Josh MUIR (14 August 1991- 05 February 2022 ) Yorta Yorta/Gunditjmara/Barkinjl Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. iN 2014 Josh Muir was THE Australian Indigenous Mentoring Experience'S (AIMe) Program Manager Assistant at Federation University Australia in Ballarat.Australian Indigenous Mentoring Experience Z In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.Signed lower right "jmuir"josh muir, artwork, artist, aboriginal, hutchinson indigenous fellowship

Wes WALTERS (06 August 1928 - 19 August 2014) Born Mildura, Victoria From 1940 t0 1945 Wes Walters attended the Ballarat High School. He then studied architecture at the Gordon Institute in Geelong, followed by art at the Ballarat School of Mines (a division of the Ballarat School of Mines). During his time at the Ballarat Technical Art School (later Federation University Australia) Walters studied under Neville Bunning and Taylor Kelloch, and was awarded the Ballarat Ladies Art Association Scholarship in 1948. He next moved to Melbourne to work as a commercial artist with the George Patterson advertising agency. Each evening Walters studied life drawing at the Victoria Artists’ Society and taught himself anatomy. Wes Walters excelled in both abstract and realist art. He won the Art Gallery of Ballarat’s Minnie Crouch Prize for watercolour art in 1953 and 1956. He won the prestigious Archibald Prize in 1879 for his portrait of Phillip Adams, and the sketch was completed tin preparation for that portrait. 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.Charcoal portrait study of Arthur Boyd on Fabriano paper. This sketch is one of several head studies made for the portrait of Arthur Boyd portrait entered into the 1982 Archibald Prize. The painting is in the collection of the Art Gallery of New South Wales. Signed lower right: 'Walters'art, artwork, walters, wes walters, arthur boyd, portrait, available, archibald prize

Rona GREEN (1972- ) Born Australia 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.Linocut featuring three faces, one on a horse. 'Non Compos Mentis' is a musing on humankinds inability to fathom what is out there. It was produced for the Print Council of Australia. signed edition 16/40art, artwork, rona green, printmaking, linocut, print council of australia, edition, limited edition, available

Five piece glazed, porcelain tea set including cup, saucer, sugar bowl, lid and milk jug. Wheel thrown with carved decorations depicting mythical figures similar to griffen.Signed bottom 'Christine Hare'.ceramic, tea set, porcelain, christine hare, alumni

Pat Corrigan was a lifelong collector of fine art and rare book and commissioned Australian artists to design personal bookplates for his family since the 1970s. Bookplate featuring Patrick Corrigan playing a trumpet in front of the Sydney Harbour Bridge.Signed: Andrew Sibley 2014patrick corrigan, sydney harbour bridge, trumpet, bookplates

Book

A handwritten account of the early girls' classes by a junior legatee, Elaine Miller (Smith). She recounts the formation of the classes in 1927 and early camps. She recalls calling Legatee Savige 'Uncle Stan'. The older girls formed the 'Old Girls Club' which then was renamed 'Intermediate Legacy Ladies Club' (ILLC). A first hand account of the early classes by a junior legatee.Three hand written pages of lined note paper with blue pen, a personal account of the formation of girls classes.Signed Elaine Miller (Smith)illc, girls classes

The dinner on Saturday 4 November 1939 was held to celebrate Brigadier Savige's appointment to Command the 17th Infantry Brigade, 6th Division, 2nd AIF. The menu is included and the order of service with speeches by Sir John Gellibrand and a response by Stan Savige. A copy of both are also in the archive. There are five quotes through menu that sum up common sentiments of Stan Savige. Including 'Leave it to me and my little playmate'; 'This is the tamest fight I've seen - let's liven it up'; 'The only "experience" is trust in God then trial and error.' Savige's subsequent exploits in WWII are detailed in Chapter 4 of 'There goes a man' by W.B. Russell, which chronicles not only battles fought but also the politics which blighted his command until the end of the war. An important link to Legatee Stan Savige, the founder of Legacy as well as the famous soldier, at a watershed moment in his life.Cream card with red medal ribbon insert, brown print of a menu and programme to farewell Stan Savige in 1939.Signed in pencil by Stan Savige.stan savige, legatee function, dinner

The President in 1988 was Alf Argent. His comments were very brief but included praise for the staff at Legacy House and for fellow legatees. "The Legacy movement is comradeship and assistance." The presidential year ran from March to the following February. Was in a binder of documents that is passed from an outgoing President to the incoming President. It is primarily from the 1930s to 1990s. Most documents are being catalogued separately.A record of the ideas of the President in the 1980s.White foolscap paper x 1 page with black type of the President's comments in 1988.Signed in black pen 'A Argent'.presidents, alf argent

A letter about the Shrine that was sent by Legatee Donovan Joynt to the President. The date is unknown. He outlines concern that buildings that are proposed along St Kilda road will block the view of the Shrine from different perspectives. The original plans of the Shrine being at the Domain site emphasised that it would be visible on many axis, including from a ship passing through the heads of Port Phillip Bay. He accuses Legacy of being lax in fighting for the original plans being upheld and fighting inappropriate development. Was in a binder of documents that is passed from an outgoing President to the incoming President. It is primarily from the 1930s to 1990s. Most documents are being catalogued separately.A record of a concern by a Legatee about the sanctity of the Shrine being encroached upon by inappropriate buildings nearby.White A4 paper x 2 pages with black type of an undated letter from Legatee Donovan to the President.Signed in pencil 'Donovan Joynt'.shrine of remembrance, donovan joynt

significant as a work of art by local Pyrenees artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or cultureFarmstead scene with hills in background oil painting.signed: HDF (lower right)

significant as a work of art by local Pyrenees artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture view of Beaufort Railway Station in watercoloursigned: A Briody (lower right)

rosella, Phillip Adams significant as a work of art by local Pyrenees artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture painting of vineyardsigned: ADAMS (lower left)

Maude Glover-Fleay b. 1869 was a painter who studied under Frederick McCubbin. Glover-Fleay was regarded for her natural history subject matter. She was also a writer and music teacher, and in the 1930s she established a reputation for painting Australian marsupials. Her works are inlcuded in the Art Gallery of Ballarat Collection, Victoria significant as a work of art by a modernist-era woman artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture watercolour picture of a fallen treesigned: Glover-Fleay '30 pyrenees, maude glover-fleay

significant as a work of art by local Pyrenees artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture painting of a street scene as seen from a car signed: ERNIE (lower right)

significant as a work of art by local Pyrenees artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture painting of a hay fieldsigned: HDF (lower right)

significant as a work of art by local Pyrenees artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture painting of a country scenesigned: JARVIS (lower right)

significant as a work of art by local Pyrenees artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture painting of large rocks in Australian desertSigned: Adams (lower left)

significant as a work of art by local Pyrenees artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture painting of Kata TjutaSigned: Adams (lower left)

significant as a work of art by local Pyrenees artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture painting of a bush sceneSigned: Adams (lower left)

Australian 1950sWatercolourSigned l.r annotated 2

Australia 1913 - 1986Pencil on cardSigned and dated bot. c

Australia 1913 - 1986Linocut 27/50 s.9Title, edition signed and dated

Australia 1913 - 1986Linocut 27/50 s.9Title, edition, signed and dated

Australia 1913 - 1986Linocut 27/50 s.11Title, edition, signed and dated

Australia 1913 - 1986Linocut 46/50 s.12Titled, signed and dated in margin

Australia 1913 - 1986Linocut [Artist's Proof] s.30Inscribed [Linocut] Proof and signed