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Vision Australia
Functional object - Object, Braille hand frame and stylus with Braille maths slate and pegs
Braille hand frames and styluses were the primary way to produce Braille for over a century. The stylus was used to make a separate indentation for each dot, and the hand frame to keep dots within the same cell. Braille rows are produced from right to left. The process was very time consuming. Volunteer transcribers for the library could take an average of ½ hour to produce one page of Braille using this method. For example: “Oliver Twist” required approximately 600 sheets equating to 300 hours of work! Various metal hand frames accompanied by a metal stylus with wooden handle. Some include a wooden slate, which was used to make the system portable as a firm base was needed to sustain puncture pressure. The frame can also be slotted into both sides of the slate, thereby ensuring that the lines of Braille were straight across the page. Transcribing maths was an extremely complex task and a metal grid was utilised to reproduce graphs and diagrams.1 wooden hand frame with metal grid and metal and wooden stylus, 1 metal maths grid with metal pegs in metal container inside a brown suitcase and numerous sheets of Braille paperT.C. Coughlin 5 doz sausage rolls Wilmington Southend is written inside the lid of the suitcasebraille equipment, james murphy -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Bundjil the Eagle Creator Spirit Cloak, 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Bunjil the eagle used to be a man called Karringalabil. As a man he created the first man and woman out of bark from the sacred manna gum tree and clay from the river bed. He created the plants, animals, mountains, waterways, sky and under Country. After which he turned himself into an eagle. He has two wives, Kunuwarra the black swan sisters. After he completed all of creation he flew up into the sky at Lal Lal Falls and he now watched over us as a star in the night sky and as an eagle by day.Brown, red and white tone feather motif with yellow eye design on outer clock, red and black diamond and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak -
Glen Eira Historical Society
Letter - Organs
This file contains three items relating to: 1/A photocopy of a letter to the Manager Strategic Planning and Sustainability on the Glen Eira City Council from Paul Roser from the National Trust, 21/07/2011, advising that the J. W. Wolff Pipe Organ in St. Aloysius Catholic Church, Balaclava Road, Caulfield has been included in the National Trust Register. 2/A photocopy of a letter to Vicar B. Green of St. Mary’s Anglican Church, Caulfield, from Ian Wight from the National Trust, 21/05/1996, advising that the pipe organ in St. Mary’s Anglican Church has been included in the National Trust Register. 3/A photocopy of a letter to the Chief Executive Officer of the City of Caulfield from Douglas Hill of the National Trust, 11/10/1990, advising that the Merklin-Schutze Organ located in the Uniting Church, 66 Orrong Road, Elsternwick has been included in the National Trust Register.national trust, glen eira city council, caulfield south, st. aloysius catholic church caulfield, balaclava road, roser paul, green b. vicar, st. mary’s anglican church caulfield, caulfield, glen eira road, hood street, wight ian, orrong road, elsternwick, uniting church elsternwick, hill douglas, organs, musical instruments, churches -
Warrnambool and District Historical Society Inc.
Medallion, Dead Man's Penny Robert Andrew Hose, 1920s
This medallion, called a Memorial Plaque and popularly known as a Dead Man’s Penny, was one of those given to the family of an Australian soldier who died on active service in World War One. Memorial Plaques, such as this one, were given out in the early 1920s. This medallion was presented to the family of Robert Andrew Hose. Born in Warrnambool in 1892 to George and Janet Hose, Robert Hose was a regular soldier when he enlisted in World War One in August 1914. He served on Gallipoli at Cape Helles where he was wounded but returned to his post and was promoted to corporal. In Egypt he was promoted to Sergeant and then served in France where he was awarded the Military Medal for showing courage, resourcefulness and a fine example to his men in an encounter with the enemy near Beaumetz les Cambrai. In that incident he sustained severe wounds from which he died in May 1917. He is buried in France. As well as the Military Medal he was awarded the 1914-15 Star, the British War Medal and the Victory MedalThis item is of great importance as a significant memento of World War One that was given to the family of Robert Andrew Hose following his death on active service in World War One. Robert Hose was born in Warrnambool and this medallion is a treasured object in our collection.This is a round bronze medallion with raised images of Britannia holding a laurel wreath over an inscribed name, a lion, dolphins, an oak branch, a lion cub and an eagle. The medal is inscribed around the left and top edges.He Died For Freedom and Honour Robert Andrew Hose robert andrew hose, world war one memorial plaque, history of warrnambool -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Murnong Daisy Cloak (Women Gathering Food) Cloak, 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future. The murnong was one of the main food sources for First Peoples before colonisation as it grew right across Wadawurrung Dja. The introduction of the sheep and cattle saw the murnong eaten roots and all and it quickly became less plentiful. The tubers were eaten raw or roasted on a fire. Water could be added to make a paste for small children to eat. The woman’s wooden digging stick that was used to gather and harvest plants was often buried with the woman for her afterlife and is considered sacred women’s knowledge. All parts of the plants and trees were and still are honoured as sacred medicine, healing plants and bush food knowledge.Yellow flower and female figure motif on black background on outer cloak, black and white diamond, and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong -
Vision Australia
Award - Text, John Wilson Award citation - Elizabeth Inez Lindsey, 10/10/1980
In 1980 the John Wilson Award was given to Elizabeth Inez Lindsey. The citation reads: The Committee, Blind Members and Staff of the Association for the Blind pay tribute to, and record for posterity, the sustained love and devotion of Elizabeth Inez Lindsey to the blind children entrusted to her care between 1935-1945 as the first Matron of the Royal Victorian Institute for the Blind Nursery, and her continuing influence for good in their lives hereafter. In particular, at his request, we recall her greatness of heart in applying for the guardianship of Barry Farnsworth, despite his serious disability, and her acceptance of him into her own home where she lavished affection and cared for him physically, mentally and spiritually as long as she was able and thereafter to this day continued faithfully and unwaveringly to serve and protect his interests. We present our respects to Sister Lindsey who has consistently reflected, in and through her life of service, enduring love and compassion and now honour her in the presentation of the John Wilson Award. 1 A3 cream page in gold frameassociation for the blind, elizabeth lindsey -
