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Federation University Historical Collection
Book, Ballarat School of Mines and Industries, Ballarat, School of Mines and Industries minutes if the Board of Studies, Assets Committee, Staffing Committee and Special Working Committee 1976-79, 01/07/1976
School of Mines Ballarat is a predecessor of Federation University This book is an minutes book of the School of Mines 1970's giving us an understanding of the operations of the School of Mines in that era and of the people involved with the institution at that time. It shows projects that were being undertaken at the institution at the time and gives us an historical perspective on project costs and the type of work being doneLarge dark red book with gold lettering on the front cover Staffing, Boardof Studies, Special Working party in black marker on the spine school of mines ballarat, board of studies, assets committee, special working party, staffing committee, w.j.c north, e.j tippett, m.b john, g.h beanland, s.a mendelson, k.j flecknoe, p. shiells, a. smail, j. crowe, r. hazlett, b. webber, d.drake, r. morgan, j. bell, l. shannon, a. peart, e.j barker, r.t morrell, k. andrews, r. dobell, l.f hillman, b. muir, r.mcfarlane -
Federation University Historical Collection
Book, Ballarat School of Mines and Industries, Ballarat, School of Mines and Industries minutes if the Board of Studies, Assets Committee, Staffing Committee and Special Working Committee 1980-1983, 01/07/1976
School of Mines Ballarat is a predecessor of Federation University This book is an minutes book of the School of Mines 1970's giving us an understanding of the operations of the School of Mines in that era and of the people involved with the institution at that time. It shows projects that were being undertaken at the institution at the time and gives us an historical perspective on project costs and the type of work being doneLarge dark red book with gold lettering on the front cover and blue spineBoard of Studies and Staffing Committee on orange labels on the spineschool of mines ballarat, board of studies, assets committee, special working party, staffing committee, w.j.c north, e.j tippett, m.b john, g.h beanland, s.a mendelson, k.j flecknoe, p. shiells, a. smail, j. crowe, r. hazlett, b. webber, d.drake, r. morgan, j. bell, l. shannon, a. peart, e.j barker, r.t morrell, k. andrews, r. dobell, l.f hillman, b. muir, r.mcfarlane, j. van dreven, m johnson, r.c lovett, m.c palmer, b. staley, j.l. turner, i aitken, l elliot, a.c byvoet, l wallis, r.h. hollioake, j. short -
Federation University Historical Collection
Book, Ballarat School of Mines and Industries, Ballarat, School of Mines and Industries minutes if the Board of Studies, Assets Committee, Staffing Committee and Special Working Committee 1983-1985, 01/07/1976
School of Mines Ballarat is a predecessor of Federation University This book is an minutes book of the School of Mines 1980's giving us an understanding of the operations of the School of Mines in that era and of the people involved with the institution at that time. It shows projects that were being undertaken at the institution at the time and gives us an historical perspective on project costs and the type of work being doneLarge dark red book with gold lettering on the front coverBoard of Studies and Staffing Committee on black label on the spineschool of mines ballarat, board of studies, assets committee, special working party, staffing committee, w.j.c north, e.j tippett, m.b john, g.h beanland, s.a mendelson, k.j flecknoe, p. shiells, a. smail, j. crowe, r. hazlett, b. webber, d.drake, r. morgan, j. bell, l. shannon, a. peart, e.j barker, r.t morrell, k. andrews, r. dobell, l.f hillman, b. muir, r.mcfarlane, j. van dreven, m johnson, r.c lovett, m.c palmer, b. staley, j.l. turner, i aitken, l elliot, a.c byvoet, l wallis, r.h. hollioake, j. short, i.w pym, t.a wiseman, l. condon, n. mroczkowski, a.g peart, m. vallance, j. sullivan, b.c mclennan, m. hutchings -
Federation University Historical Collection
Book, Ballarat School of Mines and Industries, Ballarat, School of Mines and Industries minutes if the Board of Studies and Legislation and Constitution Committee 1988-1990, 01/07/1976
School of Mines Ballarat is a predecessor of Federation University This book is an minutes book of the School of Mines 1980's giving us an understanding of the operations of the School of Mines in that era and of the people involved with the institution at that time. It shows projects that were being undertaken at the institution at the time and gives us an historical perspective on project costs and the type of work being doneLarge green book with black spine and handwritten label on spineBoard of Studies and Legislation/Constitution on spine labelschool of mines ballarat, board of studies, assets committee, special working party, staffing committee, w.j.c north, e.j tippett, m.b john, g.h beanland, s.a mendelson, k.j flecknoe, p. shiells, a. smail, j. crowe, r. hazlett, b. webber, d.drake, r. morgan, j. bell, l. shannon, a. peart, e.j barker, r.t morrell, k. andrews, r. dobell, l.f hillman, b. muir, r.mcfarlane, j. van dreven, m johnson, r.c lovett, m.c palmer, b. staley, j.l. turner, i aitken, l elliot, a.c byvoet, l wallis, r.h. hollioake, j. short, n. stevens, k. boast, j annesley -
