In 1986 SOFUY (Servicing Opportunities for Unemployed Youth) was established by Ballarat Diocesan Family Services (later Centacare). This Mosaic art work was created by unemployed youth involved in the program 1986-87 and featured on the wall of the organisation's office at Ballarat's St Patrick's Hall. A single large mosaic of glass, porcelain and pottery fragments designed to represent stars and life.mosaic, artwork, unemployed, youth, sofuy, ballarat

One of these items is an 1894 letter written by the artist Tudor St George Tucker regarding one of his artworks in the Warrnambool Art Gallery collection. The other eight letters were written between 1889 and 1897 and document the controversy of the time when the authenticity of the art work by Louis Buvelot, The Waterhole at Coleraine, in the Warrnambool Art Gallery collection, was questioned. The Warrnambool photographer Daniel Clarke was querying the authenticity of the art work in the Art Gallery but evidence in the form of letters from George Folingsby of the National Gallery in Melbourne and from Louis Buvelot’s widow, Caroline-Julie, confirmed that there was confusion over the number of art works that Buvelot had executed with a similar theme. It was eventually proven that the Buvelot art work was genuine. The public spat was largely played out in the Warrnambool Standard but these original letters fill in the gaps of our knowledge on the subject. The letters came into the possession of George Lance who was involved with the Warrnambool Mechanics Institute /Art Gallery in the 1880s and 1890s and was the secretary of these institutions from 1892 to 1901. The letters were then handed on George Lance’s grandson, Bruce Morris, a well-known Warrnambool historian who was the editor of the Warrnambool Standard from 1946 to 1968. These letters are of great significance as eight of them are the original letters written in connection with the 19th century controversy in Warrnambool over the authenticity of a Louis Buvelot art work owned by the Warrnambool Art gallery. .1 A sheet of paper folded in two containing three pages of writing handwritten in black ink and pasted on paper. .2 A sheet of paper folded in two containing one page of writing handwritten in black ink and pasted on a sheet of paper. .3 A sheet of paper with handwriting in black ink pasted on a piece of paper. .4 One sheet of paper folded in two to make four pages of writing, handwritten in black ink. .5 .6 .7 A sheet of paper with handwritten material in black ink pasted onto another sheet of paper .8 A sheet of paper folded in two with three pages of handwritten material pasted onto another sheet of paper. .9 A sheet of paper folded in two with one page of handwritten material pasted onto another sheet of paper. tudor st. george tucker, artist, louis buvelot, artist, george lance, warrnambool, daniel clarke, warrnambool, george folinsby, melbourne, history of warrnambool

This is the author's PhD research at the College of Arts and Education at Victoria University about the Blacksmith's Tree, memorial and art work constructed mainly by many blacksmiths and finally installed at Strathewen following the Black Saturday bushfires in February 2009. The book includes the authors own drawings and text. Includes a time line and references.Paperback, 296 pages Printed in landscape format (90 degrees to normal)blacksmiths' tree, memorial, public art, strathewen, blacksmiths, black saturday

This art work is an example of an Art Deco print created through lithoprint / lithograph techniques. As a print it would have been more affordable than an original artwork and hence could be purchased by a wider cliental. Little is known about the artist, but Jean Lasalle is listed as producing another print used by Tuck & Sons in their Oilette postcard series.This item is significant socially as an example of artwork that may have been displayed in homes around the 1910s- 1930s. The Oilette logo carries significance, linking the print to a business that was influential in the early production of postcards.Unframed print on board with some framing tacks still attached to the back of the board. Print area is in fair condition. The print has been stuck to a ‘paper frame' which has been attached to the backing board. The subject of the print is a lake view, with steep mountains in the background and two female figures on a bench in the foreground in the Art Deco style. Colours are muted. The print has the artist's signature 'Jean Lasalle' (looking at the print bottom left) and the words 'Oilette' (looking at the print bottom right) with a small logo composed of an oval and square underneath.flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, lithoprint, lithograph, oilette, golden dawn, art deco, jean lasalle, print, day dream

