For many years Legacy was invited to bring junior legatees to Government House for for an enjoyable Legacy Christmas party. There were entertainers, carousels and often a train ride. And the joy of a Christmas present for each child. This photo was published in the March 1945 newsletter so was from the party in December 1944. The caption says 'Oscar the bull was a great success with the children at the Junior Legacy Club's Christmas party in Government House grounds. The fact that Oscar wore boots did not in the least detract from his popularity, judging by the expressions of glee.' The governor at the time was His Excellency Sir Frederick Mann. This photo shows an entertainer dressed as a cow and the children on the lawn of Government House. It is from 1944 and was part of a photo album of many photos from the 1940s.An important photographic record of the work of Legacy in the 1940s.Black and white photo of an entertainer dressed as a cow and children at a Government House, part of a photo album with blue leather look back and front cover. From one of 20 pages with black and white photos.junior legatees, christmas, junior legatee outing

Two pieces of correspondence relating to Ballarat Asian Students' Association, and their offer to make Ballarat School of Mines Princiapl, E.J. (Jack) Barker, an Honorary Member of the Association. The 1966 office-bearers of the Ballarat Asian Students' Association were: Ken Teh - President Stephen Wong - Vice-PResident Stanley Mah - Honorary Secretary H.L. Ong - Honorary Treasurer James Koo - Social Organiser K.C. Lee, Said Asnawi, Wilbert Lau, Miss L.E. Tang - Committee Members Tony Ting - Honorary Auditor Jack Barker responds, including "I deem it an honour to be re-elected and am very pleased to accept the proposal. Please convay my appreciation to you Association together with my expression of good wishes that it will be another very successful year of activity."letterhead, ballarat school of mines, e.j. barker, colombo plan, ballarat asian students' association, ken teh, stephen wong, stanley mah, h.l. ong, james koo, k.c. lee, said asnawi, wilbert lau, l.e. tang, tony ting, international students

Bendigo Advertiser December 23, 1970 - Museum For Bendigo Proposal. Bendigo Museum Society plans to establish a museum of applied science and natural history in Bendigo, and hopes the City Council will provide a building for such a museum. President Dr. W. Straede and Secretary Mr. E. Wilkinson explain their plan to council. Mr Wilkinson, a geologist with the Mines Department , who formerly worked at the National Museum in Melbourne believes Bendigo would readily support such a museum providing a building was supplied by council for the venture to go ahead. Cr A.E. Galvin asked if the Bendigo Museum Society had any particular building in mind and an expression of interest in the Temperance Hall was raised. Cr. J.C.M. Jeffrey suggested the society apply for an area in the City Hall instead once council occupied its new administrative offices.bendigo, tourism, bendigo museum proposal

Black and white image: head and shoulders of Mr. Alexander Watson, dressed in dark jacket, tie and turn down collar. Written on top 'Mr. Alexander Watson's power of expression amounts to genius' - T.P. O'Connor, 5th. Dec. 1913' On bottom 'Mr. Alexander Watson, His work is beyond all praise' - London 'Morning Post 2nd. Dec. 1913' On rear of postcard Two nights only 18th & 19th. May. Masonic Hall, Monday evening, 18th. May. Mr. Alexander Watson, will present a special Kipling night: McAndrew's Hymn; Oonts, The glory of the Garden 'Boots' Fuzzy Wuzzy 'Gunga din'. The Bolivar 'The clampherdown' 'Shamus O'Brien' 'Punch Brothers'. Tuesday, May 19th Part 1, The Merchant of Venice, Part 11 Charles Dickens & J.M. Barrie.person, individual, alexander watson, bendigo, petherd, chancellor, alexander watson, masonic hall, sandhurst

Digital image of newspaper clipping titled: “'Historic' Melbourne trams to call Launceston home”, by Jessica Willard Newspaper article with pictures of two Melbourne trams numbers 742 and 770 being loaded and transported from Newport Railway Workshop to Launceston. Initially they will be put into storage until consultation with local council and community groups. Plans include transforming the trams into indoor seating areas in Riverbend Park. The trams will travel on the Spirit of Tasmania More than 1500 applications were received through the expression of interest process, which was mostly for W-Class trams retired from Victoria's railway and tram network over the past 30 years. VicTrack is in the process of allocating all retired trams from Newport and is expected to take two years.trams, tramways, w class, w5 class, sw5 class, newport workshops, launceston, tram 742, tram 770

