Printed booklet of 41 pages.telegraphy, telegraph, wireless telegraphy, government act, regulations

Henry Cuthbert was an early Ballarat lawyer and member of parliament.White printed booklet relatig to the Mines Act bill in the Victorian Legislative Assembly.Handwritten on top right hand margin "With Sir Henry Cuthbert's complements to F.G. Martell Esq."mines acts, legislative assembly, henry cuthbert, frederick martell

Book titled 150 Years of Gold delivered by Peter McCarthy, Managing Director Australian Mining Consultants at La Trobe University, Bendigo on 26 September, 2001, the 2001 Sir John Quick Bendigo Lecture. Book cover, inside and out has a beige copy of a wood engraving of Hustlers Reef, Sandhurst with a tan tone photo of Peter McCarthy on the centre front. Mining is mentioned from the late 1840s to the present day. In the back is a career history of Peter McCarthy and a short life story of Sir John Quick. Also in the back is a list of past lectures from 1994 to 2000.bendigo, history, long gully history group, the long gully history group - 150 years of gold, peter mccarthy, australian mining consultants, la trobe university bendigo, robertson hyetts, sir john quick, quick hyett and rymer, quick and hyett, national library of australia, charles joseph la trobe, james gumm, hargreaves, melbourne argus, henry frenchham, the times, gibbons, james esmond, dr barker, thomas hiscock, alfred clarke, geelong advertiser, wat tyler, dunlop and regan, commissioner doveton, sub commissioner armstrong, captain dana, argus, armstrong, stewart gibson, margaret kennedy, convict's prevention act, micky o'halloran, throckmorton, anti-gold-license association, g e thomson, dr jones, 'captain' edward brown, eureka rebellion, sir john quick, mark twain, australian federation, mining exchanges, alfred deakin, the amalgamated miner's association, robert clark, britian's national miners' association, silicosis, tuberculosis, walter summons, bendigo amalgamated mines, great war, gold mines of australia, bendigo mines limited, nell gwynne, carshalton shaft, napoleon shaft, george lansell, fortuna villa, the four deborah mines, world war two, central deborah, north deborah, william kelly, the edwards works, newstead dredge, jim crow dredge, adelong dredge, calder freeway, bendigo mining nl, randolph bedford, cra ltd, sovereign hill, ballarat historical park association, rmit, melbourne university, macquarie university, australasian institute of mining and metallurgy, institution of engineers australia, mineral industry consultants association, joint ore reserves committee, ceo institute, anthea mccarthy, michele matthews, sir john quick committee, city of greater bendigo, the hon justice michael kirby, mr don blackmore, murray darling basin commission, dr janet mccalman, australian research council, dr john white, visy industries, dr al luloff, mrs delys sargeant, the rt hon ninian stephen

Douglas ALEXANDER (1945-1981) Born Skipton, Victoria Doug Alexander studied Ceramics at the Ballarat School of Mines. In 1968 he was employed as a thrower and designer at Bendigo Pottery leaving that position to work and travel to New Zealand. He settled at Kerri Kerri, Bay of Islands in New Zealand and operated the Red Barn Pottery. In 1970 Doug Alexander returned to Australia establishing Spring Mount Pottery at Creswick where he used local clays to produce his work. He moved to Tharwa, ACT, in 1976 and established the Cappucumbalong Pottery. 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.Slab formed stoneware platter with impressed decoration finished with slips and oxide made at Spring Mount Pottery, Creswick.art, artwork, ceramics, alexander, doug alexander, red barn pottery, ballarat school of mines, ballarat technical art school, kerri kerri, spring mount pottery, creswick, cappucumbalong pottery, springmount pottery

Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal