Ill, p.95.A collection of personal stories from 32 past and present members of the Melbourne branch of the worldwide Irish cultural organisation, Comhaltas Ceoltoiri Éireann, produced to mark the 50th anniversary of Melbourne Comhaltas.The stories, collected by oral history interview, are accompanied by photographic portraits of each subject. The stories explore themes of immigration, culture and heritage, and feature, among others, prominent members of the Melbourne Irish scene, such as:-Accordion legend Paddy Fitzgerald-Set dancing teacher Marie Brouder-Prolific musician Tony O'Neill-Leader of the Melbourne Comhaltas band, Joan Mundy. Among the people interviewed are Irish expats, second- and third-generation Australians, and people from Scotland, Japan and the Ukraine.The book includes forewords from Irish Ambassador to Australia, Breandán Ó Caollai - Director-General of Comhaltas Ceoltoiri Éireann, Dr. Labhrás Ó Murchú· and Melbourne Comhaltas President, Mary McBride.cultural societies - irish - melbourne, irish music and dancing

non-fictionA comprehensive history of approximately 1,000 mechanics' institutes in Victoria and their contribution to the educational and cultural life of Victoria from 1839 to the present. Information includes the building status, social adult education, library history and heritage listings, as well as essays about the Mechanic Institute movement and development. Winner of the Victorian Community History Award 2016 mechanics' institutes -- victoria, adult education -- victoria -- history, libraries -- victoria -- history., historic buildings -- victoria, victoria -- social life and customs

A.C. (Arthur Charles) Simon a pioneer orchardist in the Bacchus Marsh district planted this avenue of Osage orange trees in about 1883, creating an imposing entrance to his property from Taverner Street. Simon also believed that the trees on his orchard property would provide a protective shelter for his other plants. Osage orange trees (Maclura pomifera) are a small deciduous tree or large shrub, native to the south-central United States. It usually grows to about 8 to 15 metres high. The distinctive fruit, a multiple fruit that resembles an immature orange, is roughly spherical in shape, about 8 to 15 centimetres in diameter, and turns bright yellow-green in the autumn. A. C. Simon is believed to have imported the Osage orange seeds from America around the 1860s and later used them to plant the trees depicted in this image. The date of this image is not certain but it probably shows the trees around the 1900s or 1910s. The avenue of trees was known for many years in Bacchus Mars as 'Simons Avenue', and were featured in a Rose series postcard dating from around 1900-1920. The remnants of this avenue or grove of trees can be seen on some of the properties on the north side of Taverner Street Bacchus Marsh and along the Werribee River west of the FIsken Street bridge.The Bacchus Marsh Heritage Study of 1995 described the Osage Orange Tree avenue as being of regional historical significance as a landscaping practice, pioneering of its type, It was also described as of local significance as a well-known landmark due to it be being represented on widely distributed post cards which depicted scenes of Bacchus Marsh in the early part of the twentieth century. This early photographic image is evidence of this social and cultural significance.A black and white photograph print mounted on mounting board showing an avenue of Osage orange trees. trees, osage orange trees, simon family bacchus marsh, arthur charles simon 1833-1924, orchardists

Raafat Ishak is a Melbourne-based artist working across painting, installation and site-specific drawing. His work delves into the exploration of identity and the challenges of navigating life between two cultures, particularly influenced by his teenage emigration from Cairo, Egypt. Ishak employs a graphic visual language in his art, drawing inspiration from both architecture and his Arabic heritage. His artistic practice is situated at the crossroads of the personal and the political, delving into themes of utopia through the use of romanticised imagery. Through his work, Ishak seeks to scrutinize and interpret the complexities of cross-cultural dialogue.

