Sybil CRAIG (18 November 1901-09 September 1989) Born London, England Arrived Australia 1902 The National Gallery School, Melbourne, gave Craig a sound training for her popular flower and portrait studies. However, her association with leading modernists between the wars led her to pursue her art in a deliberately experimental and spontaneous way. Sybil Craig was the third woman appointed by the Australian War Memorial as an official war artist. She was the first woman to paint women working in the munitions’ factories. The Castlemaine Art Gallery & Historical Museum, held the first retrospective exhibition of Sybil Craig's in 2006. The exhibition highlighted her wonderful use of colour and design in a diverse range of media, techniques and subject matter. 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.ModernismFramed sketch of flowers undertaken in texta colour.art, artwork, sybil craig, craig, flora, texta, texta colour, available

Sybil CRAIG (18 November 1901-09 September 1989) Born London, England Arrived Australia 1902 The National Gallery School, Melbourne, gave Craig a sound training for her popular flower and portrait studies. However, her association with leading modernists between the wars led her to pursue her art in a deliberately experimental and spontaneous way. Sybil Craig was the third woman appointed by the Australian War Memorial as an official war artist. She was the first woman to paint women working in the munitions’ factories. The Castlemaine Art Gallery & Historical Museum, held the first retrospective exhibition of Sybil Craig's in 2006. The exhibition highlighted her wonderful use of colour and design in a diverse range of media, techniques and subject matter. 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 pencil drawing of a flower.art, artwork, sybil craig, craig, flowers, drawing

Sybil CRAIG (18 November 1901-09 September 1989) Born London, England Arrived Australia 1902 The National Gallery School, Melbourne, gave Craig a sound training for her popular flower and portrait studies. However, her association with leading modernists between the wars led her to pursue her art in a deliberately experimental and spontaneous way. Sybil Craig was the third woman appointed by the Australian War Memorial as an official war artist. She was the first woman to paint women working in the munitions’ factories. The Castlemaine Art Gallery & Historical Museum, held the first retrospective exhibition of Sybil Craig's in 2006. The exhibition highlighted her wonderful use of colour and design in a diverse range of media, techniques and subject matter. 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 pencil and watercolour sketchart, artwork, sybil craig, craig, available, pencil drawing, watercolour

Sybil CRAIG (18 November 1901-09 September 1989) Born London, England Arrived Australia 1902 The National Gallery School, Melbourne, gave Craig a sound training for her popular flower and portrait studies. However, her association with leading modernists between the wars led her to pursue her art in a deliberately experimental and spontaneous way. Sybil Craig was the third woman appointed by the Australian War Memorial as an official war artist. She was the first woman to paint women working in the munitions’ factories. The Castlemaine Art Gallery & Historical Museum, held the first retrospective exhibition of Sybil Craig's in 2006. The exhibition highlighted her wonderful use of colour and design in a diverse range of media, techniques and subject matter. 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 life drawing by Sybil Craigart, artwork, sybil craig, craig, life drawing, life model, charcoal, drawing, available

Gilda Gude worked in various media throughout her career, favouring figure and flower studies. She attended the Ballarat Technical Art School during the early 1930s. This artwork was completed for a competition sponsored by a large art supply company. In 1952 Gude won the Royal Art Society Drawing Prize, and began lecturing at RMIT in 1861. 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. 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 original poster.art, artwork, poster, lollies, molly bushell, gude, gilda gude, alumni, ballarat technical art school

Sybil CRAIG (18 November 1901-09 September 1989) Born London, England Arrived Australia 1902 The National Gallery School, Melbourne, gave Craig a sound training for her popular flower and portrait studies. However, her association with leading modernists between the wars led her to pursue her art in a deliberately experimental and spontaneous way. Sybil Craig was the third woman appointed by the Australian War Memorial as an official war artist. She was the first woman to paint women working in the munitions’ factories. The Castlemaine Art Gallery & Historical Museum, held the first retrospective exhibition of Sybil Craig's in 2006. The exhibition highlighted her wonderful use of colour and design in a diverse range of media, techniques and subject matter. 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 sketches of plantsSigned lower left side "Sybil Craig"art, artwork, sybil craig, craig, flora, plants, flowers, available

