Contemporary ArtAcquired with funds raised by The Friends of Benalla Art Gallery, 2014Partial portrait depicting indigenous person with paint covering part of face. Unframed work. Recto: Not signed, not dated, not titledpainting, portrait, indigenous, paint

Churchill Island Heritage Farm has a large photograph collection dating from the nineteenth century.Colour photograph of a group of people in a mix of historical and contemporary dress. Some are standing, some seated on chairs, and some seated on haybales. In the background, a green, white, and blue marquee is set up, and is emblazoned with the Victorian Farmers Insurance Agency logo and the Victorian Farmers Federation.catalogue number on reverse in pencilchurchill island, photograph

"Art is the vehicule for communications far Beyond the confines of a space, while design is the aesthetic cradle in which messages are nurtured and processed." "A 586 rework of the iconic building that has withstood the redevelopment of the Melbourne Docklands and defied the odds. On display a large format print 700mm x 1400mm print. Also a limited run of smaller prints on archival paper also available to support Melbourne's first non-profit charitible organisation that is still self funded, ie. not government funded." During the Open House Melbourne 30-31 July 2011, the artist nicknamed "586" participated in one of the Norla Dome Project Space events sponsored by Bendigo Wealth. Made in Melbourne, 586 is an urban digital experimentalist who blends social narrative with found image creating messages that inspire social consciousness and free thought. Cast in a local foundry back in 1991, 586 was a number, amid hundreds of men working between the ladie and the furnace in a clock on - clock off automated industrious landscape. Legend tells of a time when correspondance to workers was addressed to their number, not their name. Disapproval spread rapidly and a revoit soon followed, eventually the power of the masses won out, but the demoralizing treatment of the worker would go on to shape 586's perception and became the catalyst for a personal protest against social imbalance. This print was on display and smaller prints were also sold to raised funds for the Mission.DigitalLarge digital print of a design that overlays various symbols ( 4 flying angels ), the sails of a sailing ship and contemporary cityscapes and seascapes. centrally features a full photograph of the Mission to seafarers building at 717 Flinders St. Melbourne. Mounted in a large black frame and glazed with perspex .mission to seafarers, flinders street, melbourne, windvane, dome, flying angel, sea, norla dome, bendigo wealth, artist 586, 2011, artwork-paintings, open house, norla dome project space

Formal photograph of five rows of school children with centre bottom row child holding blackboard stating Golden Square State School Grade 2. Biro caption 'second row --Mum' is not contemporary with photograph exposure, and most probably refers to W G Dahl daughter.bendigo, education, golden square primary school

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.‘Heart of Gold’ buttons were produced for the Homeopathic (Prince Henry’s) Hospital’s Button Day Appeal in 1921. Contemporary newspaper accounts noted that the slogan was of American origin. A variety of buttons were produced costing from 1/ to £1. In the campaign, button selling in Kew raised £77."Heart of Gold: Homeopathic Hospital Appeal 1921"homeopathic hospital, badges, fundraising buttons, prince henry's hospital - st kilda road - melbourne (vic.)

Lou HUBBARD (1957 -) Born Brisbane, Queensland After a career in the film and television, Melbourne based artist Lou Hubbard completed a Master of Fine Art at RMIT University in 2001. She works primarily with video and installation, and has exhibited widely throughout Australia and internationally, Lou Hubbard is currently the Head of Photography at the Victorian College of the Arts. In announcing the award 2015 Guiguis New Art Award the judges applauded Lou Hubbard on her compelling installation, which comprised a deflated, disembowelled latex horse collapsed over a Coalbrookdale patio chair, table and bench seat situated over a skateboard and plastic dog. “Occupying a space between the traditions of equine, assemblage and unmonumental sculpture, Lou Hubbard’s Dead Still Standing confounds and compels viewers in its uncanny play of materials and movement,” senior curator, contemporary art, National Gallery of Victoria and judge Max Delany said. “In this elaborate yet concise work, Hubbard has created a form of surprising and unsettling effect that reflects our experience of a world in translation.” The win came as a surprise for Hubbard, who said she was overwhelmed at the talent of all 15 finalists. “I was so surprised, because I was in good company with the other artists, who were all quite extraordinary,” she said. “In the nature of the competition, I feel very lucky.” With multi-layer meanings to her piece, Hubbard said it was actually Ballarat’s rich history that inspired her work. She said it was the Ballarat goldfields and the idea of what horses might have gone through during those years that gave her a concept to work with. But that wasn’t the only source of ideals portrayed in the piece – Hubbard also explored the effect training had on horses. “The horse stands in a way that portrays (how) the human exhorts the way of training,” she said. “The horse is edging like it wants to move, which is impossible, and the furniture acts in lots of ways. The chair, for example, is like the horse’s ribs, which are being ripped out.” It was these multiple meanings that also had the curator of the Post Office Gallery, Shelley Hinton, impressed with the work. “The work challenges us ethically and culturally, in a way that pleads for analysis, as we do in our complex daily lives,” she said. Lou Hubbard's 'Dead Still Standing' won the was awarded the prestigious $20,000 Guirguis New Art Prize in 2015. The Federation University Guirguis New Art Prize was a national biennial and aquisitive contemporary art prize. The $20,000 biennial acquisitive prize was sponsored by Ballarat surgeon Mark Guirguis, administered by Federation University Australia and presented in partnership with the Art Gallery of Ballarat.The genesis of the prize was to raise the profile and encourage the Art School of what was then Ballarat University. lou hubbard, guirguis, guirguis new art prize, sculpture, horse, animal, installation artwork

