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Kew Historical Society Inc
Photograph, J F C Farquhar, Railway Bridge Over the Yarra, 1891
... in identifying buildings and places of heritage value in the district ...At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Completed in November 1890, the railway viaduct (now the Chandler Highway Bridge) linked Kew and Fairfield. The viaduct is significant as the most substantial extant engineering remnant of the Outer Circle Railway Line. Opened in March 1891, the viaduct crossed the Yarra River in a single span, atop three supporting brick pillars. Following the closure of the railway line in 1927, and the construction of the Chandler Highway in 1930, the bridge was used for vehicular traffic. In 1891 when this panoramic photograph was taken, the grounds of what was then the Kew Lunatic Asylum extended down to the River and eastward beyond the viaduct. The landscape surrounding the Asylum was planted with traditional exotic trees such as Oaks, Pines and Cedars, and landmark trees from northern Australia such as the Hoop Pine. Remnant indigenous trees such as the River Red Gum, Yellow Box and Lightwood were scattered around the site, including beside the Yarra River.Railway Bridge Over the Yarrakew illustrated, kew where we live, photographic books, henry kellett, railway viaduct - - kew (vic) -
Kew Historical Society Inc
Photograph, J F C Farquhar, Kew Asylum & Grounds, 1891
... . The individual images have proved essential in identifying buildings ...At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.When the Kew Lunatic Asylum was opened in 1871, its extensive 340 acres of grounds were intended for farming, agriculture and recreation for the inmates. The point-of-view chosen by Farquhar for this panoramic photograph focuses on the ordered open fields, haystacks and remnant trees that extended from the foreground to the rear of the Asylum. The inmates are the absent players in this pastoral idyll. In 1891, The Argus reported on the Annual Asylum Picnic: “Wednesday saw the Kew picnic, the yearly festival of the mad folks and their keepers. Once a year the public subscribes for cakes and ale for all these mad folks, and their keepers, from superintendent to lowest wardsman, turn out, and use their best endeavours to make one day in the year sanely merry.” Regardless of such merriment, the Asylum’s development and ongoing status were frequently a source of disquiet to the residents of Kew, who regularly petitioned the State Government for its removal. Despite these views, the Asylum was to remain a functioning institution from 1871 to 1988. Kew Asylum & Groundskew illustrated, kew where we live, photographic books, henry kellett, kew lunatic asylum -
Kew Historical Society Inc
Photograph, J F C Farquhar, Ratting on the Yarra, 1891
... in identifying buildings and places of heritage value in the district ...At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.In Farquhar’s close-up portrait of the rat catcher and his dog, the photographer excludes any extraneous data that otherwise might have provided a spatial or motivational context. The contemporary or the present day viewer is required to construct a narrative to explore or understand what is occurring. The title of the picture might incline a viewer to believe that what they see is an exercise in vermin control, and that the rat concerned might be an introduced black or brown rodent. A more likely scenario is that the rat catcher is focussed on catching ‘rakali’, a native water-rat once widely trapped for its fur. The trapping of rakali for use in the manufacture of fashionable clothing accelerated as introduced furs such as musquash became more expensive. It was not until 1938 that rakali were granted protected status.Ratting on the Yarrakew illustrated, kew where we live, photographic books, henry kellett, yarra river -
Kew Historical Society Inc
Photograph, J F C Farquhar, Dight's Falls, 1891
... in identifying buildings and places of heritage value in the district ...At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Dight’s Falls in Studley Park is an artificial weir built on a natural rock bar across the Yarra. The weir was built in the 1840s to provide water to the ‘Ceres’ flour mill, one of the earliest industrial sites in Melbourne. The falls were later to be named after the owner of this mill. In 1888, William Guilfoyle, Director of the Melbourne Botanical Gardens had called for fresh water to be piped from above the weir to the Botanical Gardens, using a pumping station on the Kew side of the Falls, a holding reservoir in Walmer Street and a series of pipes from there to the Gardens. This system was opened in May 1891. Farquhar’s photograph of the man-made weir obscures the industrial activity on both sides of the Falls and focusses solely on the river and the surrounding natural vegetation. The photograph probably predates the disastrous flooding of the Yarra River in July 1891, the greatest to have occurred in the Colony since the foundation of Melbourne.Dight's Fallskew illustrated, kew where we live, photographic books, henry kellett, yarra river -
