Printed in 1864 by Nicholas Chevalier.Framed lithograph titled "Wentworth River Diggings Gippsland" Printed in 1864 by Nicholas Chevalier. Set in cream card window mount. Brown painted wood frame with gold edging.

number in album 03560.01Black and white photograph Fred Maxwell President of Bowls Club accepting Pennant Flag from Ron Smith President of East Gippsland Bowling Association. Lakes Entrance Victoriabowls club, sports

Tansy Goldsmith was presenter for pop music program on FridaysColour photograph Councillor Bill Bolitho and Bruce Livingstone President of Radio East Gippsland also known as REG presenting a Cettificate of Appreciation to Tansy Goldsmith. Lakes Entrance Victoriacommunications, broadcasting

number in album 03505.01Colour photograph Tansy Goldsmith and Melissa Petri young volunteers at Radio East Gippsland also known as REG who prepared Pop music on Fridays. Lakes Entrance Victoriacommunications, broadcasting

Colour photograph of the side casting dredge, April Hamer, working at the entrance. Ocean in background, entrance to Gippsland Lakes. Photo shows rock groynes at entrance. Lakes Entrance Victoriajetties, waterways, ships and shipping

A second copy existsSepia photograph showing the S S Gippsland in Mitchell River. Possibly within silt jetties both decks crowded with tourists, hull painted dark colour. Bairnsdale Victoria ships and shipping, waterways

Black and white photograph of Bullock Island, the entrance from Bass Strait to the Gippsland Lakes, the hummocks at the south shore of the lakes. Bathing boxes on Bullock Island. Lakes Entrance Victoriawaterways, islands

Also second copyColour photograph of portion of Rigby Island, Fraser Island, and Flannagan Island, and Reeves Channel of Lake King, Gippsland Lakes. Steep shore of mainland in distance. Lakes Entrance Victoriaislands, waterways, topography

Also black and white print 10 x 17.5 cmBlack and white photograph showing Eastern Pier and Entrance to Gippsland Lakes from Bass Strait. Works machinery, buildings, cranes etc still in place. Lakes Entrance Victoria waterfront, piers

Also one enlarged copy 18.5 x 27.5 cm, one other copy set on white card 12 x 20 cm, but row boat erased, part of background visible showing part of township of Lakes Entrance (Cunninghame) and part of New Works wharf on right.Black and white photograph showing S S Gippsland leaving New Works wharf. Small rowing boat on right on beach. Hull painted white. Lakes Entrance VictoriaNew Year Trip 1909 Cunninghame A Cooper Photojetties, waterways, ships and shipping

Black and white photograph of jetty below the homestead of Nyerimilang. Crane positioned at end of jetty, a fenced barge used for transporting sheep is at anchor behind the jetty. Gippsland Lakes Victoriajetties, waterways, tourism

Man in boat believed to be William BucklandBlack and white photograph of man standing in cockpit of small half cabin sailing type boat tied to mooring poles, jetty with other boats in background. Gippsland Lakes Victoriawaterways, boats and boating

Slight Rust on Lids Mould/Gunk in Bottles Small Splodges of White ink on Both of the BottlesJoe's Orange Juice & Soda Joe's Manufactured by South Gippsland Cordial Co. PTY. LTD. Net Contents 7 FLOZ Phone Korumburra 56

Small Joe's Bottle Has Dust or something on the inside and outsideDrink "Joe's" Soft drinks Ice could 250ml Manufactured by the royal show winner "Joe's" South Gippsland Cordial co Pty LTD Korumburra

This pamphlet would have been produced as a tourist guide to East Gippsland.This item is a useful reference tool.A three fold glossy, pamphlet titled"Lake Tyers Forest Park". It contains information, a map and black / white photographs of Lake Tyers Park. Print colours are brown, white, yellow and black.pamphlet lake tyers-forest-park

John ROJO A Post Graduate Student at the Gippsland Centre of Art and Design. Wheelthrown woodfired earthernware urn.john rojo, ceramics, jan feder memorial ceramics collection, gippsland campus, earthernware

As a potter I enjoy the fluidity of the clay and the ability to create beautiful forms from this plastic, sensuous material. It is a journey of discovery especially using local clays and materials to create timeless artifacts. The process of making an object from a fluid material, applying a liquid glaze then firing these works in a wood fired kiln for 45 hours is still fascinating to me. The magic of the results can be both exhilarating and disappointing. (https://www.yarramcourthousegallery.com/calendar-of-exhibitions, accessed 09 July 2021) In 1982, I moved to the Tarra Valley in South Gippsland to build a house, studio and gallery. My main passion at the time was wood fired pottery. I was fascinated with the natural colours and unpredictability of the process. This lifestyle means long hours of work, many failures and a life of poverty. Having a young family meant I had to supplement my income working as a teacher. Wood fired pottery is ancient and seldom practiced art form. The beauty of wood firing is that nature has its way with manmade articles and it is this combination that makes each one of these works totally individual and impossible to reproduce. All works have been fired in a tunnel style wood fired kiln and a down draught wood kiln. The use of terrasigilata sourced from local clays and materials and traditional Japanese glazes help to create highly individual pots that are unique. The use of native hardwood for firing the kiln and creating ash glazes also gives the work a special quality. Many works have been fired multiple times. The use of seaweed and shells help to give each of these ceramic works a luminous natural beauty. These pieces have their imperfections the same as human beings who withstand the rigors of time. These pots are not always perfect, but it is these imperfections that make them individual, unique and intrinsically special. My kilns are like a painter’s palette: they allow me to paint the surfaces of my pots with flame and colour. I love the subtle qualities of the local clays and I have experimented with many types of clay from the local area. Kiln firing can be between 30 to 100 hours. The movement of the flames, the incredible colour variation and the unexpected results make this demanding process rewarding when all goes well. When purchasing my work you are purchasing part of me and 45 years of passion, creativity and individuality. (https://www.yarramcourthousegallery.com/calendar-of-exhibitions, accessed 09 July 2021) John ROJO John Rojo was a Post Graduate Student at the Gippsland campus.Ceramic pot.ceramics, gippsland campus, alumni, john rojo, jan feder memorial ceramics collection

Alan PEASCOD (1943-2007). Born England. Arrived Australia 1952. Alan Peascod was one of Australia’s most highly acclaimed ceramic artists. For over 35 years his work has been at the forefront of the Australian ceramics movement, developing radical techniques previously unexplored with his developments in unusual glazes and firing methods. His creative repertoire includes dry glazed vessels, alkaline glazes, majolica, saturated metals, and many post firing finishes. Alan's work with the very difficult reduced lustre technique is highly regarded. He was taught the method by Professor Said El Sadr in Cairo, Egypt in 1972 and this led to lifelong research of the technique throughout the Middle East and Europe. His work in the field led to the completion of his doctoral studies at the University of Wollongong in 1994. This study also led to satirical figurative sculpture themes dealing with the human condition. 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.Blue and green dry glaze bottle. alan peascod, ceramics, gippsland, jan feder memorial ceramics collection, gippsland campus, visiting artist