Telling Stories looks at the place of life stories and of memory in history: who tells life stories: the purpose for which they are told: the role of story and history in the politics of land claims: and the way language impacts on research and writing. Contents: Introduction /? Bain Attwood and Fiona Magowan 1. Indigenous Australian life writing: tactics and transformations /? Penny van Toorn 2. Stories for land: oral narratives in the Maori Land Court /? Ann Parsonson 3. Crying to remember: reproducing personhood and community /? Fiona Magowan 4. The saga of Captain Cook: remembrance and morality /? Deborah Bird Rose 5. Encounters across time: the makings of an unanticipated trilogy /? Judith Binney 6. In the absence of vita as genre: the making of the Roy Kelly story /? Basil Sansom 7. Autobiography and testimonial discourse in Myles Lalor's 'oral history' /? Jeremy Beckett 8. Taha Maori in the DNZB: a Pakeha view /? W. H. Oliver 9. Maori land law and the Treaty claims process /? Andrew Erueti and Alan Ward 10. 'Learning about the truth': the stolen generations narrative /? Bain Attwood.B&w photographsindigenous history, maori history, oral histories

Language reader.Colour photographs, maps, word listsnoongar, western australia, birds

Language reader.Colour photographs, word lists, CDnoongar, western australia, birds

Language reader.Colour photographs, word lists, CDnoongar, western australia, birds

Language reader.Colour photographs, word lists, CDnoongar, western australia, birds

Language reader.CDnoongar, western australia, birds

Comprehensive collection of details from James Dawson and his daughter on the people they met when they first settled in the Western District of Victoria in 1840. Detailed notes were kept on language and customs. He involved himself with the local people and respected their rights and lifestyle. He recorded incidents of their first contact with white people.CD-ROMwestern district, chaap wuurong, djab wurrung, peek whuurong, peek woorong, kuurn kopan noot, dhauwurd wurrung, birds, reptiles, relationship terms

Language reader.Colour illustrations, colour photographs, word listsnoongar, western australia, animals, fish, food, birds

Populated by mythical beings, these stories of heros, birds, rivers, lakes and shores have been passed down over generations and today offer a window of understanding into the powerful Aboriginal connection to the land.word listscreation stories, dreamtime

A comprehensive vocabulary of Western District languages Djab Wurrung, Peek Woorong and Dhauwurd Wurrung. Includes a vocabulary of birds and reptiles, and relationship terms for each language.word lists, b&w photographswestern district, chaap wuurong, djab wurrung, peek whuurong, peek woorong, kuurn kopan noot, dhauwurd wurrung, birds, reptiles, relationship terms

Comprehensive text and illustrations on the topic of birds in South-Eastern Australia.Maps, colour illustrations, colour photographsbirds, south eastern australia, tasmania, nsw, south australia

Colour illustrations, maps, colour photographsbirds, south eastern australia, beaches, sea birds

Colour photographs, illustrations, mapsbirds, south eastern australia, mallee

Colour illustrations, mapsbirds, southern australia

Complex little book with details on animals, birds, insects, etc. with clear descriptions of each item.Maps, colour illustrations, colour photographsplant identification, australian alps, plants, animals, parks victoria, national parks and wildlife service, insects, reptiles, mammals, thredbo, mount hotham

GOLD CIRCULAR MEDAL WITH SEMICIRCULAR BANNER ON WHICH IS WRITTEN "AUSTRALIAN COMFORTS FUND, BALLARAT". BELOW THIS IS THE COAT OF ARMS OF AUSTRALIA : FROM L TO R : UPRIGHT KANGAROO HOLDING A SHIELD ON WHICH ARE 1. THE EUREKA FLAG .2 THE SOUTHERN CROSS .3 CROSS .4 BIRD .5 SWAN & STARS .6 LION AN EMU HOLDS THE OTHER SIDE OF THE SHIELD. UNDERNEATH IS A RIFLE, UNDER THIS IS A BANNER WITH READS TRENCH SHOP 1918 FRONT - AUSTRALIA COMFORTS FUND, BALLARAT BACK - TRENCH SHOP, 1918local history, numismatic, medals, military