Grand Variety Concert, Kiwanis Club of Bendigo. J B Osborne Theatre, Kangaroo Flat, Bendigo. Saturday, 8th September, 1990. What Is A Kiwanian? A Kiwanian is.. . The Kiwanis Story Kiwanis was founded in Detroit.. . Kiwanis Club Of Bendigo All the performers in tonight's programme have given their services in a voluntary capacity.. . Acknowledgements: Official Accompanist - Leila Watson, Stage Manager - Geoff Hamblin, Sound System - Alan Williams, Production Co-ordinator - Doug Sayle, Ticket Sales - Collins Booksellers, News Media - Bendigo Advertiser. The Kiwanis International major emphasis program for the next three years is: ''Children : Priority 1'' Programme - Paul Andison - President. Dance Central, Kathryn Field, Ric Cutler, Emma Symes & Renee Jeffrey (Ann-Maree Dancers), Eileen Hetherington, Katherine Emond, Christine & Elizabeth Roberts, Bendigo Dance Studio. Doris Leadbetter, Bendigo Chamber Choir, Dance Central, Rod Reeve, Ric Cutler, Bendigo Dance Studio, Ana Mitsikas, Tania De Jong, Dance Central. Comperes: Tony Fittock & Ric Norris. Advertisement; Gillies.entertainment, theatre, kiwanis club of bendigo, grand variety concert, kiwanis club of bendigo. j b osborne theatre, kangaroo flat, bendigo. 8 september, 1990. story kiwanis founded detroit. acknowledgements: accompanist - leila watson, stage manager - geoff hamblin, sound system - alan williams, production co-ordinator - doug sayle, ticket sales - collins booksellers, - bendigo advertiser. international major emphasis: ''children : priority 1'' programme - paul andison. dance central, kathryn field, ric cutler, emma symes & renee jeffrey (ann-maree dancers), eileen hetherington, katherine emond, christine & elizabeth roberts, bendigo dance studio. doris leadbetter, bendigo chamber choir, dance central, rod reeve, ric cutler, bendigo dance studio, ana mitsikas, tania de jong, dance central. comperes: tony fittock & ric norris. ad; gillies.`

A poster printed by the RMIT in 2018, to promote an exhibition of works at the MTSV about the interelationships between labour, working life and artistic practice. BACKGROUND The Work of Art was an exhibition about labour, working life and artistic practice. The exhibition explored three aspects of art's relationship to work: (1) artworks about contemporary labour, (2) the labour of art-making itself and (3) the often precarious aspects of life as a working artist. Throughout the exhibition, different artists "worked" from the space of the gallery, revealing the layers of manual, emotional and intellectual labour involved in the work of art. CONTRIBUTION I was invited to develop the exhibition by the "Murphy Group", a group of researchers at RMIT. As the lead co-curator for the exhibition, I researched the history of artistic responses to working conditions. Through this process I identified a gap - while many artists have explored the conditions of labour and working life in their artworks, fewer have drawn attention to the working conditions of artists themselves. This became a key theme in the exhibition. The exhibition presented the work of nine contemporary Australian artists, including high profile and mid-career artists like Bindi Cole and Bek Conroy, alongside the work of emerging artists. In addition to the display of artworks throughout the space, five artists worked performatively, bringing to life the processes and manual labour involved in artmaking. A public forum extended the complex discussion on the relationship between art, work and labour. SIGNIFICANCE The works were presented in the context of a public space that has a strong relationship to contemporary labour - the Mission to Seafarers in Docklands. The Mission to Seafarers is a working mission that provides support to ship-workers. Presenting the works in this space created a real connection between the artworks and the lived experience of precarious labour. The exhibition reached a large audience including over 1000+ visitors in 10 days. It fostered a high engagement on social media and attracted media coverage including a feature in ArtsHub.A record of the ongoing involvement of the MTSV in art, and working with the art community by providing a suitable venue and display space.A3 size yellow paper promotional poster, double-sided. Three-quarters of the front of the poster is covered with the repeated line "Art, Labour & Working Life" in large font, to form ten rows. These rows are in outline form except for picked out words which are in entirely black characters and these cascade down, a row at a time, a word at a time, to form the same line ("Art, Labour & Working Life"). rmit, 2018, events, labour, working life, artistic practice, hiring event, cultural events, multimedia, nicholas walton-healey

