Single issue of The La Trobe Journal, no. 75, Autumn 2005, featuring a number of articles relating to paintings and posters, many of which are held by the State Library of Victoria.art, political posters, paintings, artists, art collections

In 1969 RMIT lecturer Gerard Herbst arranged an exhibition the work of his Industrial Design students at the NGV’s Design Centre. In ‘Design with Paper' the students explored the characteristics of a sheet of paper, an exercise based on similar ones set by Josef Albers at the Bauhaus, Germany and Black Mountain College, USA. The exhibition attracted press attention, Bulletin critic Brian Hoad noting You are told that in the tradition of Gropius and his Bauhaus experiments of the ‘twenties they are attempting to bridge the gulf between the fine arts and the technical crafts to produce one day from among their numbers a new type of creative thinker. Photograph featuring students in 'Designs Performing' exhibit. Students are from the RMIT Industrial Design course.design, rmit university, bauhaus, industrial design

Queen Victoria’s appreciation of German artist Franz Xaver Winterhalter (1805-1873) began after she saw portraits by him of other European monarchs. Accordingly, between 1842 and 1861 he made fifteen visits to England and painted over 100 portraits of Her Majesty, the royal family and other friends and dignitaries. In 1843 Winterhalter was commissioned to paint matching portraits of Queen Victoria and Albert, the Prince Consort. These originals hang in the Garter Throne Room at Windsor Castle and are part of the UK Royal Collection. Many legitimate copies of Winterhalter’s portrait were produced and presented to the Parliaments of the British Empire, including the Parliament of Victoria. Such copies are referred to as “After F. X. Winterhalter” and artists responsible include William Corden and John Prescott Knight. When creating copies, artists were not restricted by the size of the original portrait. Walterhalter’s original is 2.7m x 1.7m whereas copies can reach an impressive 4.5 metres in height. The portrait that hangs in Queens Hall at the Parliament of Victoria is not signed. Comparison with other copies of the work suggest that the Parliament’s painting may have been completed by William Corden. The Government Art Collection (United Kingdom), has a Queen Victoria copy in their collection and Parliament’s portrait has similar traits. A copy by John Prescott Knight which hangs in the Legislative Council in the Parliament of Tasmania is quite different, particularly with reference to the shape of the young Queen’s face, which is rounder in the Corden portraits.This portrait of Queen Victoria was presented as a gift by the British Government to the Parliament of Victoria in April 1860. Painted on fine linen supplied under Royal Warrant by the workshop Winsor and Newton, London, the frame has been embellished with elaborate wooden carvings. Framed portrait, oil on linen, of Queen Victoria. Victoria is posed in front of a curtain partially obscuring a building (possibly Buckingham Palace) in the background. Timber frame with a layer of gesso and decorative composition ornaments. There are rose, scotch thistle, clover leaf and Acanthus ornaments. A carved wood and composition element crown, resting on a tassled pillow sits on top of the frame.Canvas unsigned. Verso printed: ‘WINSOR AND NEWTON / Rathbone Place, London’. Embossed stamp into stretcher wood, stamped ‘Winsor and Newton’ in black ink.victoria queen of great britain, 1819-1901, winterhalter, franz xaver, 1805-1873, corden, william, queens hall, parliament of victoria

Set of 12 coloured views of Ballarat printed with six photos on either side of a folded strip of paper glued within an embossed paper folder. Published by Nucolorvue Productions Vic., titled "A Souvenir of Beautiful Ballarat". Front cover has a colour rural scene, title, address area and on base of cover "12 Specially Selected Views in Full Colour". Rear of Cover has a part of a colour scene as well and a slit for the envelope to be closed over and sealed. On the inside of the front cover are notes on the City of Ballarat and that it has just embarked upon its second century. 1. Another section of Ballarat's Fine Botanical Gardens 2. Overlooking Ballarat City 3. Botanical Gardens showing statues of Australian Prime Ministers 4. Sturt Street showing City Hall and Fine Statues 5. Lake Wendouree Ballarat 6. Lovely Trees and Statuary Botanical Gardens 7. Botanical Gardens showing Wallace's Statue 8. Lovely Sturt St looking West 9. Overlooking Sturt St towards Mt Warrenheip (has single truck tram in photo) - see image i9 for a hi res version. 10. Ballarat's Famous Art Gallery 11. One of Ballarat's many fine Reservoirs 12. Eureka Stockade Monument, Ballarat. On front cover in pencil in stamp area "1/-"trams, tramways, ballarat, postcards, sturt st, bridge st, gardens