Federation University Historical Collection
Correspondence, John Gray, Letter of Condolence from ANA to John Mateer. 1883, 14/12/1883
The Australian Natives Association (ANA) Benefit Society was formed in 1871 at a meeting of young men in Grimwood's Hotel, Elizabeth Street, Melbourne. The Association was one of many friendly societies that also aimed to promote the moral, social and intellectual advancement of its members. The young founders restricted membership to native-born Australians, but there were no Koories among them. The Australian Natives Association Ballarat Branch (No4) was founded in 1874. The association’s modest building was based in Camp Street and the branch was one of the most active in the colony, playing a key role in Federation. The Ballarat branch of the ANA was wound up in 1957 and the double storey building has since been used as for office space most recently for employment companies such as Tracey Recruitment. Ballarat's ANA Hall has heritage status under the City of Ballarat’s Camp Street heritage overlay HO186, however it is not listed by either the Victorian Heritage Register or the National Trust.Handwritten letter glued onto a lined page. The letter is from the Australian Natives Association Ballarat Branch No. 4, and is written to John Mateer at the time of his wife's death. The letter is signed by John Gray (President) and Fred Wainwright (secretary). Fred Wainwright was the first secretary of ANA branch No. 4. hew as a clerk at Ballarat Town Hall, and presented an essay on Federation of Australian Colonies in 1879.Australian Natives Association Ballaarat Branch No 4 14th December 1883. Dear Sir The members of this branch of the A.N.A. desire us to convey to you expression of their deep sympanth with you in the irreparable loss you have sustained by the death of your dearly beloved wife. The Members are fully aware that during the first month of such an overpowering infliction the most sincere sympathy of the truest friends can do little by alleviate the bitter pangs of remembrance and sorrow, still they trust that you may be enabled to submit with christian calmness and fortitude to the Will of Him, who, when seeming to act most severely wit us, is in His Own Divine Wisdom, ordering things for the best. We are Dear Sir Yours fraternally John Gray President fred Wainwright Secretary To Mr John Mateer australian natives' association, ana, ballarat branch no. 4. ballaarat branch no. 4, gray, john gray, wainwright, fred wainwright, mateer, john mateer -
Eltham District Historical Society Inc
Photograph, Sugarloaf Reservoir, Christmas Hills, 16 January 2015
Sugarloaf Reservoir is situated on former farmland. This large water storage was completed in 1982 and serves Melbourne's northern suburbs. Within the visitor areas are two picnic grounds and other recreational facilities. Below its massive rock embankment is located the Winnecke Treatment Plan designed to purify its water before being piped into Melbourne. The dam partly inundated the old firing ranges of the former Christmas Hills Rifle Club. Source: Christmas Hills Now and then: Yarra Glen & District Historical Society, 2004. Born DigitalMelbourne Water Sugarload reservoir Melboure Water is owned by the Victorian Government. We manage Melbourne's water supply catchments, remove and treat most of Melbourne's sewrage, and manage waterways and major drainage systems. Most of Melbourne's water comes from uninhabited, forested catchments. Melbourne is one of the few cities in the world that has protecyed water supply catchments. Melbourne Water manages these catchments to protect our drinking water. Our water is safe and pleasant to drink, and undergoes minimal treatment - it is better to start witht he highest quality source. A key part of Melbourne Water's responsibility is to encourage the sustainable use of this precious resource. For more inforamtio on our water supply and on how you can conserve water, call 131 722 or visit www.melbournewater.com.auchristmas hills, sugarloaf reservoir, sign, melbourne water -
Australian National Surfing Museum
Book, Andrew Crockett, Switch-foot (surfing art music), 2005
Switch-foot is a classic publication out of Australia 2005. This 210 page hardcover book has many of the immortal surfing images from the golden era in surfing from photographers such as Albe Falzon, George Greenough and Jack Eden. Stories from: George Greenough looking at his simple genius and his movie magic with ‘Dolphin Glide’ and ‘Behind the Scenes.’ The unmasking of the truth behind Peter Drouyn, 12 legends of the Lens (images from the golden era) The telling of Dick Van Straalen’s story and his current relationship with Dave Rastovich The art of Harry Daily Global surf travel with Colas Thomas Campbell drops by Rasta and friends music with the exploration into the mystery of the art of jamming Discussions about sustainable surfcraft production with Tom Wegener, the unveiling of new school talent within music and photography and also talking to important leaders in the field of classic surfing to gather information on surfboard design, single fin surfing and fin dynamics. Music from low pressure sound systems in the story titled ‘the art of jamming’ A significant publication that explores art, photography and music in surfing culture.Switch-foot (surfing art music) is a hard copybook of surfing photography with a black cover featuring 5 art panels and one panel with text. 'Switch-foot surfing art music'.ISBN 0-646-45057art, surfing, jack eden, switchfoot, music, surf photography, alby falzon, george greenough, peter drouyn, dolphin glide, dick van straaleen, jim banks, peter crawford, mark richards -
Churchill Island Heritage Farm
Clothing - Muff, Seal Fur
After European settlement in 1788 Australian Fur Seals were hunted intensively from 1798 until 1825 for meat, oil and their skins. The growing Industrial Revolution called out for oil which was readily sourced from seals along with their valuable fur. Indigenous people had been sustainably harvesting seals for their meat and their skins .and the European sealers often coerced or kidnapped Aboriginal women for their knowledge of hunting seals. After 1825 the seal population had been decimated and therefore the hunt was no longer economically viable, but it wasn’t until 1923 that the Australian Government legislated to stop the hunting of seals altogether. In the time of the Amess family residence on Churchill Island it was perfectly legitimate to shoot any seal that interfered with fishing and furs were tanned and lined with fine fabrics to create items of apparel. Seal fur has a soft velvety feel when stroked in the direction of growth. A muff was a thick tubular piece of fur or other material used by women and girls to keep the hands warm and it was also used as a handbag, The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by four generations of Amess women, see above.Seal fur muff, with lining and some fraying on edges. seal, fur, churchill island, amess fur collection, janet, jane, amess, frances -
Warrnambool and District Historical Society Inc.