Federation University Historical Collection
Book, Ballarat School of Mines and Industries, Ballarat, School of Mines and Industries minutes if the Board of Studies and Legislation and Constitution Committee 1988-1990, 01/07/1976
School of Mines Ballarat is a predecessor of Federation University This book is an minutes book of the School of Mines 1980's giving us an understanding of the operations of the School of Mines in that era and of the people involved with the institution at that time. It shows projects that were being undertaken at the institution at the time and gives us an historical perspective on project costs and the type of work being doneLarge red book with gold lettering on the front cover.school of mines ballarat, board of studies, assets committee, special working party, staffing committee, w.j.c north, e.j tippett, m.b john, g.h beanland, s.a mendelson, k.j flecknoe, p. shiells, a. smail, j. crowe, r. hazlett, b. webber, d.drake, r. morgan, j. bell, l. shannon, a. peart, e.j barker, r.t morrell, k. andrews, r. dobell, l.f hillman, b. muir, r.mcfarlane, j. van dreven, m johnson, r.c lovett, m.c palmer, b. staley, j.l. turner, i aitken, l elliot, a.c byvoet, l wallis, r.h. hollioake, j. short, n. stevens, k. boast, j annesley -
Conservation Volunteers
Photograph: Prime Minister John Howard visits ATCV head office in Ballarat in 1997 after ATCV wins Green Corps contract, Prime Minister John Howard visits ATCV head office in Ballarat in 1997 after ATCV wins Green Corps contract, 1997
Colin Jackson, Phil Harrison and Garry Snowden were in Parliament House, Canberra, on the evening of 20 August 1996, to hear the Budget Speech by the new Federal Treasurer, Peter Costello MP, who announced: “…the Government will provide $42 million over the next three years to establish the Green Corps. The Green Corps will be open to young Australians aged 17 to 20 to demonstrate their commitment to the environment by working on projects to preserve and restore Australia's natural environment and cultural heritage. The projects will also contribute to their career and employment prospects through training, skills development, work experience and personal development.” Soon after, the Commonwealth advertised a tender for a manger for the new program. Phil Harrison orchestrated a flurry of faxes between Brisbane and Ballarat, as Colin Jackson, Madeline Townsend, Garry Snowden and John Fenton fine-tuned the document. National reach and credible record won ATCV the job to administer and manage Green Corps for the whole of Australia for five years (1997-2002) was won in November and the contract was signed on the eve of Christmas, 1996. At the national launch of Green Corps – Youth for the Environment held in sweltering Adelaide on 12 January 1997, Colin Jackson assure the responsible Minister, Senator Amanda Vanstone, that thirty six projects were already in place and that recruiting was going well. Those who were there recall with awe the remarkable celebration that was the National Green Corps Conference on 21-24 February 1998 in Canberra. One hundred and one participants representing 71 past and current teams from around Australia, Treasurer Peter Costello, three other Commonwealth Ministers, and several “captains of industry” were on hand. Board member Sue Campbell remembers feeling “deeply moved” when Travis Schicchitano explained to the audience how much joining Green Corps had meant to him. Travis said: “Green Corps was an amazing hands-on practical experience, which has enabled me to learn and to fulfil my passion, the Australian environment.” Black and white group portrait photograph.“It’s not every day that you get the Prime Minister walking in off the street, and one of my favourite moments was in 1997 when the Hon. John Howard made his visit to Head Office in Ballarat” – Colin Jackson atcv cva green corps young australians for the environment commonwealth government prime minister john howard tony abbott mp michael ronaldson mhr senator amanda vanstone -
Kiewa Valley Historical Society
Journals - S.E.C.V. 1936-1956, 1936 - 1956
The State Electricity Commission of Victoria published a journal every second month for all its workers throughout Victoria. Each 'project' reported their news, giving an update on work, sport, technical achievements, social gatherings, personal notices etc. The S.E.C. Journal included a regular section for the Kiewa Hydro Electric Scheme titled "Kiewa Keynotes" giving an insight into life & an update on the work on the project and the reporting of new clubs, services etc. being formed. It also reported on many of the people living there. Eg. Feb.-Mar. 1955 Cover "Packhorses get supply to Kiewa's survey outposts - Pg. 2. S.E.C.V. Journals covering the period of the Kiewa Hydro Electric Scheme. Each journal is about 33 pages with a soft card board or glossy paper cover. The earlier journals were plain with one colour and white , the later ones had a photo on the front. The journals were identified by Vol. & No. and months and year. state electricity commission of victoria. kiewa hydro electric scheme. kiewa valley. bogong. mt beauty. dams. power stations. -
