A cotton bonnet belonging to the family of George Ward Cole’s in the late 1800s. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished. A hand sewn ivory cotton, embroidery anglaise child’s bonnet from the late 1800s. The bonnet fabric design combines features a combination of narrow pin tucking and embroidered flowers on a vine. The bonnet edge is finished with a double-layered delicate gathered lace ruffle around all the edges. The bonnet secures under the chin with a delicate tie made of a similar but plain fabric.george ward cole, st ninians, late 1800s, bonnet, margaret morrison ward cole, agnes bruce ward cole, thomas anne ward cole, brighton

This peignoir or morning gown is believed to have belonged to Mrs Thomas Anne Ward Cole, an early Brighton resident and wife of George Ward Cole. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished.A mid blue-green cotton and lace peignoir or morning gown, c.1860. The bodice starts at the neck with a clavicle height, rounded neckline with a turn down flat collar, and is finished with a cream lace frill next to the face. The sleeve starts at the natural shoulder line and its overall silhouette is reminiscent of a soft three quarter length imbecile sleeve constructed of four layers of alternating fabrics. At the shoulder, there is a blue-green flap, which crosses across the top and back of the shoulders towards the centre upper back in a 'v' shape. Here it finishes where it meets with the gathered top of the fabric that creates the train. Underneath this shoulder flap is a gathered, long cream frill that finishes just above the elbow. Underneath this frill is the full gathered blue-green sleeve. Finally falling from this a second gathered long cream frill finishes at the three quarter arm. The bodice buttons with five metal buttons from the neckline to just above the bust. Here it meets a heavily gathered front in two pieces, which falls with fullness to the floor. This full section is secured closed at the centre front with four hooks and eyes over the bust and then continues with shell buttons through the remainder of the garment.st ninians, george ward cole, morning gown, peignoir, brighton, thomas anne ward cole, margaret morrison ward cole, agnes bruce ward cole

This skirt belonged to Miss Margaret Morison Ward Cole and was reportedly worn for her role as bridesmaid for the marriage of Miss Barkly, daughter of Sir Henry Barkly. George Ward Cole, father of Margaret, was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor The Duke Of Edinburgh, Queen Victoria’s second son at St Ninians in 1867. In later years St Ninians was subsequently sub divided and later demolished. Sir Henry Barkly was the second Governor of Victoria.A cream paper silk taffeta crinoline skirt c.1862. This skirt features a flat front across the front waistband but a gathered across the back. At the front it is floor length whilst at the back it features a small train. Presumably the skirt was concealed at the sides and back at the front features decorations that do not continue around the back. The front decoration consists of three tiers of pleated pale violet to pale pink silk ribbon with a deep drop of cream lace. The final lace tier is gracing the floor. st ninians, george ward cole, brighton, sir henry barkly, crinoline, bridesmaid, margaret morrison ward cole

This gown, one of two similar items in the collection belonged to one of the Ward Cole sisters, Miss Margaret Morison Ward Cole or Miss Agnes Bruce Ward Cole, daughters of George Ward Cole. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son at St Ninians in 1867. In later years St Ninians was subsequently sub divided and later demolished. A black and yellow velvet, wool, lace and silk dress from circa 1882. The bodice features a yellow silk, black lace and black velvet collar finishing high on the neck just below the chin finished with a black lace ruffle. The collar has a flap across the front of the throat that attaches at the side with a V-shaped baseline that contributes to concealing the fastenings of the bodice. The dress features a gathered central panel of black lace covered lemon silk, which falls from the neckline to the floor. At either side of this panel are matching panels of black velvet. The remainder of the dress and sleeves are made of black wool featuring a self-striped and spotted pattern. The dress fastens down the centre front with concealed black buttons hidden underneath the right velvet panel. The head of the Amadis sleeve sits on the natural shoulder line and finishes tightly at the elbow. The volume of the sleeve is created by ten pleats at the head of the shoulder, sewn to the bodice and is gathered at the elbow. The sleeve is finished with a black velvet ribbon with a bow and a black lace frill. The base of the dress is finished with a ruffle of the black dress wool. The dress features a small train. The dress is boned at the back waist and features an inset panel just below the waist of gathered fabric which forms the train. st ninians, george ward cole, visiting gown, brighton, margaret morrison ward cole, agnes bruce ward cole

