This menorah has 7 candle holders joined in a horizontal row, on thin rod stands. The circular holders sit on two flat silver strips that are attached to silver rectangles on either side of the holders, creating a shield-like form on either side of the holder. The stand on which this construction is propped up, is made up of rods that stand vertically on either side of the holders and behind the shields. The rods are intersected by other rod 'lines' that visually weave horizontally across the top half of the stand. Each point of intersection of lines and rod stands is marked by a circular shape. Artist's statement: In terms of the Jewish diaspora, the variety and flexibility of approaches within Judaism has enabled the culture to endure and nurture ever stronger connections despite physical distance. This notion of an enriched connectedness was one of the two central ideas which contributed to the development of this piece. The second was the idea of light and its cultural significance. Light is about both practical illumination and spiritual expression. While revealing and manipulating material and form, light has also come to stand for the triumph of goodness over evil for many cultures, Of utmost importance in Jewish ritual, light and its media are also recognised symbols of connection and interaction for Jewish people throughout the world. (1999, Blessed Be the Work, Australian Contemporary Design in Jewish Ceremony II)

"This edited volume represents the first book-length study of the history of research on Australian Aboriginal languages, and collects together 18 original papers on a wide variety of topics, spanning the period from first settlement to the present day. The introduction sets the scene for the book by presenting an overview of the history of histories of research on the languages of Australia , and identifying some of the major issues in Aboriginal linguistic historiography as well as directions for future investigations. Part 1 presents three detailed investigations of the history of work on particular languages and regions.The eight papers of Part 2 study and re-evaluate the contributions of particular individuals, most of who are somewhat marginal or have been marginalised in Aboriginal linguistics. Part 3 consists of six studies specific linguistic topics: sign language research, language revival, pidgins and creoles, fieldwork, Fr. Schmidt's work on personal pronouns, and the discovery that Australia was a multilingual continent. Overall, the volume presents two major challenges to Australianist orthodoxy. First, the papers challenge the typically anachronistic approaches to the history of Aboriginal linguistics, and reveal the need to examine previous research in the context of their times - and the advantages of doing so to contemporary understanding and language documentation. Second, the widespread presumption that the period 1910-1960 represented the 'dark ages' of Aboriginal linguistics, characterised by virtually no linguistic work, is refuted by a number of studies in the present volume."B&w photographs, maps

Section 1. Notes on the use of this resource Section 2. Policy support statements. Aboriginal Studies Policy Statement of Victorian Aboriginal Education Association Incorporated (VAEAI) National Principles and Guidelines for Aboriginal Studies and Torres Strait Islander Studies, K-12 Principles for the Introduction of Aboriginal Perspectives in the Curriculum of the Catholic School (Catholic Education Commission of Victoria Policy 1.3, 1987) Section 3. Language, culture and viewpoint: issues of terminology Section 4. Units of work Unit 1. Koorie people of south-east Australia: a contemporary view Unit 2. On sacred ground Unit 3. Koorie life in the pre-contact era Unit 4. Mulla Meea-Baa Gnuenjall: a long time ago, and today Unit 5. The land we share: human stories in the environment Unit 6. Frontier wars Unit 7. Aboriginal mission stations and reserves in Victoria Unit 8. Land, law and indigenous Australians Section 5. Directory of indigenous organisations and affiliated groups/?agencies. National organisations Victorian organisations Catholic Education Commission of Victoria Indigenous Education personnel Organisations within regions of the Archdiocese of Melbourne Organisations within regions of the Ballarat Diocese Organisations within regions of the Sale Diocese Organisations within regions of the Sandhurst Diocese Cultural centres/?camps across Victoria.maps, b&w photographsvaeai, history, curriculum development, koorie studies, catholic education commission of victoria, secondary school education,