Kiewa Valley Historical Society
Book - Religious Education, Teacher's Guide to Self Study Project Books x2, 1971
Students attended Sunday School classes at the Kergunyah Presbyterian Church. Sunday school was held in a little 16 foot square wooden building which came from Rocky Valley after it was no longer needed there. Ewen Wallace's father initiated and organised the move. C2011 the building was knocked down because of white ants. The Presbyterian Church will be 125 years old in 2015.Historical: Religious Education: This book was used by teachers who took classes at the Sunday School at the Kergunyah Presbyterian Church. Religion: Presbyterian Church at Kergunyah, in the Kiewa Valley, celebrates its 125th anniversary in 2015 after being handed over to the Uniting Church in the 1970s.Blue / green book with white block letters for title and sketch of person reading a book and pencils at bottom right. Card board cover, 16 pages, stapled with 2 staples.religion, christian, presbyterian, methodist, churches of christ, congregational churches in australia and new zealand, anglican church, kergunyah, religious education, ewen wallace, sunday school -
The Beechworth Burke Museum
Audio - Oral History, Jennifer Williams, Mrs Margaret O'Loughlin, 26 September 2000
Margaret O’Loughlin was born in Beechworth at the old hospital in 1937. Her father was born in Greta West and Mother is from Timboon. Margaret spent her life in the Beechworth area where she was educated and worked at the post office in the telephone exchange. Working at the exchange gave Margaret a behind the scenes understanding of the community from working the switch board and connecting vital services such as the fire brigade, the doctor and mental hospital in Beechworth. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.Margaret O’Loughlin’s life story is significant to the Burke Museum as she was born and raised educated and worked in the district her whole life. She married and had three children. She was community minded and worked in the Post Office while her husband worked in the local mental hospital. As a family they then lived next to the Fire Station in the fire house and their knowledge of the township spans the 1900s. Margaret saw changes in the town from a communications perspective, working in the telephone exchange sending messages via Wangaratta and until a time that the exchange became automated. After that she continued working in a face to face roll at the Post Office and had an intimate knowledge of the town. Her husband worked for 31 years at the mental hospital, Mayday and the couple saw changes to the town and community brought about be World War II. This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a unique insight into the day-to-day life of the town's residents during the 20th century, many of which will have now been lost if they had not been preserved.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a cleat flat plastic rectangular container. It holds up to 40 minutes of recordings on each side. Mrs Margaret O'Loughlin /listen to what they say, beechworth, oral history, burke museum, post office, margaret o'loughlin, mayday, mental hospital, communications, fire house, telephone exchange -
Greensborough Historical Society
Article, Greensborough Historical Society et al, Geoffrey Granville Evans, 1914-1918
... School Honor Board. world war 1 project geoffrey granville evans ...A short article about Geoffrey Granville Evans and his service in World War 1. Geoffrey Evans and his brothers are commemorated on the Greensborough State School Honor Board.1 Page, text and colour images.world war 1 project, geoffrey granville evans -
Greensborough Historical Society
Article, Greensborough Historical Society et al, John Granville Evans, 1914-1918
... Board. world war 1 project john granville evans Greensborough ...A short article about John Granville Evans and his service in World War 1. John Evans and his brothers are commemorated on the Greensborough State School Honor Board.2 Pages, text and colour images.world war 1 project, john granville evans -
Greensborough Historical Society
Article, Greensborough Historical Society et al, Tyrrell Granville Evans, 1914-1918
... School Honor Board. world war 1 project tyrrell granville evans ...A short article about Tyrrell Granville Evans and his service in World War 1. Tyrrell Evans and his brothers are commemorated on the Greensborough State School Honor Board.1 Page, text and colour images.world war 1 project, tyrrell granville evans -
Greensborough Historical Society
Article, Greensborough Historical Society et al, George Frederick Moore, 1914-1918
... on the Greensborough State School Honor Board. world war 1 project george ...A short article about George Frederick Moore and his service in World War 1. At the time of his enlistment he was living at Eltham. George Moore is commemorated on the Greensborough State School Honor Board.One page, text and colour images.world war 1 project, george frederick moore -