In October 2000, Council invited three artists from the region (Deborah Halpern, Matcham Skipper, Tony Trembath) to submit designs for a sculpture / public art work for the Eltham Town Square. The commission was paid for by supermarket giant Safeway (Woolies) as part of its supermarket permit, which required them to contribute to beautification work in the Town Square.This is the first of three parts. The 'Spirit of Nillumbik' is a celebration of the artistic spirit of Eltham and surrounding communities. Each area is identified through the flora and fauna represented in the panels. The work honours the many creative artists and architects, past and present, who have built homes and shaped lives and livelihoods with their unique creative spirit. Halpern describes her work as a public expression of their individual and collective visions. Halpern acknowledges these contributions to our hand-made history and the influence they have on the character and identity of Eltham and Nillumbik. Five picture and six woven balustrades each made out of welded steel / organic wrought iron and coated with wax. Imagery (flora - plants, landscapes and fauna - animals, birds, reptiles, insects) are all based on the local environment. There is also a relevant aboriginal presence amongst each of the panels. Each panel represents the different areas that make up the Shire. 'Water' for Warrandyte, 'Kangaroos' for Christmas Hills, 'Cockatoos and 'Valley Creek Flats' for Hurstbridge, 'Wombats', 'Bluetongues' and 'Possums' for St. Andrews/Kinglake, 'Orchids' for Panton Hill, 'Cows' and 'Grapevines' for the Kangaroo Gound Hill landmark. N/Apublic art, nillumbik, fauna, flora, wrought iron, balustrade, halpern, laurence, kangaroo, eltham town square, spirit, warrandyte, christmas hills, kangaroo ground, hurstbridge, kinglake, panton hill, water, valley creek flats, cockatoos

In October 2000, Council invited three artists from the region (Deborah Halpern, Matcham Skipper, Tony Trembath) to submit designs for a sculpture / public art work for the Eltham Town Square. The commission was paid for by supermarket giant Safeway (Woolies) as part of its supermarket permit, which required them to contribute to beautification work in the Town Square. This is the second of three parts. The 'Spirit of Nillumbik' is a celebration of the artistic spirit of Eltham and surrounding communities. Each area is identified through the flora and fauna represented in the panels. The work honours the many creative artists and architects, past and present, who have built homes and shaped lives and livelihoods with their unique creative spirit. Halpern describes her work as a public expression of their individual and collective visions. Halpern acknowledges these contributions to our hand-made history and the influence they have on the character and identity of Eltham and Nillumbik. Square floor mosaic. Black and white chequered border. Multicoloured coiled snake intercepted with six multicoloured peaks. Made up of small mosaic tiles and hand painted. Hand painted artist signature bottom right hand side. 'Deborah D. Halpern '01'eltham, halpern, mosaic, snake, square, laurence, painted, tiles, spirit, nillumbik

In October 2000, Council invited three artists from the region (Deborah Halpern, Matcham Skipper, Tony Trembath) to submit designs for a sculpture / public art work for the Eltham Town Square. The commission was paid for by supermarket giant Safeway (Woolies) as part of its supermarket permit, which required them to contribute to beautification work in the Town Square.This is the third of three parts. The 'Spirit of Nillumbik' is a celebration of the artistic spirit of Eltham and surrounding communities. Each area is identified through the flora and fauna represented in the panels. The work honours the many creative artists and architects, past and present, who have built homes and shaped lives and livelihoods with their unique creative spirit. Halpern describes her work as a public expression of their individual and collective visions. Halpern acknowledges these contributions to our hand-made history and the influence they have on the character and identity of Eltham and Nillumbik.Realistic depiction of 'chocolate lilies' in wrought iron (three flowers in bloom, four large buds and six small buds). Chocolate lilies are indigenous to Nillumbik.N/A

During WW1 soldiers communicated with family in Australia. When they were not required 'in-the-field' they occupied themselves with souvenirs and art work. This includes his ration book and tickets, and artwork consisting of 2 leaves, a fan and Xmas Card all attached to a white piece of paper. This collection may have been attached to the paper by family in Australia or by Percy before his return.Pte. Percy Sutton No. 3942 served in France in WW1. He joined the army on 3rd August 1915, aged 19 years and 5 months and was in the 8th Battalion. He was a railway employee, son of Margaret Sutton of William St, Wodonga. He was 5 feet 7and a half inches tall and a Methodist. He was discharged on 13th April 1919. He was born on 27th January 1897, the son of George and Margaret (nee McIntyre) Sutton. He returned to Wodonga. He died on 29th May 1971 at Mt Beauty in the Kiewa Valley. Attached to white paper a collection of souvenirs from WW1. It includes a Ration book and tickets, 2 gum leaves with French coloured ribbons, a fan inscribed with 'Forget me Not' and a 'Christmas Greetings' Card.On the Ration book - "Sutton, P. Pte. No. 3942". End of Leave or Duty: "7-1-19". Signed: "G.E.Tait" Stamped: "No. 1 Command Sutton Veny"pte. percy sutton, ww1 soldier