When George Coop and wife Helen following several years teaching in Canada, they bought a passage aboard the Wilhelmsen line cargo ship, Tomar departing Oslo, Norway for Melbourne, Australia. Whilst crossing the Bass Strait near Robe, South Australia, a generator in the engine room caught fire threatening the ship's fuel oil tanks, forcing the Captain to order the 43 crew and 8 passengers to abandon ship. They spent many hours in a lifeboat before being rescued. This photo was taken when the ship was brought up to Victoria Docks (No. 26 South Wharf) where George and other passengers were allowed to retrieve their luggage. The ship was then taken to Kaohsiung, Taiwan for scrapping. See also https://www.shipsnostalgia.com/media/tomar.450919/ http://www.shipspotting.com/gallery/photo.php?lid=2726028 http://www.shipspotting.com/gallery/photo.php?lid=2961287 https://www.flickr.com/photos/wheelhouseno/8131145299Digital TIFF file Scan of 35mm Kodak Plus-X Pan black and white negative transparencygeorge coop collection, tomar (ship), victoria docks, wilhelmsen line

When George Coop and wife Helen following several years teaching in Canada, they bought a passage aboard the Wilhelmsen line cargo ship, Tomar departing Oslo, Norway for Melbourne, Australia. Whilst crossing the Bass Strait near Robe, South Australia, a generator in the engine room caught fire threatening the ship's fuel oil tanks, forcing the Captain to order the 43 crew and 8 passengers to abandon ship. They spent many hours in a lifeboat before being rescued. This photo was taken when the ship was brought up to Victoria Docks (No. 26 South Wharf) where George and other passengers were allowed to retrieve their luggage. The ship was then taken to Kaohsiung, Taiwan for scrapping. See also https://www.shipsnostalgia.com/media/tomar.450919/ http://www.shipspotting.com/gallery/photo.php?lid=2726028 http://www.shipspotting.com/gallery/photo.php?lid=2961287 https://www.flickr.com/photos/wheelhouseno/8131145299Digital TIFF file Scan of 35mm Kodak Plus-X Pan black and white negative transparencygeorge coop collection, tomar (ship), victoria docks, wilhelmsen line

Distributed to nurses during campaigning for improved wages and working conditions in the 1980s, possibly during the historic 1986 Victorian 50-day nurses strike. In October 1986, Victorian nurses began their longest strike after the failure of repeated talks with the health minister David White who was committed to reducing the classification and pay of almost half of Victoria’s nurses. Skeleton staff were left in the wards while picket lines, tents and caravans were set up outside hospitals in both metropolitan and regional Victoria. After 50 days of industrial action, Victorian nurses voted to return to work on 20 December 1986. The Royal Australian Nursing Federation (RANF) became the Australian Nursing Federation in 1989, suggesting that this button is from the late 1980s. Similar to the badges worn in this photo [https://stories.anmfvic.asn.au/86strike/media/2560-1440-landscape-sec2-contentb-hr_logwf7a.jpg] from 1986 (see individual on the far right).This badge is of historic significance as it represents nurses' struggle for industrial and professional status. This struggle was made particularly visible through the 1986 Victorian nurses' strike, which had great impact on the way Australian society viewed nurses and working women (Bessant, 1992).Circular white and red plastic badge. Silver metal, plastic-coated, with safety pin fastener adhered to back. Badge printed with 'Nurses DO dare to Struggle' and 'R.A.N.F. [Royal Australian Nursing Federation] Vic. [Victorian] Branch'.nursing, nurses, industrial action, strike action, unionism, trade unions, badges, buttons, pins, campaigning, 1986 victorian nurses strike, labour history, royal australian nursing federation, victoria, australia

Launch of Legacy Week in 1990 included an exhibition of Aviation Art at Legacy House. Paintings were by Frank Harding of Renmark, South Australia. The article published on 23 August 1990, mentions that Frank Harding had painted over 50 paintings of aircraft flown by Australians and published a book of the images. It was called 'They flew for the King'. Each painting had been extensively researched to capture a specific moment in the World War 2 combat career of various pilots, flight officers or bomb-aimers. His aim was to honour the fine efforts of these great individuals. Unfortunately the artist died a few weeks after the exhibition and launch of his book. Photos are at 01523 also see media release at 01521. In 1990 the slogan was "Lest YOU forget" with an image of the statue of Simpson and his donkey rather than a personality, see items at 01250, 01520. The main time of year for fundraising is September when Legacy holds 'Badge Week'. An example of promotional material from the 1990s, including the speech and media release. Marketing material and photos were compiled and released to newspapers, also printed as brochures and sometimes as stickers and collection tin wrappers. Newspaper article for an aviation art exhibition for Legacy Week in 1990 and an article about the death of the artist.legacy week, paintings, promotion, frank harding, planes, warplanes

