The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Part of a photographic series which is historically and aesthetically significant. The photographs record the interiors and exteriors of D'Estaville, an historic Kew mansion in the 1960s, and also its owner, Alma Figuerola, a pupil of Max Meldrum, and a notable Melbourne artist who lived in Kew.Alma Figuerola painting in her garden at D'Estaville, Barry Street, Kew. This is a newspaper photograph, part of a series by The Age on the artist Alma Figuerola, and is still under copyright. Alma Figuerola was a foundation member of the Kew Historical Society. She died in 1970, so the photograph predates this.australian artists, d'estaville -- 7 barry street -- kew (vic), alma figuerola

Lieutenant Albert Borella, 26th Battalion AIF, was awarded the Victoria Cross for his actions at Villers Bretonneux, France, in March 1918.Possibly the only self portrait of an Australian VC winner.Framed self portrait of Captain Albert C Borella VC MM MID in World War One (1914-1918) uniform with 'Sam Browne' belt and medals. Stained wooden frame has been covered with a protective clear acrylic sheet.Engraved plaque on lower face of frame "Capt Albert C Borella VC MM MID presented to 8/13 VMR by Mrs E Borella"borella, victoria cross, self-portrait

Painting of Melbourne at the time the Lodge held it's inaugural meeting on 23 December 1839 Melbourne Viewed from the south bank of the Yarra RiverThe Lamb in inn the painting is the first meeting place of the Lodge of Australia Felix on 23 December 1839 felix, australi felix, uglv

Minnie Mary Fimmel (1880-1965) was born at Kewell, near Minyip and married carpenter John Thomas Francis Moroney in 1897. His death left her a widow with two children. Minnie re-invented herself as Marie Minnie Dalley and commenced menial work in Melbourne. Known as ‘Ma’, she became a financially successful businesswoman, eventually owning various properties around Victoria including a ‘machinery factory’. She was much ‘talked about’ in the newspapers for her benevolent actions, particularly towards women. For this community service she received an O.B.E. in 1949. Aged 74, she became the first female mayor of Kew. Ma Dalley refused to accept a formal presentation of the honour at a ‘return ball’, insisting that the money be donated to St George’s Hospital, Kew. She continued to financially donate to various charitable organisations. Her piéce de résistance was a staggering £250,000 personal donation to further the building of St George’s Hospital. She died at Kew and is buried at Miniyip Cemetery. Framed large oil painting on canvas. Cr Marie Dalley in her mayoral robes. Painted inscription on reverse of canvas: ‘Ma Dally [sic]. 1st lady Mayer [sic] of Kew Vic. Pinxit Govett 1951". [Cr Dalley was Mayor of Kew in 1954-55, so the date given by the artist on the reverse is incorrect.]marie (ma) dalley, james william govett, ma dalley, minnie mary fimmel, mayoral portraits

The painter of the work is unidentified. While the frame was made in Brisbane, the artwork is likely to be European in origin. The framer, William Lewis Hamilton, trading as A.L. Hambleton is listed in a Commonwealth of Australia Gazette of 1917. (No.113) in an application for copyright. The donor's ancestors, who included a number of amateur artists, lived in Coorparoo, Queensland.Oil on canvas mounted in an elaborate gilt wooden frame. The painting depicts a donkey and chickens in a barn. Donated by Rosemary Vaughan-Smith. A label on the frame is partly readable. It indicates that the frame was supplied by A.L. Hambleton, Kents Building, cnr Adelaide and Albert Streets, Brisbane.See note on label abovevaughan-smith collection, farmyard scenes, oil paintings

Local SceneImpressionistic view of valley with a creek running through it. Three horses in the foreground - AR0064Information about the artist on the back. "James Farrell is a member of the Victorian Artists Society" and "is represented at the Australian War Memorial, Canberra".keilor, maribyrnong, river, painting, impressionist, landscape

Part of a series of 14 commissioned works for Keilor City Council, Local Indigenous PlantPart of a series of 14 commissioned works for Keilor City Council - AR0005Details of the plant on the back of the painting