Artist Alison Withers work DIY Deluge Design No. 5 was awarded Expressions: The Wool Quilt Acquisitive Award in 2023. Works were received from across Australasia and internationally from some of quilting’s most highly regarded and awarded artists. Finalists work was displayed at Art Quilt Australia 2023 presented by Ozquilt Network and the National Wool Museum from 12 August to 12 November 2023. Artist Statement: It's clear we need to adapt the anatomy of our human spaces to become more resilient to the increasingly unavoidable impacts of climate change. Made by piecing, applique and free machine stitching, using industrial felt, hand dyed merino felt, woollen suiting, cotton fabric, wool theatre curtain backing and cotton and polyester thread.Rectangular portrait orientated art quilt depicting an environmental scene including boats, lights, elevated buildings, plants and birds on a background of shades of cream, blue and grey. A baton is sewn into the back at the bottom.Back: DIY Deluge Design No.5 / Alison Withersquilt, ozquilt network, prize, wool, art, felt, piecing, applique

'Home' is a symbol of hopes, dreams, comfort, love, family and future. It is both a place and an idea, nor does it remain in time and space. It can also represent a time of sadness , fear and loss. Through the roller-coaster of the past year, I have used a series of homes belonging to family and friends. Each artwork of home tells a different story about its occupants, their story, and what home mean to them. Sarah CANHAM Sarah has had a life-long love of creative arts and a passion for nature she has pursued in her career. She has a Bachelor Applied Science degree from Charles Sturt University, a Masters of Environment from University of Melbourne, and works in natural resource management and conservation. Studying part time Sarah Canham completed a Bachelor of Visual Arts at Federation University Arts Academy in 2021. Her art is an expression of the awe she has for the natural world, and concerns for the future, including for our indigenous culture, and native flora and fauna in Australia. She also reflects on the current and past women and mother artists who have experienced the challenge of juggling art, career and motherhood, and have been under-represented in the arts community for millennia.Three handbuilt, slab construction, stoneware formsceramics, sarah canham, dvc art award, alumni

The Ballarat School of Mines circulated their annual reports to a number of collecting organisations.Foolscap correspondence to the Ballarat School of Mines, on letterhead from the Australian Museum. The majority of the letter is printed, with dtaes, signature and recipient handwritten. "The Australian Museum Sydney Oct 31st 1898 Sir I a instructed by the Trustees of the Australian Museum to acknowledge the receipt of the Publications named on the following page [Annual reports for 1896 and 1897], which you have been pleased to present to them and I am further directed to convey to you the expression of their grateful acknowledgement and best thanks for the same. I have the honor to be Sir Your most Obedient Servant S. Sinclair Secretary & Librarian. To The Secretary School of Mines Ballarat"ballarat school of mines, australian museum, s. sinclair, sinclair, annual report, mythical, myth, folklore

Sepia photograph of a portrait panel of ten councillors of the Shire of Eltham, 1913 Woodgrained Portrait panel with photos of ten Shire of Eltham Councillors 1913 presented to Mr A.G. Thomas C.E. whose photo is prominant on the panel "by the above as an expression of appreciation of many services rendered as Secretary to the Shire and best wishes for a successful career in his new sphere, November 3rd 1913.". Photographs include: Cr. W. Morris J.P. Ex Pres., Cr P.J. Downer, Cr J. Smedley, Ex-Pres., Crs R. D. Taylor, Cr. W. G. Gray J.P.. Cr. J. Fitch, J.P. Ex. Pres., Hon. E. H. Cameron, M.L.A. J.P. Ex Pres., Cr. C. H. Bath, J.P. Ex Pres and Cr. J. Darley Mealy J.P. President.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book, "Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 120 format B&W negative Printsepp, shire of eltham pioneers photograph collection, councilors, shire of eltham, a.g thomas, councillors, downer, e.h. cameron, eltham shire council, ewan hugh cameron, g.h smith, greg taylor, j smedley, w morris, w.d taylor, w.g gray

