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Ringwood and District Historical Society
Photograph, East Ringwood Football Club (ERFC) 1947 Reserves team (finalists)
Originally framed and shown up the stairs at the former Maroondah Sporting Club, the home of the East Ringwood Football Club. Names are on the back of the photo. Odd that the jumpers are not club colours/design.Contains names of players, trainers, umpire and officials -
National Vietnam Veterans Museum (NVVM)
Award, Bendigo Bank Gippsland Business Award, 2011
Brown, stained wooden frame with gold trim. Finalish, 2011 "Good Access is Good Business" category.award finalist -
Ballarat Base Hospital Trained Nurses League
Doctor's / Hospital Exams between 1969 & 1970_Margaret Leviston
Hard Copiesdoctors, hospital, finalists, examination, 1969, 1970, moorhouse, carter, lopert, richardson, neerhut, morton, giddy,, leviston, procedure book, -
Ballarat Base Hospital Trained Nurses League
Kathleen Hogan, commenced November 1953, x 3 photos - Finalists & 45 year Reunion
Hard Copieshogan, 1953, finalists, graduation, dinner, reunion, 45 years, langham, sugdon, beverley, blood, meiklejohn, atkins, gollop, hunt -
Ballarat Base Hospital Trained Nurses League
Julie Hourigan & Alma Beattie, Finalists, commenced April 1952
Photohourigan, beattie, finalists, april, 1952 -
Ballarat Base Hospital Trained Nurses League
1955 Finalists, Classroom
Photo1955, finalists, classroom -
Ballarat Base Hospital Trained Nurses League
1955 Jan, Finalists
Photo1955, jan, finalists -
Ballarat Base Hospital Trained Nurses League
1955 Jan, Finalists
Photo1955, jan, finalists -
Ballarat Base Hospital Trained Nurses League
1955 Jan, Finalists
Photo1955, jan, finalists -
Ballarat Base Hospital Trained Nurses League
Class 82B - Finalists 1985, BBH
Finishing class 82B: Back Row Left: Wendy Slater, Serena Majors, Kathy Mayne, Debbie Brown, Christiine Taylor, Cathy Carson, Kate Kent, Pam Hulm, Helen Ackland, Sally Castleman,Wendy Dickson, Cheryl Heinrich, Peter Stanger Middle Row Left: Karen Moran (babe Nichola), Kerry Hinchcliffe, Janette McGaffin, Marrietta Quinlan, Robin Cochrane, Janine Parkinson Bottom left: Steve Demeye, Sally Jennings, Peter Merrit. Digital Photoclass 82b, finalists, 1985, bbh -
Ballarat Base Hospital Trained Nurses League
Class Jan 1957 - Finals Study Block - Bev Wheeler
Photo - Digital1957, finalists, wheeler, logan, 1960, nurses -
Ballarat Base Hospital Trained Nurses League
Class Jan 1957 - Finalists Celebration Dinner - Courier
From Ballarat Courier newspaperPhoto - Digital1957, finalists, dinner, 1960, logan, courier -
Ballarat Base Hospital Trained Nurses League
Class Jan 1957 - Finalists Celebration Dinner
Photo from CourierPhoto - Digital1957, finalists, wheeler, logan, 1960, nurses -
Ballarat Base Hospital Trained Nurses League
Finalists 85B - Completed August 1988
Photofinalists, 85b, completed, august, 1988 -
Ballarat Base Hospital Trained Nurses League
1955 June, Finalists
Photo -
Ballarat Base Hospital Trained Nurses League
1954 July, BBH Finalists
Photo1954, july, finalists -
Ballarat Base Hospital Trained Nurses League
1949, Finalists, Eildon House in Background
Photo1949, finalists, eildon house -
Ballarat Base Hospital Trained Nurses League
April 1959 Finalists Dinner 1962: Guests - Miss Jane Beverley, Matron J M Langham & Sister Porter, tutor
Photo1959, finalists, dinner, 1962, beverley, matron, langham, sr, porter, tutor -
Ballarat Base Hospital Trained Nurses League
1956 July & Oct Finalists Dinner: back - Alison McGregor, Win Menadue, Linda Cowell. seated - Elwyn Wilks, Miss Langham & June Parkinson
Photo1956, finalists, dinner, alison mcgregor, win menadue, linda cowell, elwyn wilks, langham, june parkinson -
Ballarat Base Hospital Trained Nurses League
1953, Finalists, BBH
Photo1953, finalists, bbh -
Ballarat Base Hospital Trained Nurses League
1960, April Finalists at Dinner, Craigs Hotel (has names)
Photo1960, finalists, dinner, craigs hotel -
Nillumbik Shire Council
Sculpture: Angela NAGEL, Angela Nagel, Last on the Island, 2012
With an interest in 'Collective Unconscious' Nagel aims to explore the human condition, and our impact on the natural world / This figure embodies human and animal traits with semi-autobiographical references to investigate concepts relating to identity and home / Nagel focuses on the extinct, the pest, the endangered and the introduced as a way to reveal her concerns of humanity as creator and destroyer / In this sculpture a koala headed figure is in the pose of the martyr St. Sebastion / With no arms, there is an inability to protest or fight. This work is by a local contemporary artist and encompasses contemporary themes / This work was a finalist in the Nillumbik Prize 2012.Ceramic - sculpture human and animal like (koala) armless figure depicted standing in a similiar stance to that of a classical sculpture / Blue and white body with a yellow face / Made from porcelain with oxide, clear glaze and undergaze.nagel, sculpture, porcelain, animal, ceramic, classical -