Eltham District Historical Society Inc
Photograph, Community Arts 1987 Festival Paraphernalia Project
One of a set of display images thought to be produced by the Shire of Eltham c.1979-1987. Children working on a paper mache arts projectIllustrative of services provided by former Shire of ElthamColour photograph 20 x 29 cm mounted on green-painted chipboard 28 x 35.5 cm (string on back for hanging)Title printed on label adhered to board below photograph (replaced June 2017)community arts, children, paper mache -
Eltham District Historical Society Inc
Photograph, Ron Grant, The Eltham Peace Group hanging the Hiroshima Day Banner on the Community Notice Board, Arthur Street, Eltham; Community Arts 1986 'As We Are' Banner Project Group, Hiroshima Day, 6 August 1986
Arthur Street, Eltham next to ANZ Bank The Hiroshima Day Banner was made by Jacky Talbot as part of the project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The artist was concerned about the remaining time scheduled for the project and spent several days "whipping" up the banner herself. For the artist this banner was to prove quite significant. The women hung it at the Community Notice Board on Hiroshima Day and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Although no new members joined the group from this activity, the artist felt that she was more fully accepted by the group afterwards. This banner has initiated a small group of women committed to peace. The artist has also continued to liaise and meet with the women as time permits. Future group plans include: making kimonos to wear when carrying the banner, participating in the Palm Sunday March, an observance of Hiroshima Day activity, which is yet to be decided, establishing contact with a sister-town in USA and USSR and supporting Eltham Council's stance as a Nuclear Free Zone. (The banner habits of the Eltham tribes : Eltham Shire "as we are" Community Banner Project report / by Jacky Talbot, Shire of Eltham, Feb. 1987, p46) Used in Shire of Eltham display at the Eltham Community Festival, 7 November 1987. Shire of Eltham Engineering Department Providing the resources to undertake • Survey, design, consultation • Road construction and maintenance • Bridge construction and maintenance • Street sweeping • Drain and pit cleaning • Traffic engineering installation and maintenance • Garbage collection • Tip management, land reclamation and beautification • Maintenance of community buildings • Provision of community and recreation facilitiesIllustrative of services provided by former Shire of ElthamColour photograph 20 x 29 cm mounted on green-painted chipboard 28 x 35.5 cm (string on back for hanging) Ref: 01842-0Title printed on label adhered to board below photograph (replaced June 2017)display panel, eltham festival, eltham peace banner, hiroshima day banner, infrastructure, shire of eltham, laurel eckersall, anne laurence, betty johnson, joan maclagan -
Eltham District Historical Society Inc
Photograph, Entrance to Shire of Eltham Memorial Park, Garden Hill, Eltham-Yarra Glen Road, Kangaroo Ground, c.1923
View to south-east from Shire of Eltham Soldiers' Memorial Park showing the carriageway from the road to top of Memorial Park. Accompanying notes state that the entry gate was put in place in May 1921. Eltham and Whittlesea Shire Advertiser and Diamond Creek Valley Advocate Fri 21 May 1920 p 2 reported: Kangaroo Ground Memorial Park "It was decided to arrange for a working bee on Saturday, 29th inst., for the purpose of forming and gravelling the track leading to the Park, and of carrying out other necessary works." A history summary of the Shire of Eltham Soldiers’ Memorial Park • The summit at Garden Hill was a popular tourist lookout and picnic spot from the 1880s. Virtually the entire Shire of Eltham and beyond could be viewed from this location. • A local farmer, Mr Walter A. D. Wippell is credited as being the first to propose the idea of a war memorial park and offered £50 towards the purchase of the land. • The earliest public reference to this project is to be found in the local Advertiser newspaper edition of August 9th, 1918. A report of the August Council meeting records the Eltham Shire President, Cr. Robert White, saying: "some time back it was proposed that the Council obtain and place on an Honour Board in the Council Chamber [at Kangaroo Ground] containing names of the lads who had enlisted. Just recently however, it had been suggested that a more fitting memorial would be the obtaining of a piece of land on the summit of Garden Hill, Kangaroo Ground, and the formation of a memorial park in which a monument could be erected to represent the whole of Shire. If a couple of acres could be obtained a gentleman had promised to donate 50 pounds, and another one would fence it, and other contributions, he was sure, could be obtained." • Councillors were favourable of the proposal and the President, Shire Secretary and Shire Engineer were deputised