Sports Clubs in Kew in the final decades of the 19th century and in the early 20th century were often umbrella organisations with facilities for a number of sports. Typically in Kew, this included teams in lawn bowls, tennis and croquet. The Kew Bowling Club was formed in 1880 while the privately owned Auburn Heights Recreation Club was opened in 1904. By 1998, the two Clubs decided to amalgamate at the Auburn Heights site in Barkers Road, forming the Kew Heights Sports Club. The combined club was itself taken over by the Melbourne Cricket Club in 2012 becoming MCC Kew Sports Club. In 2017 MCC Kew closed and its landholding was subsequently sold to Carey Baptist Grammar School. Both the Kew and Auburn Heights Clubs assembled important collections. These historically significant and large collections were donated to the Society in 2020. The collections include manuscripts, pictures, trophies, plans, honour boards etc. References Barnard FGA 1910, 'Sports and Pastimes' in Jubilee History of Kew Victoria: Its origin & progress 1803-1910. Nixon NV 1980, The History of the Kew Bowling Club 1880-1980. Reeve S 2012, City of Boroondara: Thematic Environmental History, p.216.The combined collections of the four sporting clubs making up the collection number hundreds of items that are historically significant locally. They are also significant to the sporting history of the greater Melbourne area and to the sports of lawn bowls and tennis in Australia in the 19th and 20th centuries. The collection illuminates two of the Victorian historic themes - 'Building community life' through forming community organisations and 'Shaping cultural and creative life' by participating in sport and recreation.Wood, brass and white metal VBA President's trophy. While the names of the winners have been partially abraided, contemporary press reports confirm the details and the significance of the trophy. An article in The Australasian (30 Jan 1937 reports: V.B.A. OFFICIALS' TROPHIES The three competitions involved in this title have now been concluded. Commenced on December 12, they occupied two Saturdays, and then were played on Tuesday afternoons to the conclusion. The president's trophy - the oldest competition in bowls, dating back to 1873 is for a two-rInk team of A pennant players; while the vice-president's B trophy and the vice-president's C trophy are also confined to two-rink teams in their respective grades. In the semi-final ot the president's trophy Kew, 34, defeated Richmond Union, 23, and Oakleigh defeated City of Hawthorn by 45-35. In the final Kew defeated Oakleigh, the scores being Kew, 39 (Cummins, Hambleton, Wood, Vance, 14; Taylor, Troon, Fraser, Rigg, 25), and Oakleigh. 20 (Cameron, Sumsion, Gronow, Walker, 12; Emmett, Skjellerup, Pakes, Geggie, 8). Kew had to wait 35 years to win its second president's trophy. That club was runner-up in 1890. Oakleigh has been twice runner-up (in 1924 and 1937), but has never won it. [The item is part of the historic Kew Bowling Club collection (1880-1988) gifted to the Kew Historical Society in 2020].VBA / VICTORIA BOWLING ASSOCIATION / PRESIDENT'S TROPHY / PRESENTED BY *** SIR WM BRUNTON / WON BY KEW BOWLING CLUB / TEAMS / JP CUMMINS, LH HAMBLETON, CG WOOD, P VANCE, / AD TAYLOR, RLR TROON, HE FRASER, FH RIGGkew bowling club - wellington street - kew (vic), clubs - lawn bowls - kew (vic), trophies - lawn bowls

Robin WELCH (1936- ) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. Initially studying at Penzance School of Art and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Stoneware bowl with single flange. White glaze with copper tint. Dry black glaze underneath and airbrushed lustre banding. Robin Welch stamped on base.ceramics, robin welch, jan feder memorial ceramics collection, jan feder, gippsland campus, stadbroke pottery, mungeribar pottery

Robin WELCH (1936- ) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. Initially studying at Penzance School of Art and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Raku Fired stoneware bowl with White Crackle Glaze by Robin Welch Robin Welch stamped on baserobin welch, ceramics, jan feder memorial ceramics collection, gippsland campus

Image 10 Sonia Skipper - Joe Hannan House Commenced 1948 for Professor Max and Jenny Tiesmann Built by Horrie Judd, altered and extended by Sonia Skipper The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etchorrie judd, houses, jenny tiesmann, mud brick construction, professor max tiesmann, sonia skipper, sonia skipper - joe hannan house, alistair knox collection

Images 9A 'Periwinkle House' 1948 For Mr and Mrs J Holmes Built by Sonia Skipper, Horrie Judd, Tony Jackson and others Designed by Alistair Knox The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcalistair knox design, horrie judd, houses, j holmes, mud brick construction, periwinkle house, sonia skipper, tony jackson, alistair knox collection

Image 5B Gordon Ford House - commenced 1948 Several extensions were added up to 1970 Designed and built by Gordon Ford Extensions by Graham Rose Original Gordon Ford courtyard and single storey building The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcgordon craig ford, gordon ford house, graham rose, houses, mud brick construction, alistair knox collection

Image 5A Gordon Ford House - commenced 1948 Several extensions were added up to 1970 Designed and built by Gordon Ford Extensions by Graham Rose Original Gordon Ford courtyard and single storey building The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcgordon craig ford, gordon ford house, graham rose, houses, mud brick construction, alistair knox collection