With a career spanning over 30 years as a painter, Stieg Persson is a well known figure within the Australian and international art world. Persson’s work is celebrated for his distinct (yet eclectic) style, which consists of elements associated with abstraction, figuration and decorative art, as well as the artist’s deeply intellectual interrogation of Australian culture and society. In this work titled, Duck and quail eggs, Italian herbs, Persson reflects on contemporary parallels in changes of taste and the desire for decadence as a political and social drive. Inspired by Brighton’s iconic Church and Bay Streets, the artist addresses the social currency of luxury and high-end cuisine by depicting rococo style blackboards which offer the latest in fine dining, alcohol, exercise classes, skin treatments and lavish linens. Persson is presenting a subtle critique of the contemporary obsession with food; as contemporary society places greater significance on the connoisseurship of eating, it does so in lieu of engagement with culture as it is traditionally conceived (music, theatre, literature and art).oil on linenstieg persson, brighton, signage, graffiti, food, chalkboard, bayside, painting

Bendigo followed much the same pattern as Ballarat, and was not ready for an up-to-date studio until 1880 when the Bartlett Bros. (Francis and Henry) who bad conducted a successful business in Melbourne for many years opened a small studio there. It was such a success that they decided to build large modern premises, and Francis made two trips to England and the Continent for the latest ideas. In 1884 Henry died, and to replace him, Francis secured the services of Robert W. Bugg, then employed by Foster & Martin (both pupils of Batchelder's) in Collins Street, Melbourne. In that studio Bugg made some fine portraits of Anthony Trollope during the novelist's long tour of Australia. Francis Bartlett was a keen business man, and Robert Bugg was a great operator and a fine painter. Together, their success was quite outstanding. Fifteen years later Bartlett retired with a fortune, and Bugg took over the studio. Robert William Bugg, one of our leading Painter-Photographers, was born in London in 1853, and came to Melbourne when he was five years old. He became a pupil of Louis Buvelot and, in 1879, a member of the Victorian Academy of Arts. In Bendigo he gave annual exhibitions of his oils and water colours, a number of his exhibitions being officially opened by his friend Alfred Deakin. There are a number of Bugg's Paintings in the Bendigo Art Gallery. All the portraits, landscapes, buildings, and city views illustrated in "Bendigo and Vicinity, 1897", are from photographs taken by Robert Bugg. He was a clever, genial and popular soul, and his influence on the cultural life of his adopted city was considerable. He retired in 1932 and died in his early eighties.Eleven Photos of Bendigo from Glass Plate Negatives, Campaspe River at Axedale, Axe Creek, Lake Weroona, White Hills Botanical Gardens, Conseratory Gardens, Bendigo Fernery. Slides are ex Bartlett Brother Bendigo. history, bendigo, bendigo conservatory gardens, campaspe river axedale, axe creek victoria, lake weroona bendigo, white hills botanical gardens bendigo, bartlett brothers bendigo, rosalind park bendigo