Walter John Hickford, painter and businessman, was Mayor of Warrnambool 1895-6-7 and President of the Committee that organised the Warrnambool Industrial and Art Exhibition of 1896-7. A skilled decorative artist, he carried out art work in private homes, businesses and churches. His shop in Liebig Street supplied paint materials for households, tradesmen and artists. Hickford Parade is named after Walter Hickford. This is an original label from a picture frame and is of considerable interest, as Walter John Hickford was a prominent citizen and businessman in Warrnambool in the 1860sFaded brown rectangular label with black text and border adhered to a piece of brown paper.W.J.HICKFORD, picture dealer, framer and gilder. Liebig Street, Warrnambool. Mounting and Repairing. OLD FRAMES RE-GILTwalter john hickford, painter, hickford parade, warrnambool

One of a group being an example of home art-craft work in the form of a bookmark popular in 1935, with Christmas Greetings inscribed on the reverse. Seasons Greetings written on the reverse with names, Melbourne address and the date of 1935.art board, craft, bookmark

These type of marking crayons have been in use from the 1800s onward to mark commercial and non commercial goods and articles that require waterproof and visual identification labels. Items such as bales of wool, tobacco tags, transportation tags(shipping, rail and road) and other "hard to mark" items that require information to be displayed by semi permanent waterproof signage. The crayons are also an advantage for young student art work.This particular box of leviathan crayons was in use by students in the Mount Beauty Primary School through the Victorian Education Supply Department. As the texture and adhesive/application qualities (soft medium and hard) allows students to be "creative" on various type of canvases. This type of application in schools is of a non commercial and simplistic art -form nature however more advanced students could present a commercial interest in a viable creative artistic venture. The major commercial and non educational uses are encompassed in a rural grazing and farming regions, of the Kiewa Valley and adjoining lands.The crayon box is made from cardboard and light buff colour. The box contains six "No.1" crayons, two of which have been used. Each crayon is wrapped with manufacturer's details on 180 gsm thick paper. The wrapper runs nearly 4/5 th of the entire length, leaving 1/5th open to display the colour of the crayon. The colours of the crayons are blue, purple, green, yellow, red and black. These crayons provide a waterproof writing, sketching and numbering method and are available in soft, medium and hard texture.Within a chain border and on two opposite sides of the box: "1 Dozen No.1", and below this and underlined "Leviathan Marking Crayons" and below this "Indispensable for all Marking and Checking purposes Waterproof and will not rub off", below this "SUPPLIED UNDER GUARANTEE"waterproof, freehand marking and artworks, school waterproof art, commercial identification marking of rural produce, school art, waterproof labelling

This is the art work of Hans-Wolder von Gruenewaldt and relates to his time when incarcerated as a Refugee in Camp 13 Murchison during World War 2. His personal story covering the years 1939 to 1947, was written by the author in March 1961 and translated into English by his son Axel von Gruenewaldt. His artwork, images and supporting material, was compiled and formatted by Kay Ball, President, Murchison and District Historical Society IncOblong book. Colourfui sketch of Hans-Wolter von Gruenewaldt on cover as he sketches scenes from Camp 13.Hans- Wolter von Gruenewaldt .Prisoner of War Camp 13 Murchison: his story and his art.hans-wolder von gruenewaldt

Large, brown, cloth covered book. A lengthy survey of 1920s graphic advertising in both the USA and England, with the aim of educating the public on what exactly made good advertising. Subjects include “Art & the Public,” “Art & the Business Man,” “The Art of the Printer,” “Commercial Studios & Their Work,” “The Art Agent & His Work,” “Retail Store Advertising,” “Notable Advertising Campaigns,” and much more. Many black and white images, with some in colour. press art school, percy v. bradshaw, ballarat technical art school, posters, advertising, graphics, lettering, press, bookplates, ballarat technical art school library