In 1992 the children from the Bulla Primary School had an excursion to Woodlands Park for a Colonial Day where they were introduced to old crafts and skills. In this photograph the children were painting a shed using lime wash instead of commercially produced paint.The purpose of this school excursion was to introduce the children to day to day living in colonial times in Australia by giving them a hands on experience in a number of crafts and leisure time pursuits.A coloured photograph of five children painting a shed wall under the supervision of an adult. One person is mixing the paint while three others are doing the painting.bulla primary school, woodlands park, school excursions, colonial crafts

Soft cover book slightly shorter than A4, Mustard colour cover with a photo of a eucalypt on the front cover, on the back cover is a blurb. On the inside front cover is a map of South Australia & on the inside back cover is a photo of the Author & a blurb about him

This book was compiled by Sue Barnett at the request of the project participants from material gathered as part of the project "Beyond the Garden Wall". This project was devised and managed by a team at Surrey Hills Neighbourhood Centre Inc. with funding from the Victorian Department of Planning and Community Development (VDPCD) under the "Images of Age' grant 2007. It involved conducting oral histories, reflection on the part of the participants through visual diaries, photography and painting. A short video of some of the gardens was also commissioned. All the elements came together during Seniors Festival in an exhibition held at the Augustine Centre, and opened by Jane Edmanson. At the request of the VDPCD, a modified exhibition was held in 2008 at 'Australia on Collins' during the 2008 Seniors Festival. Sue Barnett and Jo Reitze (Mrs de Carteret) are Surrey Hills residents. This provides a snapshot of 20 gardens and the 22 passionate gardeners who created them. The prose provides a potted history of the gardeners and their philosophical approach, accompanied by portraits of them and cameo photos of their gardens, as well as a photo of the painting of the garden as seen by artist Jo Reitze. All the gardens were situated within the City of Boroondara and all the gardeners were over 60 years of age. Prose written by Sue Barnett; photography by Sue Barnett and Jo Reitze.gardening, anecdotes, (ms) jo reitze, (ms) susan barnett, sue barnett, paintings, gardeners

The waterbody was the site of a quarry that existed between Grovedale Road and James Street, Surrey Hills on land owned by J B Maling (senior). Clay from it was used to make bricks for local houses. The quarry became a hazard and after several drownings was filled in. The Grovedale Park now occupies the site. Muriel Hedwig Lucy Pornitz, also known as Muriel Pornett, lived locally. She was born in Melbourne in 1894 and studied at the South Australian School of Arts & Crafts in 1911 under James Ashton and Fred Britton, and at the Australian School of Etching in Sydney. She was also an illustrator and cartoonist. She died in 1982.A small oil painting on canvas board in a dark wood frame of a water body with a clay bank behind and 2 trees above the bank. Lower front right hand corner: "AUST. M P 1927" On the rear upper edge, in ink on badly degraded brown paper backing: " "The Old Quarry" Surrey Hills, Melb." / [Second line of writing is illegible.] A label is stuck to the middle section of the paper backing. It indicates that the painting was framed by Toska Art Studio (N. Cl Colliver, Proprietor) of wyndham Street, Shepparton. Lower rear edge, in ink on badly degraded brown paper backing: "by / Muriel ...... / "Darnok", / 22 Grovedale Rd / Surrey Hills, Melb" painting, grovedale road quarry, quarry, grovedale road park, john butler maling (snr), surrey hills, muriel pornitz, muriel pornett