Sir Edward "Weary" Dunlop appears to be pinning a badge on ex-footballer Ron Barassi. It was in the Melbourne City square, there is a Legacy Banner behind them. A tug of war held in Melbourne City Square to promote Legacy Week in 1992. Other photos at 01797 mentions it was a Legacy team against a media team. Ron Barassi can be seen at the end of the rope of the Legacy team. The judge appears to be Sir Weary Dunlop. Another photo shows a staff member (Susie Howard?) and radio personalities also competing - possibly the Fox FM crew that helped in other events. Ron Barassi was a Legacy Boy after losing his father and has helped promote Legacy many times at events. Weary Dunlop has also been active in promoting Legacy and participating in Legacy events. Ron Barassi's father, Corporal Ronald James Barassi, was killed in action at Tobruk in 1941, aged 27.A record of some important personalities giving their time to promote Legacy in 1992.Black and white photo of Weary Dunlop and Ron Barassi4-18 in blue pen and P7 in pencil on reverse.events, legacy promotion, legacy week, dunlop, ron barassi

Photograph of Legatee Bob Cowper and another man by displays of paintings of aircraft. It was the launch of Legacy Week in 1990 which included an exhibition of Aviation Art at Legacy House. Paintings were by Frank Harding of Renmark, South Australia. The photo was used for a newspaper article published on 23 August 1990, mentions that Frank Harding had painted over 50 paintings of aircraft flown by Australians and published a book of the images. It was called 'They flew for the King'. Each painting had been extensively researched to capture a specific moment in the World War 2 combat career of various pilots, flight officers or bomb-aimers. His aim was to honour the fine efforts of these great individuals. Unfortunately the artist died a few weeks after the exhibition and launch of his book. Photos are at 01523, the article at 01522, also see media release at 01521. Date is assumed to be 22 August 1990 from the reference number on the back 900822.An example of an art exhibition being held at Legacy House to promote Legacy during Legacy week in 1990.Black and white photo of Legatee Bob Cowper at the aviation exhibition. Stamped on back Copyright Herald and Weekly Times in green ink. Handwritten "900822 / 261" in blue ink, "Pic 7" in black ink.legacy promotion, legacy week, painting

Black and white photograph - Grade 4, 1925"Attached to photograph" Back Row - L to R: F Somerville, ?, P Neilson, M Grant, J McPhee, ?, E Pratt, ?, L Bomford, D Somerville, E Roberts. 2nd Row - L to R: D Milne, V Tremblet, ?, M White, A Hann, K McArthur, V Allen, G Baker, ?, D Matlock. 3rd Row - L to R: B Pickettt, P Newell, Lola Belbin, ?, E Pickett, J Godbehear, D Reid, E Milner, J Peake, B Sampson, ?. Front Row - L to R: F Whiteway, ?, E Corbett, R Bareer, A Sleeman, V Nash, ?. Added Sc0020 photo to "Media" and deleted VC entry 2153 on 14th June 2022. Sc0020 now with this Entry.

Black and white photograph - Grade 4, 1946"Attached to photograph" Back Row - L to R: Brian Pump, John Chird, ?, Stan McDonald, Paul Divola, Andrew Rothney, Bill France. 2nd Row - L to R: Noel Deed, Ted Polkinghorne, Les Bomford, Cliff Mead, Russ Read, Peter Wigley, Vernon Lee, John Wigley. 3rd Row - L to R: ?, Alison Pellow, ?, ?, ?, ?, ?, Jennifer Parker, ?, ?. 4th Row- L to R: ?, ?, Dawn McAlpine, ?, Julie Martin, ?, Jennifer Parker, ?. Front Row - L to R: Norman Wright, Bill Wright, Jack Wakeham, Brian Mallet, Ray Hager, ?, Carl Martin, ?. Teacher: Fredrick Samual Jutson Added Sc0022 photo to "Media" and deleted VC entry 2155 on 14th June 2022. Sc0022 now with this Entry.