Entrance requirements for a full-course student was an Intermediate Certificate of equivalent. The Certificate of Art was a two year course of basic study to enable students to undertake a further two years of specialised training in a chosen field of art. The Diploma of Art was a two-year course of specialised training available to students, who have passed the Certificate of Art Examination or its equivalent. Candidates of the examination must be at least 19 years of age, must have completed two years' full -time training or not less than three years' part-time training, and must present for the Matriculation examination for English Expression. Part-Time classes at the Ballarat Technical Art School c1948 were: Day: Dressmaking, Weaving, Leatherwork, Pottery, Metalwork, Painting, Sculpture, Junior Art. Evening: Dressmaking, Weaving, Leatherwork, pottery, Metalwork, Painting, Sculpture, Ticket Writing, Lettering, Figure Drawing. Two fold, 6 page information flyer on classes held at the Ballarat Technical Art School. The Art school offered Diploma of Art, Certificate of Art and Part-time classes.ballarat technical art school, art, diploma of art, certificate of art, part-time classes, syllabus, design, scholarships, diploma of art in pottery, diploma of art in advertising, art education, dressmaking, weaving, leatherwork, pottery, metalwork, painting, sculpture, junior art, dressmaking, weaving, leatherwork, pottery, metalwork, painting, sculpture, ticket writing, lettering, figure drawing

Albert E. Dorling was the Instructor in Printing at the Ballarat Technical Art School in 1933. The art school was a division of the Ballarat School of Mines. The objectives of Typographical Instruction at the Ballarat Technical Art School was to develop an appreciation of art in printing; to create and foster a wholesome respect for books; to develop a justifiable pride in persona achievement; to broaden the educational and social outlook; to broaden the field of vocational choice; to prepare for effective entrance into the printing trade; to give mastery of many of the principles of design; to help in forming habits of accuracy, thoroughness, neatness and industry; to give opportunity to turn out a product of use, beauty and value; to cultivate appreciation of the value of co-operation and service; to aid in mastery of other school subjects,particularly English; to provide an appropriate instructional medium for pupils whose constructive instincts desire this method of expression; to provide experience which will show the practical application and value of academic subjects.Coloured soft covered book bound with a brown ribbon. It is a book of specimens of work by the students attending the Typography Classes at the Ballarat Technical Art School under the instruction of Albert Dorling. Illustrations include: Ariel [sic] View from Art School by Fred Longhurst, 1932 Other work includes Bickart's Diamond Shop, Lydiard Street Methodist Choir, South Street Competitions, Allambee Guest House, Buninyong Lodge, Ballarat Journalists' Association, Thornton Studios, Harry Davies, Harry Brown & Co., Nautilus Corsets, Toti dal Monte, Symmons Flower Shop, Ritz Club, Ballarat Symphony Orchestra, Ladies' Art Associationtypography, printing, ballarat school of mines, ballarat technical art school, bickart's diamond shop, lydiard street methodist choir, south street competitions, allambee guest house, buninyong lodge, ballarat journalists' association, thornton studios, harry davies, harry brown & co., nautilus corsets, toti dal monte, symmons flower shop, ritz club, ballarat symphony orchestra, ladies' art association, typography, ballarat school of mines, ballarat technical art school, printing, albert dorling

Tarilta is a rural locality and former gold-mining town 12 km south of Castlemaine, 4 km north-west of Guildford and 3 km north-east of Vaughan. The last gold mining activity took place around the 1880s. It was originally Kangaroo Flat, being located where the Kangaroo Creek enters the Loddon River. It was surveyed and named in 1864. Gold was discovered at Tarilta in 1853. The Tarilta School was opened in 1860 in a Wesleyan chapel, and closed i n1925. In 1864 a township was surveyed and named Tarilta, the word being derived from an Aboriginal expression thought to mean kangaroo. In 1865 Bailliere’s Victorian gazetteer described Tarilta as being an alluvial and quartz gold-mining town with three quartz-crushing mills, three horse-puddling machines and two hotels. The elevated nature of the land around Tarilta made it accessible only by horse and dray, or on horseback. Colour photograph of Tarilta in Central Victoria. tarilta, central victoria, landcape

Some decades ago a card sorting set for the identification and description of Australian timbers was developed for timber species which were available commercially and were in common usage, by the Commonwealth of Australia (CSIRO, Division of Forest Products) To complement and inform this national timber set each State or Territory developed reference timber sets of representative species. The Commercial Timbers of Victoria set was Victoria’s most recent (circa 1984) expression of this Victorian timber samples were sourced from logs selected by Forest Commission of Victoria (FCV) District Foresters and milled locally. Kiln drying and machining was carried out at timber producers Row, Web and Anderson, in Port Melbourne. Labeling and boxing was done by FCV Timber Inspectors, with box and booklet design and graphics handled in-house More recent timber samples were badged as Conservation Forests & Lands, reflecting historical government restructuring in the early 1980s Info: Simon MurphyProvided the public, industry (timber and associated), and educational facilities with a reference collection of notable Victorian timbers. Initially in a reduced format from 1940-50s, with boxed sets produced from 1981 until 1984A boxed set of timber samples representing the 20 tree species that were considered to be the most notable in Victoria. The set also includes an information booklet. Each timber specimen has information on species, occurrence, uses and physical properties Produced for sale by the the FCV and later by the Department of Conservation Forests and Lands. (CFL). forests commission victoria (fcv)

Murray MEAD Artist's Statement: Impression attracts me due to its potential for presenting how one person ses one particular part of the world at one particular time in exquisite stylizaton and character. My works explore the nature of the 'individual' and how we perceive others and are in turn, seen ourselves in a given instant in time. I circumvent the tendency of individuals to adopt masks ab when confronted by cameras. I wnt to capture a fleeting moment in paint when that facde is momentarily breahed. I like the fact tht painting is a laborius medium that allows me to utterly stylize the image. In an otherwide realistic caricature I focus on capturing and coveying the subject's unrehearsed and elicited expression and emotion. My works are of individualistic responses from those who view them. From one person's explosive snort of amusement to another's quiet contemplation of how they too are seen by strangers and close friends - all are equally valid connections. photography, scuplture, murray maud

The Ruyton Reporter (formerly known as Ruyton Reports) captures the essential Ruyton Girls' School experience for the broader school community. It has been produced since 1986.The record has strong historic significance as it pertains to one of the oldest girls' school in Victoria, Australia. Ruyton was founded in 1878 in the Bulleen Road, Kew, home of newly widowed Mrs Charlotte Anderson (now High Street South). Thus, the record can be used as a reference example for research into Victorian school history. It also gives insight into the types of activities and events undertaken at Ruyton Girls' School during the period of its production. The record's significance is further enhanced by its exceptionally well-documented provenance, having remained the property of Ruyton Girls' School since its production.Colour publication printed on paper with staple binding. 16 pages.Front Page: the reporter / Ruyton / spring 1996 / PRINT POST / PP 341999 00026 / APPROVED / 12 Selbourne Road Kew / Telephone: 9819 2422 / Facsimile: 9818 4790 / R / RECTE ET FIDE LITER / Self-Expression / Contents / Access to Success: Year 9 / Royce Hall Update / Grandparents' Day / POR Tennis Day / Visitors to School / The Grand Gala Dinner / News of Old Girls / STOP PRESS: Patrick McMahon Concert, 1st February, 1997 - Our celebration of the fabulous Neil Diamond. / Edited by: Deborah Forster /ruyton girls' school, ruyton, school, students, newsletter, ruyton reports, ruyton news, kew, victoria, melbourne, girls school

This photograph is of old mine workings on the site of the Spring Creek diggings. Spring Creek is a contact zone for granite pluton and siltstones, shales and standstones; which has, over time, encouraged natural springs to form. Enriched with gold washed out of the surrounding granite, these alluvial deposits achieved fame from 1852 onwards as the Spring Creek Diggings sprang to life (not realised as geographically important until 1871). In Spring Creek that runs behind the main street of Beechworth, near the foot of Newtown Hill a pint pot of gold was discovered on one of these expeditions in 1852 by prospectors Baker and Strickland and the gold rush town of Spring Creek was formed. Australian gold rushes have always created a sense of independence and freedom; as do-it-yourself, off-grid, low-tech adventures. People of all backgrounds were drawn to the gold fields by the prospect of riches and adventure, but they also learned self-sufficiency and found freedom of expression. Industry boomed, new practices were adopted and social norms were upended. This image is of historical significance as it informs on the history of Australian gold mining. It represents the innovation that accompanied the mining industry and the importance of gold mining in town building and regional histories. Black and white rectangular photograph on unmounted board.gold mining, spring creek, mining, geography, geology

Melbourne High School originally opened in 1905 at the top of Spring Street (where the Australasian College of Surgeons building is now located). The school was co-educational and was the first state secondary school in Victoria. It was originally named the Melbourne Continuation School. The intention was to cover the gap between state schools (which may have had classes up to year 8) and the University of Melbourne, hence the expression ‘Continuation’. Prior to 1905, post year 8 or secondary education was the sole domain of private church schools.  Melbourne High School took over the Model School building, which was constructed in 1854. The Model School closed at the end of 1904. The first Melbourne High School Principal was Joseph Hocking. In 1927, the boys moved out to the new ‘castle’ school building at Forrest Hill, South Yarra. The boys actually marched from Spring Street to South Yarra to their new building. The girls eventually moved to Albert Park in 1934 and this became the Mac.Robertson Girls’ High SchoolWooden Plaque 15cm x 13cmMelbourne Boys High School

Sybil CRAIG (18/11/1901-09/09/1989) Born London, England Arrived Melbourne 1902 Died Melbourne, Victoria Sybil Frances Craig was a student of John Shirlow in 1920 who introduced her to French avant-garde artists such as Matisse and Gauguin. In 1924 she studied at the National Gallery of Victoria Art School. She also underook private classes with George Bellfor several months where individual expression was encouraged, and she became associated with a group of Modernist artists including Sam Atyeo. In 1945 Sybil Craig became the third woman to be appointed as an official war artist. Based in Melbourne she worked for fourth months at the Commonwealth Ordinance Factory at Maribyrnong, becoming the first female artist to paint women working in the munitions factories. In her work Craig was attracted to many changing ideas and continued to explore line, rhythm, colour, simplicity and design. 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 sketch.art, artwork, sybil craig, australian war artist, kitchen

Sybil CRAIG (18/11/1901-09/09/1989) Born London, England Arrived Melbourne 1902 Died Melbourne, Victoria Sybil Frances Craig was a student of John Shirlow in 1920 who introduced her to French avant-garde artists such as Matisse and Gauguin. In 1924 she studied at the National Gallery of Victoria Art School. She also underook private classes with George Bellfor several months where individual expression was encouraged, and she became associated with a group of Modernist artists including Sam Atyeo. In 1945 Sybil Craig became the third woman to be appointed as an official war artist. Based in Melbourne she worked for fourth months at the Commonwealth Ordinance Factory at Maribyrnong, becoming the first female artist to paint women working in the munitions factories. In her work Craig was attracted to many changing ideas and continued to explore line, rhythm, colour, simplicity and design. 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 texta sketch of a correa.art, artwork, sybil craig, craig, flora, available, leaves, texta, texta colour, correa

Neville Bunning was a staffmember at the Ballarat Technical Art School.Two page hand written letter relating to setting up a Ballarat Art Society. From Neville Bunning to the Ballarat Art Gallery.604 Dana Street Ballarat 20th Aug 46 The Secretary Ballarat Art Gallery Dear Sir, I submit the attached proposition for the formation of the Ballarat Art Society. I am convinced that it is needed as an outlet of expression for teh Art School and for the development of sculpture and Painting in Ballarat. I have taken the liberty of suggesting that your committee shld form the society because I imaginbe that a society formed withou your support would be unlikely to succeed. If it failed it would mean a set-back for many years. U trust that you will be interested in the proposition Yours faithfully Neville M. Bunning. neville bunning, ballarat art society, ballarat art gallery, art gallery of ballarat, ballarat fine art gallery