Nillumbik Shire Council
Photograph: Dena ASHBOLT (b.UK, arrived 1982 AUS), Dena Ashbolt, Waking Time, 2012
'Waking Time' is part of the series ' So when do you throw the flowers out?', which exhibited at Melbourne's Alcaston Gallery from 8 May - 1 June 2012.In this series Dena Ashbolt used photographic pigment prints, video and Raku Nu ceramic funery urn drawings, to explore time as evidenced by movement and references the beauty of aging. Ashbolt has a continuing interest engaging with the concepts of time, its flow and passing - as evident in this series. Ashbolt has been a regular finalist at the Nillumbik Prize Contemporary Art and in 2009 was awarded the Prize for the video drawing 'Wet Feet Under the Pier'. Ashbolt is a inter-disciplinary artist whose practice ranges from photography and printmaking through to filmmaking and collaborative performance projects.Pigment Print on Hahnemuhle Paper Edition of 7AK18136 PNT817dena ashbolt, photographic print -
Nillumbik Shire Council
Photograph: Dena ASHBOLT (b.UK, arrived 1982 AUS), Dena Ashbolt, Countless Daughters, 2012
'Countless Daughters' is part of the series ' So when do you throw the flowers out?', which exhibited at Melbourne's Alcaston Gallery from 8 May - 1 June 2012In this series Dena Ashbolt used photographic pigment prints, video and Raku Nu ceramic funery urn drawings, to explore time as evidenced by movement and references the beauty of aging. Ashbolt has a continuing interest engaging with the concepts of time, its flow and passing - as evident in this series. Ashbolt has been a regular finalist at the Nillumbik Prize Contemporary Art and in 2009 was awarded the Prize for the video drawing 'Wet Feet Under the Pier'. Ashbolt is a inter-disciplinary artist whose practice ranges from photography and printmaking through to filmmaking and collaborative performance projects. Pigment Print on Hahnemuhle Paper Edition of 7AK18137 PNT809photographic pigment prints, dena ashbolt -
Nillumbik Shire Council
Sculpture: Liz Williams, Liz Williams, In Love, c.1996
Williams' use of the dog and poem was inspired by a print by the late Barbara Hanrahan (an artist friend) in which a women was holding a cat accompanied by a dog and in which words from a William Blake poem were included / After her mother died Williams made a work of her mother with the dog, holding the cat and using the same words in the Hanrahan print / The dog is a family pet; Dolcie, that Williams fell in love with / The dog as a symbol has been used in fifteenth and sixteenth century painting to represent fidelity in marriage / The use of the dog is also a contradiction to the themes in this work by Williams / Williams found that many of her women friends were having emotional and romantic difficulties, suffering from the same malady again and again, feeling rejected, destroyed and having unfulfilled desires / The female figure standing on her hands is not seeing things realistically / The figure is head over heels, vulnerable, with her skirt around her head revealing more than normal / The text enhances the meaning of the work and draws the viewer into experiencing the foolishness of love, demanding the viewer travel around and around to read it / Overall the dog provides structure to the work and a reliable object on which all else balances / Balance has been one of the recurring or repetitive themes within William's work / It references the physicality of clay, the difficulties in creating balance with the clay and balance in the work / Williams' work is about form rather than colour / Sometimes she uses a coloured clay like a pale terracotta / Williams likes the flatness of the surface in relationship to the marks of the text / She describes herself as a Minimalist, paring down the form to the bare essentials. 'In Love' was a finalist in the 1997 Nillumbik Art Award held at the Eltham Community and Reception Centre, Pitt Street, Eltham. A ceramic sculpture made of white stoneware clay (coated with a wash of gesso) of a girl doing a hand stand on the back of a dog (retriever?) / Her face/head is partially covered by her skirt which has come down / Her skirt is inscribed in the round with the poem "The Lady's First Song" (1938) by W.B. Yeats (see inscriptions and markings) / The dog is looking straight ahead and upwards towards the sky and his tail is pointing straight out. The dog is covered with cross-hatch incised lines to give the illusion of fur and texture / Hand written inscription of W.B. Yeats poem "The Lady's First Song" (1938) on girl's skirt / I turn round / Like a dumb beast in a show. / Neither know what I am / Nor where I go, / My language beaten / Into one name; / I am in love / And that is my shame. / What hurts the soul / My soul adores, / No better than a beast / Upon all fours.williams / yeats / love / ceramic / stoneware / dog -