This is a book produced by Rex and Bernice Battarbee and contains reproductions of aboriginal art work, including the work of several of Albert Namatjira’s children. Reginald (Rex) Battarbee (1893-1973) was the son of George and Mary Battarbee who lived in East Warrnambool at a property called ‘Skiddaw’. Rex’s sister, Florinda was a local artist who was his first teacher of art. Rex became a well-known artist, depicting mainly the Central Australian landscape. He is credited with discovering and fostering the artistic talent of Albert Namatjira, the best-known of the early Australian aboriginal artists. This is one of the few mementoes we have of the artist Rex Battarbee who was born in Warrnambool and spent his early years in this city. This is a hard cover book with the pages unnumbered. The cover is brown with colour reproductions of two aboriginal paintings on the front and back cover. The printing on the front cover is in yellow and white lettering. The book contains written text and many reproductions of aboriginal paintings. The inscription on the first page is handwritten in black biro. ‘L. Durrant, From Russ, May 1979’. rex battarbee, aboriginal art, albert namatjira

This so-called Hickford medal was a medal struck in 1897 by the Town of Warrnambool (bearing Walter Hickford’s name as the Mayor at the time) to commemorate the 60th anniversary of the reign of Queen Victoria. Walter John Hickford was Mayor of Warrnambool 1895-6-7 and President of the Committee that organized the Warrnambool Industrial and Art Exhibition of 1896-7. A skilled decorative artist, Hickford carried out art work in many private houses, business and churches in Warrnambool. His shop in Liebig Street supplied paint materials for households, businesses and artists. Hickford Parade is named after him. The 60th anniversary of Queen Victoria’s reign was celebrated widely throughout Australia and the British Empire. This medal is one of several owned by the Warrnambool and District Historical Society. It is of some importance as it shows the extent to which civic authorities and individuals in places like Warrnambool were concerned with all things British and the influence of the British monarchy in Australian affairs in the late 19th century. It also shows the importance attached at the time to the position of Mayor, with his name being inscribed on the medal.This is a medal, possibly bronze, with the logo of the Town of Warrnambool on one side and two images of Queen Victoria on the other. Side one: Town of Warrnambool, W.J.Hickford, Mayor Side two: 1837-1897, Queen Victoria’s 60th Year of Reign queen victoria, town of warrnambool walter hickford

Green cloth hardcovered book with black leather spine, featuring the art deco work of Bernaux, Beligant and Feseau, Binquet, Bouchard, Bouraine, Bourdelle, Chassaing, De Bardyere, Gallerey, Gauvenet, Guenot, Hairon, Jallot, Lalique, Le Bourgeois, Malcles, Joel and Jan Martel, Max Blondat, Follot, Sad, Sue et Mare and Vera and J. Martin. Monochrome prints numbered 1 to 32, showing examples of modern wood and stone carving, all by named people. Text in French.non-fictionsculpture, carving, art nouveau, art deco, seguin, joel et jan martel, repousse, plaster, modelling

This item was originally made to put around a farm or herd animal to enable it to be identified and found if it strayed. Horses, cows, goats and oxen were the animals most commonly given neck bells in Australia as a way of identifying and finding cattle particularly in areas where prpoerties were unfenced or when droving large herds of mixed cattle. Drovers often marked these bells as a way of identifying which cattle belonged to them. Some of these bells from the 1860's onwards were imported to Australia and some were manufactured locally. The cow bell in various sizes is often still produced to sell to tourists, particularly those in Europe. Many of these souvenir bells contain some form of art work. Although this item has no known local provenance it is retained as an early example of the bells placed around animals’ necks to stop them from straying. This is a piece of metal welded to form a cover or a bell container with a bottom opening to hold a metal clapper which is held in place by a metal ring. The top has a metal handle. The bell is very rusted and stained.animal husbandry, warrnambool, history of warrnambool, cow bell

