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National Vietnam Veterans Museum (NVVM)
Film - Film, Video, MIA: we can keep you forever
The untold story of Vietnam's missing in actionvietnam war, 1961-1975 - participation, american, mia - united states -
Ballarat Tramway Museum
Slide - 35mm slide/s, Travis Jeffrey, late 1960's
Agfa plastic mount (blue base, white cover) of a photograph of No. 12 entering High St or Macarthur St. Loop, Macarthur St. Photo taken late 1960's. Has Lake Wendouree in the far background. Tram has destination of Victoria St. and a "Twin Lakes" sign on the front dash panel. Slide rescanned at 3200 dpi 25-10-2020, jpg replaced, tiff file retained. This file was scanned in 2003 and may show colour changes."BAS 42" in penciltramways, trams, macarthur st, high st, macarthur st., twin lakes, tram 12 -
Robin Boyd Foundation
Slide, Robin Boyd, 1956-1957
Robin Boyd developed a close friendship with the founder of the Bauhaus in Weimar Germany, Walter Gropius, who had moved to the USA in the 1930s. Through this connection, Boyd was invited to be the Massachusetts Institute of Technology (MIT) Bemis Professor at the School in the North American academic year 1956-7. Robin and Patricia Boyd, with their youngest daughter Suzy, were based in Cambridge, Massachusetts for the year. Boyd gave some lectures at MIT and he was also invited to give lectures at many other universities, allowing him to travel widely within the USA, especially on the East Coast. This gave him the opportunity to meet architects like Frank Lloyd Wright, Eero Saarinen, Paul Rudolph and many others, and visit the offices of Skidmore, Owings and Merrill, and places like Taliesin and the General Motors Technical Center Detroit. On the way home, the Boyds visited London, Berlin, Paris and Le Corbusier’s Ronchamp Chapel in France.Colour slide in a mount. Prince-Garibardi Building, Altaville, California, USA, 1857Made in USA / 11mit bemis professorship, mit, robin boyd, slide -
Australian Queer Archives
Poster, Community Action Against Homophobia (CAAH), A conscience vote is not enough! : nothing less than full marriage equality : rally at Labor Party National Conference… 12pm Sat 3 Dec [2011]
marriage, marriage equality -
National Vietnam Veterans Museum (NVVM)
Film - Film, DVD, Vietnam War, Volume 3: Vietnam! Vietnam!
Series of 5 Film, DVD's on the USA's involvement in the Vietnam Warvietnam war, 1961-1975 - participation, american -
Federation University Historical Collection
Poster, Alistair Heighway, Good Grief .. Not another SMB Dance! ..., 1966
Original Poster for a Ballarat School of Mines Dance. The poster features Snoopy and is black ink on cream paperGood grief ... Not another SMB Dance! I suppose it will be on the 5th at Corbould Hall with an admission of 50c ...ballarat school of mines, dance, corbould hall, student activity -
Robin Boyd Foundation
Slide, Robin Boyd
Colour slide in a mount. Stonehenge, Wiltshire, EnglandEncircled 21 (Handwritten)slide, robin boyd -
Eltham District Historical Society Inc
Film - Video (Digital), Gerald Ashcroft, Eltham District Historical Society 1967 - 2017, 2017
History of the Shire of Eltham Historical Society from its inception in 1967 to its change of name in 1995 to Eltham District Historical Society to its 50th anniversary in 2017 as told by fonding member and society Secretary, Russell Yeoman and Doug Orford.MP4 Digital file 00:26:22; 1.2GB50th anniversary, eltham district historical society, video recording, russell yeoman, doug orford, shire of eltham historical society -
Lilydale RSL Sub Branch
Magazine - paperback/magazine, Ross W Jobson & Peter Antell, Navy Outlook, 2014
Magazine -
The Beechworth Burke Museum
Ceremonial object - Ushabti of Taweret-Khaiti, Circa 1292 BC
Ushabti are tiny anthropoid (human-shaped) figures placed in the tombs of wealthy Egyptians. They were intended to do the work of the deceased in the afterlife. This purpose is implied through their name, which may have derived from the Egyptian word “to answer”. The Burke Museum in Beechworth is home to a particular ancient Egyptian Ushabti figure. This artefact was donated to the Museum in 1875. No details about how it left Egypt, arrived in Australia, and where it was located before this donation are known. The Nineteenth Century, when this artefact was donated, was a period when many museums acquired items of ancient Egyptian heritage. Many of these items were procured in less than desirable circumstances, having often been looted from ancient tombs and sold to tourists without documentation as to their original location and/or accompanying grave goods. These artefacts were also divested through partage (the trading of artefacts for funds); however, the latter is unlikely to have been the case for this artefact. Since the Ushabti was donated by an unknown donor, it is likely to have been in a private collection rather than an institution. Ushabti can be dated using iconographic analysis which is non-invasive and provides a comprehensive study of the artefact. The later period of the 18th Dynasty marked the beginning of an increase in both the inclusion of Ushabti as essential funerary items and the creation of Ushabti with tools. From this period, they are no longer depicted without tools. Depictions of tools including gardening hoes are frequently depicted grasped in the Ushabti’s hands whilst items like the seed-bag are depicted hanging on the back rather than in an alternative position. This Ushabti figure grasps a gardening hoe and a mattock and a small seed bag surrounded by a yoke bearing water jars are depicted on the upper back of the Ushabti. These features are essential in helping narrow this dating to the late 18th and before the early 20th Dynasty. The position of this seed bag also provides dating information. In the early 18th Dynasty this bag was consistently drawn on the front of the figurine; however, by the reign of Seti I, this feature moved to the back. Thus, since the seed bag is located on the back of this Ushabti, it cannot date to the early 18th Dynasty. By the 19th Dynasty, Ushabti’s were increasingly made from either faience or terracotta. The availability of these materials in Egypt resulted in the increase of Ushabti production with tombs containing many more figurines than previously seen. The Ushabti held by the Burke collections is made from terracotta. Terracotta was rarely used for Ushabti before and during the early 18th Dynasty with only the odd appearance until the late 18th Dynasty and becoming common through that period until the late Third Intermediate Period. Whilst the face has been damaged, there is no evidence for the Ushabti having been provided with an Osirian false beard. This omission rules out a dating of later than the 25th Dynasty when beards became prominent. The inscriptions also date the Ushabti to the New Kingdom. This is because of the use of sḥḏ (“to illuminate”) with Wsjr (“Osiris”) which only occurs in these periods. Therefore, considering all these elements, the Ushabti can be confidently be dated to between the late 18th to early 19th dynasty.Artefacts like this Ushabti are no longer exclusively representative of their origins in burial assemblages and significance in the mythology of the Egyptian afterlife but are also significant for the accumulated histories they have gained through travel. The movement of this artefact from Egypt to Australia allows insight into the collecting habits of the 19th century, and in particular, the reception of ancient Egyptian artefacts in small rural museums. The procurement of Egyptian artefacts was a social trend around the late 1800s to early 1900s. Egyptian artefacts were considered curiosities and recognised for their ability to attract public attention to museums. They were also utilised in Australian museums, like the Burke Museum, to connect the collection to one of the oldest civilisations known to man and since Australia was considered a “young” country by European settlers, this was vital and derived from an interest in Darwin’s “Origin of the Species” 1859. Furthermore, there was a culture of collecting in the 1800s amongst the affluent in English society which led to the appearance of many Egyptian artefacts in private collections. The acquisition of this Ushabti figure is not certain, but it was likely donated from a private collection rather than an institution. This particular artefact is significant as an example of a high-quality Ushabti representative of those produced during the late 18th or early 19th century. It provides insight into the individualism of an Ushabti and the mythology of ancient Egypt. It also provides an example of the types of items required in the tomb assemblages of this period and reinforces the importance of ensuring the successful afterlife of the deceased through art. This Ushabti belonged to a woman named Taweret-Khaiti, Chantress of Amun, in the late 18th Dynasty or early 19th Dynasty (c.1292 BC) of the Egyptian New Kingdom. It likely comes from an undetermined tomb in the locality of Thebes. This figure is made from Nile silt clay (a polyester terracotta; clay sourced from the banks of the Nile River) which was a popular material for Ushabti construction in the early 19th Dynasty. It is in a fair state of preservation (with the exception of a break through the centre) and originally made to a high quality. The face has been damaged but the eyes and eyebrows are clearly marked with black ink and the sclera painted white. The Ushabti is painted a light brown/yellow colour and features a vertical line of inscription down the lower front. The Ushabti wears a large wig and and a schematic collar. The