St Margaret’s Church of England was officially opened on December 12, 1861. It is the oldest intact church building in Eltham. At the time it was known as Christ Church until its consecration in 1871, when it was completely free of debt (£1,700 for the church and parsonage) despite the district’s poverty. This was largely due to the free labour and materials, including locally made bricks donated by local artisans and others. The church is historically significant because it is the oldest church in the former Shire of Eltham and has associations with the philanthropist and founder of Brighton, Henry Dendy (who donated the land on which the church is built), the architect Nathaniel Billing and the prominent local builder, George Stebbing. The church is architecturally and aesthetically significant because it is constructed in the Gothic Revival style with several stained-glass windows of various dates and is also a very early use of polychromatic brickwork in Victoria. Billing was one of the first Melbourne architects to employ polychromatic brickwork and an important early architect. The rear wall was intended to be temporary. A major feature of the design is the large buttresses with long, steeply graded upper faces. The overall design is well proportioned with the surface brick patterns relieving an otherwise austere design. The church is spiritually and socially significant because it has been an important place of worship for the people of Eltham for almost 150 years. The land on which the buildings stand was donated by Henry Dendy. Dendy arrived in Melbourne in 1841 after purchasing in England eight square miles at Brighton under the system of "special surveys". After this land passed out of his hands, Dendy moved about Victoria, visited England, then returned to settle in Eltham where he purchased a flour mill. Dendy chaired the meeting held in 1860 “for the purpose of devising such means as may be expedient for the establishment of a Church of England in the township of Eltham”. He became chairman and treasurer of the church committee. Unlike the establishment of many early churches in Victoria where a vicar was appointed to a parish and later a permanent church was constructed, the population at Eltham initiated action to build a church. The nearest church at that time was at Heidelberg and the Eltham settlement was part of the parish of St Johns Heidelberg. Isolation and the tedious, time consuming journey between Heidelberg and Eltham resulted in the Eltham community taking its own action. The original vicarage (Dendy House) at the rear of the church is also an important part of the cultural significance of this place because it is connected to the church and the development of the Eltham area. Together, the church and the vicarage are aesthetically significant because they form a significant streetscape feature. The mud-brick community hall designed by Robert Marshall was added in 1978. In 2014 the original temporary rear wall was removed as part of a modern extension designed by Architects Atelier Wagner and constructed by Conrad Construction and Management. Covered under Heritage Overlay, Nillumbik Planning Scheme. National Trust of Australia (Victoria) State significance Victorian Heritage Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p67 St Margaret’s Anglican Church in Pitt Street, Eltham, which officially opened on December 12, 1861, is the oldest intact church building in Eltham.1 With the nearby courthouse and police station, it was one of the first permanent community buildings in the district. The church and vicarage are on the Register of the Heritage Council of Victoria and the National Trust of Australia – Victoria. The church is important as an early example of polychrome brickwork by the notable architect Nathaniel Billings. It is also notable for its historic associations with the early settlement of the Shire of Eltham and its connection with Henry Dendy, Brighton’s founder.2 Henry Dendy, who lived in Eltham much longer than at Brighton, chaired the original meeting which planned the church, and he donated the half-acre (0.2ha) site. Dendy had arrived in Melbourne in 1841 after buying eight square miles (20.7sq km) at Brighton while in England. After this land passed out of his hands, he eventually settled in Eltham where he bought a flour mill, west from the corner of Main Road and Pitt Street (then called Brewery Lane). The vicarage was named Dendy House after him. The Eltham settlers were unusual in initiating the establishment of a church. Usually in Victoria a vicar was appointed to a parish and then a permanent church was constructed. But then, the nearest church was at Heidelberg, which was a tedious and time-consuming journey. St Margaret’s builder was a local, George Stebbing, who also constructed the former Methodist, later Uniting, Church at John Street and the Shillinglaw Cottage near Eltham’s Central Park. It is believed the first Anglican Bishop of Melbourne, Bishop Perry, dedicated the church. After the ceremony he joined in the festivities at the nearby pub and a bill was sent to the parish for teas taken there by the bishop with other participants. The first vicar was the Reverend Robert Mackie from 1864 to1866. St Margaret’s Church was originally called Christ Church until its consecration in 1871, when it was completely free of debt (£1700 pounds for the church and parsonage) despite the district’s poverty. This was largely due to the free labour and materials, including local bricks, donated by local artisans and others. St Margaret’s Church is in the Gothic Revival tradition with a buttressed nave, paired lancet windows, porch and bell-cote. It was the first polychromatic brick church in Australia, using softly contrasting coloured brickwork.3 Billing was one of the first architects to introduce polychrome brickwork into Melbourne. His original drawings for St Margaret’s survive in a folio of his architectural work. However the church’s brickwork is more subdued than in his drawings. About half the windows – those in clear glass with gold borders – are original. The stained glass windows were made much later, but the one behind the altar is thought to be the oldest in the Diamond Valley. It was to be temporary until the congregation could afford to extend the church. In the early 1960s the original cedar pews were replaced by blonde timber pews and the originals were sold to restaurants and to private individuals. Eminent local sculptor Matcham Skipper created a crucifix for the church. A major addition was made in 1978, when the weatherboard hall was replaced by a mud-brick hall. Made of local material, it was designed by local architect and a former shire president Robert Marshall. The mud-brick hall reflects the style of building in Eltham of the late 1970s and for which Eltham is well-known. Perhaps because its earthy tones blend with the surrounding environment, the hall sits well with the church building. St Margaret’s membership has included economist and ABC chairman, Richard Downing; political commentator, diplomat and academic, William Macmahon Ball; Eltham civic leader, Charles Wingrove; artist, Peter Glass; and Eltham’s first postmaster, Frederick Falkiner.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, st margaret's anglican church, st margaret's church, st margarets church hall, christ church