The Senior Technical Schools Athletics Association ‘Herald Shield’ is one of many timber and metal repoussé commissions undertaken by students and staff at the Ballarat Technical Art School. The School was known for the quality of its art metal work which was applied to product, interior and commemorative designs. Between 1915 and 1936 Wilfred Kenneth (c1883-1957) taught boys and girls at preparatory and senior levels, including the ‘Art Metal Work and Repoussé’ industrial design specialisation. During World War I, Kenneth oversaw the training of repatriated soldiers which catalysed into a new, a successful art metal business, the Decorative Metal Craft Company in Chancery Lane, Ballarat. The shield was given by the proprietors of The Herald.Timber and metal repousse shield listing winning teams from 1918-1940. 1918 - Ballarat 1919 - Ballarat 1920 - Working Men's College Melbourne (now RMIT) 1921 - No contest 1922 - Swinburne 1923 - Ballarat 1924 - Ballarat 1925 - Ballarat 1926 - Ballarat 1927 - Geelong 1928 - Maryborough 1929 - Bendigo 1930 - Bendigo 1931 - Working Man's College 1932 - Wonthaggi 1933 - M.T.C. 1934 - Ballarat 1935 - Ballarat 1936 - Ballarat 1937 - No Contest 1938 - Ballarat 1939 - Ballarat 1940 - Geelong Above list engraved into metalherald shield, athletics, working mans college, rmit, ballarat school of mines, trophy, commission, art metal, repousse, ballarat technical art school, wilfred kenneth

art, women artists, sculpture, contemporary art, exhibition, women’s art register, textiles, julia boros, katve-kaisa kontturi, anna sandy, bonita ely, richmond, australian artistsart, women artists, sculpture, contemporary art, exhibition, women’s art register, textiles, julia boros, katve-kaisa kontturi, anna sandy, bonita ely, richmond, australian artists

This is the Weekly Times Annual of 1929. The Weekly Times newspaper was established in 1869 and was taken over by the Herald Newspaper group in 1892. It is a paper dedicated to rural affairs and is now the oldest rural newspaper in Australia. It has long been known as the ‘Bible of the Bush’. This annual contains many advertisements and photographs and sketches of places in rural Australia. It also has many articles, short stories and illustrations. Notable people that have contributed to this annual include Will Dyson (sketches), C.J.Dennis (poem), Vance Palmer (short story) and Norman Lindsay (reproduction of an art work). It also has a short story by Gertrude Hart, a novelist and short story writer. Her parents lived in Warrnambool in the 1850s (her father was the local Wesleyan minister) and her father retired to a place near to Warrnambool – Kirkstall. This attractive booklet is retained as an excellent example of Weekly Times Annuals in the past. It is also important because it has a short story by Gertrude Hart, a writer with connections to Warrnambool. This is a newspaper annual booklet of 68 pages. The cover has a buff-coloured background with a colour illustration of a stately building on the front with red printing and five colour photographs on the back page with black printing. The booklet has many advertisements, articles, short stories and photographs. Some pages are missing and a couple of pages are torn. the weekly times, gertrude hart, history of warrnambool

