Handwritten notes on mining machinery sold at auction. South St Mungo - Winding Engine. Pair of 15 ? Cyl. Winding Engines. 7 ft Winding Gear. Also, Jackass Boiler. Feed Pump, Trucks, Rails, Flat Sheets, Poppet Heads, Housing, etc. Sold for 270 pounds. Purchaser H Ralph for Austral Drill Co. Lady Barkly Company - 12-inch Cylinder Winding Engine. 8 ft Winding Gear. Cornish Flue Boiler, Feed Pump, Rails, Poppet Heads, Housing, etc. Sold for 162 pound 10 shillings. Purchaser W. J. Sever, Mining Merchants, Melb. Crushing Battery - Complete 40 Head Battery. Tandem Compound Engine. 11 in & 22 in Cylinders. High Press, Boilers, Electric Lighting Plant. 6 in Cyl. High Speed Engine, Fire-proof, Feed Pump, Rails, Flat Sheets, Tools & Sundries. 1000 pound to R. Ralph. These three mining plants, complete. Sold by Messrs. Bell, Lambert and Nixon - Auctioneers. Ref; Bendigo Advertiser. July 14th, 1910, Page 2.document, gold, new chum & victoria lines of reef, mining machinery new chum line eaglehawk, south st mungo, h ralph, austral drill co, lady barkly company, w j sever, crushing battery, messrs bell, lambert and nixon

Peter PILVEN (1956- ) Born Ballarat Peter Pilven is acknowledged by his peers for his high level of tacit skills, including throwing, and for his sound technical knowledge of materials.Training with John Gilbert's Edinburgh Pottery from 1972-1975, Pilven trained with Joan Campbell in Fremantle in 1976. In 1977 Peter Pilven obtained a Diploma of Fine Art (Ceramics) from Ballarat College of Advanced Education (now Federation University). The following year he worked with Ian Dowling at Geraldton, WA, and with the Western Australian Aboriginal Education Unit in 1979. He next trained with Alan Cagier-Smith in England between 1980 and 1981. Peter Pilven established his own studio in 1982. 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.Wheel thrown high-fired oxidised porcelain, multi layered painting with stains and oxides.art, artwork, pilven, peter pilven, ceramics, high fire

Gilda Gude worked in various media throughout her career, favouring figure and flower studies. She attended the Ballarat Technical Art School during the early 1930s. This artwork was completed for a competition sponsored by a large art supply company. In 1952 Gude won the Royal Art Society Drawing Prize, and began lecturing at RMIT in 1861. In the 1936 Ballarat School of Mines Annual Report it was stated: "It is my pleasure to report a most successful year in the Technical Art School. I the Annual Poster Competition for Technical Schools, organised by Wiltshires Pty Limited, 16 prized valued at 33 pounds 8 shillings - out of 23 prizes valued at 56 pounds - were won by our students. 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 original poster.art, artwork, poster, lollies, molly bushell, gude, gilda gude, alumni, ballarat technical art school

From 1931 to 1936 Nornie Gude attended the Ballarat Technical Art School, a division of the Ballarat School of Mines. She was accepted into the School at the age of 15 because she was so advanced in painting. She studied at Ballarat for five years before progressing to Melbourne’s National Gallery of Victoria School. Nornie Gude won many art competitions, including first prize at the 1936 Melbourne Royal Agricultural Show for still life drawing, and in 1941 became the first woman to win the National Gallery Students Travelling Scholarship. As an artist Nornie Gude held no theories and was once heard to say, “You spend your first 20 years learning technique and the next 20 years losing it”. 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 painting showing two horses jumping over a fence.art, artwork, gude, royal melbourne show, poster, available, horses, animals, alumni, nornie gude