This dress was donated as having belonged to Annie Elizabeth McLean, who worked as a maid to the daughters of Samuel Renwick of Caulfield. Annie was born in Argyllshire, Scotland in 1853. This dress appears to have been originally made circa 1855 and then modified circa 1872. As Annie would only have been two years old in 1855, this indicates that the dress would most probably have been originally made for someone else and later acquired by Annie. Annie Elizabeth McLean arrived in the Colony of Victoria from Argyllshire, Scotland with her aunts and cousins in 1867, aged thirteen and a half. She had been educated in Scotland and eventually became a personal maid and then companion to the Renwick girl, daughters of Samuel Renwick of Caulfield, Victoria. The Renwicks' home, 'The Garrell' on Glen Eira Road, was one of Caulfield's earliest residences, having been built around 1854. Samuel was a business partner of William Kerr Thomson, a well-known Brighton resident and the original occupant of the North Road mansion 'Kamesburgh'. During her time with the Renwick family, Annie travelled with them to England, then to Scotland, then back to Victoria. She left the family upon the marriage of the youngest Renwick daughter, then went to the household of Sir William and Lady McCullough until she left to be married to Alfred John Ashfold in 1878.This c1872 grey and white silk pin stripe dress features a high round neckline with eleven decorative blue silk buttons and secured by a concealed line of fifteen hook and eyelet closure. The bodice (.1) has decorative blue and green braid over the shoulder and bust and across the base of the bodice. The dress features three darts shaping the dress to the body. The sleeve is cut high but relatively full and tapers to the elbow then flares again in Pagoda like style but ends at the wrist or hand. The skirt (.2) opens over the left hip and features a pocket over the right hip. The skirt at the front finishes at the ankle or just above the ground. At the back the bodice features panels shaping the dress into the body and pleated and flared from the waist. At the small of the back is a decorative bow with pinked edges and decorative braid. The skirt at the back is uncommon in shape most likely as the result of modification. It appears to have had panels removed reducing its original fullness. It has a tape inside the back of the skirt that would draw the skirt in creating a bustle like shape . It would appear that the dress had been modified in order to create a more fashionable silhouette most probably in circa 1872. There are three separate pieces of fabric. One is made up into a semi-circular over-skirt trimmed with blue braid and fringing (.3). Two pieces are unpicked skirt gores, one still has its cotton lining attached (.4 and .5).annie elizabeth mclean, samuel renwick, the garrell, caulfield

This dress is of uncertain provenance. BHS records indicate that it was owned by Marion Jane Ellen Devlin, nee Stokes (1845-1936), who married Oliver Devlin on 2 April 1877 in Victoria. The dress is believed to have been worn on the Bendigo goldfields circa 1878. It may have been worn as a wedding dress. However, additional documentation discovered in August 2019 suggest that the dress belonged to Margaret Cocking, nee Carr (1850-1936), who married Gustavus Cocking in Bendigo in 1877.A grey-green circa 1878 dress comprising a matching jacket and skirt. The jacket (.1) features a standing collar that gathers to a low point at the throat. This point is concealed behind a bow with raw edges which may not be original. The centre front of the jacket has been secured with nineteen concealed metal hook and button holes. The centre front features fifteen sets of single fabric covered glass buttons secured in a diagonal pattern and appearing as double headed buttons. From the shoulder through the body the jacket is shaped with decorative panels with grey silk detail. Beside these panels shaping into the waist and under the arm are a further two pleats. On the left side waist is a small pocket with decorative flap, grey silk trim and button. The base line of the jacket features a decorative horizontal panel that wraps around the jacket. The sleeve head is small and sits on the natural shoulder line with a slim fitting, curved, full length sleeve. At the base of the sleeve, there is a decorative panel reminiscent of a formal cuff, with a decorative turn back and two buttons. Secured underneath this turn back is a bow like decoration. From the back the jacket features a V shaped decoration, an extension of the front two decorative panels. From the shoulders the jacket is shaped by four panels curving tight into the waist and flaring out again to fullness of the bustle. These seams are also finished with decorative binding. This peplum-like shape features two decorative flaps and six covered buttons. The skirt (.2) is shaped to the waist with pleats and secures on the front left hand side, the original waistband and fastenings have been replaced. The skirt front features a large decorative panel of the same fabric that curves from the front at approximately shin length, upwards towards the back securing underneath the bustle decoration. A second panel, plus a pleated panel finish the hem of the skirt continuing around to the back. At the back the skirt features two deep pleats with a large decorative bow that would sit out over the bustle. The skirt is long featuring a small train at the back. The dress is lined in a brown waxed cotton.wedding dress, 1870s fashion, marion jane ellen stokes, oliver devlin, margaret carr, gustavus cocking, bendigo