to wait on Messrs Mess Bros. (the owners of the Garden Hill farm) and ascertain if they would gratuitously give the land. The Mess Bros. land adjoined the farm/stud of Mrs Fanny White (Cr Robert White’s mother), daughter of Andrew Harkness who established their property on Garden Hill around 1846. • Access to the land came in February 1919 when several Councillors and the Shire Engineer surveyed the actual two acres of '5 chains along the road and 4 chains deep'. The Engineer volunteered his services free to do this task. The Mess brothers however demanded £100 per acre but eventually agreed to take £50 per acre. • Entry from the Kangaroo Ground-Yarra Glen road was seen to be a problem and Mrs. White, who owned the land beside the park, was asked to donated a triangle of her property to allow this access. • By September 1919 returned soldiers were employed by the Shire and volunteers were called to clear the hilltop by ploughing up the rocks and clearing the area, the fencing was put into place and in May 1921 the Council erected three gates, within an archway, at the entrance to the drive and pathway to the summit. • Public subscriptions were sought through the Advertiser newspaper to beautify the site. The views of the Curator of the Melbourne Botanical Gardens were sought as to the ‘class of ornamental trees most suitable for planting in the Park area”. • The Memorial Park or Shire of Eltham Soldiers’ Memorial Park was officially opened by Mr. W.H. Everard, M.L.A., 3 September 1921. • In 1922 plans were made to place a War Memorial in the Park. Funds were donated by the Council of £250 and a challenge to the community, to match this money with contributions was met. • On Anzac Day 1923, 1,000 people gathered on the summit in the park for a memorial service. A much smaller group of about 50 people gathered around a newly constructed cairn and flagstaff in the afternoon of Anzac Day 1924 amidst rain and a squally southerly wind, the morning service being cancelled. • A meeting for those interested in establishing a War Memorial monument within the park was held in January 1924 and the Eltham Shire War Memorial League was formed and a design competition decided upon. • The Shire of Eltham War Memorial tower was built in 1926 at a cost of £1,023 and 5 shillings with locally quarried stone donated by Dr Ethel and Professor William Osborne. It was formally known as the ‘Shire of Eltham War Memorial’ and was unveiled on 11 November 1926. The large bronze inscription above the entrance to the tower states: SHIRE OF ELTHAM WAR MEMORIAL THESE MEN DIED FOR THEIR COUNTRY 1914 IN REMEMBRANCE THIS TOWER WAS BUILT 1918 • The Caretaker’s hut was built in 1927 with left over from the tower construction. • A returned soldier was appointed to act as caretaker for the memorials. Tiny Carrol, a huge man, was the first caretaker and lived in the stone hut. There was a push to have alterations made at one stage to provide additional rooms for a married caretaker but was rejected. • A new Caretaker Cottage was built in 1951 at a cost £2,500. The cottage had been subjected to raids by thieves three times during construction until a guard from the Returned Servicemen’s League was posted until its opening. • The War Memorial tower was re-dedicated by Sir Dallas Brooks on 8 November 1951, unveiling new bronze plaques containing the names of those who fell during the Second World War. Sir Dallas also officiated the opening of the new Caretaker’s Cottage. • A toilet block was built in 1965. • A further dedication of the Shire of Eltham War Memorial tower took place 11 November 2001 to recognise the men who fell in subsequent campaigns up to and including Vietnam. • Four land titles are involved: o The purchase of the two acres from owners Ruth Gosling, Alexander Mess, James Johnson Mess and Joseph Mess is recorded in two actions, the first being the payment of £100 for the two acres, the second showing that the Shire of Eltham did not get a transfer of title until 14th January 1952. o The access land donated by Mrs. Fanny White is dated 26 February 1924. A further need to widen the entry came after the deepening of the road cutting and another land donation was given by Sir Herbert Gepp, title dated 15th May 1952. This would have been about the time he sold off the former White ‘Garden Hill’ property. o The land reserve to increase the area and possibly allow a circuit road to be put in place on the western side of the park was purchased by the Shire of Eltham, title dated 16th February 1973. Rare photograph of the entrance to the Shire's Memorial Park during early stages of development prior to the erection of the Shire of Eltham War MemorialSepia photograph printed with white border with slight crack lower left hand corner and three significant vertical cracks fanning from lower centre edge to upper edge Digitally enhanced version to minimise impact of crackseltham-yarra glen road, entrance gate, garden hill, kangaroo ground, shire of eltham memorial park, shire of eltham war memorial, kangaroo ground war memorial park -
Warrnambool and District Historical Society Inc.