Nornie GUDE From 1931 to 1936 Nornie Gude attended the Ballarat Technical Art School, a division of the Ballarat School of Mines. She was accepted into the School at the age of 15 Nornie Gude because she was so advanced in painting. She studied at Ballarat for five years before progressing to Melbourne’s National Gallery of Victoria School. Nornie Gude won many art competitions, including first prize at the 1936 Melbourne Royal Agricultural Show for still life drawing, and in 1941 became the first woman to win the National Gallery Students Travelling Scholarship. As an artist Nornie Gude held no theories and was once heard to say, “You spend your first 20 years learning technique and the next 20 years losing it”. 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 original poster advertising the Show, and featuring a horse and rider. art, artwork, nornie gude, gude, royal melbourne show, balllarat technical art school, poster, horse, available, alumni

Peter PILVEN (1956- ) Born Ballarat Peter Pilven is acknowledged by his peers for his high level of tacit skills, including throwing, and for his sound technical knowledge of materials.Training with John Gilbert's Edinborough Pottery from 1972-1975, Pilven trained with Joan Campbell in Fremantle in 1976. In 1977 Peter Pilven obtained a Diploma of Fine Art (Ceramics) from Ballarat College of Advanced Education (now Federation University). The following year he worked with Ian Dowling at Geraldton, WA, and with the Western Australian Aboriginal Education Unit in 1979. He next trained with Alan Cagier-Smith in England between 1980 and 1981. Peter Pilven established his own studion in 1982. 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.art, artwork, peter pilven, ceramics

This work pays homage to Solomon J. Solomon’s Ajax and Cassandra. Andrew Potter’s painting tells of the subsequent event. Cassandra is undoubtedly a Trojan War casualty, symbolizing the personal pain of widows and rape victims. The flow of the fabric is the allegory of bloodshed, while the empty jar suggests displacement of refugees. Cassandra’s body, as mother earth, is a metaphor for the peaceful landscape that is desecrated by acts of war. The artist uses these iconic figures to exemplify and demonstrate why peace is always better than war. This work was awarded second prize in the 2009 Lucato Peace Prize. During that year Andrew Potter was undertaking the first year of a Bachelor of Visual Arts (Fine Arts) at the University of Ballarat’s Arts Academy. This item was runner up in the Lucato Peace Prize, and is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Painted canvas depicting a naked woman lying on the round beside a glass jar.art, artwork, andrew potter, potter, lucato peace prize, mythology, available

Robert BARRON (1957- ) Born in Harpenden, England. Robert Barron first worked full-time with clay in 1976, the family pottery at Croydon, Victoria. In 1979, he left Australia on a five-year journey to New Zealand, North America, England, Europe, and South Korea to work with skilled potters in woodfiring. During this time, he visited Michael Cardew at Wenford Bridge Pottery, Cornwall, UK., and was engaged as an apprentice at Cornwall Bridge Pottery, Connecticut, USA. Returning to Australia in 1984, he established Gooseneck Pottery at Kardella, Victoria. With the assistance of a Crafts Board grant Robert Barron built a 1000 cubic ft five-chambered Nabori-Gama style woodfired kiln. This kiln one of the largest wood-fired kilns in Australia. Robert Barron is influenced by the philosophies of Bernard Leach and Michael Cardew.artwork, artist, ceramic, gippsland campus, robert barron

Annual report of the Association for the Advancement of the Blind outlined activities and events over the year, including a membership of 276, nearly 1000 visits made to people in their homes with several taking the opportunity to learn Braille, leasing of 'Woodburn' to accommodate those who were unable to provide for themselves or convalescent rather than provide short term financial help, an extension of the Railway Permit was secured so that the holder is able to travel with a guide and pay only one fare on the Brighton Electric Tramway and Williamstown Ferry Boat club, commitment by the Federal Government to extend the invalid pension to blind persons, the Department of Education is improving lighting which will help some children with eye difficulties and the loss of Sir Malcolm McEachern, F.S Grimwade, Mr Quayle and Dr McBurney, (the latter for whom a portrait will be placed in the Home for the Adult Blind due to his professional and personal support of the Association).1 volume of printed material with some illustrationsassociation for the advancement of the blind, annual reports