Artwork, other - Framed copy of engraving, John Ruskin, late 19th century
This framed copy of a sketch of John Ruskin comes from the original steel plate engraving dating from about 1845. John Ruskin (1819-1900) was a notable English writer, philosopher, art critic and polymath in the Victorian era. He was the first Professor of Fine Art at Oxford University and was a prolific writer interested in the connection between nature, art and society, anticipating the more modern interest in environmental and sustainability issues. This framed item is from the collection of the old Warrnambool Museum which was first established in 1871 by the Warrnambool Mechanics' Institute under the curatorship of a local policeman, Joseph Archibald. This first museum faded away but was revived in 1883 by Joseph Archibald in his retirement years. The Museum continued as part of the Mechanics' Institute until 1963 as an important and much-admired institution. Most of the collection was lost over the years but some items remain, housed at the Warrnambool Art Gallery, Flagstaff Hill Maritime Museum and the Warrnambool and District Historical Society, with the John Ruskin item being part of the latter group's collection.This item is of considerable interest, firstly because it comes from the collection of the old Warrnambool Museum and secondly because it shows the local interest in the 19th century of the notable English writer and philosopher, John Ruskin. This is a copy of a steel plate engraving, a black and white sketch of the head and upper body of John Ruskin. It is enclosed in a cut glass frame with a red cardboard backing attached by metal clips. A section of the backing is torn off and there is damage to the bottom part of the glass frame.J. Ruskinold warrnambool museum, warrnambool art gallery, flagstaff hill maritime museum, warrnambool & district historical society, joseph archibald, john ruskin portrait -
Wooragee Landcare Group
Photograph, 20th June 2004
This photograph was taken on the 20th June 2004 as part of an event called "Successful Tree Planting!", organised by the Wooragee Landcare Group. It was addressed to all local residents and landholders in the area and involved practical demonstration of techniques suitable for successful planting of native trees and shrubs, as well as information about weed control. In the photograph are illustrated from left to right the following people: Chris Robinson; Tony Prowse; unknown child; Lesley Finedon; Ann Henderson, unknown. Revegetation can improve the condition of remnant vegetation in the area and provide habitat for local animals. Correct species selection, including all layers of vegetation, along with proper weather conditions and adequate site preparation, can maximise the successful outcome. Weed-free conditions and protection from rabbits and kangaroos are two more factors contributing to a quick plant growth. Wooragee Landcare, since its establishment in 1998, has organised a series of events and activities in order to promote weed and pest control, provide assistance and knowledge to landholders and ensure sustainability and protection of natural vegetation.The photograph is an example of the type of events and activities organised by Wooragee Landcare to educate and inform local residents and landholders on the most suitable techniques for successful planting of native trees and shrubs. Wooragee Landcare, abiding by its mission statement, promotes best land management strategies and ensures sustainability through collaboration with local community and council agencies.Landscape coloured photograph printed on gloss paper. Reverse: WAN NA 0ANA0N0 BN1+ 1 1636/ [PRINTED] (No.21)/935/successful tree planting, wooragee landcare group, 20th june 2004, successful planting, native trees and shrubs, weed control, revegetation, remnant vegetation, habitat, local animals, species selection, weather conditions, site preparation, weed-free, rabbits, kangaroos, plant growth, 1998, sustainability, natural vegetation -
Mission to Seafarers Victoria
Programme - Catalogue, Open House Melbourne, Takie Hold of the Clouds, 2022
Catalogue for an artistic discovery Ttail during Open House 2022.Digital copy of an artistic event catalogue 142 pages.non-fictionCatalogue for an artistic discovery Ttail during Open House 2022.open house melbourne, 2022, ying-lan dann, circular temporalities, norla dome, exhibitions, video installation, cultural events -
Wodonga & District Historical Society Inc
Functional object - Stoneware Demijohn, 1910
Mr Robert Crone Phillips was born in Stanley, Victoria and later moved to Wangaratta where he worked at Pinkertons and Sons. On 1 April 1912 he purchased the grocery, ironmongery, and wine and spirits business conducted in Sydney Street, Wodonga, by Mr. D. M. Stavely. This business was beside the old Wodonga Police Station. He received a spirit merchant's license under the new Licensing Act in the Wodonga Licensing Court on 20 March 1912. This was the first occasion on which spirit merchants' licenses have been granted by the court. This license was renewed annually until November 1920. On Friday 15 July 1921, a fire occurred in which Phillips grocer’s shop and a neighbouring draper’s shop, owned by Mr. R. W. McLeish, were seriously damaged. In August 1921 Robert Philips filed for insolvency with assets of £660 10/ and liabilities of £1126 19/6. The cause of insolvency listed was loss sustained by fire and the pressure of creditors. Mr. Phillips retired to Wangaratta. He passed away in 1948. The demijohn is of local significance as it represents an artefact from a local business. Its provenance is clear due to the inscription in the item. It is representative of ceramic wares from the early 1900s.A ceramiic demijohn with business name"R C PHILLIPS/ WODONGA"wodonga businesses, sydney road wodonga, r c phillips -
Vision Australia
Functional object - Object, Braille wooden board and Braille text book