A cloak believed to have been worn by Captain George Ward Cole. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son at St Ninians in 1867. In later years St Ninians was subsequently sub divided and later demolished. A cream, green, brown and red striped cotton evening cloak with a brown silk velvet collar from the 1880s. The cloak features a double tiered velvet capelet with high standing collar that meets in the centre front, fastening with three hook and eye closures and finishing just below the shoulder line. At the centre front throat is an additional piece of lined cloak fabric which may have attached across the throat, purpose unknown. The lining of the throat and collar of the capelet appears to be a replacement with a darker red silk. The original red silk lining features through out the remainder of the garment. Inside the front left breast, the lining features two pockets; inside the right breast, the lining features a single pocket. The lining also features a waist tie to secure the cloak to the body. The cloak is approximately mid calf to ankle length. st ninians, george ward cole, brighton, 1880s

This gown, one of two similar items in the collection, belonged to one of the daughters of George Ward Cole, Miss Margaret Morison Ward Cole or Miss Agnes Bruce Ward Cole. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished.A black and mint green wool, velvet, lace and silk dress from circa 1882. The bodice features a wired, standing collar, finishing just under the chin and open at the front of the throat. On either side at the front of the throat it features long black lace ties with black jet bead fringe. The centre front of the dress from the neckline to the base of the skirt features an insert panel of mint green corded silk. The silk is gathered and the neckline and waist and overlaid a panel of gathered lacy net. Inserted into the seam at either side of this panel at the waist are two velvet ties. The dress secures closed with eight black buttons and one hook and eye down the right side of the mint panel to mid thigh. The edges of the collar and black front panels are finished with a looped ribbon trim. The remainder of the dress is made of a black wool fabric woven a checkered pattern of larger and looser threads and smaller and tighter threads creating a seersucker like pattern. The bodice features a natural shoulder line and an Amadis sleeve of full cut gathered to the bodice at the shoulder and finishing at the elbow with a large black lace flounce. The front panels of the dress are flat and shaped neatly to the body from neck to hip line and gently out to create the Victorian silhouette. On the back of each shoulder the dress features a leaf like, small jet beaded embellishment with multiple long loops of jet beads falling down the back to the waist. Underneath this embellishment is a pleated black ribbon that runs from the shoulder to the back of the pelvis. Over the pelvis are another two jet beaded embellishments of a floral design with two tassels. The skirt is full and pleated in under this embellishment and fulls to the floor with a small train. The base of the dress is finished with a ruched band of the main dress fabric.st ninians, george ward cole, visiting gown, brighton, miss margaret morison ward cole, miss agnes bruce ward cole, 1880s

This dress is believed to have been worn on the Goldfields of Victoria. The discovery of gold in Victoria ranged between 1851-1879. This dress is believed to have been worn on the Goldfields of Victoria. There are few remaining examples of clothing worn on the Victorian goldfields.A circa 1878 two piece dress consisting of bodice (.1) and skirt (.2). The eau de nil (green) corded silk dress features a high round neckline that secures with hook and eye fastenings and decorative buttons through the length of the princess line bodice to the band around the hem. A watch pocket sits just below the waistline on the left hip. The three-quarter sleeves are narrow with kilted pleat trim on the lower edge and decorative buttons. At the back of the dress is asymmetric in its cut. The dress splits along the right hand side and finishes shorter with pleating and has a decorative pocket. A bow sits at the top of the split. The underskirt fastens on the left hip and features kilted pleats along the base of the skirt and train. The train features additional fullness created by a section of gathering in the centre.victorian goldfields, asymetrical victorian dress, princess line, 1870s fashion

This dress belonged to Mrs Lillias Parker (nee Johnston, 1820-1904). Born in England, Lillias was married in London in 1844 to Samson Parker (c. 1820-1886). The couple lived in Bendigo, Victoria for much of their lives, with Samson first arriving around 1853 and establishing a business with Samuel Macord as tent makers and fruiterers. He later had a successful business as a hat and cap manufacturer and a sewing machine agent. Lillias' obituary suggests that she was one of the first women settlers to live in Bendigo and noted her reputation for philanthropy and her interest in the welfare of the blind and vision impaired, having herself experienced loss of sight many years before.Two piece day dress of mulberry figured silk. The dress comprises a separate bodice (.1) and skirt (.2). The bodice fastens centre front with fabric covered shank buttons and has twelve bones encased along the interior seams and darts. Two piece fitted sleeve and high stand collar. Bodice is backed with a caramel coloured printed cotton. The skirt has a slight train and is backed with a caramel coloured twill-woven cotton. lillias parker, 1890s, bendigo, goldfields