Annual report of the Association for the Advancement of the Blind outlined activities and events over the year, including membership of 299, 1000 visits were paid during the year, the Public Works department erected a set of steps from the top of the cliff to the sands so that Home residents may be able to access the beach, Railway Permits will now also be honoured on the Prahran-Malvern Electric Tramway and Bay Excursion Steamers, a concert party toured to Egerton, Ballan, Bacchus Marsh, Myrniong and Toolern Vale for the dual purpose of raising awareness and funds for the Association, Mr A Solomon has been appointed as a second Collector to visit Country Towns and with the support of the wife of the Minister for Public Works, Miss Aston and Miss Munce waited on the Lady Mayoress of Melbourne, gave her full support to organise a fund to purchase the land and buildings in Mair Street for the Association.1 volume of printed material with some illustrationsassociation for the advancement of the blind, annual reports

The modern mine is accessed via the Swan Decline, which commences at the Kangaroo Flat site on the southern outskirts of Bendigo and progresses in a north easterly direction between the Deborah and Sheepshead anticlines, reaching a depth of almost 1000 m below the City of Bendigo. Development of this decline commenced in 1998. Swan Decline closed and history preserved In a major rehabilitation milestone at Kangaroo Flat, the Swan Decline Bendigo’s primary gateway to underground mining, was permanently closed in December 2022. Important parts of Bendigo’s gold rush history were also preserved from the onsite office buildings with 19 boxes of records, and 1350 old photos being scanned and provided to the local historical societies and the Goldfields Library Corporation. A volunteer from the Bendigo Historical Society, Kay MacGregor, also scanned approximately 40 bookshelves of newspaper clippings to assist with recording and preserving geological drilling locations.Black and white photocopies of photographs of Swan Decline, showing some stages of underground construction. Eleven images on 3 pages, dated 16/4/2000 (10 a.m.) show decline walls, rock bolts and markout of tunnel shape. One image shows a utility in the tunnel. Final three images on one page, have notations on the photos: 'opposite SP18 LHS decline', 'just up from previous 3 box positions' and 'just up from tank, same side' On bottom RH side 'spots for scale attention, IT required, all lower decline.' All three images dated 12/6/2000.goldmining, kangaroo flat gold mine, western mining corporation, unity mining, swan decline

On the 29th of May 1954, a local Eltham carpenter by the name of John Swallow, committed a double murder at his home on New Street. This happened on the same day as the federal election of that year. John 48, his wife Mary 47, and stepdaughter Patricia 25, all went to the Eltham Courthouse on Main Road to cast their vote in the election that Saturday. After voting they returned home to their New Street house around midday. Patricia would later recall to ambulance officers, that she was feeling unwell, and so went to lay down when she heard an argument erupt over voting between her mother Mary and stepfather John. A concerned neighbour heard loud thudding noises and yelling coming from John and Mary’s house, he went to investigate. When he arrived at the house he was met by John at the front door. He would later describe John as “having a frantic look upon his face, and manic eyes”. John must have been a sight, bleeding and clutching a cut throat razor by his side. He then announced to the neighbour, “they voted commie!” before turning and going back inside. The distressed neighbour immediately raced home to call the Police. When the police arrived, they found Mary dead on the kitchen floor from catastrophic head injuries; her daughter, Patricia, clinging to life, slumped on her bed. Both women had been attacked by the same weapon, a large hammer, or sledge hammer as reported by the newspapers. John was also discovered in the house, bleeding from self-inflicted wounds from the razor, and had attempted to ingest caustic soda. Patricia was taken to St Vincent’s hospital, but died the following day, the 30th of May. John was also taken to St Vincent’s, where he remained under constant police guard for several months while he recovered from his injuries, at least the physical. He was eventually well enough to be taken to the City Watch House and then Pentridge Prison before his trial in October of the same year. When it came time for John to face the courts, the Judge called a mistrial, the Crown would not prosecute on the grounds of insanity. John was led away from the dock of The Magistrates Court and taken directly to Willsmere, the Kew Mental Asylum. On the 9th of August 1962, John Mervyn Swallow died of heart failure, he was 57. He had been a resident of Kew for four years. John’s body was returned to Eltham Cemetery and buried in the same grave as Mary. There is no mention of his name on the head stone. Patricia’s grave is next to Mary and John. A sad irony has an angel upon her grave, “its head missing”, possibly vandals or just an accident of time and events. What became of the home where all of this took place on New Street shall remain a mystery but within six months of this horrific event, the street had been re-named to Lavender Park Road after the original property near the end of the road, Lavender Park. In Memory Of Mary Josephine Swallow Died 29th May 1954 aged 47 Also Patricia Cathryn Hill Dearly beloved wife of Kel Called home 30th May 1954 Aged 25 yearsBorn Digitaleltham cemetery, gravestones, mary josephine swallow, patricia catherine hill, john swallow