Braille hand frames and styluses were the primary way to produce Braille for over a century. The stylus was used to make a separate indentation for each dot, and the hand frame to keep dots within the same cell. Braille rows are produced from right to left. The process was very time consuming. Volunteer transcribers for the library could take an average of ½ hour to produce one page of Braille using this method. For example: “Oliver Twist” required approximately 600 sheets equating to 300 hours of work! This wooden slate, which was used to make the system portable, served as a firm base needed to sustain puncture pressure. The frame can also be slotted into both sides of the slate, thereby ensuring that the lines of Braille were straight across the page. The metal clasp at the top of the frame held the wooden which kept paper from slipping. This donation includes the signature of Miss B Yoxon, who was a student that transcribed braille around the 1920's for the Victorian Association of Braille Writers, and the owner of this board and textbook. Some originals of her work and a translated letter from her friend James Grubb accompany the frame. 1 wooden board and Braille paper, with 1 Braille text bookbraille equipment, victorian association of braille writers -
Vision Australia
Functional object - Object, Braille hand frame
Braille hand frames and styluses were the primary way to produce Braille for over a century. The stylus was used to make a separate indentation for each dot, and the hand frame to keep dots within the same cell. Braille rows are produced from right to left. The process was very time consuming. Volunteer transcribers for the library could take an average of ½ hour to produce one page of Braille using this method. For example: “Oliver Twist” required approximately 600 sheets equating to 300 hours of work! This wooden slate, which was used to make the system portable, served as a firm base needed to sustain puncture pressure. The frame can also be slotted into both sides of the slate, thereby ensuring that the lines of Braille were straight across the page. The metal clasp at the top of the frame held the wooden which kept paper from slipping. Sometimes the board was labelled with organisational labels. In this example, the Rules of Membership for the Victorian Association of Braille Writers was attached, which included the costs of being a transcribing member and the length of the loan period. It is signed by Millicent Ritchie (Hon. Secretary) and Minnie H Crabb (Asst Sec and Librarian) at the base of the sheet.Brown rectangular wooden board with hinged paper clamp and metal hinged guideFree Lending Library for the Blind label is attached to boardbraille equipment, victorian association of braille writers -
Nillumbik Shire Council
Sculpture: Tony Trembath (b.1946 Sale, Victoria), Tony Trembath, The Fences Act 1968 - Location: Edendale Farm (entrance) 30 Gastons Road, Eltham, 1989 - 1994
Eltham Council (now the Shire of Nillumbik) commissioned this work in 1989 to create an entrance / gateway to Edendale Community Farm. It was also aided by a grant from the Ministry of the Arts (now Arts Victoria). The former name of this work was "Gateway to Edendale Farm". Edendale Farm is a demonstration farm modelling sustainable environmental practices, providing support to the local residents of Nillumbik. Established in 1986, the land was purchased in 1970. It was previously an English gentleman's residence and was used for grazing. It consists of 5.6 hectares, with the Diamond Creek meandering through the property. The Victorian Fences Act 1968 governs liability of occupiers of adjoining lands to fence, and deals with disputes between neighbours regarding boundaries fences and costs. This work took into consideration ideas and suggestions from residents and committees, who required the use of recycled materials and that the work celebrate man's relationship with nature, animals and the earth, as well as relate to the fence-line on the far side of the carpark. Trembath also absorbed significant aspects of local history, making references to Eltham's agricultural past, the clearing of the land, the destruction of trees, the ruthless pruning of trees by suburban Councils and incorporated such Australian features as the post and rail fence. 'The Fences Act 1968' is significant for aesthetic, historic and social reasons at a regional level. It makes prominent the historical and social significance of Edendale and the rural aspects of Nillumbik. The use of existing tree stumps and salt pots in the work explores the iconography of the countryside such as the isolated farmhouse, pioneering farming practices, post and rail fencing and the regrowth of lopped trees. The title of the work, as well as the extensive community involvement in its creation, also makes reference to the Victorian Fences Act 1968, which makes neighbours jointly responsible for the cost of construction and maintenance of fences in the partitioning of land for settlement. 'The Fences Act 1968' has been classified as of regional significance by the National Trust of Australia. The work is an installation of wood and metal, approximately twenty five meters long. The design is very informal and rustic and runs the full width of the fence-line. It comprises groups of recycled tree trunks fitted with metal caps (chrome-nickel 'salt pots' that are shaped like tall bowler / top hats). Metal rods protrude from the trunks and some of these rods have metal birds. Two larger, sentinel-like stumps at the two outer ends have metal flame-like wings, which bend inward. To the left of the entrance, a simple architectural element indicates an isolated farmhouse. The rustic fence runs between the groups of tree trunks with native planting in clumps along it. The fence-line incorporates a functional engineered double gate and post and rail fencing. There may be many interpretations of the work and the intention is to stimulate interest and imagination rather than alienate. Interpretation is based on the personal experience that a visitor brings. The artist recommended that no explanation of the design logic be positioned with the work. N/Apublic art, sculpture, edendale, recycled, wood, metal, fences act 1968, gate, trembath, salt pot, tree stumps -