Pugh was one of many artists who brought an Australian experience to attention. This work reveals the colour, textures, harshness and inhabitants of the natural bush, with the angular forms found on the ‘black birds’ dominating the composition with dramatic effect. Shanahan, Albert Tucker, Frank Werther and Fred Williams have at one time settled and or work there. Untitled (Black Birds) from the Bodford Terrace Suite 1978, created by Clifton Pugh - a celebrated Australian artist known for his landscapes and portraiture as well as (three-time) winner of Australia’s Archibald Prize. This piece plays a significant role within the Nillumbik Shire Collection due to Pugh’s strong connection to the local land where he settled in Cottle’s Bridge in 1951, purchasing 15 acres and named it Dunmoochin. Artists, potters and others settled at Dunmoochin and formed the Dunmoochin Artists Co-operative in order to collectively protect the land. Numerous renowned artists worked or resided at Dunmoochin including: Rick Amor, Fred Williams, Albert Tucker, Frank Hodgkinson, Mirka Mora, John Olsen, John Percival and John Howley amongst others. Upon his death in 1990 he left an art collection and extensive properties at Dunmoochin to be appreciated and utilised by artists for years to come lithographic print on French Arches paper. Dynamic and expressive depiction of black birds in flight on far left of composition, cropped elements of Australian landscape in blue and red in the background (trees, shrubs, rocks). Inscribed lower right 'Clifton'; 1:1; 179/300clifton pugh, bodford suite, dunmoochin

Kate Hudson's highly patterned and decorative prints reflect her love of Australian birds and flowers from her immediate environment, as well as oriental art and her training in textile design. Her work is influenced by the Australian artist (printmaker) Margaret Preston and the vases depicted in her prints are based on the ceramic works of her husband Stephen Hudson. The wattle depicted is the Acacia Terminalis (Sunshine Wattle), a shrub or small tree that grows to six meters in height. It’s an Australian native commonly found in New South Wales, Victoria and Tasmania.A reduction coloured lino print. A ceramic vase with a black and white target print at its' centre holds a bunch of Acacia Terminalis (Sunshine Wattle). The vase rests on an orange table cloth decorated in white stylised flowers. The background is light pink. Hand written in pencil: low left '8/26'; bottom centre ' Wattle and Circle Vase'; low right 'Kate Hudson' hudson, linocut print, sunshine wattle, acacia terminalis, still life, margaret preston, ceramics, textiles, orient

This work is a serigraph (screenprint) on cartridge paper using blue oil based inks of the 'Brolga' (Australian Crane); a common, gregarious wetland bird species of tropical and south-eastern Australia and New Guinea / It is a tall, upright bird with a small head, long beak, slender neck and long legs / The pose of the bird represents their stance when calling out to their mate, which sounds like a loud trumpet / The decorative markings on the bird's plumage is from the traditional carved/etched Gunnai shields from Gippsland Eastern Victoria, which is where Thomas' people are from. Underneath 'Brolga', on slant, lower right in greylead pencil (?) handwritten artist signature and language group "Ray Thomas - GUNNAI"

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

Geoff Davidson arrived at Dunmoochin around 1968 and began living and working as an apprentice to the potter Robert Main, who was working in a studio rented to him by Clifton Pugh on the Dunmoochin property. When Robert left, Geoff moved into the studio and began collaborating with Clifton Pugh on many projects for a period of 25 years whereby Clifton would decorate pots made by Geoff. Geoff produce the ceramic panels for Leda and the Emu. He mixed and identified the glazes for Clifton, then fired the panels once he had finished painting. Three or four murals were produced in this way, one of which was purchased by Don Dunston (ex-Premier of South Australia) as a gift to his dying wife.Dunmoochin derives its cultural and artistic heritage from the collaborative efforts of a group of artists who purchased land in Cottles Bridge in the early 1950’s. These artists (Pugh) pioneered one of the first artistic communes in Australia and created a lasting vision of how a community can gain knowledge and inspiration from living in a close relationship with nature. Pugh had explored the ‘Leda and the Swan’ mythological themes previously during the sixties in etchings and paintings, although he was more interested in referencing the original myth as allusions to other truths. Pugh was drawn to the Greek myth ‘Leda and the Swan’ in which Zeus transforms into a swan to seduce Leda. Pugh Australianised the myth so that Zeus transformed into an Emu rather than a Swan, and makes a gentle satirical comment on the sexual behaviour of the Australian male, whereby he sees a parallel between this and the proud yet awkward movements and naivety of our national bird. This particular theme was prevalent in Pugh's work right through the 60s and 70s. Leda and the Emu is a work by two prominent local artists (Clifton Pugh and Geoff Davidson) with a national and international reputation.Flat red background, black foliage. Leda is naked and sleeping with head resting in hand. Emu is to the left watching Leda. Drawing style is typical of Pugh’s work: linear, flat and gestural.Signed 'II Clifton'

