Book - 20 pages printed on gloss paper + manilla coloured card cover, titled "Vacancies for Tram Conductors in Melbourne Australia / Conditions and Advantages of Employment 1964 - Single Men Only". Part of the recruitment drive for the MMTB during a period of crew shortages. Gave the conditions, accommodation for up to a year, standards, working conditions, rates of pay, leave, retiring and death gratuities, sport, benefits, becoming a driver, employment, shifts, types of shifts, promotion, wages and conditions. Has a number of photographs of Melbourne, St Kilda Road, Collins St and a photo of a Doncaster bus in a very rural area of Melbourne. Wages and conditions have been updated for the introduction of decimal currency in Feb. 1966 by pasting in sections of paper over the previous sheets.trams, tramways, conductors, recruitment, hostels, mmtb, uk, immigration, wages, retirements, gratuity scheme, buses, doncaster

Just a bit bigger than an A5, soft covered brochure, white with black writing & hexagon shapes, two of which have been cut out 13 pages

Soft cover book slightly larger than A5 siz, green spine with an off white cover with pencil drawings of cattle sheep, pig. seafood, chicken, eggs, sunflowers & wheat 93 pages

Soft Cover book slightly larger than A5 size, Dark Green spine with an off white cover & pencil drawings of a pig, fruit, seafood, chickens, eggs,sunflower grain, cattle, sheep 74 pages

44 pages

Eight photos of a trip to the Melbourne Aquarium in 2001 for a group of junior legatees. The photos were mounted in an album of events that happened for Junior Legatees in 2001, including the trip to the Aquarium, a trip to Luna Park, horse riding and fishing and a Melbourne Legacy Leadership Group Christmas party. Melbourne Legacy arranged many events for Junior Legatees to experience. A record of the outings provided for Junior Legatees organised by Legacy.Colour photo x 8 of Junior Legatees on a trip to Melbourne Aquarium in 2001.Yellow label printed 'Melbourne Aquarium 2001'.junior legatee outing, aquariums

A blue coloured cardboard cover with black information on the front. Under the Australian Army Insigna are the details of the booklet. There are two punch holes on the left hand side of the booklet.australian army, training, information bulletin, minefield

A blue coloured cardboard cover with black information on the front. Under the Australian Army Insigna are the details of the booklet. There are two punch holes on the left hand side of the booklet.australian army, training, information bulletin, minefield

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

This letter was written as a result of a meeting that brought to the attention of the Junior Legacy Club that the accounting methods used by Mr Beattie for his services was unsatisfactory. Melbourne Legacy clearly wished that the accounts be quite transparent. Aaron Beattie was key in the boys classes and annual demonstrations for many years. Walter Pavey served in the Australian Army during WW1 with the 10th Australian Infantry Battalion.A record that Legacy was determined to make their accounting practices professional and transparent, even as early as 1929.Foolscap paper letter signed Walter Pavey. Legacy Club Melbourne, 540-542 Little Collins St, Melbourne C1. Dated 4th June, 1929. Signed Walter Pavey.regulations, aaron beattie

HM & HMA Ships Sussex, Dunedin, Diomede, and Canberra at Princes Pier, Port Melbourne during Centenary Celebrations Saturday 20 October to Sunday 11 November 1934 1 - Handwritten note "Warships at Princes Pier Port Melbourne Sat 20th Oct to Sun 11th Nov" 2 - Handwritten note "Warships at Port Melbourne " - Insp Blyth's report on tramcar loadings for Sunday 11 November. 3 - Port Melbourne Cable Line - memo from DJ Davidson, Dist Traffic Superintendent SS to Mr Taylor at South Melbourne outlining running times for cable trams to Port Melbourne 4 - Handwritten table card 5 - Letters from Navy Office proving details of ship opening times during the Royal VisitNumerous inscriptions written in pencil and ink across most documentstrams, tramways, events, inspection, port melbourne, port melbourne depot, cable trams

Although the 'Waler' was specifically bred for the Australian bush it proved a tough, reliable mount in the desert battles in the Middle East during WW1. Over 130,000 were sent overseas and of these 15,000 served with the Light Horse. None would return to Australia.Cold cast bronze figurine of an Australian Light horseman kneeling beside his "Waler" horse. Mounted on a wooden base with an engraved brass nameplate.THE WALER'S MATE AUSTRALIAN LIGHT HORSE