Churchill Island Heritage Farm
Clothing - Strip, Seal Fur
After European settlement in 1788 Australian Fur Seals were hunted intensively from 1798 until 1825 for meat, oil and their skins. The growing Industrial Revolution called out for oil which was readily sourced from seals along with their valuable fur. Indigenous people had been sustainably harvesting seals for their meat and their skins .and the European sealers often coerced or kidnapped Aboriginal women for their knowledge of hunting seals. After 1825 the seal population had been decimated and therefore the hunt was no longer economically viable, but it wasn’t until 1923 that the Australian Government legislated to stop the hunting of seals altogether. In the time of the Amess family residence on Churchill Island it was perfectly legitimate to shoot any seal that interfered with fishing or was unlucky enough to come ashore on the Island. Furs were tanned and lined with fine fabrics to create items of apparel because seal fur has a soft velvety feel when stroked in the direction of growth. This strip appears to be around 22 inches in length and would be suitable to use as a belt for a tiny waisted lady or girl or it could have been used as a collar.The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by four generations of Amess womenA narrow strip of brown seal fur with grey backingjane, amess, janet, frances, seal, fur, churchill island -
Churchill Island Heritage Farm
Clothing - Seal Fur Stole, c. late 1800s
Lined with brown silk 189.5 x 13.3cm After European settlement in 1788 Australian Fur Seals were hunted intensively from 1798 until 1825 for meat, oil and their skins. The growing Industrial Revolution called out for oil which was readily sourced from seals along with their valuable fur. Indigenous people had been sustainably harvesting seals for their meat and their skins .and the European sealers often coerced or kidnapped Aboriginal women for their knowledge of hunting seals. After 1825 the seal population had been decimated and therefore the hunt was no longer economically viable, but it wasn’t until 1923 that the Australian Government legislated to stop the hunting of seals altogether. In the time of the Amess family residence on Churchill Island it was perfectly legitimate to shoot any seal that interfered with fishing and furs were tanned and lined with fine fabrics to create items of apparel. Seal fur has a soft velvety feel when stroked in the direction of growth. This stole being quite narrow compared with the length would have been wrapped a few times around the shoulders and being lined with silk would have felt quite luxurious. This seal fur stole was owned by Janet Amess (nee Straughan), wife to Samuel Amess and owner of the Churchill Island Farm from 1872 - 1929. She passed this item through the generations until it reached the donor, Unity.Band of seal fur backed and trimmed with brown silk.seal, fur, janet, frances, jane, amess, churchill island, clothing, 19th century, stole, fashion -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Kunawarrar Ngaramili (Black Swan Dancer) Cloak, 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The black swan cloak refers to the black swan of Geelong and Ballarat were the swan has had its own fight to survive during the early colonial years where white swans were introduced by colonisers and the black swan fought back as they do not naturally get along. The wave pattern is taken from a traditional shield pattern held in the Melbourne Museum, South Eastern archive collection of shields. The wave refers to the water and travelling across water to fish, hunt and survive. This cloak is about survival, water, and the swan living on the water. It also refers to a contemporary dance of Kunuwarra the black swan, which was performed by a group Wadawurrung women (including artist Deanne Gilson) for Tanderrum (Melbourne – Naarm) in 2016. The dance is available to watch on youtube.Black swan, heart motif with water design on outer cloak, female figure and red native flower design on lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, first nations art, wadawurrung dja -
Wooragee Landcare Group
Photograph, 3rd April 2004
Wooragee Landcare, since its establishment in 1998, has organised a series of events and activities in order to promote weed and pest control, provide assistance and knowledge to landholders and ensure sustainability and protection of natural vegetation. This photograph was taken on the 3rd April 2004 as part of an event called "Spotlight on Fox", organised by the Wooragee Landcare Group. It was addressed to all landholders in the area and involved practical demonstration of techniques suitable for integrated fox control. Camille Velesky, who is illustrated in the photograph, was the presenter; he is a specialist in fox behaviour and has worked for 27 years on pest control. Under the Catchment and Land Protection Act 1994 (CaLP Act) foxes are declared as established pest animals and landowners have the responsibility to take reasonable steps to protect their land from established pest animals. The most commonly used management techniques are baiting, shooting, guard animals, fencing, trapping, canid pest ejectors, above-ground harbour removal, property hygiene and fumigation. Trapping, due to the significant suffering and distress that causes to foxes, has significant animal welfare implications and should be avoided if there is another suitable alternative. The photograph is an example of the type of events and activities organised by Wooragee Landcare to educate and inform local residents and landholders on the most suitable techniques for integrated fox control. Wooragee Landcare, abiding by its mission statement, promotes best land management strategies and ensures sustainability through collaboration with local community and council agencies.Portrait coloured photograph printed on gloss paper. Reverse: WAN NA 0ANA2N0 NNN+ 1 8743/ [PRINTED] (No.10)/256/spotlight on fox, wooragee landcare group, integrated fox control, camille velesky, fox behaviour, pest control, catchment and land protection act 1994, calp act, established pest animals, baiting, guard animals, fencing, trapping, trap setting demonstration, weed and pest control, sustainability, natural vegetation, fox dens, fumigation, animal welfare -