Bendigo followed much the same pattern as Ballarat, and was not ready for an up-to-date studio until 1880 when the Bartlett Bros. (Francis and Henry) who bad conducted a successful business in Melbourne for many years opened a small studio there. It was such a success that they decided to build large modern premises, and Francis made two trips to England and the Continent for the latest ideas. In 1884 Henry died, and to replace him, Francis secured the services of Robert W. Bugg, then employed by Foster & Martin (both pupils of Batchelder's) in Collins Street, Melbourne. In that studio Bugg made some fine portraits of Anthony Trollope during the novelist's long tour of Australia. Francis Bartlett was a keen business man, and Robert Bugg was a great operator and a fine painter. Together, their success was quite outstanding. Fifteen years later Bartlett retired with a fortune, and Bugg took over the studio. Robert William Bugg, one of our leading Painter-Photographers, was born in London in 1853, and came to Melbourne when he was five years old. He became a pupil of Louis Buvelot and, in 1879, a member of the Victorian Academy of Arts. In Bendigo he gave annual exhibitions of his oils and water colours, a number of his exhibitions being officially opened by his friend Alfred Deakin. There are a number of Bugg's Paintings in the Bendigo Art Gallery. All the portraits, landscapes, buildings, and city views illustrated in "Bendigo and Vicinity, 1897", are from photographs taken by Robert Bugg. He was a clever, genial and popular soul, and his influence on the cultural life of his adopted city was considerable. He retired in 1932 and died in his early eighties.Photos from Glass Plate Negatives Slides are ex Bartlett Brother Bendigo. The Slides were used for advertising prior to the shows and during intervals; possibly at one of the three picture theatres, the Lyric, the Plaza, or the Princes Theatre. history, bendigo, bartlett brothers bendigo, bendigo theatre advertising

Bendigo followed much the same pattern as Ballarat, and was not ready for an up-to-date studio until 1880 when the Bartlett Bros. (Francis and Henry) who bad conducted a successful business in Melbourne for many years opened a small studio there. It was such a success that they decided to build large modern premises, and Francis made two trips to England and the Continent for the latest ideas. In 1884 Henry died, and to replace him, Francis secured the services of Robert W. Bugg, then employed by Foster & Martin (both pupils of Batchelder's) in Collins Street, Melbourne. In that studio Bugg made some fine portraits of Anthony Trollope during the novelist's long tour of Australia. Francis Bartlett was a keen business man, and Robert Bugg was a great operator and a fine painter. Together, their success was quite outstanding. Fifteen years later Bartlett retired with a fortune, and Bugg took over the studio. Robert William Bugg, one of our leading Painter-Photographers, was born in London in 1853, and came to Melbourne when he was five years old. He became a pupil of Louis Buvelot and, in 1879, a member of the Victorian Academy of Arts. In Bendigo he gave annual exhibitions of his oils and water colours, a number of his exhibitions being officially opened by his friend Alfred Deakin. There are a number of Bugg's Paintings in the Bendigo Art Gallery. All the portraits, landscapes, buildings, and city views illustrated in "Bendigo and Vicinity, 1897", are from photographs taken by Robert Bugg. He was a clever, genial and popular soul, and his influence on the cultural life of his adopted city was considerable. He retired in 1932 and died in his early eighties.Nine Photos of vehicles from Glass Plate Negatives Slides are ex Bartlett Brother Bendigo. The Slides were used for advertising prior to the shows and during intervals; possibly at either of the three picture theatres, the Lyric, the Plaza, or the Princes Theatre. history, bendigo, bartlett brothers bendigo, bendigo theatre advertising

Bendigo followed much the same pattern as Ballarat, and was not ready for an up-to-date studio until 1880 when the Bartlett Bros. (Francis and Henry) who bad conducted a successful business in Melbourne for many years opened a small studio there. It was such a success that they decided to build large modern premises, and Francis made two trips to England and the Continent for the latest ideas. In 1884 Henry died, and to replace him, Francis secured the services of Robert W. Bugg, then employed by Foster & Martin (both pupils of Batchelder's) in Collins Street, Melbourne. In that studio Bugg made some fine portraits of Anthony Trollope during the novelist's long tour of Australia. Francis Bartlett was a keen business man, and Robert Bugg was a great operator and a fine painter. Together, their success was quite outstanding. Fifteen years later Bartlett retired with a fortune, and Bugg took over the studio. Robert William Bugg, one of our leading Painter-Photographers, was born in London in 1853, and came to Melbourne when he was five years old. He became a pupil of Louis Buvelot and, in 1879, a member of the Victorian Academy of Arts. In Bendigo he gave annual exhibitions of his oils and water colours, a number of his exhibitions being officially opened by his friend Alfred Deakin. There are a number of Bugg's Paintings in the Bendigo Art Gallery. All the portraits, landscapes, buildings, and city views illustrated in "Bendigo and Vicinity, 1897", are from photographs taken by Robert Bugg. He was a clever, genial and popular soul, and his influence on the cultural life of his adopted city was considerable. He retired in 1932 and died in his early eighties.Seven Photos of vehicles from Glass Plate Negatives. Slides are ex Bartlett Brother Bendigo, photographers. The Slides were used for advertising prior to the shows and during intervals; possibly at either of the three picture theatres, the Lyric, the Plaza, or the Princess Theatre. history, bendigo, bartlett brothers bendigo, bendigo theatre advertising

