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

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

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

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

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

Personal recollection of the day in Melbourne when Victory in the Pacific was announced, with images of contemporary badges, articles, posters and other memorabilia13 p typescipt and photographs of memorabilia of World War IIworld war ii, victory in the pacific, rosie bray

Buninyong State school was built and opened in 1873. This1890s photograph shows staff in contemporary dress and the original windows and belltower. Historic and social significance for the Buninyong communityBlack and white photograph of an original photo. Seven members of the teaching staff in front of Buninyong State School circa 1896Staff identified as J. Anderson, Mr. Costella, Mrs. Davye, Florrie Milner, Mrs. Harris, Mrs. Douglas, Mr. Walker (source of names unknown)buninyong primary school, teachers, building, buninyong state school

"A landmark history of Indigenous Australia which accompanies a major nine part Australian television series. It combines the most rigorous academic research with capitvating contemporary story-telling. Richly illustrated book that includes images of the landscape, evocative ninteenth-century photography and Aboriginal art. Written by Australia's leading Indigenous historian and public intellectuals"--Provided by publisher.maps, document reproductions, b&w illustrations, colour illustrations, colour photographs, b&w photographscolonisation, race relations, australian aboriginal history, pictorial histories

Commemorating "100 Years of Service Army" 2 x 45c stamps depicting historical and contemporary images of the Australian Army together with a $1 coin depicting Centenary of Australian Army in a first day of issue cover dated 15 February 2001. Obverse of coin features Queen Elizabeth II, reverse of coin features Army's Rising Sun badge.

A centenary tribute to Carl (a.k.a. Charles) Walter, (1831-1907), an itinerant potographer and botanist who in his maturer years made Anderson's Creek his home. Includes photographs attributed to Walter, and anecdotes and recollections of author Murray Houghton's ancestors."... By raising his stein in appreciation, the author herein toasts Carl Walter in the accostomed traditional method of 1850s German beer drinkers with a hearty 'Prosit!', i.e., a most warm, enthusiastic and respectful greeting, roughly equivalent to our contemporary custom of saluting a treasured friend with a rousing 'cheers!' or 'good health!'."

This is a leather covered book of 801 pages. The cover is decorated with gold panels of fruit and has gold lettering on the spine. The pages have gilt edges. It contains text, sketches, lithographs, maps and five loose maps. non-fictionA contemporary and geographical record of Australasia in the 19th centuryaustralasian history, antiquarian books, picturesque atlas of australasia, warrnambool, picturesque atlas of australasia volume 2

Cyril Smith was a popular figure amongst his contemporaries and this has been recognised by the plaque from those who new him. Appreciation of fellow Legatees to a comrade. The plaque has sentimental value, the words, the time and effort to make it by fellow Legatees shows the high regard in which Cyril was held. Caricature and signatures on a piece of 3 ply wood, front varnished, rectangular shape. Hole drilled top centre.Handwritten message in black ink "Our Cyril.,Heres from every cobber who wore the old chapeau". A caricature of Cyril Smith engraved (burnt) into the timber. Signatures of many Legatees, signed in ink. Reverse side, "Cyril - From all old cobbers of Melbourne Legacy Club with happy memories Legacy. 1938." Handwritten in black ink "Mrs Cyril Smith gave me this plaque which I in turn now pass onto Legacy Comradeship for safekeeping. Frank Doolan June 1962"comradeship, cyril smith

BHS Collection.Eight magazines and brochures. Titles are: Australian House and Garden book of Small Home plans, Best Homes, New horizons in houses, 19 Architect designed contemporary homes, 22 specially selected home plans, Plans for 26 small holiday homes, The Australian Women's weekly's home planning service 28 home plans and an advertising brochure for Daniel Robertson.Phillip Ellison name on several books, and the stamp of the State School No. 1008 Axedale on four others.homes, building

William X. O'Brien (ITGWU) and William O'Brien (Home Rule/IPP) were contemporaries in Irish politics early in the 20th century, but should not be confused. Image of a bearded politician known as William O'Brien.ballarat irish, o'brien, william o'brien, home rule