John BRACK (1920-1999) A key Melbourne artist who lived in Canterbury, Melbourne. This image of a nude is most probably John Brack's wife and is drawn in his studio, a pristine space with immaculate floors often seen in many of his paintings.His most famous work '5 pm Collins Street, Melbourne' featured on an Higher School Certificate (HSC) English exam and gave Melbourne children the opportunity to critically analyse this image. Brack's large abstract canvas of the Battle of Waterloo, "The Battle", was completed in the early 1980s and features pencils march across the canvas in ordered motion. This biography was written by Dr Susan Paterson. Framed lithograph in black ink on white paper depicting nude woman, with smaller nude woman image on verso. This work was originally produced to be bound in a book by private press publisher Tate Adams. The suite of lithographs for the book was started by John Brack in September 1981 and finished and published in December 1982. The book was launched with a series of original conte drawings, from which the lithographs were based, in Realities Galleries, Melbourne. A high cost of production was involved in the binding of the book, and only fifteen copies were originally bound for exhibition and sale at the show. Subsequent to this approximately another thirty copies were bound, making a total finished edition of fewer than fifty copies, far less than the anticipated 200. After many years a number of sheets were discovered through the estate of Brack’s art dealer Rudy Komon (1908-1982). This unsigned work is from Rudy Koman's estate. not signed or datedjohn brack, female nude, lithograph, available

A soft covered booklet titled ' Sculpture for places Places for Sculpture.' Reg Parker. Bendigo Art Gallery October 4 - November 4, 1984.' The Diploma 1 Graphic Design students at the Bendigo College of Advanced Education have incorporated Reg Parker's work in public places in Bendigo using the process of photo montage. This work will also be on exhibition.' Bottom left corner of front cover has a number sticker, 0134 HAL.bendigo, education, bendigo art gallery, sculpture, art, art work, bendigo, bendigo art gallery, artists, exhibition, bendigo college of advanced education. bottom left front cover has a number sticker, 0134 hal.

Copy photograph of a small photograph contained within item Reg. No. 587. Photograph is of the point work on the intersection of Sturt St. south side and Lydiard St. North line. No caption on photograph in 587. Photo shows detail of track construction. Work to the east has either been completed or not yet commenced. Shed in photo No. 597 is visible, so could be same date, Hi Res scan of neg used 7-5-2020trams, tramways, ballarat, rehabilitation, sturt st.

Diggers & Mining. Getting the Gold. Slide: The evils of shepherding soon became obvious; shepherds often prospered by the ruin of parties who really worked their claims. The Ballarat diggers, through their local Court, abolished shepherding in 1855, and instituted a complicated 'frontage' system which, in effect, guaranteed the diggers who went to the expense and hardship of sinking a shaft the right to work a section of the lead. Markings: 58 994.LIF:4. Used as a teaching aid.hanimounteducation, tertiary, goldfields

Phil Berry was undertaking a Master of Arts when he completed this artwork. 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 work reflects the life of refugees who were often fleeing conflict and persecution and spending their savings risking their life and that of their families."Their journey should remind us all of how lucky we Australians are, ... We need to understand conflict and its consequences, and help anyone affected by it. We need to think about the meaning of peace to us. We need to work for it, embrace it, and everyone who seeks it." Winner of the 2001 Lucato Peace Priceart, artwork, phil berry, lucato peace prize, berry, baggage

Letter on foolscap paper, typed on State of Victoria letterhead from the Premier R. J. Hamer to Mr. W. Aird, MMTB thanking the Board for its work on arrangements for the visit of the Queen and Duke of Edinburgh for the Jubilee year of her accession. Notes the work of Mr. N. Elliott. Dated 29/3/1977. Signed by R. J. Hamer as Premier. Has the received stamp of 30 March 1977 and the Chairman's stamp of the same date.trams, tramways, royal visit, victorian government, mmtb

Dark blue grey covered notebook or lined journal, with red binding, four sections, 22 sheets per section, titled "Paint Shop - Buses from Feb. 1944", listing bus types, painting details, date in service, details of painting work through to Dec. 1959. and some other details of buses painted and hours worked etc through to Jan. 1963. Marked "buses" in white ink on spine of book.trams, tramways, mmtb, buses, repainting

MALCOLM BOYD Born Gippsland, Victoria In 1977 Malcolm Boyd graduated with a Diploma of Visual Arts from the Gippsland Institute of Advanced Education. It was at this time that he presented this work to the Jan Feder Memorial Ceramics Collection. Over thirty years later he still has a passion for ceramic history and design. Boyd operated the Black Cockatoo Pottery from around 1980-1995, starting in Essendon, then moving to Ascot Vale, Stratford, Bairnsdale and finally Fernbank in Gippsland. His handbuilt stoneware pots and clay sculptures are wood fired at his East Gippsland studio. He often uses ochre coloured dam banks on his property at Fernbank. The local clays are crushed, screened and blended with a white stoneware body to produce a number of shades and textures. All Malcolm Boyd's pot's are hand built using moulding, coiling, slabbing, and modelling techniques, and are high temperature fired (1300C) to allow some of the very ancient oriental glazes to mature. All works spend at least 20 hours in the wood fired kilns. This work is part of the Jan Feder Memorial Ceramics Collection which was amassed with funds raised by Jan Feder's student peers at the Gippsland Centre for Art and Design in the mid 1980s after Jan Feder passed away. Although many of the works are donated the intention of the collection was to purchase from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught at the Churchill Campus. 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.malcolm boyd, ceramics, artist, artwork, jan feder memorial ceramics collection, gippsland campus, alumni