Nillumbik Shire Council
Sculpture: Dean Bowen, Dean Bowen, Bird Boy, 1997
Was purchased by the Nillumbik Shire Council after being a finalist in the 1997 Nillumbik Art awards. Small bronze sculpture of a short boy holding birds, both of different size, in each outstretched hand. He has a long thin (length-ways) head and a flat squat body.He is wearing a belt with eyelets holding up his stripy long sleeve shirt. His head and the birds are showing green patina, yet is less prominent on his body.On bottom boy's left foot, are the initials 'DB' the artist and '97'; the year created. On bottom of the right foot, '5/9' has been etched, indicating it is the fifth of nine pieces..1997, nillumbik art awards, dean, bowen, bird boy, birds, people, sculpture, bronze -
Nillumbik Shire Council
Print (etching): Dean BOWEN, The Offering, 1997
Dean Bowen is renowned for his charming, child-like aesthetic and unique thematic interplay between the urban and rural as well as humans and animals. Bowen has developed a distinctive and humorous symbolic language that filters through each work. His highly charismatic and whimsical renderings of animals, human characters and Australian environments celebrate the vicissitudes of life, evincing the simple pleasures of human habitation within the artificial and the natural world. The work and thoughts of Jean Dubuffet, particularly those which focus on the philosophy of 'Art Brut', give support to Dean's belief that untrained artists are more honest, that artists interested in emulating the art of children are trying to regain the pure expression they lost with childhood. 'The Offering' was a finalist in the Nillumbik Art Awards in 1997. The work refers to the act of giving back, rather than taking which Bowen sees as more prevalent in our Western society. While the image is childlike, the expression of the boy is a mixture of sadness and happiness, knowing and naivety, youth and age. The smile has a Mona Lisa quality and the earthy and sensuous colours suggest landscape. When realising the images he relies on memory rather than observation so that the struggle with drawing and representation sometimes doesn't work. The style of the drawing and the flat space relates to the graphic style of cartoons and caricature. The intuitive and the imaginative are essential elements in his work. lower right 'Dean Bowen '97' -
Nillumbik Shire Council
Artist Book: Theo STRASSER, Ghost Bones, 2017
Nillumbik Prize 2018 finalist. The artist lives and works in Nillumbik. A juxtaposition of the mechanical (digital camera) with the hand painted. Each turning page exposes the artist’s own experiences and responses to his environment. The book unfolds into a sequence of pages that opens up to a landscape. digital photographs and hand painted (detailed/cropped) images of trees on paper, encased in an archival box. -
Nillumbik Shire Council
Print: (archival inkjet): Jessie IMAM, Jessie Imam, Ground Cover, 2017
Imam is represented in the Nillumbik Shire Art Collection and was the winner of the 2015 Nillumbik Prize for her work "Diagram of sentiment #1" (judged by Linden New Art Director Melinda Martin). She was also a finalist in the Nillumbik Prize 2016, 2015, 2013 and 2010. Imam completed a residency at Laughing Waters in 2011. Imam works within photography, the moving image and installation to create works centred on themes of embodiment and the female perspective. In this work she participates in a dialogue between her body and the Finnish Archipelagos in order to develop a relationship with the islands as both a place and an organic body [of land] where flux and change occurs. Photograph of the artist immersed from the waist down in green moss (landscape).N/Afinnish, archipelago, inkjet, print, photographic, body, island, moss -
Nillumbik Shire Council
Painting: Kevin CHIN, Kevin Chin, Castle Under the Sky, 2018
This painting was sparked by a US studio residency at Yellowstone National Park, shortly after Trump’s election. In America, Chin witnessed conservative nationalism and divisiveness, but also an equal reaction promoting diversity and challenging structural inequality. Developing this work in Australia, Chin examined how a sense of place forms fluidly in the consciousness, to surpass geographic borderlines.Kevin Chin is a local artist. He has been a finalist in the Nillumbik Prize for Contemporary Art (2015, 2019). In this painting Chin explores economic, cultural and social structures that shape the world in which we live, questioning who has built what, who takes ownership, and who has the right to the land. Landscape painting depicting a house (upside down) and a half finished urban structure sitting amongst mountain peaks and land that has been cleared and immersed in fog/smoke.N/Alandscape, kevin, chin, structural, inequality, castle, trump, painting, nillumbik, residency, yellowstone, realism, oils