Yields information about the tram operations at or near the Ballarat Railway Station.Six (6) Digital images taken by George Coop during the period 1968 - 1970, of SEC trams in Lydiard St North near or at the Railway station/ .1 - Tram 28 northbound with the station building and signal gantry in the background. No. 28 has a White Florist roof advert. .2 - Tram 32 southbound - taken from the signal box, has the gate wheel in the foreground. .3 - Tram 27 south bound, with destination of Sebastopol, with the station building, signal gantry and Reid's Coffee Palace in the background. No. 27 has a Twin Lakes sign and a Bliss Bombs roof advert. .4 - Tram 32, northbound, crossing the railway tracks, taken from the signal box has the railway station goods shed, building and signal gantry in the background. The tram has a Wilkinson Sword Razor blades roof advert. .5 - Tram 28, southbound from signal box. See image .1 for details. .6 - Tram 27, southbound in Lydiard St north with Bliss Bombs advert and destination of Sebastopol. Has the goods yard in the background. Taken through the verandah of Victoria House. trams, tramways, level crossings, railway station, lydiard st north, signals, tram 28, tram 32, tram 27

The Queen Elizabeth II Silver Jubilee Medal was awarded to citizens in the Commonwealth (Canada, United Kingdom, Australia and New Zealand) for their healthcare/nursing services. This ceremonial dish appears to serve the same or similar purpose to the medal, it is unknown whether the dish was awarded, or whether it was purchased and customised to reflect the respect of service that the medal from the same year served. This dish is peculiar, which in turn increases the significance of the object. Though similar to the Queen Elizabeth II Silver Jubilee Medal in social purpose, it is less historically significant. However, due to the nature of the collection at large, this object is of medium to high significance. Additionally, it may be a crucial object in reflecting thoughts, feelings and social organisation of Australian nurses. Nickel silver dish with several engravings and embossing, small dish foot, shallow dish, including Royal Australian Army Nursing Corps logo upon the centre of dish. 'EIIR' (Royal Elizabeth the Second sigil.)/[surmounted by St Edward's Crown]/'1952'/'Royal Australian Army Nursing Corps'/[surrounding Nightingale oil lamp, surmounted by St Edward's Crown.], 'Pro Humnitate'/[scroll embossing.]/'1902-1977'/'D-M S'[Makers mark]/Lion passant mark [indicates a fineness of 925/1000 sterling silver]/British silver hallmark [Leopard face that indicates the London Assay Office]/'C'[Denotes the date of silver pressing, capital C indicates 1977.]/Portrait of Queen Elizabeth the Second [Duty mark reflecting a tax on precious metals collected between 1784 and 1890 and that the tax had been paid.] On the base of dish: 'Nickel Silver' [material]. / '49'. silver jubilee, queen elizabeth ii, queen elizabeth 2, queen elizabeth the second, royal australian army nursing corps

Stewart MacFARLANE (1953- ) Born Adelaide, South Australia Stewart MacFarlane entered the South Australian School of Art when 16 years of Age. He traveled to New York in 1975 to study at the School of Visual Arts for 2 years. He remained living and working in New York for several years, receiving residences and fellowships to Skowhegan School of Sculpture and Painting in Maine, the Fine Arts Work Center in Provincetown, Massachusetts and the MacDowell Colony, New Hampshire. He exhibited in group shows as well as having three solo exhibitions in New York. Firstly at Razor Gallery, SoHo in 1979, then Belanthi Gallery in 1979 and the Australian Consulate New York in 1983. MacFarlane returned to Australia in 1983, undertaking post-graduate studies at the Victorian College of the Arts in 1984. He taught at The Gippsland Institute of Advanced Education (now Federation University Gippsland Campus) in 1885, and the following year moved to Darlinghurst, Sydney to paint. Later that year, he was artist-in-residence in the Besozzo Studio, Italy. In 1987, MacFarlane lived and painted in Mornington, Victoria for several months before receiving an initial residency with the Roswell Artist-in-residence program, New Mexico, for a year. Over the next eight years he moved between Melbourne, Sydney and Roswell, producing one or more solo exhibitions each year. In 1994 he received a residency at The Bemis Center, Omaha, Nebraska, then traveled to Mexico to paint for 3 months. MacFarlane worked in Queensland upon his return, and for the next seven years. He moved to Hobart, Tasmania in 2002, returning to the mainland in 2011.(http://www.stewartmacfarlane.com/bio-cv/) A framed linocut. This linocut was one of the Patron Print Series produced as a fundraiser to assist Gippsland School of Art students.printmaking, artist, artwork, gippsland campus, stewart macfarlane

The seed bean industry was a major industry in the Orbost district for the first half of the 20th century. The total area sown with beans for seed at Orbost was estimated to be about 1000 acres. Fisher Bros, grew or supervised the growing of approximately one quarter of the bean seed produced at Orbost, and, in addition, prepared for market and sold a considerable quantity for other growers. From Newsletter February 2015 : "the Fishers took over the old Butter Factory in Lochiel Street. They had sorting tables there in the 1920s. In Orbost, the Fishers had a Shell fuel depot at the back of the bean factory. The Fishers were very enterprising people, very smart. One of their uncles is supposed to have invented the knot that was used to tie the sheaves of hay in the fields. At their Lochend Barn, they had a Blackstone engine which ran on oil. They used to light a fire under it and hot it up to start it. This engine drove all the bean machinery in the barn" The seed bean industry was a major industry in the Orbost district for the first half of the 20th century. the Fisher Brothers were a significant part of that industry.A black / white photograph tajen from a river bank. On the right behind some trees is a barn. On the left between tres is a small building. Reflections can be seen in the water.on back - "Snowy River, Fisher barn on right. Mary Gilbert"bean-industry fisher-beans snowy-river

Greg DALY (1954- ) Born Melbourne, Victoria Greg Daly is internationally known and respected as a ceramic artist specialising in rich glaze effects, and also as the author of Glazes and Glazing Techniques (1995 Simon & Schuster). His work is represented in over 24 international book publications, in over 80 national and international art galleries and museums (including the National Gallery of Australia and the Victoria & Albert Museum, London), and he has won over 36 national and international awards. He has held over 70 solo exhibitions and was President of Craft Australia from 1992-1995. He has exhibited in over 200 international and national group exhibitions. In 1999 he received an ARC grant to research the effect of firing cycles in the development of copper red glazes. Source http://www.gregdaly.com.au/bio/ 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.Stoneware form decorated with lustre glaze. This ceramic form is a sculptural representation of rock forms Daly created during the 1970s and 1980s. His magnificent lustre glaze is a signature of Daly's master work with glaze production. Greg Daly is regarded as Australia's most pre-eminent ceramicist and teacher. His ceramic production is technically outstanding, his original forms float in an ethereal space far superior in conceptual design than those ceramic works which remain rooted to the table tops. This piece is a magnificent example of the work of this ceramic genius. Description by Dr Susan Patersonart, artwork, ceramics, greg daly, lustre, glaze

Henry MORITZ (1931- ) Born Mainz, Germany Arrived Australia c1952 Henry Moritz was an experienced commercial artist when he left Germany for Australia. After working as a railwayman, coal miner, fruit picker and steelworker, he started teaching commercial art at the Ballarat School of Mines Technical Art School in 1963. He moved to the Mount Helen Tertiary Division, and was head of the Art School at the Ballarat College of Advanced Education (BCAE) when he produced this work. The Ballarat College of Advanced Education logo was derived from the Southern Cross depicted on the Eureka Flag, which was adopted by Ballarat College of Advanced Education in 1978. The logo was designed by former student Debra Garton, who graduated with a Diploma of Art and Diploma of Education. 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.Farmed marquetry using fine woods chosen for their grains and reflective properties: silver ash, cedar, queensland walnut, grey bird's eye maple and African gaboon.art, artwork, henry moritz, marquetry, logo, southern cross, ballarat college of advanced education, available, stars

Max COWARD ( -1991) Born Ballarat Max Coward was training to be an art teacher at the Ballarat Technical Art School from 1937 to 1941. He enlisted in the A.I.F. and was a Naval Trainee at Flinders Naval Depot in 1941. During these years Max Coward was described as a cartoonist and illustrator, and was was attached to the Naval Intelligence Division in 1945, producing stories and drawings for the Navy newspaper Dit. His work was reproduced in the Christmas annual, HMAS Mk IV and the Army educational journal, Salt. He was a foundation staff member at the Burwood Teachers' College art department when it opened at Box Hill in 1954, transferring to the Burwood Campus in 1955. Upon his retirement he moved to Queensland to start a graphic arts consultancy. Coward was active as a printmaker during the 1970s. 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 limited edition linocut by Max Coward. 'Hen Party' uses simplified forms reminiscent of the shapes gracing 'moderne' interiors of the 1950s and 1960s. The simplification of form and decorative pattern achieved through repetition shows the influence of Paul Klee's work and imagery. lls 'Hen Party' lower centre edition '8/28' lrs 'Max Coward 64' art, artwork, max coward, printmaking, alumni, hens, linoprint, linocut

Noel COUNIHAN (04 Oct 1913 - 05 Jul 1986) This lino cut is the second largest version of Counihan's Laughing Christ series of linocuts from the 1970s. Janet McKenzie in her book 'Noel Counihan' (1986, p. 25) uses Counihan's quote in his description of the Laughing Christ series of art works: "Once again the armies of the Western world were moving against people behind the image of Christ: they were Christian armies. The American and Australian armies in Vietnam had their chaplains with them and were slaughtering Buddhists, as well ironically enough, as Vietnamese Catholics". Counihan's fury at the blood shed and massacre of war behind the image of Jesus is evident in his ironic portrayal of a Laughing Christ. Was this what Jesus was about? Not likely! 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. Description by Dr Susan Paterson Framed linocut, the second large version of the Laughing Christ series. The linocut was commissioned by the Print Council of Australia for members' annual subscription and printed on Japanese paper by William Caulfield & Sons, Melbourne.art, artwork, noel counihan, counihan, printmaking, available, christ, linocut printmaking, print council of australia, workers art guild, social realist, social realism, expressionist artist

"The landscape of the Valley is in between Ballarat and Geelong, the pranged aeroplane came from Geelong, the prospector and the strolling couple are surreal props to the scene, and the poetic hippogriffen serves as a bunyip which could be a local connotation of apprehension od bush loneliness. Bernard BOLES (1912-2001) Born Benalla, Victoria Bernard Boles studied at Melbourne Technical College and in London. He was known as critic, writer, sculptor and painter. His works were influences by Cubism and Surrealism. Boles exhibited widely in London and on his return to Australia in 1964. "Boles drew on the biomorphic marine imagery typical of Surrealism all around the world, as seen for example in the work of Wadsworth and Yves Tanguy. In 1949 Boles, having been rejected from the Victorian Artists’ Society, would tie two pictures to the fence outside the show and spend the ensuing two weeks sharing his views on art with passersby." ('Surrealism and Australia: towards a world history of Surrealism' by Rex Butler and A.D.S. Donaldson) 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.Australian SurrealismFramed Australian Surrealist work. Artist's Comment: "The landscape of the Valley is in between Ballarat and Geelong, the pranged aeroplane came from Geelong, the prospector and the strolling couple are surreal props to the scene, and the poetic hippogriffen serves as a bunyip which coul dbe a local connotation of apprehension od bush loneliness. Gift of Lyndsay Boles.art, artwork, bernard boles, australian surrealism, bunyip