NMIT (Northern Melbourne Institute of TAFE)
DVDs: Promotional DVDs NMIT 1990-2010
Instructional and promotional DVDs ranging in date from 1990-2010 promoting courses and services of NMIT. 1990s An Introduction to NMIT 1996 X 2 Building & Construction Heidelberg 1992 Building & Construction Heidelberg 1992 1, 2, 3 (Umatic) Concrete pour - Heidelberg 1992 Greensborough Music Promotional 1994 Making the move 1996 (also booklet) NMCOT College Promotion 1990 NMCOT College promotion 1992 NMCOT Corporate Video 1992 NMCOT Corporate video 1994 NMCOT Enrolment form 1991 (Umatic) NMCOT Enrolment Form 1992 NMCOT To Market to Market Promotional video 1993 NMCOT To Market to Market Promotional video 1994 NMIT School of Arts & Social Sciences 1996 NMIT School of Building & Construction 1996 NMIT School of Business 1996 NMIT School of Electrical, Electronics & Sciences 1996 NMIT School of Horticulture & Rural Studies 1995 NMIT School of Horticulture & Rural Studies 1996 NMIT School of Manufacturing Engineering 1996 NMIT School of Mechanical Manufacturing 1996 NMIT School of Tourism & Hospitality 1996 NMIT Faculty of Earch Sciences 1998 NMIT The Electrical Connection 1995 Open Day 1992 Student Information 2003-2008 Advanced Diploma of Music Performance (undated) Challenges accepted, NMIT Roadshow 2005 Mechanical manufacturing 2003 Promotional video (master) 2006 Songwriting competition NMIT 2008 The Electrical connection 2003 2009 Animal Studies 2009 Bachelor of Viticulture & winemaking 2009 Certificate III in Aged Care 2009 Children’s Services 2009 Courses through Design Drafting & Interior Fittings 2009 X2 Equine Studies 2009 (also accompanying book) Erection and Dismantling procedure for an Oldfields Mobile Scaffold 2009 Facilitate Individual Learning Activity The REV shop Case Study 2009 Formwork to Columns and Beams 2009 Green skills Centre of Excellence : Contributing to sustainability directly through the design, our actions and by educating future generations on sustainable technology, [DVD], NMIT Epping Campus, [2009] Interior design 2009 Locksmith Apprenticeships 2009 Secondary to Tertiary: the Journey begins 2009 X 2 Visual Arts at NMIT 2009 2010 Advanced Diploma of Building design 2010 Bachelor of Accounting 2010 Bachelor of Equine Studies 2010 Certificate III in Farriery (Trade) 2010 Civil Engineering 2010 Cloisonne Enamel 2010 Conservation and Land Management 2010 Health & Community studies 2010 Horticulture 2010 How to check and adjust a single stage Liquid Petroleum Gas Regulator 2010 Locksmithing more than a trade 2010 Music, Sound & Television 2010 Pragmatic Failures in Intercultural Communication 2010 Technical Education Centre, Youth Unit, NMIT 2010 Viticulture & Winemaking 2010 Why study Community Services at NMIT 2010 courses, handbooks, nmit -
Eltham District Historical Society Inc
Booklet - Folder, 2020 Vision: a preferred future, 1984
Following council amalgamations, a series of community consultations were undertaken in 1995 to inform the development of a cohesive vision for the newly formed Shire of Nillumbik. A response to the new conditions which people of the Eltham/Diamond Creek/Greensborough and surrounding rural areas found themselves in as a result of the decision by the Victorian Government to amalgamate local governments into larger entities. The case for these reforms was strong, but the amalgamation process did disrupt some people's lives.The need to bring together the people within the new boundaries of Nillumbik was recognised by the Commissioners and the Chief Executive Officer of the Shire, who felt that a good way to begin was to develop a future vision for the Shire. It was decided that the people of the Shire should be asked what they wanted their future to be and a process of consultation was established through which people could express their views. Contents: Part One: Introduction, Nillumbik 1995 -what we thought, Nillumbik - thinking the future, Creatng a Nillumbik Community, Nillumbik's assets, Goals for Nillumbik 2020. Part Two: A sustainable society, population and density, the built environment, town and community centres, transport, agriculture, rural Nillumbik, Arts and cultural activity, the younger generation, Nillumbik's elders, planning for the disabled and health and well-being.40 pagesharry gilham collection, shire of nillumbik, vision, consultation, planning -
Wodonga & District Historical Society Inc
Book - Let's Have Water - A history of the Fish River Water Supply, Robin McLachlan, Denis Barrett, Jack Domis, Nick Welling, 1997