First Montsalvat pise building, Built 1934-35, Designed by Justus Jorgensen, Founder of Montsalvat. This building was used for many years as a dining room and kitchen. The Alistair Knox Collection (Image 2A) The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcmontsalvat, houses, justus jorgensen, pise construction, alistair knox collection

Angus McMillan named the Avon River after the river of the same name in his native Scotland. In 1840 he established a pastoral run at Bushy Park, north-west of the township. William Odell Raymond established a run in the area in 1842, and built his house, Strathfieldsaye, during 1848–54. European settlement did not take place without resistance, and in return, massacres were inflicted by Angus McMillan and others on Gunai people, especially between the years of 1840 and 1850. (wikipedia) The first application for the 'Bushy Park' run appears in the “Port Phillip Gazette” on 13 August 1843. It was taken up by Angus McMillan, who also took up the 'Boisdale' run for his employer Lachlan Macalister at the same time. In March 1844 a Licence to occupy the 16,000 acre 'Bushy Park' was granted to McMillan. In the late 1840s Andrew Martin and Matt McCraw built Angus McMillan's Bushy Park homestead. Aboriginal killings in Gippsland area most often were never formally recorded, but lived on in folklore, mainly in place names pinpointing what some historians now refer to as "massacres", and others as "conflicts". There is Boney Point, on Lake Wellington, Butchers Creek, near Metung, Slaughterhouse Gully, at Buchan, Skull Creek, at Lindenow, and, notoriously, Warrigal Creek, at Woodside. "Here, according to a couple of contemporary - though not eyewitness - reports, between 50 and 150 blacks were killed in an orgy of revenge after the murder and mutilation of a leading Scots settler, Ronald Macalister. If anybody had any doubts about the fitness of commemorating McMillan's name, no one voiced them then. Gippsland was, and still is, dotted with stone cairns tracing his route from Omeo, down the Tambo Valley to the fertile plains where he was to make (and lose) his fortune. And where, according to a growing body of opinion, he was to lead the "Highland Brigade", a band of armed settlers, against the Kurnai. History is fiction agreed on, and it is written by the winners. For most of the past 150 years, McMillan has been hailed as a trail-blazing pioneer. The legend began to crumble 20 years ago with publication of new histories, which at first outraged Gippsland historical societies and old residents, but which have gradually changed the way McMillan is viewed. ... Still, not all McMillan's contemporaries agreed with the "Highland Brigade" and its methods. Henry Meyrick, an English-born squatter, wrote to relatives in disgust about his neighbours. He estimated that 450 had been killed, and wrote: "Men, women and children are shot down whenever they can be met with. Some excuse might be found for shooting the men by those who are daily getting their cattle speared, but what they can urge in their excuse who shoot the women and children I cannot conceive." (http://www.theage.com.au/articles/2002/04/26/1019441303552.html, accessed 20 September 2016.) The Gippsland electorate is called 'McMillan' in his honour. Black and white image of a man wearing a coat and beret. He is Scottish born Victorian Squatter Angus McMillan of Bushy Park, Gippsland.angus mcmillan, squatter, aboriginal massacre, bushy park, gunai, avon river, pioneer