The house depicted in this image was constructed in 1865 for James Young a prominent local businessman and participant in community affairs. James Young left Bacchus Marsh in 1869. In 1870 Stone Villa was purchased by local solicitor Francis Gell. In 1872 it was bought by William Collyer. For a time before 1883 it was used as a school operated by Mr Thomas Kissock and his wife. From 1883 until 1922 it was used as a parsonage by the Church of England. In 1922 it was sold to Frederick Slack as a private residence. Since Slack's ownership there have been other owners. As of April 2024 it remains as a private residence and is listed as a heritage property in the Moorabool Shire planning scheme. The identity of the two women and young girl in the foreground of the image has not been established. One of the women, and the child are possibly the wife and daughter of the Rev A.C. McCausland who was the Church of England Vicar in Bacchus Marsh from 1872 until 1885 and would have resided in this house in 1883 when this picture was produced.An early visual record of one of the most culturally and architecturally significant nineteenth century stone houses in Bacchus Marsh.Small sepia 'carte de visite' style unframed photograph on card with gold border framing photograph. Housed in the album, 'Photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll', the Jeremeas Family Album. The photo is of a stone dwelling with an ornate gable above the inset front door which is flanked by two double windows, one of which is a bay window. The gable roof line bears ornate woodwork. A weatherboard extension with verandah has been added to the rear of the house, running north-south. A picket fence lines the block to the side of the dwelling. Two elegantly dressed women, both holding a furled umbrella, stand at the front, one holding the hand of a little girl.Printed On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. Hand written on the reverse: 'Stone Villa built by James Young 1860 (sic) as his private residence, later as a school (Mr and Mrs Kissock proprietors) bought by CofE for Vicarage 1883-1922. Courtesy of Mrs J Jeremeas, Photo 1883' james young 1816-1871, houses, stone villa bacchus marsh, clergy residences, bacchus marsh vic. history, schools bacchus marsh, stevenson and mcnicoll 1883 photographs of bacchus marsh and district

The chinese called the rich goldfields in the heart of Victoria Dai Gum San, Big Gold Mountain. A place of untold wealth and promise. Today Dai Gum San is a rich Chinese Cultural Centre and Chinese precinct in the centre of Bendigo which links the Golden Dragon Museum with the Yi Yuan Gardens and Kuan Yin Temple. The gardens are a place of peace and beauty and the Kuan Yin Temple is a stunning home for the goddess of compassion.Squarish piece of quartz with printed plaque attached to front face. Dai gum san / In appreciation of your contribution / to the development of the / Bendigo Chinese Precinct / August 2010dai gum san, bendigo chinese dragon, golden dragon museum, city of greater bendigo heritage attractions

