Register of Historic Buildings in Victoria published by the National Trust of Victoria in 1973.non-fictionThe Heritage Act 2017 replaced the Heritage Act 1995, which established a legislative framework for heritage protection in Victoria that replaced the Historic Buildings Act 1981, the Historic Shipwrecks Act 1981 and part of the Archaeological and Aboriginal Relics Preservation Act 1971. Before Statewide legislation, heritage assessments were conducted and published by The National Trust of Australia (Victoria).heritage - (vic.), historic buildings - (vic.), national trust of australia (victoria)

Sydney : Sydney University Press, 1979 viii,227p., 12p. of plates : maps ; 22cm. non-fictionGeneral account of pre-contact Aborigines; white colonisation and violent conflict; racial attitudes of early settlers; native police; government policy; mission work; foundation of reserves; Coranderrk.aboriginal australians -- victoria -- treatment -- history., aboriginal and torres straight islander

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography. The 1860s marked the beginning of the era of reserves and missions. Six Aboriginal reserves were established during the 1860s. These were under the control of the Board for the Protection of Aborigines. Four were Christian missions receiving government aid. These were Lake Tyers (Anglican) and Ramahyuck (Presbyterian/Moravian) in eastern Victoria for the Gunai/Kurnai clans; Ebenezer (Moravian) in north-west Victoria for the clans of the Wimmera and Lower Murray; and Lake Condah (Anglican) in south-west Victoria. The other two were secular government controlled reserves: Framlingham which, like Lake Condah, was established for the Mara-speaking Gunditjmara and Kirrae-wurrung people of south-west Victoria; and Coranderrk, located about 60 kilometres north-east of Melbourne, for the Kulin clans of central Victoria. In 1863, after a period of devastation to the Kulin people, Coranderrk was established at the junction of the Yarra River and Badger Creek. Reference: http://coranderrk.com/, accessed 24 December 2016An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen silver photograph mounted on boardprinted in ink on support l.c.: SCENE NEAR "CORRANDERRK" STATION. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 9. / SCENE NEAR "CORRANDERRK" STATION. / This scene was taken from the hill near Rourke's Bridge, on the Healesville Road, and displays in the foreground / the River Yarra. The roadway which is seen in the mid-distance has lately been constructed by the Government, / as the old tracks which formerly existed, were liable to be swamped by the periodical overflowing of the River. Mount / Ridell can be seen in the extreme distance immediately behind the roadway. / Corranderrk is the local habitation / for the natives of this district, and is situated on the right hand side of the picture, about a mile and a half / from the roadway. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), coranderrk aboriginal station, aborigine, yarra river, badger creek, first peoples, aboriginal and torres straight islander

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The 60 photographs that comprise the series were issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Aboriginal Natives of Victoria hop gathering’ : Views of Victoria (General Series) No.50 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘The growth of Hops has of late years occupied the attention of farmers in most of the colonies, and with the most encouraging results. It has been introduced with considerable success on most of the Aboriginal Stations in Victoria. Our illustration represents a group of natives gathering Hops on the Station at Bairnsdale, in Gipps Land.’nicholas caire (1837-1918), bairnsdale, aborigines, landscape photography, first peoples, aboriginal and torres straight islander

The East Kew Women’s Club was formed on 20 July 1945 as an experiment amongst local women, who felt that there was a need for some organised group to give full scope to their various interests and hobbies. In the beginning, they met at the house of their founder, Mrs Eric Thake, 48 Harp Road, East Kew, but the growth and interest was so rapid that it was soon necessary to find a larger meeting place, so the group moved to the Harrier’s Pavilion in Victoria Park, Kew. At the fifth meeting of the group, a committee was formed, and a constitution adopted on 4 December 1945.The Club was aimed to be non-political, non-sectarian and open to women from any locality. The Club’s motto was “To Help others, Improve Ourselves, and Foster the Community Spirit”. The first twenty years of the Club was recorded in a small, nine-page publication “East Kew Women’s Club : Twenty Years 20-7-1945 - 30-7-1965”. Following the closure of the Club in 1973, after twenty-eight years, its records were deposited with the Kew Historical Society and are thus available for research into the history of women’s groups in the post war period in Australia. The Society holds the Club’s Minute Books of Meetings (1953-73), Attendance Registers (1959-73), Visitors Book, and sundry items of print ephemera published by the Club.Black and white photograph of Marlene Higgins, an Aboriginal girl who was sponsored by the East Kew Women's Club. The photograph is stuck into one of their registers.east kew women's club, community organisations -- kew east (vic.), aboriginal and torres straight islander

[Sydney] Angus and Robertson [1966] xxi, 262 p. illus., maps, ports. (part col.) 24 cm. non-fictionThis diary tells the Australian story as it has never been told before and can never be told again. The journal consists mainly of entries in her diary made by Georgiana day by day as events took place. p.91; Brief mention of natives, fear of comet; p.100; Custom of exchanging names; plate facing p. 201 : portraits of Aboriginal people from Arthur's seat; p.204; Account of formation of Port Phillip Bay; p.213; Burial described; p.243; Words of songs of Goulburn blacks tribe; p.245; Description of a corroboree of men, and one of children; Place of women; p.247-253 is An Essay hostorical, geographical, anthropological and zoological taken from Georges Cahier dEcriture 1846; P.250; Description of the natives of New Holland - physical appearance, way of life, dances, shelters, food, weapons, method of stretching opossum skins; Vic. (S) - 6/9, 5/7, 5/5, 5/6, 4/7, 8/1.mcrae, georgiana, georgiana mccrae, woman on victorian goldfields

Melbourne, Vic. : Cassell Australia, 1965 xiv, 178p. : ill. (some col.), facsims., map, porto. ; 25cm. non-fictionA history of Melbourne, tracing its development from the riverside village founded by John Batman to the metropolis of the 1960s; includes description of Aboriginal corroborees and other early encounters with the Aboriginal inhabitants of the area.batman, john, 1801-1839, melbourne (vic.) -- history., settlement and contacts - colonisation - 1851-

Two photographs of Australian Rules Football Memorial at Moyston2 Photos of the Memorial to commemorate a Centenary of Australian Rules Football This Monument commemorates the Memory to Thomas William Wills (1835 - 1880) Picture of a man kicking a football black top white Shorts in oval frame Thomas Wills was the Founding father of Australian Rules football co-founder and Captain of the Melbourne Football Club (1859) He Was Involved in forming the Geelong Football club (1859) And Was Captain (1860) Playing As Estimated 172 games. He was captain of an early team from Richmond. He Lived at Lexington Station Moyston While playing as a child with Aboriginal Children in this Area He developed a game which he later utIlised in the Formation of Austrian Football. This Monument was unvieled by the Australian Football League Historian Colin N. Hutchinson on September 17 1988, And this tribute to the memory of Thomas Wills was made Possible by The generosity of Wsetpac Banking Corporation and Staff This Monument Commemorates the Memory of Thomas Wentworth Wils (1835 -1880) a Picture of a Man kicking a football, black long sleeve thomas wiils, afl, vfl, sport

Query: Originally from a newspaper article. Dr Gault enrolled in U3A research aged 84 years, after retiring from psychiatry. She joined a U3A current affairs class and thrived on the weekly tutorial and interaction with other students. Quote: “My tutor Don Graves suggested I do further research so I have been studying what makes Aboriginal women so strong in their community. I have been doing an interview once or twice a week and writing it up.” - extract from ‘The Sun’ by Amanda Place 23 August 1988. Dr Edna Gault and her husband Dr. Edward Woodfall Gault set up practice in Surrey Hills in 1931 and built their home at 693 Canterbury Road, on the corner of Florence Road in 1933. In 1937 they went to India as medical missionaries, taking over the missionary hospital at Azamgah, established by his sister Dr. Adelaide Gault, who had to return to Australia on account of ill-health. They finished up at Vellore, South India. Dr Gault was born Edna Isabel Baylis in 1904 in NSW; she married her husband in 1932 in Chatswood, NSW. Later homes were: 13 Kasouka Road, Camberwell (1949); Warrandyte (1963) and Ivanhoe (1980). There is a biography of her life entitled 'A very amazing life' by Bette McLaughlin, a copy of which is in this collection. A black and white photograph of a happy looking eldery lady raising her walking stick.(mrs) (dr) edna gault, doctors, surrey hills, canterbury road, florence road, 1933, (miss) (dr) adelaide gault, 1988, university of the third age, u3a, psychiatrists, missionaries, (mr) (dr) edward woodfall gault, (miss) edna isabel baylis, (mrs) (dr) edna isabel gault