Piers Bateman was a local artist, held in very high esteem by his peers and community. He was born in Perth in 1947, moving to Eltham in 1955 as a young child with his family. In 1966 Bateman moved to London for eighteen months to develop his craft. In 1969 he settled in St Andrews, where he built a studio. The St Andrews locale is said to have been a strong influence on his work. Bateman’s talent was such that he was promoted and mentored by such ilk as Charles Blackman, Clifton Pugh and Arthur Boyd, among others. Bateman’s work is an intimate dialogue with the environment, renowned for his paintings of the outback, wilderness frontiers and the sea. He spent a year in the mid-seventies sailing the Greek Islands and the French canals to Amsterdam. In 1980 Bateman and Marcus Skipper embarked on a trans-Australian venture to the red centre and across northern Australia from Cairns to Broome. In the mid-eighties Bateman returned to the Mediterranean, before returning to the Australian outback in the late-eighties. His international career continued on an upwards trajectory between the Australian outback and European seas, providing a unique contrast throughout the course of his career. Bateman's work questions our relationship with the natural world, and in particular, reconciling our colonial heritage with our indigenous past. This line of questioning and his genuine response to place is the key to Piers Bateman’s work, for which he is lauded and celebrated. On September 4th 2015, Piers Bateman died in a boating accident on the NSW coast line. Piers Bateman was an instinctive painter whose inspiration came from nature. He reworked and scraped off the paint, moving it around until forms and colours of the landscape took shape. Although Bateman lived in Spain and Italy, his time in Europe made him aware of the contrast between the two continents and the bright clear light that defined the Australian landscape. At the time of this work, Bateman was living in St. Andrews, but travelled regularly to New South Wales and South Australia on painting trips. The ‘Grass Tree’ Xanthorrhoea johnsonii (commonly known as ‘blackboy’) is indigenous to these areas. It is a uniquely Australian, slow growing plant with twenty-eight species growing within Australia. Old examples of this tree are survivors of many wild fires, which can cause their blackened trunk, of one to two metres, branch into two or more heads. These heads consist of thick, rough corky bark, surrounded by long, wiry leaves and flowers that produce seed capsules with hard black seeds. The tree’s ability to be one of the first to flower after a wild fire ensures a food source for many insects and birds.Oil on canvas painting. Detail of three grass trees resting on the side of a mountain/hill. Green and gold palette throughout depicting the colours and light of the Australian landscape. Hand written, low right in capitals: 'BATEMAN'bateman, grass trees, xanthorrhoea johnsonii, landscape

Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'Life world of the Longicorn beetle' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media

Proclamation card presented to I. C. McLean and signed by all other crew members on board the RMS Remuera. The crew left Australia to join HMAS Perth and formed part of Australia's first war contingent for active service in WWII. The document is dated 15th October 1939.This document is significant as a tangible link to a former crew aboard the RMS Remuera. The card also notes that this crew formed part of Australia's first war contingent for active service for WWII. A number of servicemen who signed this card did not return from service. It represents the vital role of these men had in defending Australia. It also represents a tradition of Crossing the Line in RAN culture and has social value.Proclamation card presented to I. C. McLean and signed by all other crew members on board the RMS Remuera. The crew left Australia to join HMAS Perth and formed part of Australia's first war contingent for active service in WWII. The document is dated 15th October 1939.Hereunder are names of men who left Australia to join HMAS Perth on West Indies Station, forming Australia's first war contingent for active service. Mason, F. ... Henry (Printer), M. M. S.... (Printer's Devil), A.G.H. Foley A.B., L. H. Hughes E.R.A, M.G. Packer E.R.A, G.J. McKenzie, W.R. Birbich, R.A.A Shaw, R.de M. Baker O.D; J.N Taylor Ord Serv; R.W. Wilkinson ....; G.E Jones O.D; G.F. Bli... Ord Sea; E.E. Bird Ord Sea; V.L. Watson A.B; A.W. Newman; A.W. Graham O.D; L.P. Woolbrough; G.G. Kummins; H.W. Durham Sto II; R. McBryde Sto II; M. Gordon A.B.; F. Milner O.D; N.D. Coleman O.D; F. Norris ERA; M.J. O'Brien; E.R. Phillps Stok II; D.J. McPherson S.A; ....Liddell; L.E. Head A.B.; V.B. McGovern ERA; N. Leitch L/Sea; K.G. Stockbridge A.B.; F.W. Robinson (Master); C.H.G. John "Speed" Sto II; C.E. Ingram A.B. 64; E.V.W. Pockley Surg Lt RANR; George Christie A.B.; I.C. McLean.rms remuera, i.c. mclean, hmas perth, geelong naval and maritime museum, wwii, crossing the line wwii