Black and white photograph - Grade 3,1945."Attached to photograph" Back Row - L to R: ?, Brian Pump, Paul Divola, Stan McDonald, John Caird, Noel Deed, Peter Wigley, John Mathews. 2nd Row - L to R: Dawn McAlpine, ?, Marion Medhurst, ?, Julie Martin, Jennifer Parker, ?. 3rd Row - L to R: ?, ?, ?, Lrris Hill, ?, ?, ?, ?, ?, ?. 4th Row _ L to R: Bill France, Desmond Stewart, Russell Read, John Wigley, Norman Wright, ?, Ted Polkinghorne, Andrew Rothney, Les Bomford. Front Row - L to R: Bill Wright,, ?, Brian Mallett, Cliff Mead, Ray Hager, Vernon Lee, Jack Wakeham, Karl Martin. Teacher: Added Sc0021 photo to "Media" and deleted VC entry 2154 on 14th June 2022. Sc0021 now with this Entry.

A lawn bowls contest in 1990 held at East Malvern RSL lawn bowls Club. The winner of the Dallas Brooks Trophy was Andrew Tucker and he met the previous year's winner, Thomas Tucker (no relation). The event was held annually and was a fundraiser for Legacy and well as a social event for legatees. A record of a social lawn bowls event that also raised money for Legacy.Colour photo x 4 of a bowls competition and two paper labels on pink paper.Label says 'A cheque was presented to Legatee Robertson by Mrs Hazel Williams, President fo the East Malvern RSL Ladies Bowling Club, on behalf of her members. Refreshments are served to player and spectators over the quarter finals, semi finals and finals held at East Malvern RSL. Each year the ladies kindly donate this money to Legacy.' Second label says 'These two gentlemen have more than winning Legacy's Sir Dallas Brooks Trophy in common. They each share the same surname - but no relation. Andrew Tucker (left) meets 1989 winner, Thomas Tucker.' Another label says the photos were taken on 15 Feb 1990 by the Media Officer Susie Howard. And the tournament winners were Footscray City and Runners up were Beaumaris (Jake and Son). fundraising, legatee event, bowls, trophy

Prior to the digital revolution the only medium by which cartographic information could be reproduced and distributed on mass was via printed media. The final negatives (repromat) used to produce the printed products were the culmination of a complex cartographic process and were therefore carefully preserved and stored. Preservation of the so-called final negatives enabled subsequent reprinting with minimal cartographic intervention. Since the arrival of the Land Headquarters Cartographic Company at Fortuna in 1942 the repromat for all products produced by the Australian Survey Corps were carefully stored. With the disbandment of the Army Survey Regiment in 1996 the Defence Imagery and Geospatial Organisation (DIGO) inherited that repromat archive. It was immanent that the support for film based printing was ending so on 25 October 2004 a review was required to determine the way ahead for the repromat and paper maps stored in the DIGO Map Libraries. Most of these maps were produced by the Royal Australian Survey Corps. This report is the result of that review. The report recommends the disposal of the repromat and the retention of single map copies. A4 plastic covered report, plastic clip bound, front page clear and rear page red. 9 x page document about the future of repromat and map printing.royal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr

Can we humans simply ignore the fires, the floods, and the increase in deaths brought about by climate change? In this book, Australian farmers - who bear the brunt of climate change, yet accept the science - share their experiences with the unpredictable weather events, the reduction in rainfall, and the shift to hotter months which are a challenge to farming cycles. Far from contributing to the problem with their farming practices, these farmers demonstrate how to reduce their greenhouse gases - to zero or below in some cases - while remaining profitable. They are all committed to pass on their farm in a better condition than when they first purchased or inherited it. With crops or livestock, big or small, they have worked cooperatively, mostly through land management, to plant thousands of trees, which has led to the daily presence of over 100 bird species. The farmers' inspiring and informative stories will open up a new world to most urban dwellers. A summary of climate change impacts - and an account of the numerous economic, political, and media barriers toward change - combine to provide a context for their work. 280 pages : colour illustrations, colour maps, colour portraits ; 23 cm. Includes bibliographical references and index. Also available in digital formats: ebook &​ epdf. ISBN 9781925078503 Dewey number 338.10994 Chapter 5 : Bob & Anne Davie Donor : Anne Davie ; Date : 14.10.2015.agriculture -- environmental aspects -- australia., farmers -- australia -- economic conditions., rural development -- australia., climatic changes -- australia.