Shire of Eltham Heritage Study 1992 prepared by David Bick and Carlotta Kellaway; Garden Evaluation by John Patrick and Planting Evaluation by Ken Wallace Volume One: Recommendations, Conservation Areas, Identified Places Volume Two: Environmental History and Bibliography Volume Three: Culturally Significant Themes and the Evaluations of the Individually Identified Places that Illustrate the ThemesProvides the foundation for future planning assessments in the Shire of Eltham.167 A4 pages (double sided), spiral bound with clear pastic front cover and black card end cover.background history, carlotta kellaway, conservation areas, culturally significant themes, david bick, garden evaluation, heritage study, identified places, john patrick, ken wallace, planting evaluation, recommendations, shire of eltham heritage study

Digital image of two reports and a letter - 41 A4 pages Report - titled "Melbourne's Trams and Tramways - Statement of Heritage Significance", Working Paper 1.1, dated May 2000, by Convergence Design Pty Ltd and Boyce Pizzey Strategic - Page 3 is missing - looks at the development of Melbourne's trams, the element of significance, the tramway system as an entity, Social and cultural influencers, the technological development, including tram design. The two page statement notes the tramway system as an evolving entity and technology. And included document is "A Brief History of Melbourne's Trams and tramways", considers the history of the tramway system, cable cars, W class cars, buses, WW2, postwar developments, Robert Risson and a heritage assessment. There is reference to maps and attachments, but these have not be included other than the sources. A letter dated 6 June 2000 from COTMA (written by Craig Tooke, Executive Officer) to Mr. E Keys of Booz-Allen & Hamilton provides comments on the draft and corrections. .1 - hard copy of the Brief History.trams, tramways, history, significance, mmtb, melbourne, tramways, transport, buses, closure

merri-bek public art collection

Jenna Lee dissects and reconstructs colonial 'Indigenous dictionaries' and embeds the works with new cultural meaning. Long obsessed with the duality of the destructive and healing properties that fire can yield, this element has been applied to the paper in the forms of burning and mark-making. In Without Us, Lee uses charcoal to conceal the text on the page, viewing this process as a ritualistic act of reclaiming and honouring Indigenous heritage while challenging the oppressive legacies of colonialism. Lee explains in Art Guide (2022), ‘These books in particular [used to create the proposed works] are Aboriginal language dictionaries—but there’s no such thing as “Aboriginal language”. There are hundreds of languages. The dictionary just presents words, with no reference to where they came from. It was specifically published by collating compendiums from the 1920s, 30s and 40s, with the purpose to give [non-Indigenous] people pleasant sounding Aboriginal words to name children, houses and boats. And yet the first things that were taken from us was our language, children, land and water. And the reason our words were so widely written down was because [white Australians] were trying to eradicate us. They thought we were going extinct. The deeper you get into it, the darker it gets. But the purpose of my work is to take those horrible things and cast them as something beautiful.’Framed artwork