The 13th Light Horse was raised at Broadmeadows Victoria in March 1915 from volunteers from across Victoria. The regiment served at Gallipoli, Egypt and on the Western Front. The guidon, emblazoned with the battle honours, was presented in 1927. In 1948 when 8/13 Victorian Mounted Rifles was raised as the descendent regiment of the 8th, 13th and 20th Light Horse Regiments it became the custodian of the three guidons including that of the 13th Light Horse. In 1991, the two Victorian mounted regiments 8/13th VMR and 4/19th Prince of Wales's Light Horse were linked to form a single regiment which had custodianship of six guidons, 4th, 8th 13th, 17th 19th and 20th Light Horse Regiments. All except the 4th Light Horse Guidon were laid up at the Shrine in August 2005. The 4th guidon is to be laid up in November 2017.A representative example of a symbol of the esprit de corps and achievements of a regiment of citizen soldiers drawn from Victoria. Well provenanced and fine example of military heraldic art.Burgundy corded cotton flag with gold thread fringe with rope and tassels. at centre is 13th Light Horse emblem incorporating horse and red and white diamond colour patch, surrounded by wattle wreath and surmounted by king's crown. XIII in top left corner and battle honours on either side of centre motif, "South Africa 1899-1902, Pozieres, Arras 1917, Amiens 1918, France and Flanders 1916-18, Egypt 1915-16, Somme 1916-18, Bapaume 1917, Ypres 1917, Albery 1918, Gallipoli 1915"13th light horse regiment, guidon, flag

The 20th Light Horse was raised as part of the reorganised Citizen Military Forces (Militia) following the end of WWI. It had Headquarters at Seymour Victoria and sub-units along the Goulburn Valley. The guidon, emblazoned with the South African and WWI battle honours, was presented in 1927. The 20th Light Horse served overseas during WWII being the only Light Horse unit to do so and received the battle honour South West Pacific 1944-45. In 1948 when 8/13 Victorian Mounted Rifles was raised as the descendent regiment of the 8th, 13th and 20th Light Horse Regiments it became the custodian of the three guidons including that of the 20th Light Horse. In 1991, the two Victorian mounted regiments 8/13th VMR and 4/19th Prince of Wales's Light Horse were linked to form a single regiment which had custodianship of six guidons, 4th, 8th 13th, 17th 19th and 20th Light Horse Regiments. All except the 4th Light Horse Guidon were laid up at the Shrine in August 2005. The 4th guidon is to be laid up in November 2017.A representative example of a symbol of the esprit de corps and achievements of a regiment of citizen soldiers drawn from Victoria. Well provenanced and fine example of military heraldic art.Burgundy corded cotton flag with gold thread fringe with rope and tassels. at centre is 20th Light Horse badge surrounded by wattle wreath with purple and gold rectangular colour patch under. XX in top left corner and battle honours on either side of centre motif."South Africa 1899-1902, Gallipoli 1915, Palestine 1917-18, Anzac, Egypt 1915-17, South West Pacific 1944-45"guidons, flags, embroidery, citizen military forces, heraldry, light horse regiments