"METHODIST CHURCH. In 1881, during the ministry of Rev. W. H. Fitchett, B.A., at Hawthorn, a number of members of the denomination living at Kew considered that the time was opportune for founding a local Church. The Superintendent of the Circuit, the Rev. W. A. Quick of Richmond, met the members and formed them into a society class under the leadership of Mr. A. Brown and a Church was formally instituted at the house of Mr. T. J. Eaton, of Eglinton Street, in December, 1881. Services were regularly held for some time at the same place, and funds for purchasing a block of land were gradually collected, resulting in the present site in Highbury Grove being purchased for £350. Messrs. W. Cleverdon, A. Money, T. E. Serpell, and T. Vasey, of Hawthorn, and Messrs. A. Brown, R. Eyre, and T. J. Eaton of Kew, were appointed trustees. A public meeting was held a the Town Hall, when over £100 was raised. The Rev. John Harcourt, who had just been placed on the supernumerary list, was persuaded to undertake the charge, and commenced services in the Town Hall on 29th April, 1882, which were continued for eighteen months. A Sunday School was started, and altogether the effort progressed so satisfactorily that in October, 1882, the foundation and memorial stones of the present Church were laid by Mr James Huddart. At the tea meeting held in connection with this event nearly £200 was raised and a few months later £250 more was obtained by means of a bazaar. The contract for building Church was let for £1,200. The Sunday School celebrated its first anniversary in June, and the Church was opened on 7th October 1883, the preachers on the occasion being Revs. E. J. Watkin, S. Chapman, and John Harcourt, the collections amounting to £230. Towards raising these sums of money the ladies of the congregation helped very materially. In 1886 the foundation stone of a Sunday school, to cost about £900, was laid by Mrs. H Berry, the building being opened in April 1887. During the same year the Church was enlarged. In 1889 parsonage was erected, and again arrangements had to be made for a further enlargement of the Church, at a cost of nearly £2,000. The foundation stones of the tower were laid by Rev J. Harcourt, and of the transepts by Mrs. Job Smith and Mrs. John Watson. These additions were made during the ministry of Rev. P. R. C. Ussher, the first minister appointed to Kew by conference. He has been succeeded by Revs. Henry Howard, J. de Q. Robin, J. J. Brown, J. G. Wheen, A. E. Albiston, M.A., and F. J. Nance, M.A., who is at present ably filling the pulpit. For the musical portion of the services, the Church has been greatly indebted to the enthusiasm of Mr. C. Gardner, the leader of the choir, and Mr. C. E. Gardner, the organist. The Sunday School has had a number of excellent workers, among whom may be mentioned Messrs. Burchett, Allum, Hillard, Tonkin, Dent, Avery, McDonald, Green, and B. Hoadley, who have acted as Superintendents, and Messrs. Arnall and McCaghern as Secretaries. The present trustees are Messrs. H. Berry, Job Smith, A. Hoadley, F. Vial, C. Powers, H. L. Carnegie, C. H. Green, W. R. Rylah, E. M. Tonkin, S. Gaylard, J. Gregory, J. R. McDonald, T. J. Eaton, F. S. Fitchett, and S. Lamble; Society Stewards, T. J. Eaton and B. Hoadley; Poor Stewards, G. Hinchliffe and G. Fraser; Church Stewards, C. H. Green and G. Hinchliffe; Treasurer, F. S. Fitchett; Secretary, S. Lamble." Source: FGA Barnard, Jubilee History of Kew, Victoria, 1910Commemorative tributes were regularly produced in the 19th and early 20th Century to honour community service. Most were adapted from traditional lithographed models. This example, while created within a formal lithographed border has been transmuted into the equivalent of an illuminated document, hand-painted, and therefore rare. The use of flowers in the design emphasises the sentimental and spiritual aspects of the certificate. The document is a rare unique record of the Kew Methodist Church's history.A hand written testimonial for John Watson Esq from the Trustees of the Kew Methodist Church. The customised colour lithograph includes, at lower left, a turn of the century photograph of the Kew Methodist Church in Highbury Grove. The entire certificate is surrounded by floral art and scroll work. The central text uses neo-gothic lettering.‘Dear Sir … in view of your compulsory retirement on health grounds, from the position of Church Steward, [the Trustees] desire to express their great appreciation of your long service of over 22 years, in that and other offices in the Church. They trust that you will yet be spared many years in fellowship with our Church, and that God’s richest blessing be on you, and your family. We remain, Yours sincerely A. E. Albiston (Minister), S. Lamble (Secretary), F. S. Fitchett (Treasurer), T. J. Eaton (Trustee), C. H. Green and Hubert S. Howell (Church Stewards); March 28th 1907’. john watson esq, kew methodist church, highbury grove, certificates, tesimonials

Entry into the 2009 Nillumbik Prize. Angela holds a Masters of Fine Art and has worked with clay for over 20 years. Her work is held in collections around Australia.Angela Nagel's creative practice is informed by an interest in the human condition, universal symbols, mythology and Jung's theory on the 'collective unconscious'. Her hybrid part human/animal creatures reference introduced species and indigenous Australian animals as a way for her to explore a personal mythology, and narrative, of home and environment. Recent work is developing around the relationship of ceramics to other materials such as glass, printmaking and found objects. Angela holds a Masters of Fine Art and has worked with clay for over 20 years. Her work is held in collections around Australia.Human and animal like figure in the stance reminiscent of classical sculpture. Hand built ceramics with engobes, oxides, glaze and gold leaf Medium: Porcelain, oxide, underglazeangela nagel, nillumbik shire council collection, victoria, nillumbik prize, ceramic

Used by Ballarat School of Mines and Industries. The Junior Technical School was a day school combining general education with a practical preparatory training for engineering and other trades, and for art and science work.Red soft covered booklet of 20 pages containing information on aim and purpose of the school, scholarships, admission, text books etc, hours, compulsory education, accommodation and school institutions. There is a photograph of carpentary and wood turning workshop and the sheet metal workshop.warrnambool, warrnambool junior technical school, prospectus, j.murray, t. livingstone, f. tate, fritz landmann, p. webb, b. abbey, e.b. phillips, f. morse, w.j. hickford, e. battarbee, m.j. tate, charles foyle, a. robinson, john alderidge, i. macdermid, letters of support, business men