arms are painted light brown and depicted crossed with bracelets around the wrists. It grasps a hoe and mattock. A yellow seed-basket is depicted on the Ushabti’s back. These features represent the likelihood that this particular Ushabti was intended to complete farm work for the deceased in the next life. There would have been additional Ushabti of similar design within the tomb who worked under the supervision of a foreman Ushabti. The foreman Ushabti would be depicted dressed in the clothing of the living. The inscriptions are painted freehand in black ink and written in a vertical column from the base of the collar to the foot pedestal on the front of the Ushabti. The owner of the Ushabti could elect to have the figures inscribed with their name, the Ushabti spell and any other details they deemed necessary. In the case of this example, the Ushabti is inscribed with the owner’s details and is an abbreviated version of the standard Ushabti formula. This formula ensured that the Ushabti would complete the desired task in the afterlife when called upon by the deceased. Ushabti which were not inscribed would represent their intended purpose through design; however, this Ushabti, like most made in the late 18th Dynasty, conveys its purpose both through both design and inscription. The inscription is as follows: sHD wsir nbt pr Smayt imn tA-wr(t)-xai(ti) mAa xrw which translates to: "The illuminated one, the Osiris (the deceased), the mistress of the household, Chantress of Amun, Taweret-Khaiti, true of voice (justified)"ancient egypt -
Otway Districts Historical Society
Film - DVD, ANZAC Day 2007 Beech Forest, 25 April 2007
Home made video of the 2007 ANZAC Day Service at Beech Forestanzac, anzac day, beech forest, otway -
Robin Boyd Foundation
Slide, Robin Boyd, 1966
Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. In 1966 Boyd travelled to Far North Queensland and the Northern Territory for research – the Expo exhibits included a coral display, a large rock feature made from Australian sandstone and a native plant garden.Colour slide in a mount. Aerial view on the way to Alice Springs, Northern Territory, AustraliaMade in Australia / 33 / DEC 66M4northern territory, slide -
Melbourne Tram Museum
Slide - Set of 2, Les Fordham, Dec. 1963
hanimount light brown 35mm slides - December 1963 taken by Les Fordham of: .1 - W2 624, (East Brighton, route 64) turning from Dandenong Road into Hawthorn Road. Tram has adverts for Tolleys Brandy and AMP Life Insurance. .2 - W2 373, (East Brighton, route 64) outbound in Dandenong Road, possibly nearing Hawthorn Road.trams, tramways, dandenong road, caulfield, hawthorn road, tram 624, tram 373 -
Ruyton Girls' School
Magazine, Ruyton Girls' School, The Ruytonian, 1936
In July 1909, a modest 12-page booklet was put together by members of the fledgling Old Ruytonians Association (ORA) and distributed to the Ruyton Girls' School community. It was one of their first projects, and their aim was to nurture continuing interest in the School among former and current students. They named it "The Ruytonian." At first, The Ruytonian was produced twice yearly, and always bore a plain cover with a simple name banner. Initially, it was the work of volunteer editors from the ORA, but in 1913 they handed the publication over to the first student editors, Esther Gibson and Lucy Tickell. Since that time, the style and content of The Ruytonian has continuously evolved. The biggest shifts occurred in 1942 when it transitioned to a yearly publication, and in 1969 when it moved to a larger A4 format with a cover image specifically selected for that year.The record has strong historic significance as it pertains to the fourth oldest girls' school in Victoria, Australia. Ruyton was founded in 1878 in the Bulleen Road, Kew, home of newly widowed Mrs Charlotte Anderson (now High Street South). Due to the age of the record dating back to 1936, we can infer it is one of the few remaining complete, intact and original examples of The Ruytonian from this period. Therefore, it can be considered an outstanding representation of its type, and is a reference example for research in early Victorian school history. The record's significance is further enhanced by its exceptionally well-documented provenance, having remained the property of Ruyton Girls' School since its production.Colour publication printed on papyrus coloured paper. 38 pages.Front Cover: D. Derham / THE / RUYTON / IAN / RECTE ET FIDELITER. / JUNE, 1936 /ruyton girls' school, the ruytonian, kew, old ruytonians association, yearbook, school, publication, girls school, junior school, senior school, journal, students, teacher -
National Vietnam Veterans Museum (NVVM)
Film, A collection of 15 reel to reel films and tapes
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Bendigo Historical Society Inc.