This is a reference written on 14th October, 1942, by the Head of the Art Department at the School of Mines and Industries Bendigo, Ernest H. Duncan, for a former pupil, Miss Ivy Jack. It is a complimentary reference assuring 'To Whom it May Concern' that Miss Jack 'is a fine type of girl possessing many fine qualities...' and that she has '...proved herself an energetic, careful and reliable student with ability in Dressmaking above the average.'This is significant in relation to the history of the Bendigo School of Mines and Industries. It gives an insight into the type of courses being offered by the school in 1942, as well as an insight into how references for individuals were written in the 1940's, as opposed to the way they are written in 2013. This significance has been assessed in-house.White paper photocopy of reference from Ernest H. Duncan, Head of Art Department of the School of Mines and Industries, Bendigo to Miss Ivy Jack, dated 14th October 1942. On School of Mines and Industries, Bendigo letterhead: "School of Mines and Industries, / No. 161 / Bendigo 14th October 1942. / TO WHOM IT MAY CONCERN: / Miss Ivy Jack has attended the above school / for the past two years,... /" Signed, "Ernest H. Duncan / Head of Art / Department."bendigo school of mines and industries, duncan, ernest h., jack, ivy, jack, shirley ivy, dressmaking, art department, 1942, reference

The 'Collaboration of Commonality and Difference' has its conceptual roots in teh notion that only when we accept and nurture both commonality and difference, can we, humankind, foster unity. With the acceptance and nurturing of commanality and difference, peoples of the world are afforded equal validity for a collaborative approach towards peaceful resolution and possible unity. Integral to the conceptual foundation of the work is the use of papers sourced from around the world. Paper is at once universal and individual, and in this instance is representative of humanking. The jigsaw design draws on the understanding that each piece is integral to the creation and resolution of the whole. Commanality is suggested through repetition, however, no two pieces are the samem emphasizinf the beautym strength and validity of difference. Established in 2004, generously supported by George Lucato, the Lucato Peace Prize was an annual acquisitive art award open to all enrolled Federation University Australia tertiary students and all senior secondary students enrolled at any City of Ballarat secondary school or college. Prizes were awarded to the applicants whose work best illustrates or expresses the idea that 'peaceful alternatives are always preferable to armed confrontations'. First prize of $2250.00 was awarded to Cassandra McArthur for her work, Commonality and Difference, 2014, and it was the last Lucato Peace Prize Awarded after the death of George Lucato in 2014. Cassandra McArthur was undertaking a Bachelor of Visual Arts (Fine Arts) at the Federation University Arts Academy when this artwork was produced. Winner of the Lucato Peace Prize 2014 artists, artworks, sculpture, mcarthur, cassy mcarthur, lucato peace prize, alumni

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby.Stoneware bowl with flange. Glazed in white matt crackle with a faint copper red tint. Dry black glazed rim. Gift of the artist.Robin Welch stamped on baseceramics, robin welch, gippsland, gppsland campus, jan feder memorial ceramics collection

Anna ZAMORSKA (b.08.03.1942- ) Born Poland. Lives Wroclaw. Anna Zamorska graduated from the Wroclaw Academy of Fine Arts in 1965. In 1984 she undertook a six residency at Gippsland Institute of Advanced Education, Churchill (later Federation University) and participated in the Ceramics Symposium "Strzelecki Spotkanie". Her works are in museums throughout Europe, the Americas, Japan, Taiwan and South Korea. Since 1974, the artist has been a member of the International Ceramics Academy (IAC) based in Geneva / Switzerland. Fireclay Chair.anna zamorska, ceramics, jan feder memorial ceramics collection, gippsland campus, strzelecki spotkanie, chair

Gwyn HANSSEN PIGGOT (1935-2013) Born Ballarat Gwyn Hanssen Piggot completed a Bachelor of Fine Arts at Melbourne University in 1954. She spent three years apprenticed to Ivan McMeekin at Sturt Pottery, Mittagong, New South Wales. Between 1958 and 1965 Gwyn Hanssen-Pigott worked at various potteries in the United Kingdom, including Winchcombe Pottery in Gloucestershire, Leach Pottery at St Ives, and Wenford Bridge Pottery and Aldermaston Pottery in Berkshire. In 1960 she established her own studio in London. The essence of her work is purity, simplicity and form. She worked with porcelain for strength and for its translucent nature, and fired with wood to add a dine ash bloom to glazes. In 1992 Gwyn Hanssen Piggot was artist in residence at the Ballarat School of Mines.A small woodfired bowl by internationally renown ceramicist Gwyn Hanssen Piggot. gwyn hanssen-pigott, ceramics, gippsland campus, bowl, jan feder memorial ceramics collection, woodfire 86