Norma Bull in a window of 'Medlow', 1920s Her brother (Ronald) Richard was a keen photographer and is believed to have taken the photographs of the family and in the grounds of 'Medlow'. Norma Catherine Bull (7 September 1906 – September 1980) was an Australian painter, printmaker and etcher best known for the paintings and sketches she made in Britain during World War II. Norma was the daughter of Richard Joseph Bull (1874-1927) and Catherine Grace Perrier (1884-1972). Her father was the Director of Bacteriology at Melbourne University. Richard and Catherine had 2 children. Norma was born in Hawthorn in 1906 and her brother Ronald Richard was born in Surrey Hills in 1912, where in 1911 Richard bought a property at 42 Warrigal Road, Surrey Hills developed by Colonel William Cairncross, known as ‘Willcyrus’ and renamed ‘Medlow’ by the Bulls. As a child, Norma was a high achiever both intellectually and artistically. She was educated at Fintona, where she matriculated as Dux of the School and winner of an exhibition in French. She won a scholarship to attend the University of Melbourne where she studied French, Zoology, Philosophy, English and History, leading to a Bachelor of Arts in 1929. Following this she studied painting and drawing at the National Gallery Art School for seven years. Whilst most of the students of the 1930s were inspired by Modernism, Norma followed more traditional styles and became known for her etchings and realistic depiction of urban scenes. Her work was strongly influenced by the conservative nature of the National Gallery Art School under Bernard Hall, and she remained a traditionalist all her life. In 1938, she was awarded the Sir John Longstaff Scholarship in Fine Art. This enabled her to travel to England to study at the Royal Academy in London. She arrived in April 1939 and after the outbreak of war, she worked as a volunteer at a First Aid Clearing Station and applied to become a war artist. In 1941, she was given a sketching permit by the War Artists Advisory Committee to record bomb damage in the Bristol area. In 1947, an exhibition of her 205 wartime works entitled “Two Hemispheres”, opened at Australia House in London. Many were acquired for major collections in England including the Victoria and Albert Museum, the Imperial War Museum and the Royal Collection. The “Two Hemispheres” exhibition toured Australia in 1948 and for over twelve months she followed Wirth’s Circus around the country, painting aspects of circus life. From then on she lived at Medlow’, From 1960 she was secretary of the Fellowship of Australian Artists. She was a finalist in the Archibald Prize on 2 occasions and is remembered through a biennial Art Prize, ‘The Norma Bull Portraiture Scholarship’ which is administered by The Victorian Artist’s Society. She continued to paint landscapes and seascapes in her traditionalist style. She had holiday homes at Anglesea and Bright. After she died in September 1980, 31 of her works were bequeathed to Bright Art Gallery. A black and white photograph of a lady holding a sun umbrella and sitting in a window frame.miss norma bull, medlow, house names, warrigal road, surrey hills, mr ronald richard bull

The photo is of a painting of the dam formed on land between Grovedale Road and James Street, Surrey Hills. It was painted in 1927 by Miss Muriel Pornitz, an art teacher, who lived in Grovedale Road. The land had been part of Mr James Maling Snr’s property and in the 1880s clay was removed to build houses, including his own located on the corner of Weybridge and James Streets. Maling grazed cattle on this area and used it as a dam. The land was subsequently made into parkland, the quarry / dam having been filled in after several drownings had occurred in the 1920s/1930s. See also SHP94, another copy of the same. Muriel Hedwig Lucy Pornitz lived at 22 Grovedale Road, Surrey Hills. She was born c1894 in Balwyn; died in Kew on 1 December 1982. She was the daughter of Konrad Pornitz (1864-1903) and his wife Charlotte Richardson Gooderidge (1863-1942), known as Tottie, who married in 1890. Konrad Pornitz is listed in the 1892 directory as living in Edgevale Road, Kew and the business Pornitz and Ross at 291 & 293 Little Collins Street, importers and commission merchants. The 1896 directory gives the Kew address as 176 Edgevale Road, Kew, however the business Pornitz and Ross was dissolved on 1st day of October 1892, by mutual agreement. Legal notice advised that: Mr Pornitz will hereafter carry on the business on his own behalf at the same address, under the style "Pornitz and Ross". Muriel is buried in Box Hill Cemetery (B-086-0042) along with Ulrich Horst Holm Pornitz known as Horst or Bon (d 1957) and Edith Olga Pornitz (d 1951), her brother and sister. A further sibling (Konrad b 1891) died in infancy. He is buried with his mother in Boroondara (Kew) Cemetery - C/E A 0366. Konrad died at his home 'Yarran' in Lane Cove Road, North Sydney on 31 October 1903; reported in the Sydney Morning Herald. Buried Gore Hill Cemetery, St Leonards, North Sydney. The headstone reveals he was born in Chemnitz, Saxony in 1863. Muriel was also known as Muriel Pornett. She studied at the South Australian School of Arts & Crafts in 1911 under James Ashton and Fred Britton, and at the Australian School of Etching in Sydney. She was also an illustrator and cartoonist. The photo, and the painting from which it is derived, documents the landscape prior to close settlement and is material to early building and farming in the Surrey Hills area.A black and white photograph of a painting of a landscape of parkland. Two trees are on top of a rise and are reflected at the bottom in water. The signature of the artist is in the bottom right corner: "AUST MP 192" (and the rest is cut off).(miss) muriel pornitz, grovedale road, james street, surrey hills, artists, parks and reserves, (mr) john butler maling, snr, quarry, dam, (miss) muriel hedwig lucy pornitz, box hill cemetery, muriel pornett