Print of a picture of the S.S. Casino, This print is from an original painting by the Australian marine artist A V Gregory (1867-1957), also known as Arthur Victor Gregory. Gregory lived and worked in South Melbourne. He took over the Gregory Studio owned by his father, George Frederick Gregory, painting actively between 1899 and 1932. He usually signed his works as ‘A V Gregory’. Some of his original works have been sold for thousands of dollars. The S.S. Casino was a passenger and freight steamer built in Dundee, Scotland, in 1882 for the Newcastle and Hunter River Steam Navigation Company of N.S.W. She weighed 425 tons gross with a length of 160.4 feet, beam of 24.1 feet and a depth of 10.2 feet. She had saloon accommodation for 35 people, a fore cabin for 25 more people, and she carried 300 tons of cargo. While on her delivery journey on May 30th 1882 the S.S. Casino called in at the Port of Warrnambool for coal ., narrowly escaping going ashore in gale force winds due to the quick action of the pilot. At that time, still at anchor, she impressed the directors of the Belfast and Koroit Steam Navigation Company so much that they bought her immediately; she was ideal for trade along the West Coast of Victoria. (The Belfast and Koroit Steam Navigation Company was first managed by Messers. Saltau and Osburne and after the passing of Mr. Osburne, by produce merchants Messers H. Sautau and Sons, who had a hay and corn store and shipping agency on the corner of Liebig and Koroit Streets in Warrnambool. ) The S.S. Casino became “the most famous steamer to operate in Victorian waters along the West Coast” by author Jack Loney. Captain Boyd was her first Master, followed by Captain Chapman, who stayed with her from 1890 until 1924. Captain W. Robertson followed for a short term, and then Captain Middleton then took command from 1925 - 1932. The S.S. Casino had several mishaps during her life. One was on 3rd January 1898 when she collided with the S.S. Flinders in Apollo Bay with minor damage. Another was on 24th October 1924 when she grounded on a reef at Point Hawdon near Grey River and most of her cargo (of Christmas goods) had to be dumped into the sea. Then in February 1929 she was ‘holed’ when she struck a submerged object as she entered Lady Bay, Warrnambool. On the morning of 10th July 1932, after attempting to berth at Apollo Bay jetty in heavy seas, Captain Middleton decided to take her out into the bay and wait until the seas abated. It was not realised that the anchor used to steady her as she manoeuvred to her berth had pierced her hull. She put about and headed for the beach but sank. Captain Middleton and nine others lost their lives; nine people were rescued including the two female passengers. Captain Middleton had been in charge of the S.S. Casino for seven years. He was the first ship’s Master to lose his life in a shipwreck in the West Coast trade. In the years following the turn of the century, the S.S. Casino remained the only regular trader with normal passenger accommodation along the West Coast. From 1882 she had made at least 2,500 voyages on the one run. Flagstaff Hill’s collection has a photograph of a portrait of Captain Chapman, , a ship model of the S.S. Casino that shows both forms of power under which she sailed, steam and sail. The ship is painted green and flies three flags. The inscription across the case of the ship model, incorrectly dated, tells the sad story of the wreck of the ship and the loss of lives on July 10th 1932 at Apollo Bay. A print in the Collection shows S.S. Casino underway in the heavy sea off Point Lonsdale, another two photographs show her at the Port of Warrnambool, leaving from the Breakwater in Lady Bay and another identifies the S.S. Casino as a ship from the Belfast and Koroit Steam Navigation Company. (Belfast is the original name for the township of Port Fairy).This print of the S.S. Casino is of significance for its association with the coastal trader S.S. Casino. The wreck of the S.S. Casino is considered an important part of Victorian and Australian cultural heritage and as such has been declared and protected as an Historic Shipwreck under State and Commonwealth Law in the Commonwealth Historic Shipwrecks Act (1976). The detailed image of the vessel depicted in this print shows one of the many sail and steam vessels painted by the renowned Victorian marine artist A V Gregory, whose original works are highly valued today by marine collectors.Print with hand-painted watercolour highlights depicting the port side steamship SS Casinounderway in a heavy sea, merchant flag flying at the stern. Mounted in a decorative wooden frame behind glass. The original painting was by A V Gregory. The title of the picture is repeated in handwritten words on the matte below the artist's signature on the print.Signed "A V Gregory" Hand painted title "SS Casino off Point Lonsdale"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, newcastle and hunter river steam navigation company, belfast and koroit steam navigation company, h. sautau and sons, s.s. casino, west coast trader s.s. casino, victorian coastal trader, captain boyd, captain w. robertson, captain chapman, captain middleton, apollo bay shipwreck, s.s. casino at lady bay warrnambool, saltau and osburne, a v gregory, arthur victor gregory, melbourne artist