Robin WELCH (1936- ) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. Initially studying at Penzance School of Art and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. 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.Stoneware bowl with single flange. White glaze with copper tint. Dry black glaze underneath and airbrushed lustre banding. Robin Welch stamped on base.ceramics, robin welch, jan feder memorial ceramics collection, jan feder, gippsland campus, stadbroke pottery, mungeribar pottery

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. Stoneware bowl on a tall foot. Calcium matt glaze, underglaze colour with underglaze metallic lustre. ceramic, jan feder memorial ceramics collection, robin welch, gippsland campus, mungeribar pottery, stadbroke pottery

Robin WELCH (1936- ) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. Initially studying at Penzance School of Art and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. 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.Raku Fired stoneware bowl with White Crackle Glaze by Robin Welch Robin Welch stamped on baserobin welch, ceramics, jan feder memorial ceramics collection, gippsland campus

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby. Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965.Stoneware bowl with split flange, glazed with matt white, black and a touch of copper red Tobin Welch stamped on basejan feder memorial ceramics collection, ceramics, robin welch, gippsland campus, jan feder

Lynne MAKINGs (1950- ) Artist Lynne Makings is an instigator and member of the Soldiers Hill Artist Collective, an eclectic group of artists from all various disciplines, residing within the region of Soldiers Hill, Ballarat. When this work was undertaken Lynne Makings was enrolled in a Bachelor of Visual Arts (Fine Arts) at the Federation University Arts Academy. The work was awarded a Deputy VIce Chancellor's Award, and was acquired from the 'End of Year Exhibition' (EYE).Double sided artwork comprising of numerous Indian Bean Tree seeds (Catalpa Bignoniodes). The seeds have been placed between to sheets of perspex. Artist's Statement: 'continuity by a thread' A loose line and a tight grid Continuity by a thread, [the makings of], represents a body of work exploring the overarching grid that links a fragile thread, the mortal coil, that binds and unites the disparate forces of continual change underpinning human existence. The thread symbolises the connecting life force that has been a constant companion working within the formal boundaries and structure of living my being. and so it goes... it will take me where it may.lynne makings, artwork, artists, indian bean tree seeds, catalpa bignoniodes, dvc award, end of year exhibition, eye

Gwyn HANSSEN PIGGOT (1935-11.07.2013) Born Ballarat Gwyn Hanssen Piggot completed a Bachelor of Fine Arts at Melbourne University in 1954. She spent three years apprenticed to Ivan McMeekin at Sturt Pottery, Mittagong, New South Wales. Between 1958 and 1965 Gwyn Hanssen Piggot worked at various potteries in the United Kingdom, including Winchcombe Pottery in Gloucestershire, Leach Pottery at St Ives, and Wenford Bridge Pottery and Aldermaston Pottery in Berkshire. In 1960 she established her own studio in London. The essence of her work is purity, simplicity and form. She worked with porcelain for strength and for its translucent nature, and fired with wood to add a dine ash bloom to glazes. In 1992 Gwyn Hanssen-Piggott visited the Ballarat School of Mines Ceramics students, under the direction if lecturers Neville French and Prue Venables In 1994 she was artist in residence at the Ballarat School of Mines for six months. Gwyn Hanson Piggott received the Order of Australia Medal in 2002. Born Gwynion Lawrie John at Ballarat on 01 January 1935, Gwyn Hanssen Pigott died in London on 11 July 2018 London where she was for a solo exhibition of her new work. This item was purchased by the Ballarat University College Acquisition Committee. It is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. A bowl by internationally renowned ceramicist Gwyn Hanssen-Piggott. Photograph: HStudioart, artwork, ceramics, bowl, ballarat, gwynn hanssen piggot