This bust was commissioned and made in the years before Holroyd's retirement from the bench. It is not known precisely when the bust entered the Library collection or the circumstances of its execution and commission. Justice Holroyd (1828-1916) was a judge of the Supreme Court for 25 years, after a successful career at the bar. Charles Web Gilbert (1867-1925) was a largely self taught sculptor, only tackling the medium of marble in the years before World War One. After the war he made a number of War Memorials, but his best known work is his statue of Matthew Flinders, the explorer, in Swanston Street.The portrait of Justice Holroyd is of interest as an unusual depiction and commemoration of a Judge. It is notable as a work by the distinguished Australian sculptor Charles Web Gilbert.Marble portrait bust of Justice Edward Holroyd. The bust is made of white carrara marble. The pedestal is made of rouge marble. The bust is slightly larger than life size. The head is finely detailed, Holroyd is shown wearing contemporary clothing, but the detail is less fine, than for the head and beard.The bust is signed and dated 1901

Pru Sanderson, in her groundbreaking ‘City of Kew Urban Conservation Study : Volume 2 - Development History’ (1988), summarised the periods of urban development and subdivisions of land in Kew. The periods that she identified included 1845-1880, 1880-1893, 1893-1921, 1921-1933, 1933-1943, and Post-War Development. These periods were selected as they represented periods of rapid growth or decline in urban development. An obvious starting point for Sanderson’s groupings involved population growth and the associated economic cycles. These cycles also highlighted urban expansion onto land that was predominantly rural, although in other cases it represented the decline and breakup of large estates. A number of the plans in the Kew Historical Society’s collection can also be found in other collections, such as those of the State Library of Victoria and the Boroondara Library Service. A number are however unique to the collection.The Kew Historical Society collection includes almost 100 subdivision plans pertaining to suburbs of the City of Melbourne. Most of these are of Kew, Kew East or Studley Park, although a smaller number are plans of Camberwell, Deepdene, Balwyn and Hawthorn. It is believed that the majority of the plans were gifted to the Society by persons connected with the real estate firm - J. R. Mathers and McMillan, 136 Cotham Road, Kew. The Plans in the collection are rarely in pristine form, being working plans on which the agent would write notes and record lots sold and the prices of these. The subdivision plans are historically significant examples of the growth of urban Melbourne from the beginning of the 20th Century up until the 1980s. A number of the plans are double-sided and often include a photograph on the reverse. A number of the latter are by noted photographers such as J.E. Barnes.The subdivision, ‘Maxwelton’, included four lots in East Kew, at the northwest corner of Burke Road and Cotham Road. Lot 3 is identified as the location of an existing house. The site of the subdivision equates to that parcel of land where a contemporary block of three storey apartments at 1245 Burke Road is now located.subdivision plans - kew, mazwelton subdivision, burke road -- kew (vic.), cotham road -- kew (vic.)