This book presents a rich picture of a nation in the making. The negative aspects of Australian immigration are not glossed over and it looks at the terrible consequences for the Aboriginal people, the nineteenth century Chinese experience and the migrant hostel riots of 1952, among its many other topics. Michael Dugan lived locally in Surrey Hills. This book was commissioned by/for: Australian Institute of Multicultural Affairs.The book has a place in this collection by virtue of Michael Dugan having been a local resident.This book presents a rich picture of a nation in the making. The negative aspects of Austaralian immigration are not glossed over and it looks at the terrible consequences for the Aboriginal people, the nineteenth century Chinese experience and the migrant hostel riots of 1952, among its many other topics.Surrey Hills History(mr) michael dugan, (mr) josef szwarc, immigration, social interaction, social life and customs, ethnic communties, multiculturalism, history - australia

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

Bonnie Fagan's County is Wadawurrung. Most of her early learning about her Aboriginality came from the father.Aboriginal dot painting telling the artist's learning journey. Bonnie Fagan wrote of this work: "Ochres reflect my connection with the land of my traditional Wadawurrung Country. Yellow ochre forms the background and white ochre defines my pathway, showing where I have traveled from my past and where I am heading in my future. I use reddish ochres for the larger dots along my pathway to show my footprint and for the smaller dots that ripple outwards to show how I've had some influence, either good or bad. The white lines show my pathway with an entry point from my past marking the start of my journey, a middle part showing were my life will continue. Through the middle part, my teenage years, the pathway is very windy. These years were sometime quite difficult and I struggled. The two circle areas symbolize two chapters in my life, first as a child and then as an adult, when I've felt mostly positive and safe. They are periods when I've been very open to learning, gathering knowledge from people and experiences that I trusted, and the circles within the circles symbolize the layers of support, of experience, of connection and of learning that I experienced. Strong visual symbols at the base of the painting under the first circle area represent the key figures in my learning through my childhood: my father (represented by the traditional symbol, of a man with a spear) and my mothers with me as a small child, The spirit of my paternal grandmother, my Nan, hovers above my childhood circle and near the pathway through to my teenage years, showing the strength of her influence and how she was always there guiding me." (Robyn Brandenburg and Jacqueline Z, Wilson [Eds] Pedagogies for the Future: Leading Quality Learning and Teaching in Higher Education, Sense Publishers, The Netherlands, 2013, pp40-41)bonnie fagan, bonnie chew, wadawurrung, artists, artwork, aboriginal, available

Wesley PEMBERTHY (1920- ) Born Broken Hill, New South Wales Wesley Pemberthy spent his childhood in Adelaide, South Australia. As an adult he lived in Bendigo, Ballarat, Clunes, Creswick, Daylesford and Perth. While in Perth he studied at Perth Technical School (1933-1937), followed by studies under the tutorship of Norman Lindsay in New South Wales (1938-1941). After service during World War Two Wes Pemberthy became the first Rehabilitation student at the National Gallery School, Victoria, undertaking research into the techniques of the Old Masters. He was the winner of the Sulman Award in 1955. The Sulman Prize is awarded for the best subject painting, genre painting or mural project by an Australian artist.Framed painting showing a number of brightly dressed people in a treed landscape. artists, artwork, wes pemberthy, wesley pemberthy, aborigines, aboriginal