Karl Duldig carved this marble sculpture of a mask in the Vienna Kunstgewerbeschule (School of Applied Arts) in 1921. His teacher, Anton Hanak, the Professor of Sculpture at the School, encouraged him to carve directly into the stone. It was an accomplished work for the 19 year-old student and was selected by Hanak to represent the students of the School at the Deutschen Gewerbeschau (German Applied Art exhibition) in Munich in 1922, an early accolade for the young artist. The sculpture and another Kneeling Nude were reproduced in the journal Deustche Kunst and Dekoration in 1923-24 in an article on the Hanak-Klasse. In 2011 Mask was exhibited in the National Gallery of Victoria exhibition Vienna: Art and Design. The sculpture is one of ten substantial sculptures in marble and stone, and a larger group terracotta sculptures and masks, portrait busts and small stone sculptures created by Karl Duldig in Vienna that are held in the Museum collection. These art works are complemented by an archive of contemporary documents including letters, photographs, documents and ephemera. In 1938 Duldig’s Viennese sculptures were sent to Paris in 1938 for a proposed exhibition, and were hidden in Paris by Slawa Duldig’s sister Rella, throughout the Second World War, and arrived in Australia post-war over 5 decades. Karl Duldig was a student of the Kunstgewerbeschule from 1921 until 1925, and then attended the Akademie Der Bildenden Künste (Academy of Fine Arts) from 1929 until 1933. He was accepted into the Professor Josef Mullner’s “Meisterschule” at the Academy of Fine Arts from 1929 until 1933. His teacher at the Kunstgwerebeschule was Austria’s foremost contemporary sculptor Anton Hanak, and he was a formative influence on Duldig’s work. Hanak had been a member of Viennese Secession, and worked with Josef Hoffman on architectural commissions prior to the First World War. Hanak shared both his love of the expressive quality of materials and a humanist vision with his students. Various writers have written about Duldig’s interest in masks. His interest may have been stimulated by his classical education, the Greek and Roman antiquities in the Kunsthistoriches Museum in Vienna, or the ethnological collections in Vienna’s Museum of Ethnology (now known as the Weltmuseum). The mask was a motif explored by expressionist and cubist artists whose work was exhibited at the Vienna Secession. Duldig would have been familiar with the psychological investigations of the neurologist and founder of psychoanalysis Sigmund Freud, who established his practice in Vienna. In the Duldig Studio library, Duldig’s keen interest in the arts of a myriad of visual cultures is apparent. Of particular note are two well-thumbed copies Rudolf Utzinger’s, Masken, published by Ernst Wasmuth in Berlin in 1923, depicting masks from around the world. It is likely that a multitude of influences were at play. Slawa Duldig also worked with this motif, and also carved a smaller mask in Salzburg marble as well as a remarkable mask in clay, and these are held in the collection. Ann Carew 2016The Mask has national and international aesthetic significance. It is one of the earliest works by Karl Duldig in the Studio collection, and is a subject that he would continue to explore throughout his working life. The sculpture demonstrates a high degree of technical skill and mastery at an early age. It is evidence of Duldig’s engagement with the art of his peers during this period – the mask is a motif that inspired contemporary expressionist and cubist artists. It also demonstrates his interests in portraiture, human psychology, and the creation of identity and transformation of personalities. The Mask also provides an important link to the studio practice in the Vienna Kunstgwerbeschule, the teaching of Anton Hanak, and the program of international art exhibitions in Europe during the period. It is also of historical significance: the story of its survival and eventual recovery provides a counterpoint to the story of the Nazis’ confiscation of art during the Second World War. Ann Carew 2016Carving in Salzburg Marble. Holes for eyes and mouth cut through the block. Highly polished finish at front contrasting with rough finish at back and stylised curled hair. Marble base separate (75 x 275 x 198, wt 9000) and added later by artist. Karl Duldig 1921 incised on back

The A1 Gold Mine is located north of Woods Point, near Jamieson, in the Upper Goulburn region of Victoria. Gold was discovered at the A1 site in 1861 and mining operations began in 1864. The A1 Mine Settlement refers to a small township known variously as Castle Reef, Castle Point, and Raspberry Creek, which developed in the 1860s around mining industry centred on a crushing machine that worked the three gold reefs in the area. Historically, the name "A1"referred to the high quality of gold found in the quartz reefs at depths of at least two thousand feet. Along with the Morning Star mine at Woods Point, the A1 gold mine produced almost sixty percent of Victoria's gold output in the 1950s to 1970s and continued operating until 1992 when it went into administration. Operations at the site were revived in 2016 and the A1 Mine is now considered one of Victoria's premier gold mines. The A1 mine is part of the extensive and prospective Lachlan Fold Belt, a north-west trending belt of tightly folded Early Devonian sedimentary rocks extending from New South Wales to Victoria. Mineralisation is hosted within or immediately adjacent to diorite dykes. Contemporary development of the 'Queens Lode' at the A1 mine signals a move from high-grade, narrow vein airleg mining into larger scale, mechanical mining designed to increase ore production volume. This original, undated photograph of the A1 Mine appears to depict an area or phase of disuse or abandonment. The aged and humble appearance of the cottage suggests association with the historical A1 Mine Settlement, therefore the image may have been taken prior to the 1950s-1970s revival period in which the A1 mine is known to have produced high gold yields. The photograph contributes to our understanding of the A1 Gold Mine's impact on the landscape and the social, environmental impacts of mining on communities and may be compared with others in the Burke Museum's extensive collection of mining photographs to deepen our understanding of mining in the Jamieson area.Black and white rectangular photograph printed on photographic paperReverse: 5577 / A1 Mine / Near Jamieson / Vic. /burke museum, beechworth museum, beechworth, gold fields, gold rush, victorian gold rush, mining tunnels, gold ming history, colonial australia, australian gold rushes, mining technology, beechworth historic district, indigo gold trail, indigo shire, upper goulburn shire, jamieson, woods point-walhalla goldfield, a1 gold mine, victorian high country, modern mining methods, orogenic gold province, gold mineralisation, devonian, dykes