This parasol is believed to have been used on the Goldfields of Victoria. The discovery of gold in Victoria ranged between 1851-1879. May have been worn with T0011.1.1-2, afternoon dress. This parasol is believed to have been used on the Goldfields of Victoria. There are few remaining examples of similar items used on the Victorian goldfields.A c1878 eau de nil (green) silk parasol. The parasol canopy features a decorative gathered frill, a pale green silk lining and a scalloped edge. The wooden handle is painted pale beige, with a bone ferrule.victorian goldfields, parasol, 1870s fashion

This top hat belonged to bank manager Walter Tom Washington (1870-1948). Walter emigrated to Victoria from the Isle of Man at the age of eleven with his family in 1884. His daughter Lucy Frances Morrison (1905-2005) donated his hat to the Society in 1977, while she was living in Brighton. She recalled that he had purchased the hat for a wedding in 1911 and would wear it to church on Sundays. Established in London in 1773 by Miller Christy, Christys' continues to manufacture hats today. Their hats have been worn by members of the British royal family, Winston Churchill and Marlon Brando in the film 'The Godfather'.Black plush silk top hat with cream silk lining and leather and padded cloth interior bands. Black wool band.Label, printed in blue on crown silk lining: ENGLISH MANUFACTURE / CHRISTYS' LONDON'top hat, silk plush, nineteenth century, christy & co, christys', menswear, walter tom washington

Dust coat worn by Mr Frederick Alister Jennings when he managed a family grocery store circa 1948 at 510 Point Nepean Road, East Brighton. Frederick was born at Nagambie, Victoria in 1909 and died in Brighton in 1979. He was the son of Hugh Edwin Jennings and Alice Constance Warren. He married Margaret Jean Hughes in 1934 and served in the Second World War. He lived at 1 Valda Grove Brighton. Frederick was a commercial traveller as well as his time spent managing the store in Point Nepean Road. It is believed this coat dates from his time at the store c1948 - 1955. The store was owned for many years by his father-in-law W. G. Hughes and was one of a group of shops near the corner of Centre Road. In 1944-45 the group of shops included Fletcher’s fuel merchants, a haberdasher, butcher, fruiterer, grocer, Brighton East post office, a ladies’ hairdresser and Hughes’ grocer. In 1950 Hughes’ grocery store was between a service station and the Commercial Bank on what had been renamed Nepean Highway. The business was sold to G. S. Maynard, grocer, sometime before 1960.Unlined dustcoat of beige cotton. Fastens centre front with three brown plastic buttons. Two large patch pockets. Separate cloth belt with metal buckle. Signs of wear and mending. .1 - coat .2 -beltGarment label reads: APEX (RLG.) Dust Coat DEPT. MYER STORE for MEN. MELBOURNE & ADELAIDEdustcoat, occupational dress, grocer, hughes grocery store, brighton, frederick alister jennings

This is the wedding dress of Ella Janetzki, nee Sutcliffe, who married Eric Janetzki in Adelaide on 25 January 1941. The dress was made to measure in a shop in Rundle Street, Adelaide, and cost four guineas. Eric had enlisted in the army in 1940 and was called to duty in 1941, which determined the date of the wedding - though Eric very nearly didn't make it! He caught the train from his home town of Nhill, Victoria on the eve of the wedding only to be held up by flooding on the tracks, ultimately arriving three hours late amid much fuss. Ella later said that there were so many setbacks it was amazing they married at all. They remained together for 58 years until Eric's death in 1999. The dress was also worn by Ella's sister Eileen in October 1943 when she married Jack Edwards at the Church of Christ, LaTrobe Terrace, Geelong. As this was during the war, the sisters did not have enough clothing coupons to purchase another dress. BHS also holds Ella's daughter Rayleen Haig's wedding dress (T0131).Cream lace wedding dress with high square collar, short puffed sleeves and long train.wedding dress, wartime bride, 1940s, ella sutcliffe, ella janetzki, eric janetzki, eileen sutcliffe, jack edwards

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

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

Ino KIYOSHI (b 1946, Kyoto Japan, d. 2008) Worked in Australia from 1973–76 and 1978–2008 Ino Kiyoshi was to a family that has been involved in the production of pottery for some 160 years. Working in the family studio while studying at the Kyoto School of Arts and Crafts, he completed his diploma of Ceramic Art in 1969. He then attended the KyotoTechnical School for a post-graduate course in glazing. then lectured in ceramics at the KyotoTechnical School. Following in the footsteps of the famous Japanese potter, Shoji Hamada who had visited Australia in 1965, Kiyoshi Ino visited Sydney in 1973, where he worked with Japanese potter Shigeo Shiga). Kiyoshi took up an appointment as Visiting Lecturer in Ceramics at the Gippsland Institute of Technical Education, Churchill, Victoria, from 1974 to 1976 and returned there as Assistant to the Senior Lecturer in Ceramics in 1979. He ceased teaching at the Gippsland Institute in 1988. Ino was involved in the establishment of a space for artists in the old butter factory at the nearby township of Yinnar and in 1982 the Yinnar Art Resource Collective, commonly known as Yinnar ARC, was established. Ino has exhibited extensively throughout Australia.Australian Studio Ceramics Gift of the artist, 1982Impressed seal for Kiyoshi Ino on baseceramics, gippsland campus, jan feder memorial ceramics collection, ino kiyoshi, japanese ceramics