This black and white photograph shows the image of the coastal trading vessel S.S. Casino, with both sail masts and steam funnel. Men in hats are clearly visible on deck. The ship is in calm water and only light rigging is on the masts. Other vessels are in the background. Photograph is taken 1882-1932. The S.S. Casino was a passenger and freight steamer built in Dundee, Scotland, in 1882 for the Newcastle and Hunter River Steam Navigation Company of N.S.W. She weighed 425 tons gross with a length of 160.4 feet, beam of 24.1 feet and depth of 10.2 feet. She had saloon accommodation for 35 people, forecabin for 25 more people, and she carried 300 tons of cargo. While on her delivery journey on May 30th 1882 the S.S. Casino called in at the Port of Warrnambool for coal ., narrowly escaping going ashore in gale force winds due to the quick action of the pilot. At that time, still at anchor, she impressed the directors of the Belfast and Koroit Steam Navigation Company so much that they bought her immediately; she was ideal for trade in along the West Coast of Victoria. (Belfast is the original name for Port Fairy, South West Victoria. The Belfast and Koroit Steam Navigation Company was first managed by Messers. Saltau and Osburne and after the passing of Mr. Osburne, by produce merchants Messers H. Sautau and Sons, whose had a hay and corn store and shipping agency was on the corner of Liebig and Koroit Streets in Warrnambool. ) The S.S. Casino became “the most famous steamer to operate in Victorian waters along the West Coast” by author Jack Loney. Captain Boyd was her first Master, followed by Captain Chapman, who stayed with her 1890 until 1924. Captain W. Robertson followed for a short term, then Captain Middleton then took command 1925 - 1932. The S.S. Casino had several mishaps during her life. One was on 3rd January 1898 when she collided with the S.S. Flinders in Apollo Bay with minor damage. Another was on 24th October 1924 when she grounded on a reef at Point Hawdon near Grey River and most of her cargo (of Christmas goods) had to be dumped into the sea. Then in February 1929 she was ‘holed’ when she struck a submerged object as she entered Lady Bay, Warrnambool. On the morning of 10th July 1932, after attempting to berth at Apollo Bay jetty in heavy seas, Captain Middleton decided to take her out into the bay and wait until the seas abated. It was not realised that the anchor used to steady her as she manoeuvred to her berth had pierced her hull. She put about and headed for the beach but sank. Captain Middleton and nine others lost their lives; nine people were rescued including the two female passengers . Captain Middleton had been in charge of the S.S. Casino for seven years. He was the first ship’s Master to lose his life through shipwreck in the West Coast trade. In the years following the turn of the century the S.S. Casino remained the only regular trader with normal passenger accommodation along the West Coast. From 1882 she had made at least 2,500 voyages on the one run. Flagstaff Hill’s collection has a photograph of a portrait of Captain Chapman, , a ship model of the S.S. Casino that shows both forms of power under which she sailed, steam and sail. The ship is painted green and flies three flags. The inscription across the case of the ship model, incorrectly dated, tells the sad story of the wreck of the ship and the loss of lives on July 10th 1932 at Apollo Bay. A print in the Collection show S.S. Casino underway in heavy sea off Point Lonsdale, another two photographs show her at the Port of Warrnambool, leaving from the Breakwater in Lady Bay and another identifies the S.S. Casino as a ship from the Belfast and Koroit Steam Navigation Company. (Belfast is the original name for the township of Port Fairy). This photograph is significant because of its association with the coastal trader S.S. Casino and its significance to trade along Victoria's West Coast in the late 19th and early 20th century. It was taken 1882-1932 The wreck of the S.S. Casino is considered an important part of Victorian and Australian cultural heritage and as such has been declared and protected as an Historic Shipwreck under State and Commonwealth Law in the Commonwealth Historic Shipwrecks Act (1976). Photograph, black and white, taken 1882-1932. Foreground is vessel SS Casino, the Belfast and Koroit Steam Navigation Company's coastal trading ship. The ship, in calm water, has light rigging on its masts and also a steam funnel. One lifeboat is visible. People are on the deck. The background shows other vessels.Under the photograph "The Belfast and Koroit Steam Navigation Company's S.S. "Casino," 425 Tons"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, newcastle and hunter river steam navigation company, belfast and koroit steam navigation company, h. sautau and sons, s.s. casino, west coast trader s.s. casino, victorian coastal trader, captain boyd, captain w. robertson, captain chapman, captain middleton, apollo bay shipwreck, s.s. casino at lady bay warrnambool, saltau and osburne