Slide - Images by Arthur Pulfer, About 1957-1970
Many images from by Arthur Pulfer copied to slides. Fifteen Slides of the Bendigo Easter parade, includes the Bendigo Show, Rosalind Park Sound Shell and lookout; One Tree Hill Lookout and Williamson Street Toilet Block.history, bendigo, james lerk collection, bendigo easter parade, bendigo conservatory, one tree hill lookout, marching girls bendigo, brass bands bendigo, bendigo rosalind park -
Greensborough Historical Society
Magazine, Rosalie Bray, Watsonia's Whisper: the official newspaper of the Watsonia Traders. August 2002. [First edition], 2002_08
Published between August 2002 and December 2005, Watsonia's Whisper advertised traders in the Watsonia Shopping Centre and reported community news and events. Written and edited by Rosalie Bray. Title varies between editions: Watsonia's Whisper or Watsonia WhisperA snapshot of the Watsonia area between 2002 and 2005.8 paged journal, printed in colour. Copied from the original owned by Rosalie Bray (editor). Articles and advertisements related to Watsonia and the Watsonia shopping centre. Housed in clear plastic 20-page binder.watsonia, watsonia traders, watsonia shopping centre, rosalie bray -
Greensborough Historical Society
Slide - Photograph, John Ramsdale, Greensborough Bypass under construction: Slide 40, 1990s
Photograph shows Greensborough Bypass under construction.Part of the John Ramsdale collection of slides and audio visual material.Colour photograph scanned from slide.No maker's marks. No caption on slide. -
Ballaarat Mechanics' Institute (BMI Ballarat)
Slide - Photograph by Herb Richmond, 1973 Ballarat 21st Begonia Festival
This photograph is from the Herb Richmond collection held in the Ballaarat Mechanics' Institute Audio Visual Collection. Please contact BMI for all print and usage inquiries.Cardboardmount 35mm slide - Kodachromeballarat, 21st, begonia-festival, ballaarat -
Bendigo Historical Society Inc.
Ephemera - LYDIA CHANCELLOR COLLECTION: TEAL MENUS
Two menus: 1. 'Teal' Menu, picture of Captain Cook's cottage Melbourne on LH side. . Chilled fruit juice, crumbed cutlet, tomato sauce, green peas, croquette potatoes, preserved fruit, fresh cream bread rolls, butter, tea, coffee. 2. Liquors and cigarette menu. On front 'Australia, New Zealand, Teal Buffet List. -
Glenelg Shire Council Cultural Collection
Slide - Slide - Cashmore Airport, Portland, 1980s
Coloured slide. Two frontend loaders back-to-back, top small hill. Man watching from right of front loader. Cashmore airport construction site.portland airport, cashmore airport, air travel, construction, engineering -
Bendigo Historical Society Inc.
Slide - GARDEN (FLOWERS) 12 HOPE STREET, Dec 1968
Slide, Garden (Flowers) 12 Hope Street.Dietes Bicolour.slide, bendigo, garden (flowers) 12 hope street., garden (flowers) 12 hope street. -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Ceremonial object - Mayoral chain, Blashki, City of Sandringham Mayoral Chain, c. 1954
This chain was part of the official regalia worn by the Mayor of the City of Sandringham before the amalgamation into Bayside City Council in 1994. The chain was seen as an outward sign of power, authority, and responsibility and was a formal, full-dress type of regalia that was worn by the mayor over their robes at ceremonial functions. The large central drop medallion features the design of the council sea, and the links of the chains are made of cutwork initials of each Mayor. The Sandringham seal was designed by Sans and McDougal had been selected in 1917, by a special committee and its main features are the Sandringham pier and breakwater, with a yacht in full sail as an inset, supported by two dolphins. The motto reads 'Omni Opere' which translates to ‘With all earnestness.’9 carat yellow gold mayoral chain for the City of Sandringham. Consists of two concentric circles of 57 small oval links, with an Australian Coat of Arms as a centrepiece and a large 'drop' medallion of the City of Sandringham seal below. Each oval link is made up of the cutwork initials of a mayor, the surrounding oval border has an inscription above the initials which gives the mayor's name; an inscription below gives dates of office; the earliest is Cr. B.J. Ferdinando 