Henry MORITZ (1931- ) Born Mainz, Germany Arrived Australia c1952 Henry Moritz was an experienced commercial artist when he left Germany for Australia. After working as a railwayman, coal miner, fruit picker and steelworker, he started teaching commercial art at the Ballarat School of Mines Technical Art School in 1963. He moved to the Mount Helen Tertiary Division, and was head of the Art School at the Ballarat College of Advanced Education (BCAE) when he produced this work. The Ballarat College of Advanced Education logo was derived from the Southern Cross depicted on the Eureka Flag, which was adopted by Ballarat College of Advanced Education in 1978. The logo was designed by former student Debra Garton, who graduated with a Diploma of Art and Diploma of Education. 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.Farmed marquetry using fine woods chosen for their grains and reflective properties: silver ash, cedar, queensland walnut, grey bird's eye maple and African gaboon.art, artwork, henry moritz, marquetry, logo, southern cross, ballarat college of advanced education, available, stars

Rupert BUNNY (1864-1947) One of the most successful expatriate artists of his generation Rupert Bunny was superb colourist and fine draughtsman, with a strong interest in rhythmic composition. 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.Life drawing using line depicting a female figure turned away from the onlooker. Gift of William Ritchie, 1965Signed lower third with artist's initials.art, artwork, rupert bunny, life drawing, nude, available (in march 2018)

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

Roman KALARUS (1951- ) Born Poland Graduating from the Academy of Fine Arts in Cracow , Faculty of Graphic Arts in Katowice Roman greaduated in 1976 . Currently he is a professor at the Academy of Fine Arts in Katowice leads the Poster Studio.. This item is part of the Federation University Art Collection and was purchased by the Art Acquisition Committee in 1996. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed offset print exhibition posterart, artwork, poster, polish poster, roman kalarus

Dianne JACONO Dianne Jacono completed a Master of Arts (Fine Arts) at Federation University in 2001. 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 monoprint. art, artwork, dianne jacono, printmaking, monoprint

Loris BUTTON (27/02/1951- ) Born Melbourne Dr Loris Button grew up in Melbourne, completing undergraduate studies in painting and drawing at the Phillip Institute of Technology, followed by a Master of Fine Arts degree at the University of Tasmania. Her PhD thesis employed self portraiture as a means for reflecting on the self, time and ageing in contemporary culture. From 1981 – 1986 Loris lived and studied in Hobart before returning to Melbourne. She lectured at the University of Ballarat Arts Academy from 1987. Since 1990 she has lived and worked in Ballarat and the nearby town of Creswick. Loris retired from an academic career at the Arts Academy, University of Ballarat (now Federation University) at the end of 2010. Loris has continued a post-retirement association with the Arts Academy through her role as an Honorary Research Fellow. Working with prints, paintings and drawings on handmade paper, her work is regularly shown in both solo and group exhibitions throughout Australia and overseas. 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.Self portrait of artist.art, artwork, loris button, self portrait, alumni, available

Cate WHITEHEAD (1955- ) Cate Whitehead undertook a Bachelor of Fine Arts (Scupture) at the Ballarat College of Advanced Education beween 1986 and 1988. 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.Framed drawing art, artwork, drawing, stawell campus, cate whitehead, alumni

Anne SAUNDERS (1955- ) Born Edinburgh, Scotland Arrived Australia 1977 Anne Saunders graduated from a Duncan of Jordanstone College of Art, Dundee, specialising in Illustration and Printmaking, and graduated with a Master of Arts (Fine Arts) by Research from La Trobe University Bendigoand in 1995. She is a former Senior Lecturer at the University of Ballarat Arts Academy (later Federation University), first appointed in 1987 as lecturer in Drawing and Printmaking, and in 1999 she was appointed Senior Lecturer in Drawing and Studio Co-ordinator. Anne Saunders retired from the University of Ballarat in 2010. 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 abstract painting.art, artwork, saunders, university of ballarat, anne saunders