Leoda ATKINSON "A few years ago Leoda Atkinson had never painted but now she works around the clock to keep up with the demand for her work. Leoda, a student in Koorie Art and Design at the School of Mines and Industries, Ballarat, was separated from her family as a child and wanted to learn more about her culture. ... (The Age, September 9, 1997) This work was commissioned by the University for the Aboriginal Education Centre's wall. It was designed and painted by Leoda Atkinson, a graduate of the University of Ballarat Koorie Art and Design course. With the assistance of Tom Clark and two third year students the painting of the mural was completed in two weeks. 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 brightly coloured work featuring themes of reconciliation and the University's campuses and learning. The use of the platypus reminded the artist of many different animals, represented the coming together of cultures at the University. art, artwork, leoda atkinson, aboriginal, alumni

Balang [John MAWURNDJUL] (1952 - ) Born Mumeka, Northern Territory Country: Milmilngkan, West Arnham Land, Northern Territory Clan: Na-Kurulk Language Group: Kunwinjku Location: Milmilngkan John Mawurndjul is an Australian indigenous artist. He is a member of the Kuninjku people of West Arnhem Land, Northern Territory. Growing up John had only occasional contact with non-indigenous people and culture. He was tutored in rarrk, a traditional painting technique using fine cross hatching and infill, working on small barks. During the 1980s he started producing larger and more complex works. The artist has painted 'Wayarra', a generic term which can include both malevolent spirit beings which continually inhabit certain sites or objects but can also mean the Spirit of a recently deceased person. These spirits are one of two spirits of the dead, the other being the 'Kun-malng' soul. The 'Wayarra' is the shadow or 'shade' of the dead and may take on the form of the deceased and haunt areas where the deceased recently inhabited. In order to prevent Wayarra spirits from harassing relative of the recently deceased, a smoking ceremont is performed where Ironwood leaves are burnt around the camp of the recently deceased and ochre is rubbed on all objects belonging to the deceased. Ochre may also be rubbed on vehicles, houses and trees. Some Wayarra are a particular Dreaming totem for people of certain clans. This is why many artists depict Wayarra in their bark paintings and sculptures. They are depicting clan totems particular to their lineage and which are celebrated in major regional patrimoiety ceremonies. In 1989 the work of John Mawurndjul was included in the landmark exhibition "Magiciens de la Terra' at the Centre Pompidou and Grande Halle de la Vilette in Paris, France. His works have also been exhibited in numerous solo and group exhibitions in Australia, New York, Paris and Japan. Mawurndjul is one of eight artists whose work in part of the largest inernational commission of contemporary Indigenous art from Australia at the Musee du Quai Branly, Paris. The work was exhibited in the Australian survey "John Mawurndjul: I Am The Old And The New", at the Museum of Contemporary Art, one of the 160-odd works all chosen by Mawurndjul for inclusion in the exhibition. 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.This artwork was chosen by John Murwurndjul as on of around 160 works for exhibition in the 2018 Australian Survey of his work at the Museum of Contemporary Art. The artist is known for his rarrk work, which is evident in 'Female Wayarra Spirit'.Aboriginal bark painting featurung rarrk. The artwork is associated with Dilebang, a duwa moiety place that belongs to the Kurulk clan. This work is currently on loan for exhibition in 'John Mawurndjul: I am the old and the new'. The exhibition will be shown at the Museum of Contemporary Art Australia (Sydney) from 6 July – 23 September 2018, and the Art Gallery of South Australia, Adelaide from 26 October 2018 – 28 January 2019.art, artwork, john mawurndjul, aboriginal, bark painting, rarrk, wayarra, kuninjku, maningrida, loan