This work is from a series centred around the Chinese proverb “to hold a book in one’s hand is to hold a house of gold” in which the artist positions himself within sites of colonial power. Set within the National Wool Museum gallery, the artist references the pose of an exhausted shearer after a long day of arduous labour. However he is reclining while reading The Fire Stick by Wulla Merrii, a novel set against the 1891 Queensland Shearer’s Strike, questioning cultural stereotypes and how they pertain to concepts of work and leisure. Dressed in sub fusc, his official uniform as an Oxford scholar, Thompson is a defiant intellectual challenging past and continued misperceptions of First Nations people, while embracing both the intersections of his identity and his ancestral heritage. Dr Christian Thompson AO is a Bidjara man of the Kunja Nation with Irish and Chinese heritage. His practice spans across video, photography, sculpture, textiles, performance and sound, evolving through a process of auto – ethnography. While employing various modes of research, he connects his own experience to larger social, political, cultural meanings and understandings. His doctoral research and art practice has had a critical impact on International and Australian art, making global history as one of the first Australian Indigenous students at Oxford University. In 2018 he was made an Officer of the Order of Australia for distinguished services to the visual arts and as a role model to young indigenous artists in the Queen’s Birthday honours list.Framed photograph showing a man dressed in an academic gown, laying on their back holding a book. The setting is a reconstructed shearing shed, inside the galleries of the National Wool Museum.dr christian thompson, first nations, artwork, photography, oxford, heritage, national wool museum

Conservation management plan (112 pages) prepared by Lee Andrews & Associates, Heritage Consultants, in 2011, for the Hustlers Reef Reserve. The reserve cover the site of the former Great Extended Hustlers Mine site. Leigh McKinnons amendments to the plan are included with the document. History of the site, a physical survey and analysis, comparative analysis, cultural significance and conservation policy are addressed in the document.bendigo, mining, great extended hustlers mine site

Newspaper article: Diamond Valley News, Wednesday, September 2, 1998, p2; Carpenter's former residence full of charm and character Real Estate brochure; Morrison Kleeman circa May 2003 Kilbeggin Cottage is covered in the Planning regulations under Heritage Overlay HO92. References: • Shire of Eltham Heritage Study 1992 prepared by David Bick and Carlotta Kellaway; Volume 1: Recommendations Identified Places, p70 • Shire of Eltham Heritage Study 1992 prepared by David Bick and Carlotta Kellaway; Volume 3: Culturally Significant Themes - Evaluation of identified places that illustrate them; The Original Eltham Township, pp324-325 • Shire of Eltham Heritage Study 1992 prepared by David Bick and Carlotta Kellaway; Volume 3: Culturally Significant Themes - Evaluation of identified places that illustrate them; Weatherboard Residence, 7-9 John Street, Eltham, pp1018-1021 A property sales history as available online from domain.com.au https://www.domain.com.au/property-profile/9-john-street-eltham-vic-3095 This reveals some of the more recent sales history over that listed in the heritage assessment. Dec 2016 SOLD $1.13m PRIVATE TREATY Sold by Barry Plant Eltham 27 days listed Feb 2005 RENTED $300 PER WEEK Listed by Barry Plant Eltham 8 days listed Aug 2004 SOLD $455k PRIVATE TREATY Sold by Emerson Oliver Eltham May 2003 SOLD $461k PRIVATE TREATY Sold by (agency unknown – believed to be Morrison Kleeman – see flyer) Apr 2001 SOLD $318k RIVATE TREATY Sold by Morrison Kleeman E A Jun 2000 SOLD $260k PRIVATE TREATY Sold by Private Aug 1998 SOLD $260k PRIVATE TREATY Sold by (agency unknown – Graeme Hardiman of Elders – see news clipping) Sep 1993 SOLD $102.5k PRIVATE TREATY Sold by (agency unknown) May 1993 SOLD $150k PRIVATE TREATY Sold by (agency unknown)property, 7-9 john street, eltham, houses, kilbeggin, john street