A history of the development of the management of the Fish River Water Supply Scheme in Central NSW. The scheme extends across the local government areas of the Shire of Oberon, the City of Lithgow and the City of the Blue Mountains.non-fictionA history of the development of the management of the Fish River Water Supply Scheme in Central NSW. The scheme extends across the local government areas of the Shire of Oberon, the City of Lithgow and the City of the Blue Mountains.water nsw, fish river region nsw, oberon dam, water resources development nsw australia -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Campfire Gathering, Meeting Place Cloak, 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The circle and diamond pattern are ancient symbols used by Wadawurrung people dating pre-colonisation on possum skin and kangaroo skin cloaks, other artefacts like spear heads (carved), wooden shields, stone tools and caves were painted with blood, ochre and bound with grass tree sap, black wattle tree sap and kangaroo fats. The diamond pattern was a strong design used by men on shields and women on baskets and adornments. Shields were taken from the tree in the colder months when the tree was cold as the wood came off cleaner. Ochre colours of red, white, yellow and charcoal were often used to colour in and decorate the skin side of possum skin cloaks, wooden shields, spear heads, baskets and some coolamon bowls.The design for this cloak has been simplified from the original artefact design.Cloak with black and white diamond and circle design on outer cloak and coral and white line pattern within lining. Trimming is solid black. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung, first nations, cloak -
Kiewa Valley Historical Society
Shaker Spices, after 1895
This item was used at a time when there was a limited range of spices available and sought after by domestic and commercial kitchens. The taste buds of the average Australian diner were limited to the basic English style dishes which had been delivered by the early colonial days. Rural areas where slower in experimenting with Asian and European cuisine. The influx of European cuisine from refugees fleeing both World War I and world War II brought a different appreciation of gourmet food. The increase in Asian spices was brought about by Australians becoming more aware of the Asian "scene" through the conflicts of Korean and Vietnam military action. The "standard" type spices such as Cinnamon, nutmeg and similar spices offered by Robert Harper and later other Food and Spices whole sellers and processors where a direct result of a greater influx of migrants from spices rich societies and resulted in a greater range of "Asian" spices This became more visible after demise of the "White Australian Policy" on immigration and the great media revolution of Televised cooking shows from the 1950s on. The sustainability of containers such as this re-useable tin and cardboard spice holder, which could be replenished and not thrown away after it was empty was it a time period well before the "throw away" society had crept into the Valley.This spice container was used mainly in domestic kitchen within the Kiewa Valley. Those European construction workers of the SEC Kiewa Hydro Electricity Scheme had brought their continental cuisine into the valley and that was the beginning of a new era in highlighting different tastes. This rural valley had a greater interaction with people from other nation's cuisines and by association became more infused with a broader range of spices and food preparations.This item (spice shaker) is constructed by using a thick cardboard cylinder with both ends closed by tin plated light steel lids. The bottom lid is not removable however the top lid is removable to allow the contents (Cinnamon Spice) to be refilled. The lid has thirteen small holes which allow the contents to be shaken out. The outer side of the cylinder has been covered (glued on) by a printed black and yellow label detailing contents , weight, and supplier.On the front side of the printed label outside of the label boundary is "To make a shaker of this tin - take the lid off and remove the paper from inside the lid" Within the marked horse shoe shaped boundary is" HARPER'S ground spices star brand" underneath "CINNAMON" underneath this is printed "1 oz. NET WEIGHT" and under this, within its own frame " ROBERT HARPER COMPANY LIMITED (incorporated in Victoria) AUSTRALIA." On the back within its own box is "HARPER'S star brand GROUND SPICES" and underneath "These Pure Spices are packed in the following Varieties". Below this is a list (going down) "CINNAMON CARRAWAYS CAYENNE MIXED CLOVES CASSIA CORIANDER GINGER MACE TURMERIC NUTMEGS PIMENTO"kitchen spices, spice shakers, food preparation -
Mission to Seafarers Victoria
Poster, Ying-Lan Dann, Circular Temporalities, July 2022
Take Hold of the Clouds is a curated exhibition featuring two key works by renowned international contributors – Forensic Architecture’s Cloud Studies (2021) and Cauleen Smith’s Sojourner (2018) – along with six, newly commissioned, responsive works from local and national creative practitioners. The experimental exhibition is distributed across seven of the city’s most significant buildings and urban spaces, with each temporal creative work adding a new layer to how we understand these spaces in relation to the world around us. Embedding the work within the city itself rather than a traditional gallery, the exhibition models best practices for high-impact yet sustainable and resource-sensitive exhibition-making. Created in partnership with Monash University, Take Hold of the Clouds navigates the Weekend’s theme of Built/Unbuilt through a series of thoughtful encounters in which artists reveal the invisible stories and issues in corners of the city. The exhibition is conceived by Tara McDowell, Director of Curatorial Practice at Monash Art, Design and Architecture, and co-curated with Fleur Watson, Open House Melbourne’s Executive Director. To create this poster, the artist used a copy of of one of Walter Butler plans for the 7171 building held in the archives as an homage to the architect. The sketch was then retouched to make it loo like a blueprint. The Mission is one of the sites open every year during Open House. A3 size Blue print type plan print on glose paper.open house melbourne, 2022, ying-lan dann, circular temporalities, norla dome, blueprint, plans, walter richmond butler (1864–1949), cultural events -
Wooragee Landcare Group
Photograph, circa April 2003