Construction of the Lock at Euston. An overhead crane is visible in the centre of the photo. In the foreground are 2 sets of low pylons. There is construction equipment visible on both sides of the photo. It is a dry river bed which appears to have a walled wooded end at the back of the photo.This is social and historically significant in that this photograph depicts the construction materials and techniques used at this time when constructing locks on the rivers in the Murray Darling region.Black and white photograph of construction work on Lock at Euston. Centre of photograph has an overhead crane. In the foreground are 2 sets of low phylons. Copy of an original photograph from the Price collection.In pencil on back: Price / Lock under construction / Euston / JENKINS PRINT/MILDURAmurray darling river basin, euston (lock construction), lock construction, price collection

Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.Black and white photograph of a man dressed in a suit standing, leaning against the stone work of a building surrounding baths. The place is the Great Roman Bath in Bath (England). The man is Frank Wright.Written in pencil on back - Frank Wright (32) at the Great Roman Bath, Bath. 3/7/34frank wright, bath, roman baths

Lock, square shape with decorative work in metal. Key hole in the centre. Has HT&V stamped front and back. Broken internal workings. Made for a Right-hand hindged door.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, lock

Ballarat Teachers' College is a predecessor of Federation UniversityMargaret Bennett's nee Reynolds' handwritten book of lessons form her days at Ballarat Teachers' College. It has some hand drawn pictures coloured with pencils and other examples of work.margaret bennett, lesson plans, handwritten, ballarat teachers' college

This lady’s cotton bib apron, completely handsewn with lacework and embroidery is an example of the dressmaking and craftwork skills of the women of the early settlers families in Moorabbin Shire in the early 20th C. A lady's fine white cotton, full length hostess Apron with a bib and long ties. The hem border is cut-work 10cm and the whole apron is decorated by hand embroidered floral designs. unsigned Note attached " Every stitch by handclothing, brighton, moorabbin, pioneers, dressmaking, market gardeners, early settlers, craftwork, lacework

Bendigo Advertiser ''The way we were'' from Monday, August 6, 2001. Team work: the staff of Matthews Brothers drapers emporium in Hargreaves Street. Circa 1940. The clip is in a folder.newspaper, bendigo advertiser, the way we were

The Thomas James Connelly collection. T. J. Connelly - Brassfounder, Coppersmith, Plumber and Gasfitter. Located in High St. Bendigo. Items of correspondence. Invoice on blue paper, for exhaust pipe and work.trades, plumbing, thomas james connelly, connelly, thomas james. plumbers.

Letters and miscellaneous writings relating to Bush family e.g. Stillwell correspondence (3 letters); Hancock (1 letter); a short paper on 'Work' ('For a lazy little girl'); 'Dear Papa' note.person, individual, bush collection - personal

Showcase Card for museum display?)- re Hugh McColl. Comprises (inside folded card) - a photo/portrait of Hugh McColl and biographical details supplied: bdm; life's work and politics etc.person, individual, mccoll, hugh

EIG School - Ralph Birrell Collection. - Construction of Latrobe Uni. C1967. Bendigo Institute of Technology, Engineering School, Applied Science. 2 air compressors and some work huts on site.Kodakeducation, tertiary, latrobe university bendigo, eig school - ralph birrell collection. - construction of latrobe uni. c1967. bendigo institute of technology, engineering school, applied science. air compressors work huts site

An article including black and white photographs on the Bendigo Preserving Company from the Bendigo 'Advertiser.' It includes photographs of employees at work and information on the B.P.C. itself. Two pages. 24/2/1970.bendigo, industry, tomatoes, lydia chancellor collection, collection, fruit, bendigo, history, bendigo preserving company, mr. ron potter, cannery, b.p.c., tomatoes, farm, farming, food technology, industries, employees, b.p.c. employees, inglewood, canning, agriculture

Coloured photograph of John (Jack) and Jean Cannon in a Gold Moulded Timber Frame with a brief summary of their work with the Bendigo Theatre Co on back, Donated by Mr Atkinson related to Mary ReibyBarry Searle Photographyperson, family, personal portrait, jack & jean cannon, bendigo theatre co

Geoff Davidson arrived at Dunmoochin around 1968 and began living and working as an apprentice to the potter Robert Main, who was working in a studio rented to him by Clifton Pugh on the Dunmoochin property. When Robert left, Geoff moved into the studio and began collaborating with Clifton Pugh on many projects for a period of 25 years whereby Clifton would decorate pots made by Geoff. Geoff produce the ceramic panels for Leda and the Emu. He mixed and identified the glazes for Clifton, then fired the panels once he had finished painting. Three or four murals were produced in this way, one of which was purchased by Don Dunston (ex-Premier of South Australia) as a gift to his dying wife.Dunmoochin derives its cultural and artistic heritage from the collaborative efforts of a group of artists who purchased land in Cottles Bridge in the early 1950’s. These artists (Pugh) pioneered one of the first artistic communes in Australia and created a lasting vision of how a community can gain knowledge and inspiration from living in a close relationship with nature. Pugh had explored the ‘Leda and the Swan’ mythological themes previously during the sixties in etchings and paintings, although he was more interested in referencing the original myth as allusions to other truths. Pugh was drawn to the Greek myth ‘Leda and the Swan’ in which Zeus transforms into a swan to seduce Leda. Pugh Australianised the myth so that Zeus transformed into an Emu rather than a Swan, and makes a gentle satirical comment on the sexual behaviour of the Australian male, whereby he sees a parallel between this and the proud yet awkward movements and naivety of our national bird. This particular theme was prevalent in Pugh's work right through the 60s and 70s. Leda and the Emu is a work by two prominent local artists (Clifton Pugh and Geoff Davidson) with a national and international reputation.Flat red background, black foliage. Leda is naked and sleeping with head resting in hand. Emu is to the left watching Leda. Drawing style is typical of Pugh’s work: linear, flat and gestural.Signed 'II Clifton'