Ino KIYOSHI (b 1946, Kyoto Japan, d. 2008) Worked in Australia from 1973–76 and 1978–2008 Ino Kiyoshi was to a family that has been involved in the production of pottery for some 160 years. Working in the family studio while studying at the Kyoto School of Arts and Crafts, he completed his diploma of Ceramic Art in 1969. He then attended the KyotoTechnical School for a post-graduate course in glazing. then lectured in ceramics at the KyotoTechnical School. Following in the footsteps of the famous Japanese potter, Shoji Hamada who had visited Australia in 1965, Kiyoshi Ino visited Sydney in 1973, where he worked with Japanese potter Shigeo Shiga). Kiyoshi took up an appointment as Visiting Lecturer in Ceramics at the Gippsland Institute of Technical Education, Churchill, Victoria, from 1974 to 1976 and returned there as Assistant to the Senior Lecturer in Ceramics in 1979. He ceased teaching at the Gippsland Institute in 1988. Ino was involved in the establishment of a space for artists in the old butter factory at the nearby township of Yinnar and in 1982 the Yinnar Art Resource Collective, commonly known as Yinnar ARC, was established. Ino has exhibited extensively throughout Australia. Gift of the artist, 1982impressed seal for Kiyoshi Ino on baseceramics, shikuhu ino, jan feder memorial ceramics collection, gippsland campus, yinnar, yinnar art resource collective

Hedley POTTS (09/11/1936 - 01/06/2023) Hedley Potts studied ceramics at RMIT in the early 1960s. In 1974 he received an Australian Council Crafts Board grant to study overseas, and was visiting artist at the Goldsmith's College, University of London in 1979. He was appointed as Senior Lecturer in Ceramics at the Gippsland Institute of Advanced Education in 1972 when he introduced Ceramics into the program fo the first time. By the 1980s Potts he was a senior lecturer in Ceramics at Monash University's Churchill Campus (now Federation University). In 1995, Hedley Potts was appointed artist in residence at Kingston Arts Centre in Moorabbin. He was one of the artists represented in the Ceramics Victoria Inc 40th Anniversary exhibition in 2009. He incises his works 'Hedley Potts' on the base.Handbuilt raku fired earthenware.ceramics, blackware, jan feder, jan feder memorial ceramics collection, gippsland campus, moorleigh ceramic co-op, hedley potts

MALCOLM BOYD Born Gippsland, Victoria In 1977 Malcolm Boyd graduated with a Diploma of Visual Arts from the Gippsland Institute of Advanced Education. It was at this time that he presented this work to the Jan Feder Memorial Ceramics Collection. Over thirty years later he still has a passion for ceramic history and design. Boyd operated the Black Cockatoo Pottery from around 1980-1995, starting in Essendon, then moving to Ascot Vale, Stratford, Bairnsdale and finally Fernbank in Gippsland. His handbuilt stoneware pots and clay sculptures are wood fired at his East Gippsland studio. He often uses ochre coloured dam banks on his property at Fernbank. The local clays are crushed, screened and blended with a white stoneware body to produce a number of shades and textures. All Malcolm Boyd's pot's are hand built using moulding, coiling, slabbing, and modelling techniques, and are high temperature fired (1300C) to allow some of the very ancient oriental glazes to mature. All works spend at least 20 hours in the wood fired kilns. This work is part of the Jan Feder Memorial Ceramics Collection which was amassed with funds raised by Jan Feder's student peers at the Gippsland Centre for Art and Design in the mid 1980s after Jan Feder passed away. Although many of the works are donated the intention of the collection was to purchase from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught at the Churchill Campus. 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.malcolm boyd, ceramics, artist, artwork, jan feder memorial ceramics collection, gippsland campus, alumni