When I first returned to our family plantations in Bảo Lộc Vietnam, I was given a handful of tea seeds by my late grandmother. Returning to Australia, my family managed to propagate a line of tea plants and seedlings which they still swap and trade with family friends and neighbours; maintaining a culture of storytelling, care and entrepreneurship that has helped them survive both war and political exile. Nillumbik Prize Contemporary Art 2021 winning open artworkMoving Image

REMNANT BLESSINGS-I reflects on the assortment of memories acquired over the years. We rarely remember events in their entirety; we are left with the remnants from the past. These fragmented elements make up the structure of this work. Nillumbik Prize Contemporary Art 2021 local winning artwork

I create contemporary 'memento mori' that raise our curiosity through the use of paradoxical processes and materials. While all of my creatures have died a natural death, they live on as beautiful and compelling allegories, begging a reflection on our symbiotic but decidedly unequal relationship with the animal world. My practice questions our established societal paradigms around animals and asks why we divide them into arbitrary categories: food, pets, pests, transport, entertainment and endangered/protected species. The theme 'place and space' is addressed by the hollow space within the rabbit's ribcage and the gem-encrusted heart that is placed within.Nillumbik Prize Contemporary Art 2019 open prize winner

Explains the nature of plural democracy in both traditional and contemporary Australian society5 p., typescriptaborigines, australia politics and government, democracy

Discussion of contemporary church architecture. Boyd disapproves of inappropriate and unnecessary ornament.Original manuscript of an article published as "Churches get Curiouser" in The Australian on 26.06,1965.Typewritten, quarto, 5 pages. (Two copies)Minor hand edits on second copychurches, laminex, mareeba, auckland, robin boyd, manuscript

The ‘Thornton Estate’ was the final subdivision of ‘Thornton’ in Studley Park Road. Thomas Cubitt Balmain originally owned Thornton, next to John Carson’s ‘Clutha’. Before its final subdivision, the Thomson family owned it. The Estate was a subdivision of 15 residential allotments running between Studley Park Road and Stevenson Street. The allotments faced these streets as well as Thornton Street, which the vendor undertook to make. Contemporary newspaper advertisements advised that ‘The estate possesses many advantages, notably its private and secluded, though convenient, position, splendid frontages and depths, and being close to the electric tram and Kew train, also within easy walking distance of the Victoria-street cable tram’. The terms offered purchasers were ten per cent deposit, with the balance to be paid in ten equal half-yearly payments at a rate of 5 per cent.The ‘Thornton Estate’ was the final subdivision of ‘Thornton’ in Studley Park Road. Thomas Cubitt Balmain originally owned Thornton, next to John Carson’s ‘Clutha’. Before its final subdivision, the Thomson family owned it. The Estate was a subdivision of 15 residential allotments running between Studley Park Road and Stevenson Street. The allotments faced these streets as well as Thornton Street, which the vendor undertook to make. Contemporary newspaper advertisements advised that ‘The estate possesses many advantages, notably its private and secluded, though convenient, position, splendid frontages and depths, and being close to the electric tram and Kew train, also within easy walking distance of the Victoria-street cable tram’. The terms offered purchasers were ten per cent deposit, with the balance to be paid in ten equal half-yearly payments at a rate of 5 per cent.subdivision plans - kew, thornton estate, studley park road -- kew (vic.), thornton avenue -- kew (vic.), stevenson street -- kew (vic.)

‘Self portrait at home’ This artwork was conceived after a series of paintings depicting the interior of my home in Ballarat. Those paintings began as glimpses around the house, mostly captured at night, of hallways, darkened corners, and ominous entrances into bedrooms. Later on I began to fill these spaces with a figure, that of my girlfriend (now wife), and conducted portraits of her placed amongst the shadows in a deliberate attempt to conjure up associations of Baroque painting as well as still images from horror films. I wanted to see what was sinister in this house, to imagine it, as well as observing it directly. ‘Self portrait at home’ is an attempt at summarising the combination of imagination and observation, of wandering through interior spaces as well as being absorbed in it: that what we see is then also taken into our consciousness, or in the case of this painting what we see is about to be swallowed. This concept of combining what is observed with what is imagined and using references to the physical body as a kind of mediator of this process is expressed in Kenneth Slessor’s poem ‘South Country’, a poem that partly inspired my approach to this painting. The following verses provide an example: And over the flat earth of empty farms The monstrous continent of air floats back Coloured with rotting sunlight and the black, Bruised flesh of thunderstorms: Air arched, enormous, pounding the bony ridge, Ditches and hutches, with a drench of light, So huge, from such infinities of height, You walk on the sky’s beach ‘Self portrait at home’ may not express itself as seriously as Slessor’s poem does but I hope it shows the impact as well as the texture and flavour that houses of the Ballarat landscape, and those of the imagination, can have. Duncan LannanDuncan LANNAN (1972- ) Duncan Lannan undertook a Diploma of Arts (Visual Arts) at RMIT between 1995 and 1996. A further two years study at the University of Ballarat (now Federation University Australia) saw Duncan Lannan awarded a Bachelor of Arts (Visual Arts) in 2000. He completed a Graduate Diploma of Education at the University of Melbourne in 2001. Duncan Lannan's exhibition 'Young, Dumb and Full of Ambition!' was held at the Art Gallery of Ballarat from 13 July to 11 September 2014.ContemporarySelf portrait of the artist with mouth open, and a house on the tongue. This piece was exhibited at the Art Gallery of Ballarat in 2007 in the "Eye to I" exhibition which was curated by former Federation University Art theory lecturer Geoff Wallis. The exhibition was a survey of self portraits by Australian contemporary artists. Gift of Geoff and Nola Wallis, 2017duncan lannan, painting, portrait, alumni, available