Kew Historical Society Inc
Photograph, J F C Farquhar, The Yarra in Hyde Park, 1891
... in identifying buildings and places of heritage value in the district ...At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Hyde Park is now a small recreation reserve bordered by Willsmere and Kilby Roads and White Avenue. In 1982, Hyde Park was cut off from the Yarra River by the construction of the Eastern Freeway. The building of the latter was to transform the natural landscape, including the Yarra, as well as Hyde Park. The construction of the Freeway makes it difficult to view the scene with the photographer’s eye. Today’s Hyde Park is located on land purchased in 1847 by John Cowell, and in 1851 Catherine Cowell, yet the scene selected by the photographer may well have been located on farmland owned by the Wills family. Farquhar’s point-of-view emphasises both the pastoral and recreational elements of the scene: the grazing cows, three boys, and in the distance two figures, seated on the bank with a parasol. By 1891, an environmental consequence of human activity, including farming, was deforestation, leading to the erosion of the south bank of the Yarra. In contrast, the land on the Alphington side of the river in 1891 included remnant bushland.The Yarra in Hyde Parkkew illustrated, kew where we live, photographic books, henry kellett, yarra river -
Kew Historical Society Inc
Book, Henry de Castres Kellett BT, Kew Where We Live : Kew Illustrated, 1891
... . The individual images have proved essential in identifying buildings ...At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.A unique Illustrated book, comprising a series of twelve plates of panoramic and landscape photographs of Kew, commissioned from the Melbourne (and Kew) photographer JFC Farquhar, by the Kew stationer Henry Kellett. The book was published in 1891, so it is presumed that the photographs provided by Farquhar were taken in 1891 or in the previous year. Photographs from the cloth bound book were offered by Kellett for sale separately; hence a number are in public collections. The book is in very poor condition, the leaves having separated from the spine. The cover is suffering from red rot while the mounts of each book plate are dirty and frequently suffering from foxing. The actual silver albumen plates variably suffer from foxing and iridescence caused by the deterioration resulting from the photographic process. Each part of the book can be viewed in this record in sequential format.KEW WHERE WE LIVE / KEW ILLUSTRATED / THE ACCOMPANYING ILLUSTRATIONS ARE PHOTOGRAPHIC VIEWS OF KEW AND ITS SURROUNDINGS, EXECUTED BY THE "ARGENTIC BROMIDE PROCESS", WHICH ENSURES ABSOLUTE PERMANENCY OF THE PHOTOGRAPH. IN A FEW YEARS HENCE WHEN MOST OF THE OLD LANDMARKS WILL HAVE DISAPPEARED THESE VIEWS WILL BE A VALUABLE MEMENTO OF KEW AS IT WAS IN 1891. ANY OF THESE ILLUSTRATIONS GAN BE OBTAINED FROM MR. H. KELLETT, HIGH STREET, KEW, IN SINGLE COPIES, IN THE SAME SIZE AS THOSE HEREIN AT 2s PER COPY. THEY MAY ALSO BE OBTAINED IN THE FOLLOWING SIZES FOR FRAMING:- / ACTUAL SIZE OF PHOTOGRAPH 15 INCHES X 12 INCHES @ 8. 6d EACH / 22 INCHES X 16 INCHES @ 15s EACH / PRIVATE RESIDENCES AND ESTATES / SPECIAL ARRANGEMENTS CAN BE MADE FOR TAKING VIEWS OF PRIVATE RESIDENCES - INTERIOR AND EXTERIOR - AND FOR GROUPS, &C., IN ANY SIZE UP TO 40 INCHES BY 30 INCHES BY THE "ARGENTIC BROMIDE" PROCESS UPON APPLICATION TO / MR H. KELLETT / HIGH STREET, KEW.kew illustrated, kew where we live, photographic books, henry kellett, jfc farquhar - photographer -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on linen, Rob McHaffie, Why did we go further than monkeys, monkeys know how to be monkeys, 2008
This work was painted following Rob McHaffie’s Australia Council Residency at Cité Internationale des Arts in Paris in 2007. Despite Paris being a beautiful city, McHaffie also found the experience challenging and felt that on a bad day, the city was no more than an ornately decorated concrete jungle. In this painting a monkey looks out from a green building onto an imagined scene abound with art historical references. A classical European figurative sculpture is surrounded by flowers from Monet’s gardens, while a contemporary sculpture by Franz West dominates the foreground of the work. McHaffie questions the so-called evolution of cultured humanity in comparison to the imagined contentedness of our pre-evolved species.oil on linenmonkey, sculpture, painting, rob mchaffie, paris, flowers, franz west -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - watercolour, Margaret Baskerville, The farm shack, 1909