This bag belonged to by Mrs Alice "May" Moss CBE (1869-1948), Australian suffragist, social welfare campaigner and longtime resident of 59 North Road, Brighton. Born Alice Frances Mabel Wilson in Ballarat, in 1887 May married Isidore Moss, the son of Norwood's builder Mark Moss. While her children were young, she began to campaign for the rights of women and served as vice-president of the Australian Women's National League in 1906-14, during which time she actively campaigned in Victoria for women's suffrage. She was an Australian delegate at the League of Nations Assembly at Geneva in 1927, where she was the first woman to sit on a finance committee. She attended the International Council of Women in Geneva in the same year and in 1928 was elected as vice president of the ICW, a position she held until her death. She was the first president of the National Council of Women of Australia, serving from 1931 to 1936. May was active in many other community organisations and causes, including the Royal Women's Hospital, the Collingwood Crèche and the Free Kindergarten movement. She served on the board of management of the City Newsboys' Society in 1906-48 and was the first woman lay-member of the National Health and Medical Research Council in 1936-45. She was also member of the International and Lyceum clubs, with an interest in the theatre, painting and woodcarving.French petit point tapestry bag featuring seven people in a bucolic scene, with trees and buildings in the background. Black border. Gold metal hinged opening with ornamental clasp and gold chain.may moss, petit point, 1930s

Ash KEATING Among fifteen finalists this artwork won the 2012 Guirguis New Art Prize, a prestigious national acquisitive biennial art prize administered by Federation University Australia. The Guirguis New Art Prize (GNAP) is a national acquisitive $20,000 contemporary art prize which presents a selection of Australia's most exciting contemporary artists with works that explore and embrace new ways of artistic expression, utilising existing mediums and new technologies in innovative ways. Initiated and generously supported by local Ballarat surgeon Mr Mark Guirguis, this prestigious art prize is administered by the Federation University Australia (FedUni). As a local philanthropist and art collector, in developing the Prize, Mark Guirguis' aims were to celebrate the significance of the arts to communities and to Ballarat, emphasising contemporary art and 'living' culture, and to highlight FedUni's Arts Academy. Artist Ash Keating works across a conceptual, site-responsive and often collaborative art practice that incorporates painting, sculpture, installation, video, performance and public interventions, and has referenced a wide range of social and environmental issues within his art. Frequently working beyond the gallery, and often harnessing community narrative and energy, his work also draws upon myth, ritual and ceremony. 'West Park Proposition', 2012, is a three channel and screen video installation, utilising multiple camera video documentation of an endurance painting intervention undertaken on the morning of 01 September 2012 on the east facing wall of a newly built tilt-slab industrial building, situated on the direct edge of the current urban and rural boundary in Truganina, Victoria. The multi-screen work documents an endurance guerilla-style action painting intervention and ritualised painting performance in which a symbolic violence is enacted against a storehouse of commodity production and consumption. Upon winning the award artists Ash Keating said; “The work was made near Ballarat on the Deer Park bypass. It is an aesthetic comment about the way these new tilt-slab industrial buildings spring up without caring for the environment." The work, which took eight hours to create, was about reclaiming the space from “cost-effective architecture” without any aesthetics. The inaugural judge for the Prize, Jason Smith, Director, Heide Museum of Modern Art (MoMA) said, "Selecting the winner of this inaugural GNAP was exhilarating and excruciating: exhilarating because the seriousness of each artist's enterprise, and their uncompromising resolution of concepts, has created an inaugural exhibition of exceptional power. This first GNAP is a survey of some of the most poetic and provocative imaginations working in Australia today. Selecting one winner from such a show in which each of these artists has in some way transformed my thinking about the world was the excruciating part. Ash Keating's work West Park Proposition, 2012 kept drawing me back in the several hours I spent viewing the works. It simultaneously affirms the political and critical role of the artist as a key agent of change and action, and someone who reminds us of the beauty and resilience of humanity and nature in the face of unrelenting change. As a work combining performance, collaboration and hope, Keating's West Park Proposition is a work of immense and compelling poetry."artist, artwork, keating, ash keating, guirguis, guirguis new art prize, gnap, gnap13