This was the first press photograph transmitted by radio from England to Australia. On 16 October 1934, South Australian aviator, C J Melrose, was pictured beside his plane at the Mildenhall aerodrome, England, preparing for the start of the Centenary Air Race. Within hours of capture, the image was transmitted from London to Melbourne and then sent via picturegram to Sydney’s press, the greatest distance a photograph had been transmitted over radio. Wirephotos, as they are commonly called, are produced through electrical pulses which travel along telephone or telegraph wires, or radio waves. Like the transmission of Morse dots and dashes, the technology communicates the light and dark portions of an image, to be recorded on a negative or photographic paper at the receiver’s end. Previously, photographs of an event appeared several days after the fact; wirephoto technology enabled visual communication with relative speed. Our consumption and expectation of the immediacy of news and communication continued to grow, an expectation that forms the basis of time-based social media activities such as Snapchat or Facebook and Instagram stories.london to melbourne air race, wirephoto, picturegram, uiver, james melrose

Joynt was the seventh member of the newly formed Legacy in 1923 and became a member of the Board of Management in 1924 and worked closely with Stan Savige. He was also instrumental in gaining the support of both General Sir John Monash and the R.S.L. to build the Shrine of Remembrance, as well as ensuring media backing and thus public support for the project. He worked tirelessly for Legacy for 38 years until he retired at the age of 84, and entered fully into comradeship activities throughout his involvement. He won his VC in 1917 at Chuignes during one of the last battles on the Somme. The Victoria Cross is the highest award for acts of bravery in wartime and was instituted in 1856 by Queen Victoria. See also Cat.Nos. 01303, 01350. This obituary adds further information about the life of L/- W.D. Joynt and includes a typed copy of an extract from 'They dared mightily' by Laurence Wigmore (Canberra: Australian War Memorial, 1963) pages 141, 142 & 143 which detail the action which won him the V.C.Provides more military information than in other obituaries of Joynt, as well as further information on his activities in the broader community.White A4 paper x 6 pages with black type.Box 16 L1.14 in black ballpen Confusingly it is dated 20/6/78, handwritten in black biro, although Joynt did not die until 1986.donovan joynt, obituary

This set of 30 photographs of the Army Survey Regiment’s Fortuna Villa and surrounding facilities was taken circa 1985. The photos feature much of Fortuna’s exterior and most of the out-buildings spread over the property’s fifteen acres of grounds. After Defence took possession of Fortuna in 1942, the Q-store and engineering workshops were added during the wartime period. Soldiers were accommodated in tents during WW2 for 20 years next to the parade ground before the construction of accommodation buildings in 1962. In 1990 most of the weatherboard buildings in the Q-store area were replaced. A climate-controlled building was also constructed to house a map library and digital data media. This photo set also includes the exterior of Air Survey Squadron’s Building 16 and two modular buildings -16A and 16B that were added in the early 1980s to accommodate map production and technical services. See item 6457.22P for photos of Fortuna Villa’s interior that were taken at the same time.This set of 30 photographs of the Army Survey Regiment’s Fortuna Villa and surrounding facilities was taken circa 1985. The colour photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, colour, c1985. Fortuna Villa – view from the lake. .2) to .4) - Photo, colour, c1985. Fortuna Villa – front view. .5) - Photo, colour, c1985. Fortuna Villa – balcony view of transport compound and Air Survey Squadron. .6) - Photo, colour, c1985. Fortuna Villa – balcony view of Q-store and transport compound. .7) - Photo, colour, c1985. Fortuna Villa – balcony view of transport compound and Bendigo. .8) - Photo, colour, c1985. Fortuna Villa – balcony view of Q-store buildings. .9) - Photo, colour, c1985. Fortuna Villa – Pompeii Fountain and Stables. .10) - Photo, colour, c1985. Fortuna Villa – coach house. .11) - Photo, colour, c1985. Lithographic Squadron delivery docks. .12) - Photo, colour, c1985. Fortuna Villa - Original Roman Bath entry. .13) - Photo, colour, c1985. RAEME and carpentry buildings. .14) - Photo, colour, c1985. Q-store buildings. .15) - Photo, colour, c1985. Q-store buildings. .16) - Photo, colour, c1985. Transport compound. .17) - Photo, colour, c1985. Fortuna Villa’s original laundry, gardeners’ building. .18) - Photo, colour, c1985. Duty Room. .19) - Photo, colour, c1985. L to R: Side of Duty Room, RAP building. .20) - Photo, colour, c1985. Transport compound, Q-store in background. .21) - Photo, colour, c1985. Air Survey Squadron’s Building 16 viewed from carpark. .22) - Photo, colour, c1985. Technical Services, Building 16B. .23) - Photo, colour, c1985. Air Survey Squadron’s Building 16 courtyard. .24) - Photo, colour, c1985. Technical Services, Building 16B viewed from Building 16 courtyard. .25) - Photo, colour, c1985. Air Survey Squadron’s Building 16A and fernery viewed from walkway. .26) - Photo, colour, c1985. Officers Accommodation. .27) - Photo, colour, c1985. Other Ranks (OR’s) ‘New’ Barracks. .28) - Photo, colour, c1985. OR’s Kitchen and Dining Room. .29) & .30) - Photo, colour, c1985. Army Survey Regiment - Front Entry GateThere are brief descriptions on a note behind each photograph.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