watercolourfarm, building, farm house, landscape, watercolour, margaret baskerville, a-frame, mountain -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - watercolour, Charles Douglas Richardson, Wodeley Court, Shropshire
watercolourlandscape, england, wodeley court, shropshire, charles douglas richardson, building, house, chimney, pond -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on board, LM Wallis, Beaumaris, 1932
Impressionismoil on boardbeaumaris, beaumaris hotel, road, vegetation, bayside, power pole, signs, landscape, building, hotel -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on linen, Rob McHaffie, A little bit more foliage should block out the Empire State bastard next door, 2016
oil on linenpainting, buildings, mother, baby, plants, apartments, rob mchaffie, high rise, parquetry, neighbourhood, foliage -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Certificate - Illuminated certificate, Brighton Municipal Certificate, 1872
bayside city council, borough of brighton, illuminated, certificate, population, rates, public buildings, wp allen, mayor, town clerk, surveyor, councillors, council, borough, county of bourke -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Photograph - sepia photograph, Official Opening, St Kilda - Brighton Electric Street Railway, 1906
electric street railway, public transport, st kilda, brighton, mayor, councillors, thomas bent, premier, opening, celebration, cr. t. wilson, cr. h.b. gibbs, hon. d.e. mcbryde, mr goddard, mr j.n. browne, town clerk, mr bradford, electrical engineer, mr tait, railways commissioner, hon. j.c. campbell, mr rees, mr r.g. mccutcheon, sepia, photograph, tram -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Photograph - gelatin silver photograph, Talma & Co, Sandringham Town Council, Proclaimed 9th day of April,1919
Sandringham was originally part of the Shire of Moorabbin. On 28 February 1917, Sandringham was severed from Moorabbin and incorporated as the Borough of Sandringham. It was proclaimed a Town on 9 April 1919 and a City on 21 March 1923. The Sandringham Town Hall, located on Abbott Street, Sandringham (formerly the mechanics institute) was demolished in 1994.councillor, sandringham, local government, municipality, mayor, portrait, city of sandringham, sandringham town hall, abbott street, cr. e.l. belyea, cr. b. champion, cr. h.b. grace, cr. c.a. hartsman, cr. j.e.d. beck, cr. b.j. ferdinado, cr. t.g. farrant, cr. w.t.c. kelly, cr. g.w. knott, town, proclamation, bayside, hampton, black rock -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Certificate - Illuminated certificate, Hamel & Fergsuon, Brighton Municipal Certificate, 1866
bayside city council, borough of brighton, illuminated, certificate, population, rates, public buildings, mayor, town clerk, surveyor, councillors, council, borough, county of bourke, thomas crisp, cr t. crisp, census, parish of moorabbin, hamel & ferguson, coat of arms -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Certificate - Illuminated certificate, Brighton Municipal Certificate, 1861
bayside city council, borough of brighton, illuminated, certificate, population, public buildings, surveyor, council, borough, county of bourke, census, colony of victoria -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - watercolour, John C. Paul, St. Ninian's north elevation c.1841, 1971
Built around 1841, St Ninian’s, located at 10 Miller Street, was one of Brighton’s earliest buildings. It is best known as being the home of merchant shipping agent, politician and former British naval officer, George Ward Cole between the 1840s and 1902. Following the death of George Ward Cole in 1879 and his wife in 1898, their only surviving child, Margaret, sold the property to Sir Thomas Bent, who subdivided the land in the early 1900s. The property was demolished in 1974. John C. Paul, St. Ninian's north elevation c.1841 1971, watercolour, 29.5 x 42.3 cm. Bayside City Council Art and Heritage Collection. Purchased 1974.st ninian's, brighton, historic house, george ward cole, thomas bent -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - watercolour, John C. Paul, St. Ninian's south elevation c.1841, 1971