Water is key to a thriving community and it is through the representation of water Flow enlivens the space at Bakery Hill. Historically ‘water races’ ran through the valleys of the Greater Ballarat area unearthing the minerals that forged prosperity and wealth. This water still flows today unearthing new possibilities for the community. Possibilities focusing on sustainability, ecology, health and prosperity. Flowing over the site a series of kinetic turbines flutter in the wind creating a contemporary water race. The interactive elements offer visual stimulation enticing people to connect with the artwork and in turn the surrounding spaces. Bakery Hill has great historical significance. It’s connection to the Eureka Stockade and the series of events that were to unfold during the 1850’s was to become the turning point in Australian political history. The placement of each turbine is to mirror a point of history in the timeline of events that occurred during the Eureka Stockade. The Water Race is a symbol of possibilities, the ones created by history and those of modern society. It is a visual timeline that can be read by traversing the site. The connecting turbines that flow and turn in sync are a representation of time passing and the interconnectedness of history with the community that surrounds it. The gateway to Bridge Mall is framed through the placement of each turbine allowing the sense of prosperity and wealth to flow through to the surrounding community. This gateway also references the significance of Bakery Hill reinvigorating the historical site by reconnecting it back to its town centre. The artwork is of aesthetic and historical significance to the people of BallaratTwelve steel turbines set on poles with dates attached and a large bronze 'timeline' plaqueFLOW/ Plotting the motion of Wind, Water, History and Time/ by Holly Grace and Aaron Robinson/ This site has great historical significance. It’s connection to the Eureka Stockade and the series of events that unfolded in the 1850’s was to become the turning point in Australian history. The placement of each turbine within this artwork mirrors a point of history in the events that led up to the Eureka Stockade. It is a visual timeline that can be read by traversing the site. The connecting turbines that flow and turn in sync are a representation of time passing. They are a symbol of the community’s connection to their history. 1851 June James Esmond makes the first discovery of gold in Victoria at Clunes./ 1st July The Port Phillip District separates from New South Wales and becomes the Colony of Victoria. It is still subject to British rule./ August Gold is discovered at Buninyong and at Golden Point, Ballarat. Lt-Governor La Trobe introduces the Gold Licence system in an attempt to reduce the colony’s debt./ 20th September First gold licences issued in Ballarat. / 1852 August/ Eureka Lead discovered on the Ballarat goldfields. December Charles La Trobe resigns as Lt-Governor but he is not relieved until 1854/ July – December/ Unrest builds on the various goldfields with protest meetings held in Bendigo and Castlemaine. Bendigo’s Red Ribbon Movement is active on the goldfields and the Bendigo Petition is presented to Lt-Governor./ December/ Charles Hotham is appointed Lt-Governor/ 1854 March/ A bill to extend the Elective Franchise is passed by the Legislative Council and sent to London for the assent of the British Parliament. 22nd June/ Lt-Governor Sir Charles Hotham arrives in Victoria. The colony faces mounting debt and Hotham orders weekly licence hunts in an attempt to increase income./ August/ Hotham is acclaimed during his visit to the Ballarat goldfield./ 13th September? Hotham orders twice-weekly licence hunts to further increase revenue./ September – October/ Miners are experiencing problems – no shafts bottomed on the Eureka Lead for five weeks./ 7th October/ James Scobie is murdered outside the Eureka Hotel. Many diggers believe that publican James Bentley is responsible./ 9th October/ At Scobie’s inquest, Bentley is acquitted, despite strong evidence of his guilt./ 10th October/ Father Smythe’s servant is beaten up by authorities and falsely arrested for not holding a licence./ 15th October/ Mass meeting of miners on Bakery Hill. Catholic miners meet after Mass. // 17th October/ A meeting of up to 10,000 Diggers is held near the Eureka Hotel to protest against Bentley’s acquittal. The meeting results in the burning of the hotel. Three diggers, Westerby, Fletcher and McIntyre, are arrested. Hotham dispatches 400 soldiers to Ballarat. 22nd October/ Another large meeting is held to address grievances. The Catholics send their leaders, Hayes, Kennedy and Manning to meet Rede. The Government Camp is under siege 11th November/ A public meeting on Bakery Hill results in the formal establishment of the Ballarat Reform League and adoption of the League’s proposals./ 21st November/ The enquiry into the Bentley affair is published. It recommends the dismissal of the judge and the establishment of a Royal Commission. 23rd November/ Westerby, Fletcher and McIntyre are convicted of burning the hotel. The Ballarat Reform League demands their release. 27th November/ A deputation from The Ballarat Reform League, including Humffray, Black and Kennedy, meet with Hotham to demand the release of the three prisoners. Hotham does not believe the diggers have the right to “demand anything”, Rede requests reinforcements in Ballarat. 28th November/ Miners attack the troop reinforcements and wagons passing near the Eureka diggings. A drummer boy is seriously wounded. 29th November/ A “Monster Meeting” attended by more than 10,000 diggers is held on Bakery Hill. The Southern Cross flag is flown for the first time. Peter Lalor addresses the miners and a number of diggers burn their licences. 30th November/ A licence hunt occurs in the morning at the order of Commissioner Rede. Another meeting of radical miners is held on Bakery Hill. Peter Lalor becomes leader of the diggers and calls for volunteers. Many diggers wear an oath to defend their rights and liberties under the Southern Cross flag. A number of diggers move to the Eureka Lead and start to erect a stockade. 3rd December In the early hours of Sunday morning 296 soldiers and police led by Captain Thomas proceed from the Government Camp to the Eureka Lead and attack the Stockade. 22 diggers and 7 military are officially listed as being killed. Many others are wounded. Approximately 120 diggers are arrested and marched to the Government Camp. 4th December/ Funeral of some of the fallen diggers and soldiers. Martial Law is proclaimed in Ballarat. Henry Seekamp, editor of the Ballarat Times is charged with seditious libel. 6th December/ Major General Sir Robert Nickle, commander-in-chief of the military forces in the Australian colonies, arrives in Ballarat. 9th December/ General Nickle repeals martial law. 14th December/ The Gold Fields Commission sits for the first time. 18th December/ The first Ballarat sitting of the Gold Fields Commission is held at Bath’s Hotel. 1855 23rd January/ Henry Seekamp is found guilt of sedition and sentenced to three months in prison. 22nd February/ The Eureka trials starts in Melbourne. February to March/ 13 prisoners are tried and acquitted amid great public rejoicing. 27th March Report of the Royal Commission recommends miners’ rights and significant reforms. 10th November/ Peter Lalor and John Basson Humffray are nominated for seats in the legislative Council. 31st December Sir Charles Hotham dies before his resignation takes effect. flow, aaron robinson, holly grace, public art, eureka stockade, bakery hill

