a solo artist as well as in group shows for over five decades. She has won the Robert Jacks Drawing Prize (2006), Banyule Works on Paper Art Award (2005) and has been short-listed in the Dobell Drawing Prize, the National Works on Paper Prize and the Arthur Guy Memorial Painting Prize. Her work is represented in public, corporate, educational and private collections such as the National Gallery of Australia, state and regional art galleries, The Darling Foundation, Smorgen Collection, Artbank, Queen Victoria Hospital, National Australia Bank and La Trobe University Museum of Art.Painting

Photograph of a painting by Mrs Fonce Kerr that was donated to Legacy. It was exhibited at the Legacy Widows' Arts and Crafts Exhibition in 1995. The article mentions Mrs Kerr was the ex-President of the Waverley Legacy Widows' Club. 'The picture is titled "Daddy's Home" and depicts the lower half of a serviceman dressed in khaki trousers and combat boots. Hugging his leg is a little girl in a blue dress. Words really don't describe the situation - seeing is better. It is a nostalgic depiction of considerable meaning to all members of our Legacy family - widows, dependents and Legatees. Mrs Kerr has generously presented the picture to Legacy - it will hang in the First Floor Dining Room.' A record of when the painting was given to Legacy.Colour photo x 1 of a painting a girl welcoming her father home and an article about the painting in the Answer.answer, painting

Topic ;Moorabbin Library Statement The Aims of the CMHS are ‘to record the history of the City, and register something of the Australian Atmosphere, which the necessary speed-up in post-world-war two (WW11) immigration has caused to be lost; to produce a magazine at regular intervals, featuring the work of pioneers and the changing Australian scene; to work constantly with a long range view towards building a hall where records and exhibits can be housed’ (1961) The Original Newsletters reflect the history and heritage of the former City of Moorabbin — derived from Mooroobin, ‘a resting place’ in the Bunurrung spoken language. In 1994, the City of Moorabbin was integrated into the Cities of Bayside, Glen Eira, Kingston and Monash. This is Newsletter No. 5 Vol. 4 of the CMHS May 1964 CMHS obtained a Kingston City Council Community Grant 2016 for the digitization and preservation of these Original CMHS Newsletters commenced in 1961 1 x Foolscap paper printed on 2 sides folded for 4 pages CITY OF MOORABBIN HISTORICAL SOCIETY NEWSLETTER / Vol. 4 No. 5 May 1964 / city of moorabbin historical society 1961, sheehy t.a., newsletters, library

Boyd designed the exhibition for the opening of the Australian Chancery in Washington DC held in June 1969. He designed six cylindrical clear acrylic display cases. One of these exhibits used an anamorphic optical illusion, using compressed images which had normal proportions when viewed through a lens of the half-cylindrical display cases. The bookends (item F157) were designed as a small scale model for the Chancery exhibition. Placing this disc underneath the adjacent two half-cylindrical bookends demonstrates how the bookends behave as a lens. This model was created for the House of Ideas exhibition, made by a University of Melbourne, Melbourne School of Design Masters student.Anamorphic image on circular discaustralian chancery, robin boyd, ohm2022, ohm2022_3