1917-18, and latest is Cr. S.T. Russell 1993-94. The ovals are surrounded by decorative scrolls and are joined by small curb chains. The outer circle contains 31 links, while the inner contains 26. On both shoulders sit decorative bars, joining the front of the chain to the back. The main medallion has an oval central panel that features the coloured Sandringham seal in enamel depicting two sailboats in the water, a pier protruding from the left, a coastline on the right with two pine trees. Above the scene are decorative triangles in light blue and yellow, above which is another section in dark blue containing a third sailboat. The seal is flanked by two engraved dolphins and above it sits an engraved St Edward's gold crown filled with red enamel. Below the seal, there is a ribbon containing the Latin motto 'OMNI OPERE' which is engraved and filled in dark blue enamel. The pendant is surrounded by cutwork lettering reading 'CITY OF SANDRINGHAM / 1919' and leaf decorations. The medallion is inscribed on the reverse with important dates in Sandringham's history. A fleur-de-lys joins the medallion to the Australian Coat of Arms centrepiece above. The Coat of Arms features a shield, depicting symbols of Australia's six states, in enamel, flanked by an engraved kangaroo on the left and emu on the right. Below it sits a ribbon engraved 'ADVANCE AUSTRALIA'.mayoral chain, ceremonial wear, seal, medallion, mayor, coat of arms, crest, bayside, blashki & sons, city of sandringham, sandringham, omni opere, blashki, mayoral regalia, motto, st edward's crown, sans and mcdougall -
Ballarat Tramway Museum
Ephemera - Tour Booking Form, Melbourne and Metropolitan Tramways Board (MMTB), First BTPS Lunch time tram tour, Nov. 1972
Has a strong association with a BTPS organised tour and yields information about the tour arrangements.Set of three documents associated with a BTPS organised tour - First BTPS Lunch time tram tour - 1/12/1972. .1 - tour advice note - duplicated - gives destination and start point, times. .2 - type ticket on yellow paper. .3 Spirit duplicated, handwritten Special Table" or timetable for a charter tram tour printed on a pink card. Issued by the MMTB for a BTPS special charter on Friday 1/12/1972 - Gives time and route arrangements. Has changes in ink on .1 and .3 in pencil on the special table that tram 676 was not used.btps, charters, special trams -
Eltham District Historical Society Inc
Slide - Photograph, The Wiregrass Gallery and Art Store, 965 Main Road, Eltham, c.May 1988
35mm colour positive transparency (1 of 23) Mount - Kodak EktachromeProcess Date MAY 88Meltham, main road, art store, eltham railway station, platform 3095, restaurants, shops, wiregrass gallery -
Ballarat Tramway Museum
Ephemera - Ticket, Australian Railway Historical Society (ARHS), ARHS Tram tour tickets, Feb. 1967
Ticket used for passengers on the Australian Railway Historical Society (Vic. Div.) tour to Ballarat and Ballarat trams on 25 Feb. 1967. Number "0189", printed on Edmondson pasteboard card, with the name "Australian Railway Historical Society" and ticket number pre printed, and the words "BALLARAT TRAM TOUR 25-2-67", stamped in black ink using a hand stamp. Card is off white with two light blue vertical stripes on both sides. Ticket printed in landscape format. See image for details.trams, tramways, tickets, arhs, tours -
Ballarat Tramway Museum
Slide - 35mm slide/s, mid 1950's
Agfachrome Professional plastic mount (blue base, white cover) reproduction slide of a colour slide of Geelong Pengelley No. 19 running out of the depot / power house building into Corio Tce mid 1950's. Tram has the destination of Chilwell. Photographer unknown. Taken after 1951, probably near time of closure. "G 18" and "1 -18" in pencil.tramways, trams, geelong, depot, corio st, tram 19 -
Moorabbin Air Museum
Magazine (series) - Interavia 1956 to 1962
Publisher McGraw Hill Publishing Co Inc -
Bendigo Historical Society Inc.
Slide - CHS, CONSERVATORY GARDENS, BRIDGE STREET, BENDIGO, 1979
Slide. CHS, Conservatory Gardens, Bridge Street, Bendigo. Date:7.4.79slide, bendigo, conservatory gardens bendigo, chs, conservatory gardens, bridge street, bendigo.1979 -
Moorabbin Air Museum
Magazine (Item) - Bristol Bombay Type 130 article