A yellow plastic cover with a window in the front. At the top right hand corner reads AAP 7484.013-3M which is written in black texta, Near the top of the cover there is the Royal Australian Air Force Insignia with Royal Australian Air force and Engineering Publication. Through the window is the title of the Manual. Inside a plastic sleeve on yellow cardboard are the full details of the manual. The manual is held together with a large metal slide.royal australian airforce - manuals, firewire elements, engineering

This is a booklet of 47 pages. It has a grey cover with green linen binding and metal staples with black printing on the front cover. It has a postal stamp on the back. The pages contain black typed printingnon-fictionMeeting Minutesaustralian farmers' union

A brown coloured cardboard cover with black information on the front. Under the Australian Coat of Arms are the details of the booklet. The booklet is bound with a black material on the left hand side of the booklet.australian military forces, patrolling and tracking

A blu coloured cardboard cover with black information on the front. Under the Australian Coat of Arms are the details of the booklet. The booklet is bound with a black material on the left hand side of the booklet.australian military forces, patrolling and tracking

A blu coloured cardboard cover with black information on the front. Under the Australian Coat of Arms are the details of the booklet. The booklet is bound with a black material on the left hand side of the booklet.australian military forces, patrolling and tracking

A blu coloured cardboard cover with black information on the front. Under the Australian Coat of Arms are the details of the booklet. The booklet is bound with a black material on the left hand side of the booklet.australian military forces, patrolling and tracking

A blue coloured cardboard cover with black information on the front. Under the Australian Army Insignai is the description of the booklet. There are two punch holes down the left hand side of the booklet.australian army, training, information bulletin, map folding

A yellowish coloured cardboard cover with black information on the cover. Under the Australian Army Insignia are the details of the boollet. At the top of the booklet writeen in ink is the name Maj A.W. Sween major aw sweeney, promotion to captain and major, written examinations, briefing materials, royal australian army medical corps, staff college, australian army

White metal medal issued to commemorate Melbourne's centenary 1934-35. This medal was given out to Victorian school children; 325,600 white metal medals were struck. There were also a few VIP pieces in other metals, including two in gold. The medal references Portland, the location of Victoria's first settlement. The Henty brothers, entrepreneur farmers and whalers, established the state's first permanent European settlement in Portland in 1834. Melbourne was established the following year by a party of settlers led by John Batman. In 1934, as Melbourne planned to celebrate the centenary of European settlement, it seemed to some that there was little to celebrate. The financial strains of the depression, unemployment and the scandal of the city's slums all undercut claims of unbridled progress. Perhaps because of such troubles, the organisers of the centenary celebrations tried doubly hard to be positive. The themes of the celebrations were conservative, reflecting the desire of some Melburnians for security in troubled times. The widely promoted image of the 'Garden City' and 'Queen City of the South' emphasised the idea of Melbourne as a very British city. A visit by the Duke of Gloucester, son of George V, the ageing king, provided a reassuring strengthening of Melbourne's imperial connections. The presented view of Melbourne's history stressed the 'myth of the pioneer', embodied in the person of John Batman. Elevated to heroic status, he was reinvented as a courageous pioneer whose life exemplified the rewards of self-improvement. Such a portrayal ignored Batman's dubious 'treaty' with local Aborigines and the less savoury details of his personal life. Melbourne's indigenous people were excluded from this triumphant view of Melbourne's past. The centenary celebrations now seem dated, but the image of Melbourne as a conservative city largely influenced by Britain has been more enduring.Details the settlement of Portland, Melbourne and Victoria, 1834 - 1935Double sided round white metal medal, featuring on front face, the bay of Portland showing a ship in the harbour. On the reverse side of the medal is John Bateman overlooking the city of Melbourne and the Yarra river.The front is inscribed, "CENTENARY OF VICTORIA" 1934, across the top, bottom right has the words "PORTLAND 1834". Reverse side shows "CENTENARY OF MELBOURNE 1935", and the date 1835 at the bottom. melbourne, medal, portland, centenary of victoria 1935

Report - Foolscap, card covers, red binding strip, about pages + drawings or charts, titled 'Current trends which may indicate the future growth and nature of the metropolitan area and in particular the Central Business area of Melbourne" Has three parts: 1 - Future growth of population of the Melbourne Metropolitan Area 2 - The Centre of Gravity of and general distribution of the Central Business area of Melbourne 3 - Future growth of the Central Business Area of Melbourne. Dated Jan 1966, prior to the construction of the Underground Railway and the move to Docklands.Has "JEC" in pencil on top right hand corner.trams, tramways, melbourne, planning, development