christopher gray, chippo, dalai lama, artist, artwork, gippsland campus, churchill

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

Andrew SIBLEY ( 9 July 1933-2015) Born London Since the 1960s Andrew Sibley consistently exhibited throughout Australia and Internationally. He was senior lecturer of painting at RMIT from 1967-1987 and senior lecturer of painting at Monash University from 1990-1999. Black and white Ex Libris Bookplate for Robert Littlewood.bookplate, andrew sibley, keith wingrove memorial trust, available

Framed oil painting of a woman's portraitSigned lower right 'D. Alexander'artist, artwork, david alexander, woman, portrait, available

Robin WELCH (1936- ) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. Initially studying at Penzance School of Art and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. 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.Stoneware bowl with single flange. White glaze with copper tint. Dry black glaze underneath and airbrushed lustre banding. Robin Welch stamped on base.ceramics, robin welch, jan feder memorial ceramics collection, jan feder, gippsland campus, stadbroke pottery, mungeribar pottery

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

Robin WELCH (1936- ) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. Initially studying at Penzance School of Art and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. 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.Raku Fired stoneware bowl with White Crackle Glaze by Robin Welch Robin Welch stamped on baserobin welch, ceramics, jan feder memorial ceramics collection, gippsland campus

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

Framed painting of a nude in an landscape.david alexander, nude, life drawing, gippsland campus, churchill, available, available gippland

Wes WALTERS (06 August 1928 - 19 August 2014) Born Mildura, Victoria From 1940 t0 1945 Wes Walters attended the Ballarat High School. He then studied architecture at the Gordon Institute in Geelong, followed by art at the Ballarat School of Mines (a division of the Ballarat School of Mines). During his time at the Ballarat Technical Art School (later Federation University Australia) Walters studied under Neville Bunning and Taylor Kelloch, and was awarded the Ballarat Ladies Art Association Scholarship in 1948. He next moved to Melbourne to work as a commercial artist with the George Patterson advertising agency. Each evening Walters studied life drawing at the Victoria Artists’ Society and taught himself anatomy. Wes Walters excelled in both abstract and realist art. He won the Art Gallery of Ballarat’s Minnie Crouch Prize for watercolour art in 1953 and 1956. He won the prestigious Archibald Prize in 1879 for his portrait of Phillip Adams, and the sketch was completed tin preparation for that portrait. Bruce Smeaton (born 5 March 1938) is an Australian composer who is well known for a variety of Australian film and television scores in all genres, including features, shorts, television, documentaries and advertisements.[1] His scores include Picnic at Hanging Rock, Seven Little Australians, Roxanne, Iceman, and Circle of Iron. He has won the Australian Film Institute 'Best Original Music Score' Award for The Cars That Ate Paris (1974), The Great McCarthy (1975), The Chant of Jimmie Blacksmith (1978) and Street Hero (1984, shared with Garth Porter and others). (Wikipedia).1) Portrait of Bruce Smeaton in oil on an unframed stretcher. .2) Charcoal sketch of the head of Bruce Smeatonwes walters, portrait, artist, artwork, bruce smeaton, musician, sketch, walters, alumni, available