Document, HeritageWorks Personnel, Warrnambool Pioneers Board, 2017
This is an invitation to the launch of the conservation and publication project for the Warrnambool Pioneer Honour Board. The invitation was sent out in the name of Lilian Foyle, the Warrnambool photographer and artist who produced the portraits and some of the sketches on the board. A person representing Lilian Foyle welcomed those who came to the launch. The Pioneer Honour Board, initiated by Edward Vidler, was first assembled in 1907 to mark the 60th anniversary of the founding of Warrnambool. It has the portraits of 204 pioneer men of Warrnambool and district and is one of the best examples of a pioneer honour board in Victoria. It now requires extensive conservation work and an appeal has been launched to cover the cost of this. A publication with biographies of the 204 men is also being prepared. This invitation is of great interest as it is connected to the Warrnambool Pioneer Honour Board which is one of the most important historical items in the city of Warrnambool and a work of art in its own right.This is a buff-coloured piece of paper with black printing and a black and white photograph of Lilian Foyle. There are also two ornamental patterns on two corners of the printing. ‘Lilian Foyle, photographer and artist, invites you to meet the men on the Warrnambool Pioneers Board at the launch of the conservation & publication project to be held at HeritageWorks on Sunday 17 September at 2.30 pm’warrnambool pioneer honour board, lilian foyle, edward vidler -
Expression Australia
Book, Certificate of Applied Social Science - Interpreting Deaf/Hearing Impaired
Prepared by Special Projects Unit Richmond College of TAFE - Submission for Accreditation (1985)29cmHx21cmW; 377 pagesaustralian deaf sign language, interpreting, technical and further education, tafe board of victoria, auslan -
RMIT Design Archives
Booklet - Documents, Interior Design: Melbourne Technical College Correspondence School, Papers 10-12, c.1948
Emigre Frederick Sterne set up a four-year Interior Design program for the Melbourne Technical College c. 1948. It was the first program of its kind in Australia, On the cover the hand-written words ‘Interior Design’ have a sense of pride in their hand and the drawing of an interior – probably Sterne’s – emerging from the drawing board illuminated by artificial light that projects a future. Suzie Attiwell, 2017interior design, rmit university -
Surrey Hills Historical Society Collection
Book, Diary of 138 Spr. R Garford M.M. Battalion and Div.Sig.Coy A.I.F
By arrangment with local and family history librarian, Myra Dowling, this diary was transcribed by Sandra Dexter from the original, which was donated to the City of Boroondara Library Service following the Boroondara Remembers project in 2015. It is a day-to-day account of a soldier's experience going to fight in World War 1, 1914-1919. Robert Thomas Garford (SERN 1138) was born in Fitzroy in 1892. He was aged 23 and living in Camberwell when he enlisted on 14 September 1914. He embarked from Melbourne on board HMAT A38 Ulysses on 22 December 1914. He was a sapper with the 2nd Divisional Signal Company. He was awarded a Military Medal: 'At CLERY, near MT.ST. QUENTIN, on the 31st of August 1918, this soldier was engaged as a linesman at the Brigade Forward Station. Throughout the day forward lines were repeatedly broken by enemy shell fire. Despite this Sapper FARFORD [sic], with very conspicuous coolness patrolled the lines from end to end repairing one break after another. His untiring efforts were responsible for the constant maintenance of communications from the Brigade Station to the Battalions.' Source: 'Commonwealth Gazette' No. 115, 10 October 1919. He returned to Australia 3 December 1918. He married Annie Christina Devine in 1941. They lived at 16 York Street, Surrey Hills and later 17 Blackburn Street, Surrey Hills. He died 30 May 1969 at Surrey Hills and is buried in Box Hill Cemetery: P-A-0054.A day to day account of a soldier's experience going to fight in World War 1, 1914-1919world war, 1914-1918, diaries and journals, (mr) (sapper) r garford, box hill cemetery, robert thomas garford -
Federation University Art Collection
Oil on board, Student Project, [Untitled]
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.Collaborative student workart, artwork -
Tatura Irrigation & Wartime Camps Museum
Photograph, State Rivers and Water Supply Commission, 1957