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

MEDIUM: Acrylic on canvas. DESCRIPTION: Blue and black, no external frame. A figurative nude, the close up takes most of the canvas. It sits on a dark background in undefined surroundings. The blue woman sits flat as many of Matisse’s works do, favouring this style over the illusionistic depth to achieve his aim, here we see this replicated. Matisse is also noted for his use of colour as a means of expression rather than description. Here we have a woman painted all in blue, with this knowledge we could say the artist has painted his subject as someone who has been captured in a very relaxed, very calm version of herself, an ocean onto herself, mysterious and captivating in this moment. Her arm slung confidently above and around her head, her view directly facing the viewer provocatively. The only other colour on her other than the thick black lines which outline and shadow her contours, is the circular red of her earring -mirroring the generous sweeping curves of the work. The presence of visible brushstrokes produces a sense of movement and energy as well as providing a decorative quality to the painting.Signed and dated on bottom proper left of center of image (on reverse of canvas).acrylic, darvall, matisse

This is a collection of 12 coloured photographs of the Warley Hospital and Nursing home donated by Meg Davis. In 1923 the Warley Hospital was established in a house purchased by Mr Thompson. The new hospital was built in 1962 and the Nursing Home Annex was added in the mid 1970's. The Hospital was closed January 31st 2008.Colour Photograph 1 Cyprus Tree in grounds of the Warley Hospital with Plaque mounted on Granite plinth at base. Colour Photograph 2 Warley Avenue Cowes, Phillip Island with trees lining the street. Colour Photograph 3 Plaque mounted on Granite plinth stating "This tree was planted at the Diamond Jubilee Celebration 4-12-1983 by Mr Peter J Berwick, President Victorian Bush Nursing Association" Colour Photograph 4 Warley Avenue Street Sign mounted on concrete pole. Colour Photograph 5 Warley Hospital driveway alongside front entrance. Colour Photograph 6 Warley Hospital with "Expressions of Interest" Sign in foreground with SOLD across the sign. Colour Photograph 7 Warley Hospital Nursing Home. Colour Photograph 8 Warley Hospital front view with garage underneath. Colour Photograph 9 Warley Hospital Nursing Home. Colour Photograph 10 Warley Hospital front close up view of garage entrance and Nursing home to the right in the background. Colour Photograph 11 Warley Hospital Main Entrance. Colour Photograph 12 Warley Hospital original Medical Centre - now Consulting Rooms. warley hospital cowes phillip island, hospitals, warley nursing home cowes phillip island, warley avenue cowes phillip island, meg davis

‘By Wagga Design’ is the winner of the Art Quilt Australia 2019 Expressions: Wool Quilt Prize. Barbara Mellor, of St Helens in Tasmania, made this quilt after researching the history of waggas and was fascinated by this early form of recycling. ‘By Wagga Design’ is her contemporary take on the traditional wagga that was born out of hard times and limited resources. Barbara wrote the poem below while thinking of the workers who used waggas while travelling: Black night campfire night sheep in the shadows dreams on the track a comforting wagga stitched with love for a homesick heart. The wagga was made in 2017 and was first submitted into the Bay of Fires Art Prize. In 2018 the wagga was submitted into the Break O’Day Stitchers Quilting and Embroidery Exhibition, where it won the Hanger’s Prize. Barbara sourced the fabrics used from a variety of places. Some are from her personal collection while others were given to her. She purchased a woollen three-piece suit from a local op shop and decided to incorporate it into the design, making some unique and distinctive shapes. Another distinctive feature of the quilt is the patch labelled ‘Parkside’. Barbara noted that it was cut from a blanket she purchased from a garage sale from a property that had once been a caravan park titled ‘Parkside’ in the 1960s. The filling of the wagga contains the rest of the Parkside blanket.Quilt made from various woollen garments and bedding in cool tone colours. Patches mostly cut into square and rectangle shapes. Three patches made from a second-hand woollen suit, showcasing the arm with cuff buttons, pocket flap on a hip pocket containing a pocket square and front of vest with buttons. wagga, art quilt australia, expressions: wool quilt prize