MALCOLM BOYD Born Gippsland, Victoria In 1977 Malcolm Boyd graduated with a Diploma of Visual Arts from the Gippsland Institute of Advanced Education. It was at this time that he presented this work to the Jan Feder Memorial Ceramics Collection. Over thirty years later he still has a passion for ceramic history and design. Boyd operated the Black Cockatoo Pottery from around 1980-1995, starting in Essendon, then moving to Ascot Vale, Stratford, Bairnsdale and finally Fernbank in Gippsland. His handbuilt stoneware pots and clay sculptures are wood fired at his East Gippsland studio. He often uses ochre coloured dam banks on his property at Fernbank. The local clays are crushed, screened and blended with a white stoneware body to produce a number of shades and textures. All Malcolm Boyd's pot's are hand built using moulding, coiling, slabbing, and modelling techniques, and are high temperature fired (1300C) to allow some of the very ancient oriental glazes to mature. All works spend at least 20 hours in the wood fired kilns. This work is part of the Jan Feder Memorial Ceramics Collection which was amassed with funds raised by Jan Feder's student peers at the Gippsland Centre for Art and Design in the mid 1980s after Jan Feder passed away. Although many of the works are donated the intention of the collection was to purchase from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught at the Churchill Campus. Jan Feder Memorial Collection Presented by the artist in 1977. malcolm boyd, ceramics, stoneware, artists, artwork, jan feder memorial ceramics collection, alumni, woodfire

Ian SPRAGUE (1920 - 18 April 1994) Born Geelong, Victoria Ian Broun Sprague's initial training was in Architecture, completing a degree at the University of Melbourne in 1950. After a serious car accident in England, Sprague was encouraged to take up a craft to restore the strength in his arms. He studied at the Central School of Arts and Crafts, London for three years, and spent two months at the David Leach Pottery in Devon, before returning to Australia in 1962. In 1964 Ian Sprague established the Craft Centre in Toorak Road, South Yarra, and the Mungeribar Pottery in Upper Beaconsfield, with Robin Welch, Mungeribar being an Aboriginal word meaning 'red clay'. In 1981, he moved to Mooney-Mooney, NSW (Mungeribar was gutted by bushfires shortly after he left), and to Noosa in 1992. The Mungeribar Pottery mark is an impressed 'm', and Sprague's own mark is an impressed 'IS' with the S rendered in Morse code. Ian Sprague's Mungeribar apprentices were Grattan Burley, Victor Greenaway (1969–73), Christopher Sanders (1976-78}, Trevor Hanby (1978–80). In 1981, he moved to Mooney-Mooney, NSW , and Noosa in 1992. Greenaway's mark in his Mungeribar years was an impressed capital G. Grattan Burley (for six months), The Craft Centre in South Yarra was owned and stocked entirely by Ian Sprague, and he travelled all over Australia in search of the best possible textiles, glassware, woodwork and jewellery, not just pottery. The opening exhibition showed the pottery of Robin Welch. Sprague sold the Centre in 1967, but soon started a campaign for a government funded centre, eventually established as the Meat Market Craft Centre in North Melbourne. In 1971 Sprague became president of the recently created Craft Association of Victoria. Dismayed by the quality of teaching in art schools and technical colleges, he ran many workshops around the country on the textural treatment of clay. 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.Contemporary ArtTexture fire clay slab and partly glazed wall panel. Ian Sprague produced his hand modeleed wall panels by cutting them from fireclay blocks, heating and scraping them, and applying bold simplified motifs. A strong solution of salted wated was poured onto the rugged clay surfaceswhich produced a warm toasted surface effect. The panels show a clear understanding of the modulation of two dimensional relief sculpture. Artists stamp on lower RH cornerceramics, ian sprague, gippsland campus, jan feder memorial ceramics collection, mungeribar, meat markery craft centre, craft centre south yarra

David Frazer (1966- ) David Frazer is an Australian artist who works in painting, wood engraving, etching, lithography and bronze. Born in Victoria, David Frazer graduated from the Phillip Institute of Technology, Melbourne with a Fine Art degree specialising in painting. In 1996 he achieved an Honours degree from Monash University specialising in Printmaking and in 2000, gained his Master of Arts. In 2002, David was awarded the Keith Wingrove Bookplate Design Award and in 2007, he was a major prizewinner at the International Print Biennial in Guanlan, China and a featured Australian artist on the ABC’s documentary series ‘Artist at Work’. (http://www.goldfieldsprintmakers.com/david-frazer.html) Art historian Robert C. Littlewood is a Private Press publisher who utilises his skills as a fine art photographer, a video producer, researcher and writer to document the lives and achievements of Australian artists who create (or created) original graphic prints. Littlewood is President of the Australian Bookplate Society and a Trustee of the Keith Wingrove Memorial Trust which administers the world's richest and Australia’s only Bookplate design award.Bookplate for Tony Irvinng featuring the Yarra River and silos at Richmond, Victoria. bookplate, tony irving, david frazer, nylex clock, yarra river, silos, richmond