This photograph was taken for the State Rivers and Water Supply Commission - for display purposes.Large sepia photograph dry mounted to cream board. Sign board with Engineer Ron Dickson looking at sign on left of photographState Rivers and Water Supply Commission / Goulburn Irrigation System / Enlargement and Remodelling Project / Design and Construction Depot / Enquiries at General Office.irrigation, victoria state rivers and water supply commission, ron dickson -
Williamstown High School
1970s - Arts Program
Jenny Pitts (student - Form 4, 1972) chose body painting for her 1970's art project..Copy of black and white photograph mounted on board.williamstown high school, arts program, body painting, jenny pitts, 1970's, 1972 -
National Wool Museum
Report, Single file races for sheep
"Single file races for sheep" - H M Hamilton, October 1988. A report prepared for the Wool Harvesting Research Committee of the Australian Wool Board. The University of Melbourne Department of Civil and Agricultural Engineering, Wool harvesting technology transfer project.UM06H TERM DATE 06/88sheep stations - management wool - research sheep dogs stockmen, australian wool board - wool harvesting research committee university of melbourne, sheep stations - management, wool - research, sheep dogs, stockmen -
Nillumbik Shire Council
Mixed Media (installation): John R. NEESON (b.1956 AUS), John R Neeson, Riverbend Project, 2015
John R Neeson was a Laughing Waters Artist in Residence in 2015. During his residency Neeson made site specific trompe-l’oeil paintings and time based videos that referenced the changes of light upon the Knox architecture and the environment of Laughing Waters.Wooden easel holding an oil on board painting of the Yarra River and surrounding landscape at Laughing Waters (detailed view). Behind the painting and easel is a digital photograph of the painting and easel in situ in the landscape. The photograph is printed on aluminium. No inscriptions and markingsekphrasis 2016, neeson, easel, oil painting, yarra river, digital photograph, landscape, in situ, site specific, riverbend -
Nillumbik Shire Council
Painting: Penelope AITKEN (b.1967 Melb. AUS), Penelope Aitken, Mapping Mass & Void 10, 2008
Penelope Aitken lives and works in Melbourne, Australia. She makes paintings and installations about relationships: between people, between things and between people and things. Recurring subjects include friendship, genealogy, romantic liaisons, and cross-cultural exchange as well as gardening, craft and landscape design. 'I am interested in the social, psychological and aesthetic motives behind organisation, belonging and displacement and I often make work that investigates such arrangements.' She has held regular solo exhibitions since 1995 and has been represented in group exhibitions since 1989. These have included shows in public and commercial galleries, artist run spaces, outdoor projects and festivals in Melbourne, Sydney, Perth, Brisbane, Bundaberg, Kuala Lumpur, Taipei, Tokyo and Famagusta, Northern Cyprus. Aitken has previously worked at the Australian Centre for Contemporary Art and at Asialink at the University of Melbourne. From 2006 - 2009 she was a board member of the Melbourne artist run gallery, West Space and she has also curated and coordinated numerous exhibitions and written and edited catalogues, articles and essays. She holds a Bachelor of Arts and a Bachelor of Education (Visual Arts) both from The University of Melbourne and completed her Masters of Fine Art at the Victorian College of the Arts in 2004. In 1997 Aitken was selected to be a studio artist for two years at Gertrude Contemporary Art Spaces, Melbourne and in 2000 she undertook an Australia Council Studio at the Taipei National University of the Arts, Taiwan. More recently she spent two months in 2007 at the Laughing Waters Residency, Birrarung, in Eltham, Victoria. There she began her current interest in the rocks used in the landscape designs of Gordon Ford. Paintings of Ford's rocks made since 2007 as well as glacial erratics, meteors, and other natural and displaced rocks were exhibited in March 2011 at the Light Factory Gallery in Eltham in a show called My History of here, and Second Nature, one work from this exhibition, was awarded first prize at Eltham Masterworks 2011. Other work made about rocks in nature and culture include: the project, A dark archive, as well as in two installations: You seem