The Australian Natives Association (ANA) Benefit Society was formed in 1871 at a meeting of young men in Grimwood's Hotel, Elizabeth Street, Melbourne. The Association was one of many friendly societies that also aimed to promote the moral, social and intellectual advancement of its members. The young founders restricted membership to native-born Australians, but there were no Koories among them. The Australian Natives Association Ballarat Branch (No4) was founded in 1874. The association’s modest building was based in Camp Street and the branch was one of the most active in the colony, playing a key role in Federation. The Ballarat branch of the ANA was wound up in 1957 and the double storey building has since been used as for office space most recently for employment companies such as Tracey Recruitment. Ballarat's ANA Hall has heritage status under the City of Ballarat’s Camp Street heritage overlay HO186, however it is not listed by either the Victorian Heritage Register or the National Trust.Handwritten letter glued onto a lined page. The letter is from the Australian Natives Association Ballarat Branch No. 4, and is written to John Mateer at the time of his wife's death. The letter is signed by John Gray (President) and Fred Wainwright (secretary). Fred Wainwright was the first secretary of ANA branch No. 4. hew as a clerk at Ballarat Town Hall, and presented an essay on Federation of Australian Colonies in 1879.Australian Natives Association Ballaarat Branch No 4 14th December 1883. Dear Sir The members of this branch of the A.N.A. desire us to convey to you expression of their deep sympanth with you in the irreparable loss you have sustained by the death of your dearly beloved wife. The Members are fully aware that during the first month of such an overpowering infliction the most sincere sympathy of the truest friends can do little by alleviate the bitter pangs of remembrance and sorrow, still they trust that you may be enabled to submit with christian calmness and fortitude to the Will of Him, who, when seeming to act most severely wit us, is in His Own Divine Wisdom, ordering things for the best. We are Dear Sir Yours fraternally John Gray President fred Wainwright Secretary To Mr John Mateer australian natives' association, ana, ballarat branch no. 4. ballaarat branch no. 4, gray, john gray, wainwright, fred wainwright, mateer, john mateer

A death mask is a plaster or wax mould made of a human face shortly after death (around 30 minutes after the execution). The intention was to capture the likeness of the individual and maintain their facial expression and features before these became distorted in death. They differ from their counterparts the life masks which were made to preserve the likeness of an individual while alive. Death masks were often replicated and sold to various institutions and private buyers. Death masks were created for a variety of reasons. Organisations like museums and scientific institutes collected these masks to support the study of phrenology. Phrenology is the study of the conformation of a skull in an effort to understand the mental faculties and traits of an individual. This was undertaken in a period in which it was argued that the shape of a head could provide detailed knowledge into personality. In addition, death masks were also created to aid effigy making, as tools for sculpture and as objects of veneration. Death masks were often placed on display as objects of curiosity. Edward “Ned” Kelly was convicted of murder on the 29th of October 1880 and executed by hanging on the 11th of November that same year. In the 1800s it was common practice for authorities to make a death mask of an executed criminal. In Kelly’s case, there were multiple copies made of his death mask, one of which is in the collection of the Burke Museum. Copies of the official death Mask (attributed to Maximilian Kreitmayer) have been made by artists including Max Meldrum (1875-1955). It depicts the head, neck and partial right shoulder of Ned Kelly. Whilst generally considered to be a ‘pseudoscience’ today, phrenology and the study of the reception and use of artefacts like Ned Kelly’s death mask, can provide valuable insight into a past era’s views of personality and the human body. This mask presents a unique three-dimensional depiction of Ned Kelly shortly after his execution which is unlike any other depiction of him. It can provide vital information as to the use of death masks in Victoria and their popularity in the 1800s. These masks were mostly done of criminals and used for exhibition purposes alongside phrenological study. Phrenologist AS Hamilton used Kreitmayer’s replication of the mask (displayed in Kreitmayer’s Bourke Street waxworks the day after Kelly’s death) to report a detailed phrenological analysis on Ned Kelly and concluded from his research that the deceased had an “enormous self-esteem”. Portraits of living people represent the way they themselves and/or the artists wished themselves to be remembered. The death mask contrasts this and therefore, creates a likeness of a person in their entirety and not just an ideal representation. Therefore, the study of such artefacts and their history of use and disuse can provide interesting information valuable to understanding the past. Colour rectangular photograph printed on gloss photographic paper.Obverse: Reverse: AGFA kelly album, ned kelly, death mask, kreitmayer, old melbourne gaol, phrenology, craneology, 1800s, pseudoscience, burke musuem, max meldrum