This photograph was taken in the Mount Pilot Chiltern National Park. This park is located near Chiltern in Victoria. It's most notable landmarks include Mt Pilot and Woolshed Falls. It also has many mines from the Gold Rush in the late 1800s. It is home to much flora and fauna, including the tiger quoll. The tiger quoll, also known as the spotted-tail quoll, is a marsupial that gives in the Mount Pilot Chiltern National Park. It is also main land Australia's largest carnivorous marsupial. It can weigh up too four kilograms and looks similar to either a possum or a spotted cat. It has red and brown fur with distinct spots. The tiger quoll is found along the Great Dividing Range, which includes Victoria, New South Wales and also near the border of Queensland. It lives in forests, rainforests and coastal heathlands and woodlands. In 2004 a team of volunteers from the Wooragee Landcare group as well as some of the Department of Sustainability and Environment staff set out to find the tiger quoll following the 2003 bushfires. Since the bushfires, concern had arisen for it because it hadn't been seen since the bushfires. They attempted to find traces of the quoll through finding and identifying their droppings as well as DNA testing. This photograph was taken during this search. This photograph represents the work that goes into protecting a important species like the tiger quoll. The tiger quoll is a significant species because it is main land Australia's largest carnivorous marsupial. As a result of this, there has been much work done to preserve and protect it. This photograph was taken when the Wooragee Landcare group went to ensure the survival of this species, highlighting how the tiger quoll is being protected. This photograph also demonstrates the impacts of the 2003 bushfires in the Mount Pilot Chiltern National Park. This is seen through the burnt trees featured in the picture. Landscape coloured photograph printed on gloss paperReverse: WAN NA 0ANA0N0 NNN 0 1636 / [PRINTED] (No.7) / 921quoll, mount pilot chiltern national park, national park, 2003 bushfires, search, endangered, beechworth, wooragee landcare group, wooragee landcare, wooragee, possum, australia, victoria, department of sustainability and environment, photograph, 2004, spotted-tailed quoll, great dividing range, spots, fur, forests, rainforests, woodlands, coastal heathlands, spotted quoll, spotted quoll habitat -
Federation University Historical Collection
Photograph, Clare Gervasoni, Federation University Gippsland Campus Art Courtyard, 2015, 01/06/2015
Federation University Australia was established on 1 January 2014. Formerly known as the University of Ballarat, its enabling legislation was the University of Ballarat Amendment (Federation University Australia) Act 2013. On 1 January 2014, the University of Ballarat amalgamated with the Monash University Gippsland Campus to form Federation University Australia. The Gippsland Campus also had a long lineage dating back to 1928 with the establishment of the Yallourn Technical School which became a predecessor institution to the Gippsland College of Advanced Education formed in 1968. In 1990, it was renamed the Monash University College and in 1993 became the Gippsland Campus of Monash University. In 2016, Federation University Australia announced plans to take possession, over a two-year period, of Monash’s Berwick Campus in the south-east corridor of Melbourne. Federation University Australia, or FedUni, is headquartered in Ballarat and offers programs in Higher Education and Vocational Education and Training to regional Victoria and beyond. The University’s commitment to educational and social equity, teaching excellence, research distinction, environmental sustainability and regional capacity building has enabled it to develop in a way that draws on its proud heritage to inform its future. Its regional character sets a framework for the University’s priorities but does not constrain it from serving wider community interests, nationally and internationally. The name Federation University Australia was chosen to convey the scope and capacity of an expanded regional university with a federated network of campuses. Courtyard at the Gippsland Campus of Federation University.churchill, gippsland campus, art courtyard -
Federation University Historical Collection
Photograph, Clare Gervasoni, Federation University Gippsland Campus, 2017, 03/10/2017
Federation University Australia was established on 1 January 2014. Formerly known as the University of Ballarat, its enabling legislation was the University of Ballarat Amendment (Federation University Australia) Act 2013. On 1 January 2014, the University of Ballarat amalgamated with the Monash University Gippsland Campus to form Federation University Australia. The Gippsland Campus also had a long lineage dating back to 1928 with the establishment of the Yallourn Technical School which became a predecessor institution to the Gippsland College of Advanced Education formed in 1968. In 1990, it was renamed the Monash University College and in 1993 became the Gippsland Campus of Monash University. In 2016, Federation University Australia announced plans to take possession, over a two-year period, of Monash’s Berwick Campus in the south-east corridor of Melbourne. Federation University Australia, or FedUni, is headquartered in Ballarat and offers programs in Higher Education and Vocational Education and Training to regional Victoria and beyond. The University’s commitment to educational and social equity, teaching excellence, research distinction, environmental sustainability and regional capacity building has enabled it to develop in a way that draws on its proud heritage to inform its future. Its regional character sets a framework for the University’s priorities but does not constrain it from serving wider community interests, nationally and internationally. The name Federation University Australia was chosen to convey the scope and capacity of an expanded regional university with a federated network of campuses. Colour panoramic photorgraph of the Federation University Gippsland Campus.federation university, gippsland campus, churchill campus