Donated by Barbara GARDINER, daughter of William HEGARTY, centre. This strong team, founded before WWI, later served as PMFC seconds and provided many top players to PMFC. By 1925 Railway United were effectively the PMFC Seconds and were referred to in the media as Port Melbourne Junior Football Club although the Railway United name remained in use locally for many years. The Victorian Junior Football Association (VJFA) had been split into two sections. Section B consisted of teams associated with senior clubs playing in the Victorian Football Association (VFA) with unaligned teams making up Section A. Finals were played between the top teams in each section and then the two winners (premiers) played off in a final match to determine which club won the John Wren Shield as premier of the VJFA. 1925: Port Melbourne 12.11.83 def Williamstown 6.12.48 at Yarraville on 5 Sep 1925 to claim the B Section premiership. In the challenge match for the John Wren Shield played at the Motordrome, 3 Oct 1925, Yarraville 10.15.75 def Port Melbourne 5.10.40.Laserprint copy of Port Melbourne Railway United Football Club photo, 1925 Premiers; football held by Bill HEGARTY, centresport - australian rules football, william (bill) hegarty, port melbourne railway united football club, bill wilson snr, bill wilson, len rainbow, allen summers, bill barnett, bill rosewarne, les bolman, mick bragg, jock bolman, port melbourne junior football club, george (chudda) bolman

Gareth SAMSOM (19 November 1939- ) Born Melbourne Sansom describes a desire to constantly surprise and challenge himself as an artist. He had his first exhibition in 1959. His paintings of the 1960s were characterised by a distorted use of line, shape and colour and were influenced by abstract expressionism, Francis Bacon and Sidney Nolan. Over time, his work has also drawn on punk, dada, Basquiat, T.S. Eliot, urban graffiti, classical Greek philosophy and art theory across a variety of media ranging from drawing, printmaking and collage to photomontage and photography. Sansom lectured in Art at the Ballarat Teachers' college, and was appointed Head of Painting at the Victorian College of the Arts from 1977-1985, and Dean School of Art at the Victorian College of the Arts from 1986-1991. He was artist-in-residence at the University of Melbourne in 1985, which was when he resumed his full-time painting practice with a series of large works on canvas. The Federation University Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.'Looking for God in Abstract Art 2' is a play on the debate over the respective virtues of abstraction and figuration that has preoccupied artists and critics for more than a century. Sanson has always walked a wobbly line between the two, adroitly avoiding falling headlong into either camp. It is also a gentle dig at the pretensions to higher spiritual meaning in abstract art. In the centre are two photographs, one of rubber masks and the other of the artist in a lurid fright wig and mask and using a spray can like a young tagger. These images, where the artist wears a mask and teeters on bright red platforms, are wonderfully ludicrous send-ups of the 'fine art' of painting. (Geoff Wallis from 'Gareth Sansom: Alternative Person", Art Gallery of Ballarat, 2012) This work was exhibited and published in the catalogue of the exhibition 'Gareth Sansom: Alternative Person' at the Art Gallery of Ballarat in 2012 item. art, artwork, gareth sansom, sansom, mixed media, oils, enamel, photo-collage