Built around 1841, St Ninian’s, located at 10 Miller Street, was one of Brighton’s earliest buildings. It is best known as being the home of merchant shipping agent, politician and former British naval officer, George Ward Cole between the 1840s and 1902. Following the death of George Ward Cole in 1879 and his wife in 1898, their only surviving child, Margaret, sold the property to Sir Thomas Bent, who subdivided the land in the early 1900s. The property was demolished in 1974. John C. Paul, St. Ninian's south elevation c.1841 1971, watercolour, 29.5 x 43 cm. Bayside City Council Art and Heritage Collection. Purchased 1974.st ninian's, brighton, historic house, george ward cole, thomas bent -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - watercolour, John C. Paul, St. Ninian's servants' quarters, 1975
Built around 1841, St Ninian’s, located at 10 Miller Street, was one of Brighton’s earliest buildings. It is best known as being the home of merchant shipping agent, politician and former British naval officer, George Ward Cole between the 1840s and 1902. Following the death of George Ward Cole in 1879 and his wife in 1898, their only surviving child, Margaret, sold the property to Sir Thomas Bent, who subdivided the land in the early 1900s. The property was demolished in 1974. John C. Paul, St. Ninian's servants' quarters 1975, watercolour, 27.5 x 39.6 cm. Bayside City Council Art and Heritage Collectionst ninian's, brighton, historic house, george ward cole, thomas bent, servants' quarters -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - watercolour, John C. Paul, St. Ninian's eastern courtyard c.1841, 1971
Built around 1841, St Ninian’s, located at 10 Miller Street, was one of Brighton’s earliest buildings. It is best known as being the home of merchant shipping agent, politician and former British naval officer, George Ward Cole between the 1840s and 1902. Following the death of George Ward Cole in 1879 and his wife in 1898, their only surviving child, Margaret, sold the property to Sir Thomas Bent, who subdivided the land in the early 1900s. The property was demolished in 1974. John C. Paul, St. Ninian's eastern courtyard c.1841 1971, watercolour, 28.5 x 40.8 cm. Bayside City Council Art and Heritage Collection. Purchased 1974.st ninian's, brighton, historic house, george ward cole, thomas bent, courtyard -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - watercolour, John C. Paul, Prince Albert Hotel c.1851, 1973
wner could not obtain the necessary licence and it became a coaching House for Cobb & Co. The building was demolished in 1971.John C. Paul, Prince Albert Hotel c.1851 1973, watercolour, 28 x 40.9 cm. Bayside City Council Art and Heritage Collection. Purchased 1974.brighton, prince albert hotel, historic building, john c paul, cobb & co. -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - watercolour, John C. Paul, St. Andrew's Brighton, 1971
St Andrew’s Anglican Church, located at 228 New St, Brighton, is the oldest continuous Anglican Church in Victoria. Opened on St Andrews day in 1842, it was one of the earliest Christian churches established in the Port Phillip District. A second church building was erected on the site in 1851, followed by a third building and schoolhouse in 1857 which was enlarged in 1886. A fire in 1961 engulfed the building and renowned Australian church architect Louis Williams was appointed to be the architect of the new building. The present church complex is amongst the largest church buildings in Australasia. Using over 500,000 bricks and over 16,000 roof tiles, this space consisted of three areas: the main church building, the Pioneer chapel and the Lady chapel. The large arcaded cloister, seen in this painting, with an internal cloister garden, is extremely rare in any church in Australasia, and links the Pioneer Chapel to the narthex of the new building.John C. Paul, St. Andrew's Brighton 1971, watercolour, 44 x 30.5 cm. Bayside City Council Art and Heritage Collection. Purchased 1974.brighton, john c paul, st andrews, church, anglican, cloister, arcade -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - ink and watercolour, Annette Meikle, St Vincent de Paul's Children's Home, 1977
In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. This red brick building in Balcombe Road, Black Rock, was constructed in the inter-war period (1939) as a holiday home for State wards and neglected children who were placed in the care of the Sisters of Mercy.Annette Meikle, St Vincent de Paul's Children's Home 1977, ink and watercolour, 35.7 x 25.6 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, st vincent de paul's children's home, balcombe road, black rock, sisters of mercy -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - watercolour, John C. Paul, Old Building, 70 Carpenter Street, 1971
John C Paul, Old Building, 70 Carpenter Street 1971, watercolour, 28.5 x 40.8 cm. Bayside City Council Art and Heritage Collection. Purchased 1974.brighton, john c paul, historic house, carpenter street -