David Frazer (1966- ) David Frazer is an Australian artist who works in painting, wood engraving, etching, lithography and bronze. Born in Victoria, David Frazer graduated from the Phillip Institute of Technology, Melbourne with a Fine Art degree specialising in painting. In 1996 he achieved an Honours degree from Monash University specialising in Printmaking and in 2000, gained his Master of Arts. In 2002, David was awarded the Keith Wingrove Bookplate Design Award and in 2007, he was a major prizewinner at the International Print Biennial in Guanlan, China and a featured Australian artist on the ABC’s documentary series ‘Artist at Work’. (http://www.goldfieldsprintmakers.com/david-frazer.html)Bookplate for Caitlin E. Littlewood by David Frazer featuring the skipping girl neon sign at Richmond. The skipping girl is known as 'Little Audrey'.bookplate, david frazer, caitlin littlewood, skipping girl, little audrey, keith wingrove bookplate design award

David FRAZER (1966- ) Born Foster, Victoria, Australia David Frazer works in painting, wood engraving, etching, lithography and bronze. He studied a B.A. Fine Arts (Painting) at Phillip Institute of Technology, followed by a Diploma of Education (Secondary- Art/Craft) at Latrobe University in 1991. He completed an Honours Degree in Fine Art (Printmaking (at Monash University in 1996, and between 1998 and 2000 Frazer undertook a Master of Arts (Visual Arts) by research: “Pastoral Melancholia”, at Monash University. One of Austalia's foremost printmakers David Frazer's highly detailed woodblock and linocut prints often explore the emotional and fragile state of the human condition. His work offers a nostalgic image of Australia through its examinations of landscape, Australian buildings, sheds, and itinerant travellers. He has held seven solo exhibitions between 1996-2006 in Melbourne, Sydney and a survey show curated by the Horsham Gallery, which toured Victorian regional galleries from 2004-2005. David Frazer’s work was seen in 37 group exhibitions between 1996-2006 including the 5th British International Miniature Print Exhibition in the UK, in the 2003. He more recently held a solo exhibition with Rebecca Hossack in London 2011. (http://www.thestockrooms.com/, accessed 06/03/2015) David was awarded the Keith Wingrove Bookplate Design and in 2002.Framed limited edition linocut on paper.lls '2/36' lc 'The Text Message (study)' lrs 'D. Frazer 15'artist, artwork, david frazer, parallel prints, printmaking, linocut

Tarli GLOVER Tarli Glover undertook a Bachelor of Arts at Ballarat College of Advanced Education [now Federation University] between 1980 and 1983, majoring in Fine Art Painting. Based in Central Victoria, she has been practicing professionally for over three decades and has exhibited widely throughout Australia. While Tarli's work covers a wide range of creative disciplines’ she concentrate’s primarily on painting, drawing and multi-media works with a focus on both landscape and figurative genres. Her work leans toward semi abstract symbolism and representation. This triptych was part of Tarli Glover's final year folio in 1983. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.A painted triptych by Tarli Glover with the following titles: .1) 'Bits and Speechless Pieces' .2) 'A Grimace on Obscurity' .3) 'Keeping the Interval'art, artwork, tarli glover, theatre, triptyc, oil on board, ballarat college of advanced education, alumni

Ray WOOLARD (1951-03/2024) Born Ballarat, Victoria Ray Woolard studied at the Ballarat Junior Technical School (c1967); Diploma of Art (Sculpture) at the Ballarat School of Mines/Ballarat Institute of Advanced Education from 1969-1972; a Secondary Art and Craft course at the Ballarat Teachers College c1973; and then the Victorian College of the Arts (Melbourne) 1974-75. He was studying at Ballarat Teachers' College when he completed 'Moose in High Healed Sneakers'. It became a greatly loved artwork on the Gillies Street Campus, and was moved the Mount Helen Campus in 1976 when the Ballarat Teachers' College became part of the Ballarat College of Advanced Education. As an artist Ray Woolard worked within the fields of painting, carpentry and sculpture. 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.Ballarat Teachers' College CollectionA caste aluminium sculpture of a moose in resin high heeled sneakers. art, artwork, moose, ballarat teachers' college, sculpture, alumni, ray woolard