so settled for one that doesn't belong held at West Space in 2009 and Gathering these things to remind me of home shown in 2010 at the Bundaberg Regional Art Gallery, Queensland. In July and August 2007 Aitken undertook an arts recidency at Birrarung, a house and garden designed by Gordon Ford and managed as the Laughing Waters Artist in Residence Program by the Shire of Nillumbik Victoria. The rocks depicted in the painting 'Mapping Mass & Void 10' are all taken from the garden at Birrarung. Aitken has made reference to those rocks and the way in which Ford thought of the rocks as individuals that need to be handled and placed with consideration to show off their best aspects.oil and acrylic on linen ek prac 2015 -
Puffing Billy Railway
Emerald Tourist Railway Board 1977 - 2017 40 Years - Locomotive Head Board, 2017
Locomotive Head Board - Emerald Tourist Railway Board 1977 - 2017 40 Years Historic - Puffing Billy Railway Locomotive Head Board used in the Celebration of Emerald Tourist Railway Board 1977 - 2017 40 Years EMERALD TOURIST RAILWAY BOARD 1st October 1977 - 1st October 2017 Today marks the 40th anniversary of when the Emerald Tourist Railway Board took over the ownership of Puffing Billy from the Victorian Railways. Since then Puffing Billy has gone from strength to strength with the last few years seeing a huge increase in passenger numbers. A major investment over the next ten years will see a number of infrastructure projects being completed. A new (restored) locomotive and extra carriages will come into play and hopefully soon, the reopening of Puffing Billy's museum at Menzies Creek. Puffing Billy has been around since 1900. With a minor hiccup in the 1950s and the rebuilding of the railway from Belgrave from the late 1950s to the early 1960s and onwards, the preserved heritage steam railway will hopefully continue to operate for many generations to come. This photo was taken early this morning. The required loco's for the day were still being prepared and all shunting movements had been completed. The first of many passengers were just starting to arrive. Photo & Info : Robert Smith : Past 2 Present A gleaming NA locomotive 14A had the honour of hauling the first E.T.R.B. train while 7A had the last train by the Victorian Railways, both on the 1st October 1977. 7A left Belgrave at 11.10am for Lakeside and 14A left Belgrave at 2.10pm.This train also to Lakeside included the ex Mt Lyell carriage NBL1 for the conveyance of the official party. Both loco's are still operating today. Photo: John E. Thompson (NG #67) Historic - Puffing Billy Railway Locomotive Head Board used in the Celebration of Emerald Tourist Railway Board 1977 - 2017 40 YearsLocomotive Head Board - Emerald Tourist Railway Board 1977 - 2017 40 Years Circular steel sheet with vinyl stickers.Emerald Tourist Railway Board 1977 - 2017 40 Yearspuffing billy, head board, emerald tourist railway board, emerald, 40 years -
Victorian Aboriginal Corporation for Languages
Book, Irruluma Guruluwini Enemburu - A I Brown, Koori English, 1989
This paper is the first of a series on Aboriginal languages commissioned by the State Board of Education and forms part of a project conducted in conjunction with the Victorian Aboriginal Education Association Incorporated.B&w photographskoori english, education -
Victorian Aboriginal Corporation for Languages
Periodical, Australian Institute of Aboriginal and Torres Strait Islander Studies, Australian Aboriginal studies : journal of the Australian Institute of Aboriginal and Torres Strait Islander Studies, 2008
1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology -
University of Melbourne, Burnley Campus Archives
Plaque, 1996-2013
The plaque was presented in 2013 to Ross Gregory Hall, Senior Lecturer (Production Horticulture) Faculty of Agriculture, Forestry and Horticulture. The letter to Ross Gregory Hall was written by Jolyon Burnett, Senior Industry Program Manager, granting funding for NY538 International Propagators Society Australian Region Annual Conference, Melbourne, May 1996. The agreement between The Horticultural Research and Development Corporation and the Faculty of Agriculture, Forestry and Horticulture for this project. 1. Plaque on wooden board. 2. Letter to Ross Gregory Hall. 3. Agreement between The Horticultural Research and Development Corporation and the Faculty of Agriculture, Forestry and Horticulture for this project.ross gregory hall, jolyon burnett