Clunes Museum
Document - CONSERVATION STUDY, RICHARD AITKEN, 1986
REPORT FOR THE SHIRE OF TALBOT & CLUNES 'AUSTRALIAN HERITAGE COMMISSION'& MINISTRY FOR PLANNING & ENVIRONMENT, BY RICHARD AITKEN - 10TH APRIL, 1986TALBOT AND CLUNES CONSERVATION STUDY - HISTORY OF SIGNIFICANT BUILDINGS.local history, document, report, hepburn shire -
Koorie Heritage Trust
Pamphlet, Aborigines Advancement League, Aborigines Advancement league (Victoria) and the Australian aboriginal Girls' Hostel Committee
Subscription to the Aborigines Advancement league (Victoria) and the Australian aboriginal Girls' Hostel Committee : Friends of the League Miss KilpatrickSubscription to the Aborigines Advancement league (Victoria) and the Australian aboriginal Girls' Hostel Committee : Friends of the League Miss Kilpatrick -
Koorie Heritage Trust
Book, Beeson, Margaret J, Some Aboriginal Women Pathfinders : their difficulties and their achievements, 1980
From intro. : ' These we write about are only a few of the many who have battled against prejudice and discrimination, against apathy of Christian people, and against disregard by governments; and who have, by courage and determination made an honourable place for themselves in the community.'80 p. : ill. ; 19 cm.From intro. : ' These we write about are only a few of the many who have battled against prejudice and discrimination, against apathy of Christian people, and against disregard by governments; and who have, by courage and determination made an honourable place for themselves in the community.'australian aboriginal women. biographies | women, aboriginal australian -- biography. -
Koorie Heritage Trust
Booklet, Albert, Trish, Stories through art, 2009
11 Indigenous artists discuss their work and motivation.32 P; plates; photographs; ill.11 Indigenous artists discuss their work and motivation.artists, aboriginal australian -- 21st century. | art, aboriginal australian -- 21st century. | australian -
Koorie Heritage Trust
Booklet, Bruce, D. W, Some cognitive skills in Aboriginal children in Victorian Primary Schools, 1971
Two main areas of study suggested themselves: the cognitive capacity of Aboriginal children, and any psychological problems which might be assiciated with their racial awareness.pp32; figs.; tables; 22 cm.Two main areas of study suggested themselves: the cognitive capacity of Aboriginal children, and any psychological problems which might be assiciated with their racial awareness. 1.statistics-education-aboriginal children-australia, 2.cognitive skills -victorian a?boriginal children -
Koorie Heritage Trust
Book, Bonwick, James, Port Phillip settlement, 1883
Contents: Discovery; Mr. Grimes round the Bay, 1803; Settlement of 1803; The settlement of 1826; Hume and Hovell's overland journey; The Western Port settlement; Captain Sturt on the Murray; Portland Bay settlement in 1834; Major Mitchell's discoveries in Australia Felix; Life of John Batman; Batman's journal and report; The wild white man; The surveyor's note-book and report; Life of Mr. Fawkner before 1835; Fawkner on the Yarra Yarra; Official correspondence; The Port Phillip Association; Official recognition of trespassers; First Government of Port Phillip; Mr Gellibrand lost in the bush; The Governor's visit to the Yarra; Melbourne and its land sale; The stock question; Mr Mackillop's narrative; Progress of the settlement; The early Melbourne press; Discovery of Gipps Land; The Black Question; Narratives of Old Hands; Causes of emigration in 1835; An Overland journeyx, 537 pages, [36] leaves of plates (some folded.) illustrations (1 colour), facsimiles, portraits ; 23 cm.Contents: Discovery; Mr. Grimes round the Bay, 1803; Settlement of 1803; The settlement of 1826; Hume and Hovell's overland journey; The Western Port settlement; Captain Sturt on the Murray; Portland Bay settlement in 1834; Major Mitchell's discoveries in Australia Felix; Life of John Batman; Batman's journal and report; The wild white man; The surveyor's note-book and report; Life of Mr. Fawkner before 1835; Fawkner on the Yarra Yarra; Official correspondence; The Port Phillip Association; Official recognition of trespassers; First Government of Port Phillip; Mr Gellibrand lost in the bush; The Governor's visit to the Yarra; Melbourne and its land sale; The stock question; Mr Mackillop's narrative; Progress of the settlement; The early Melbourne press; Discovery of Gipps Land; The Black Question; Narratives of Old Hands; Causes of emigration in 1835; An Overland journeymelbourne (vic.) -- history -- to 1834. | melbourne (vic.) -- history -- 1834-1851. | port phillip bay region (vic.) -- history.