David NOONAN (1969- ) Born Ballarat, Victoria. Lives and works Melbourne, Victoria and London, United Kingdom. Leaving secondary school as soon as he could, David Noonan enrolled in a Visual Art Course at the Ballarat School of Mines. He described this time as 'an inspiring time, with every art form covered and treated with passion and rigour.' He studied ceramics, photography, painting and knew that he had to be an artist. (https://art150.unimelb.edu.au/articles/david-noonan-making-art-in-a-dark-and-quiet-place, accessed 17 January 2020). Between 1987 and 1989 David Noonan completed a Bachelor of Fine Art at Ballarat University College, Victoria, Australia (Now Federation University Australia). He undertook Post Graduate Studies at the Victorian College of the Arts, Melbourne in 1991 and 1992. Since 2005 he has been based in London with his work featuring in a number of major international exhibitions of contemporary art, including 'Altermodern', the 2009 Tate Triennial at Tate Britain, London. Producing works in a range of media including painting, photography, film, print-making, collage and sculpture David Noonan's work often evoke the subconscious realm through their fragmented imagery, allusive qualities and complex layering of historical and cultural references. Animals, actors and masked figures are recurring motifs that imbue his works with a magical atmosphere that is suggestive of childhood memories or half-forgotten dreams. ( produced works in a range of media including painting, photography, film, print-making, collage and sculpture. His works often evoke the subconscious realm through their fragmented imagery, allusive qualities and complex layering of historical and cultural references. (https://www.ngv.vic.gov.au/essay/david-noonan-untitled/, accessed 17 January 2020) David Noonan has become known for large-scale monochromatic collages on linen comprised of fabrics which are torn, folded, cut, stitched and combined with silkscreened images. This approach was used to produce his 2018 atmospheric film 'A dark and quiet place'. Noonan is interested in combining art and traditional craft techniques. (https://artgalleryofballarat.com.au/gallery_exhibitions/david-noonan-stagecraft/, accessed 17 January 2020) This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. Six stretched canvases making up the work 'Ring of the Nibellings'. art, artwork, david noonan, oil on canvas, alumni

David NOONAN (1969- ) Born Ballarat, Victoria. Lives and works Melbourne, Victoria and London, United Kingdom. Leaving secondary school as soon as he could, David Noonan enrolled in a Visual Art Course at the Ballarat School of Mines. He described this time as 'an inspiring time, with every art form covered and treated with passion and rigour.' He studied ceramics, photography, painting and knew that he had to be an artist. (https://art150.unimelb.edu.au/articles/david-noonan-making-art-in-a-dark-and-quiet-place, accessed 17 January 2020). Between 1987 and 1989 David Noonan completed a Bachelor of Fine Art at Ballarat University College, Victoria, Australia (Now Federation University Australia). He undertook Post Graduate Studies at the Victorian College of the Arts, Melbourne in 1991 and 1992. Since 2005 he has been based in London with his work featuring in a number of major international exhibitions of contemporary art, including 'Altermodern', the 2009 Tate Triennial at Tate Britain, London. Producing works in a range of media including painting, photography, film, print-making, collage and sculpture David Noonan's work often evoke the subconscious realm through their fragmented imagery, allusive qualities and complex layering of historical and cultural references. Animals, actors and masked figures are recurring motifs that imbue his works with a magical atmosphere that is suggestive of childhood memories or half-forgotten dreams. ( produced works in a range of media including painting, photography, film, print-making, collage and sculpture. His works often evoke the subconscious realm through their fragmented imagery, allusive qualities and complex layering of historical and cultural references. (https://www.ngv.vic.gov.au/essay/david-noonan-untitled/, accessed 17 January 2020) David Noonan has become known for large-scale monochromatic collages on linen comprised of fabrics which are torn, folded, cut, stitched and combined with silkscreened images. This approach was used to produce his 2018 atmospheric film 'A dark and quiet place'. Noonan is interested in combining art and traditional craft techniques. (https://artgalleryofballarat.com.au/gallery_exhibitions/david-noonan-stagecraft/, accessed 17 January 2020) This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.A large painting on canvas. art, artwork, david noonan, noonan, alumni, oil on canvas, available

Elaine D'ESTERRE Elaine D'Esterre is a fulltime artist who lives in Anglesea on Victoria's Surf Coast. Iin 1992 Elaine D'Esterre graduatued with a Bachelor of Arts (printmaking) from the University of Ballarat. The following year she was awarded a Graduate Diploma (painting) from theUniversity of Ballarat. In 2000 D'Esterre was awarded a Doctor of Philospophy from Deakin University. 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. See also 3rd Year Final Exhibition 1992' program (Historical collection 005803)Limited edition print signed at lower right.Edition: 2/4art, artwork, elaine d'esterre, d'esterre, printmaking, multimedia, available, alumni