Gareth SAMSOM (19 November 1939- ) Born Melbourne Sansom describes a desire to constantly surprise and challenge himself as an artist. He had his first exhibition in 1959. His paintings of the 1960s were characterised by a distorted use of line, shape and colour and were influenced by abstract expressionism, Francis Bacon and Sidney Nolan. Over time, his work has also drawn on punk, dada, Basquiat, T.S. Eliot, urban graffiti, classical Greek philosophy and art theory across a variety of media ranging from drawing, printmaking and collage to photomontage and photography. Sansom lectured in Art at the Ballarat Teachers' college, and was appointed Head of Painting at the Victorian College of the Arts from 1977-1985, and Dean School of Art at the Victorian College of the Arts from 1986-1991. He was artist-in-residence at the University of Melbourne in 1985, which was when he resumed his full-time painting practice with a series of large works on canvas. 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 abstract painting.art, artwork, garth sansom, sansom, abstract

Black and white photograph - Grade 5, 1947."Attached to photograph" Back Row - L to R: Graeme Rattray, Paul Divola, Brian Simpson, John Caird. 2nd Row - L to R: Norman Wright, Brian Pump, Russell Read, Bill France, Phillip Collins, Peter Wigley. 3rd Row - L to R: Nola Scurry, Lorres Hill, Valerie Gordon, Yvonne Goodwin, Linley Clark, Lois Stevenson, ?, ?, Jennifer Parker, Chris Patterson, ?. 4th Row - L to R: (?) Georgie, Evelyn Willis, ?, Marion Medhurst, ?, ?, Elain Mathews, Valerie Everett, Dawn McAlpine, ?, ?. Front Row - L to R: Noel Deed, Ron Frazer, Brian Mallet, Vernon Lee, Ted Polkinghorne, John Wigley, Keith Thompson. Teacher: Added Sc0024 photo to "Media" and deleted VC entry 2157 on 14th June 2022. Sc0024 now with this Entry.

David NOONAN (1969- ) Born Ballarat, Victoria. Lives and works Melbourne, Victoria and London, United Kingdom. Leaving secondary school as soon as he could, David Noonan enrolled in a Visual Art Course at the Ballarat School of Mines. He described this time as 'an inspiring time, with every art form covered and treated with passion and rigour.' He studied ceramics, photography, painting and knew that he had to be an artist. (https://art150.unimelb.edu.au/articles/david-noonan-making-art-in-a-dark-and-quiet-place, accessed 17 January 2020). Between 1987 and 1989 David Noonan completed a Bachelor of Fine Art at Ballarat University College, Victoria, Australia (Now Federation University Australia). He undertook Post Graduate Studies at the Victorian College of the Arts, Melbourne in 1991 and 1992. Since 2005 he has been based in London with his work featuring in a number of major international exhibitions of contemporary art, including 'Altermodern', the 2009 Tate Triennial at Tate Britain, London. Producing works in a range of media including painting, photography, film, print-making, collage and sculpture David Noonan's work often evoke the subconscious realm through their fragmented imagery, allusive qualities and complex layering of historical and cultural references. Animals, actors and masked figures are recurring motifs that imbue his works with a magical atmosphere that is suggestive of childhood memories or half-forgotten dreams. ( produced works in a range of media including painting, photography, film, print-making, collage and sculpture. His works often evoke the subconscious realm through their fragmented imagery, allusive qualities and complex layering of historical and cultural references. (https://www.ngv.vic.gov.au/essay/david-noonan-untitled/, accessed 17 January 2020) David Noonan has become known for large-scale monochromatic collages on linen comprised of fabrics which are torn, folded, cut, stitched and combined with silkscreened images. This approach was used to produce his 2018 atmospheric film 'A dark and quiet place'. Noonan is interested in combining art and traditional craft techniques. (https://artgalleryofballarat.com.au/gallery_exhibitions/david-noonan-stagecraft/, accessed 17 January 2020) 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. Six stretched canvases making up the work 'Ring of the Nibellings'. art, artwork, david noonan, oil on canvas, alumni