Mary MODEEN (1953- ) Born United States of America Lives Scotland Mary Modeen is an artist/printmaker and interdisciplinary academic who also works in artist books, installations, and recently, in video and sound. She is also an academic of nearly 30 years full-time experience in higher education, residing in Scotland where she convenes the Art, Philosophy and Contemporary Practices at the Duncan of Jordanstone College of Art and Design, University of Dundee. Modeen’s research has several threads: perception as a cognitive and interpretive process, and place-based research, which tends to connect cultural values, history and embodied experience. In 2000, while a Visiting Research Fellow at the University of Ballarat (later Federation University Australia), Mary Modeen was commissioned to create a sculpture in a Public Art context for the campus. 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.An external sculpture commissioned in a Public Art context for the Mt Helen campus Business Building (B Building) by Scottish Artist and Visiting Research Fellow, Mary Modeen. Mary Modeen's three dimensional sculptures and installations draw on her interest in "light" relating to artworks and conceptual art. The 'plugs' in the sculpture represent students, while the blue acrylic disk represents alumni, and the spread and impact of our students throughout the community. art, artwork, sculpture, mary modeen, business school art collection

Eleanor (Nornie) GUDE (1915- 2002) From 1931 to 1936 Nornie Gude attended the Ballarat Technical Art School, a division of the Ballarat School of Mines. She was accepted into the School at the age of 15 because she was so advanced in painting. She studied at Ballarat Technical Art School, for five years before progressing to Melbourne’s National Gallery of Victoria Art School. Nornie Gude won many art competitions, including first prize at the 1936 Melbourne Royal Agricultural Show for still life drawing, and in 1941 became the first woman to win the National Gallery Students Travelling Scholarship. As an artist Nornie Gude held no theories and was once heard to say, “You spend your first 20 years learning technique and the next 20 years losing it”. 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 gouache by Nornie Gude. LLS signed "N.Gude"art, artwork, nornie gude, tea, available, poster, ballarat technical art school, alumni, portrait, robur tea

Reginald (Reg) WARNOCK (1915-1991) Reginald William Warnock undertook the Commercial Art course during the 1930s. On completion, he worked as a designer at Paton’s Advertising Service, Melbourne. Commercial art subjects between 1915 and 1939 reflected changing practises and industry requirements, with Ballarat graduates in demand. In the 1936 Ballarat School of Mines Annual Report it was stated: "It is my pleasure to report a most successful year in the Technical Art School. I the Annual Poster Competition for Technical Schools, organised by Wiltshires Pty Limited, 16 prized valued at 33 pounds 8 shillings - out of 23 prizes valued at 56 pounds - were won by our students. R.W. Warnock moved from Ballarat to Moonee Ponds towards the end of March, 1937. 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.Commercial art Framed original poster completed at the Ballarat Technical Art School by R.W. Warnock. It shows Oil pouring from a bottle in front of a steam engine. Please use the comment link below if you can assist with information about R.W. Warnock."For power and efficiency" "Mobil Oil"art, artwork, warnock, mobil, oil, poster, r.w. warnock, available, alumni, locomotive, steam engine, motor oil, advertisement, reginald warnock

Albert E. WILLIAMS (1899-1986) Victoria, Australia Albert Edward Williams was among the first to undertake the five-year, Technical Art Teacher’s Certificate (TATC) at the Ballarat Technical Art School in 1915, with work placement at the Ballarat Lithographic company. Williams taught for several years before he was selected to undertake further teacher training at the Working Men’s College, Melbourne, in 1926. He returned to teach at Ballarat in 1928, facilitating many student activities, while pursuing the arduous Art Teacher’s Certificate. This work was undertaken for the Art Teacher's Certificate, Part I at the Ballarat Technical Art School, School of Mines, Ballarat. From its inception in 1914, it was 30 years before the first candidate achieved the Art Teacher’s Certificate's exhaustive requirements. 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.Pencil figure drawing of a man in underwear.Verso "Certified as Student Work. H.H. Smith"art, artwork, albert e. williams, life drawing, ballarat technical art school, art teacher's certificate, drawing figure from life