The University's mace was carried in procession for the first time during the Graduation ceremonies in May 1996. The mace was presented to the University by former Chief Commissioner of the Ballarat City Council, Vern Robson, at a ceremony on 02 February, following a national competition for its design, sponsored by the Council. (The Flag, Issue 2, July 1996) Nineteen artists responded to the competition which called for a design that would embody a distinctive Australian image reflecting the heritage of the city and in relationship with gold, an Aboriginal element and the history of the University. The winning entry, dominated by a poppet head, was submitted by Central Victorian artist/sculptor Trefor Prest, a sessional lecturer in sculpture at the University.(The Flag, Issue 2, July 1996) The Herald Sun of 03 February 1996 reported 'the new mace shows importance elements of Ballarat's heritage as well as the university's focus on the future. The artist emphasises the egalitarian nature of Australia as embodied in Ballarat's famous slice of history - the Eureka uprising. ... The mace has a poppet head at the top of the shaft - an unusual element for a mace - but it represents Ballarat's mining history and the University's evolution from the Ballarat School of Mines. An opening egg at the top stands for the nurturing of development and learning. The mace's straight shaft is depicted as the tree of knowledge and, incorporating a bark canoe scar, Ballarat's Aboriginal heritage. At the end of the shaft is a surveying device, which represents precision and accuracy ads embodied in the university's academic pursuits.' Bob Morrell of the University organised the national competition to design the mace and said 'It is in keeping with the university's logo, 'proudly flying the flag', which incorporates the Southern Cross.' 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. Trefor Prest lectured in Sculpture at the University of Ballarat from 1995-1996.The mace symbolises the office of the Chancellor. The design of the mace is the outcome of a national competition and represents the cultural diversity of Australia. The poppet head on the top of the mace refers to gold mining, which underpinned the development of Ballarat. The protruding spikes recall the Eureka Stockade. The 'egg' shape enfolds and nurtures the development of knowledge and learning. The shaft with the three 'branches' represents the Tree of Knowledge, and includes a bark canoe scar which recognises the integration of black and white Australian traditions. The lower part of the shaft culminates in a device suggestive of scientific or surveying and measuring technology. This represents precision and accuracy embodied in the academic pursuits of Federation University Australia.art, artwork, trefor prest, prest, mace, federation university, university, eureka stockade, aborigines, scarred tree, mining, university mace, ballarat

Ken SEARLE (1951- ) Born Sydney, New South Wales Ken Searle worked on this commission through 1997 and 1998. Further works and sketches relating to this commission are held by the Art Gallery of Ballarat. Searle is a self-taught artist who first exhibited his paintings and drawings in the mid-1970s and is known for large, and often whimsical, paintings, of suburban and industrial areas in several Australian cities. From 1998 to 2001 Searle worked as a consultant at the school in the Aboriginal community of Papunya, Central 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.Framed painting highlighting the artist's favoured aspects of Ballarat. Interested with scenes of suburbia for over twenty years, Ballarat is his first portrayal of a whole city. Searle’s view of Ballarat presents a deliberately untidy city seen from a number of viewpoints. Local scenes are portrayed no matter how pretty or garish, the subject matter providing a snap shot in time. Funded through the Commissions Program of the Visual Arts/Craft Fund, 1998 art, artwork, ken searle, ballarat

Nyukana BAKER (1943-2016) Born Ernabella, South Australia Country: Kanypi Language: Pitjantjatjara A Pitjantjatjara artist from Ernabella who began painting, designing and weaving in 1963 and producing batik in 1971. Founded in 1949 Ernabella Arts is the longest running Aboriginal arts centre in Australia. It was established o create employment opportunities for young women from the local Pitjantjatjara people. Nyukana Baker died 17 April 2016 at Alice Springs, Northern Territory. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed limited edition print. 6/20 Tjitji Kutjara Two Children Nyukana Baker Feb 1996art, artwork, printmaking, linoprint, nyukana baker, pitjantjatjara, kanypi, aboriginal, ernabella

This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed limited edition print. If you are able to provide information on this artist (J.D.G.) or artwork please click on the email link below. art, artwork, j.d.g., aboriginal

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.Small framed watercolour of Nepperbrunka Mission in the Flinders Rangers.art, artwork, neville bunning, aboriginal nepp, erbrunka mission, flinders ranges, watercolour

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..1) Barramundi Spirit .2) Mimi Spirit .1) and .2) are framed togetherart, artwork, eddie blitner, blitner, rarrk, aboriginal, barramundi, fish

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.Painting of a Mimi Spiritart, artwork, eddie blitner, blitner, aboriginal, mimi, rarrk