My visual stories seek to inform about the natural and cultural histories that attribute to the experience of country (place), in order hat the audience gains respect, understanding and a sense of belonging to the place. My practice involves various mediums in two and three dimensional form, which include permanent and ephemeral installation, paving, stonework, woodwork, metal work, lighting design, illustration, mural painting and mosaic work. I am competent in using all these mediums, but do have a preference to stone and wood. Having been involved in public and community art as a designer and sculpture/maker in both individual and collaborations for the past fifteen years, I have been fortunate to work with and partake in various collaborations and project teams; working with council organizations, landscape designers, art practitioners, artisans and arts workers. (https://www.glennromanis.com/biography, accessed 08 June 2022)Glenn ROMANIS Wurundjeri/woi wurrung and Boonwerrung 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.A fire pit with sculpted redgum seats in the shape of a gum leaf. It was created for the Arts Victoria 'Artlands' Conference held in Horsham in 2004. Artlands is a national event designed to reflect and respond to emerging trends and shine a spotlight on arts in regional Australia. It is designed to showcase new thinking, present contemporary work, and generate exchange and conversations. The programming champions best practice and strengthens a national network of artists and practitioners working in regional, rural and remote Australia. Presented and delivered by Regional Arts Australia, Artlands is positioned as a multi-art, cross-industry and inter-generational. It presents a critical survey of the contemporary regional cultural landscape; and provides much-needed opportunities for artists to gather, present work and enter into meaningful exchange.art, artwork, aboriginal, glenn romanis, sculpture, campsite, camp fire

The library committee had already commissioned a portrait of Sir Redmond Barry when they purchased this bust of Barry along with that of Justice Fellows. The library still holds the receipt for this purchase of 24 pounds. The purchases were probably part of the program of outfitting the library interiors and may have been purchased for the niches, that were later covered with the portraits, ironically one of these was of Barry. Redmond Barry is an important figure in colonial Victorian history, responsible for the establishment of key cultural institutions as well as a Supreme Court Judge for nearly 30 years, presiding over both the Eureka trials and the trial of Ned Kelly.The bust of Redmond Barry is of some interest as part of the original furnishings of the library. It represents one of a number of bust portraits of Barry and is of some significance as it portrays Barry, an important figure in Victorian history. The bust is also of interest as a work of James Scurry, most well known for his architectural sculpture.Plaster bust of Justice Redmond Barry. The bust itself is painted white. The pedestal has been painted for a red and black marble effect. Barry's name appears in gold lettering. The Bust is larger than life size. The head is finely detailed with Barry in contemporary clothing with a bow tie and his orders on his chest.Sir Redmond Barry

One page printed ''Introduction to Collection'' - Bendigo Art Gallery (1972). Covers Buildings and Site; Paintings (''over 600''); Prints (''relatively small collection''); Sculpture; Porcelain; The Dresden Vase (Baron Von Mueller); Contemporary Ceramics. This appears to be a hand-out to visitors to the Gallery as it states that ''It is hoped that you enjoyed your visit''government, local, bendigo art gallery

Formal photograph of five rows of children with centre bottom row child holding writing slate reading GS 1189 (Golden Square Primary School 1189) underlined roman numeral '5' . Biro caption 'Middle row 8th Mum' not contemporary with photograph exposure and probably refers to W G Dahl relative.bendigo, education, golden square primary school