The 120 cards in these two albums are very varied in content. There are many of birds and animals, some of great artwork reproductions, some of famous places and buildings, a couple of V.F.L. footballers, two from the Melbourne Olympic Games, some matching pairs and a couple of Australian aboriginal art work. They are all of high quality and many are very beautiful. Swap card collecting was a popular activity for young girls throughout the 20th century and cards were swapped with friends and sometimes sold. Usually the cards, bought from newsagents and fancy goods shops, were kept loose in a school bag or pocket and so the number of cards and the type varied from week to week. Boys also often saved cards of a particular nature – sports cards, nature cards etc though the idea of ‘swapping’ was not so prevalent among the boys. Card collecting, usually promoted by a business concern or a toy company, is still a pastime for young people today. The cards in these two albums are of considerable interest as they are of good quality and are aesthetically pleasing. They also are good examples of a popular hobby of girls in the 20th century. .1 & .2 These two albums are similar in size and design. Both have grey/pale green covers with red printing on the front cover. Both are bound with two staples and both contain 10 pages with inserts to hold three cards each side of the page. The inserts are edged with a green decoration. Both albums contain 60 coloured cards. There is evidence of silverfish damage on the front covers of both albums. hobbies of the past, history of warrnambool

Thought to have been used in shoemaking classes held for repatriated soldiers at Ballarat School of Mines. At the Ballarat Technical Art School, during the early twentieth century, leather art was popular but had little industrial value and was usually a minor study. The Victorian Education Department set examinations in art leather work. Copies of many Technical School Examination Papers are kept within the University's historical collection.Black wooden box with metal latch and handle. Contains assortment of tools, some with timber handles, some metal. Two halves inside box. Lid is attatched by canvas nailed to bottom. leather, tools, box, world war one, ballarat school of mines, shoemaking, bootmaking, bootmaker, leatherwork, repatriation

A poster printed by the RMIT in 2018, to promote an exhibition of works at the MTSV about the interelationships between labour, working life and artistic practice. BACKGROUND The Work of Art was an exhibition about labour, working life and artistic practice. The exhibition explored three aspects of art's relationship to work: (1) artworks about contemporary labour, (2) the labour of art-making itself and (3) the often precarious aspects of life as a working artist. Throughout the exhibition, different artists "worked" from the space of the gallery, revealing the layers of manual, emotional and intellectual labour involved in the work of art. CONTRIBUTION I was invited to develop the exhibition by the "Murphy Group", a group of researchers at RMIT. As the lead co-curator for the exhibition, I researched the history of artistic responses to working conditions. Through this process I identified a gap - while many artists have explored the conditions of labour and working life in their artworks, fewer have drawn attention to the working conditions of artists themselves. This became a key theme in the exhibition. The exhibition presented the work of nine contemporary Australian artists, including high profile and mid-career artists like Bindi Cole and Bek Conroy, alongside the work of emerging artists. In addition to the display of artworks throughout the space, five artists worked performatively, bringing to life the processes and manual labour involved in artmaking. A public forum extended the complex discussion on the relationship between art, work and labour. SIGNIFICANCE The works were presented in the context of a public space that has a strong relationship to contemporary labour - the Mission to Seafarers in Docklands. The Mission to Seafarers is a working mission that provides support to ship-workers. Presenting the works in this space created a real connection between the artworks and the lived experience of precarious labour. The exhibition reached a large audience including over 1000+ visitors in 10 days. It fostered a high engagement on social media and attracted media coverage including a feature in ArtsHub.A record of the ongoing involvement of the MTSV in art, and working with the art community by providing a suitable venue and display space.A3 size yellow paper promotional poster, double-sided. Three-quarters of the front of the poster is covered with the repeated line "Art, Labour & Working Life" in large font, to form ten rows. These rows are in outline form except for picked out words which are in entirely black characters and these cascade down, a row at a time, a word at a time, to form the same line ("Art, Labour & Working Life"). rmit, 2018, events, labour, working life, artistic practice, hiring event, cultural events, multimedia, nicholas walton-healey