Photograph shows a couple in then contemporary swimming costumes posing arm in arm on the beach at Torquay.It is believed that this photograph was taken circa 1920. The happy couple are James Thomas Evans and Roberta Evans then of Daylesford, later of 43 Anderson Street Torquay.Black and white photograph

Four postcard sized black and white photos of Yarrawonga and Mulwala area late 1800’s early 1900’s. Belmore Street looking south, Exchange Hotel Mulwala, Palms along Belmore St, Yarrawonga and Belmore Street looking north in 1882. These are all prints of original photos and are placed in a contemporary frame with matte surroundings belmore street, exchange hotel

Diggers & Mining. The Digging - The Diggers. Slide; There was sometimes very fought justice, especially if a digger were caught red-handed stealing gold. Never the-less, contemporary reports stress the general orderliness of the goldfields communities; there was nothing of the lynch-law that disgraced the Californian diggings. Markings: 63 994.LIF:6. Used as a teaching aid.hanimounteducation, tertiary, goldfields

The Kew Historical Society collection includes almost 100 subdivision plans pertaining to suburbs of the City of Melbourne. Most of these are of Kew, Kew East or Studley Park, although a smaller number are plans of Camberwell, Deepdene, Balwyn and Hawthorn. It is believed that the majority of the plans were gifted to the Society by persons connected with the real estate firm - J. R. Mathers and McMillan, 136 Cotham Road, Kew. The Plans in the collection are rarely in pristine form, being working plans on which the agent would write notes and record lots sold and the prices of these. The subdivision plans are historically significant examples of the growth of urban Melbourne from the beginning of the 20th Century up until the 1980s. A number of the plans are double-sided and often include a photograph on the reverse. A number of the latter are by noted photographers such as J.E. Barnes.The name ‘Auburn Heights Estate’, was handwritten on the subdivision plan, and included 23 lots in Auburn Road and Wright and View Streets, Hawthorn. Most of the houses built on the lots that were sold still exist. The house built on number 8 View Street is a contemporary exception. The subdivision included an existing home at number 17 View Street.subdivision plans - hawthorn, auburn heights estate

Maryanne COUTTS (1960- ) Born Australia Maryanne Coutts studied at the Victorian College of the Arts (VCA), The University of Melbourne, 1979 -1981, the University of NSW (UNSW),1984 and achieved a PhD at Federation University Australia in 1999. She has exhibited extensively throughout Australia and internationally including UK, Spain and Thailand and is currently Head of Drawing at the National Art School, Sydney. Dr Maryanne Coutts was the first successful Visual Arts PhD from the Federation University Arts Academy. She won the Portia Geach Memorial Award in 2007. 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.Maryanne COUTTS (1960- ) This work by Maryanne Coutts was undertaken during her Doctorate undertaken at the University of Ballarat (a predecessor of Federation University). Here thesis. 'Using narrative strategies in contemporary figurative painting', applies an analysis of narrative, its elements, strategies and devices to figurative painting within the practical project of producing visual narrative fiction. art, artwork, maryanne coutts, coutts, thesis, phd, doctorate, oil on canvas, alumni

This is a directory of towns giving distances fro Melbourne, populations. There is an entry on Orbost listing the contemporary businesses.Directories are an effective way of researching businesses and trades in small trades. Many small businesses needed to ensure the public was aware of their activity and one of the better ways to do this (in an age before media dominated) was via a directory. Advertisements in the directories often provide extra valuable information . This item is a useful research tool for Orbost in the late 19th century.A heavy, thick, hard-covered book with a red cover and gold print. On the spine in gold print is the title, "Victoria Post Office Commercial Directory 1895 - 6" and some advertisements. There is an index at the front. Inside people are named with their addresses under: Alphabetical directory (colony-wide); Trade and professional directory Towns and districts directories;Other sections including names but usually not addresses:Commerce management, banking, insurance companies, exporters of English goods to Victoria Government, MPs, heads of departments, clergy, University of Melbourne academic staff, teachers in private schools medical practitioners, hospitals, dentists, pharmacists courts, judicial officers, barristers, solicitors, Justices of the Peace .on page edges - "TOWNS, ALPHABETICAL TRADES, ENGLISH SECTION"directory-post-office directory-commercial orbost-c19th-businesses