Slawa built the umbrella using existing and modified umbrella parts purchased from manufacturers and other sources with the idea to develop a more practical umbrella. At the time Slawa was a student studying sculpture at the Akademie der Bildenden Kunste Wien (Academy of Visual Arts). She spent many months developing the prototypes in secret before she applied for and received a patent on 19 September 1929. The patent documentation for Flirt noted that although foldable umbrellas with telescopic shafts were not new, the inventor's umbrella was a significant improvement as it was smaller and more practical as the folding mechanism had been considerably simplified. The umbrella was included in the Inventors’ pavilion at the Vienna Spring Fair in 1931. In a contemporary newspaper report it was described as ‘the magic umbrella of the sculptress’. After the design was granted a patent, it was contracted to the firm Basch and Braun, which authorized its manufacture under licence by the largest Austrian umbrella manufacturer in Austria Bruder Wuster and a German firm Kortenbrach und Rauh. It was called Flirt. In the first year of production sales reached 10,000. This number increased steadily each year as sales spread throughout Europe and the Flirt umbrella was still being produced in the post-war period. Slawa was paid royalties till 1938, the year that she left Vienna and fled to Switzerland. In 1939 with pressure from the Nazis she sold her rights to the company Bruder Wuster. Ann Carew 2016The umbrella prototypes have national and international aesthetic significance as examples of technological innovation in industrial design. The archive has national and international scientific and research potential – detailed records concerning the development of the design, patent and its manufacture are held in the studio. The archive demonstrates the links between the realms of fine art, industrial design and manufacturing in Vienna in the early twentieth century. The sale of Slawa Horowitz-Duldig’s rights to the umbrella under duress from the Nazis makes this archive historically significant. The provenance is excellent, and the prototypes and accompanying documentation have national and international interpretative potential. Ann Carew 2016Three handmade compact foldable umbrella prototypes. The prototypes have black silk covers, a metal shaft, handle, ribs and ferrule. The shaft has a telescopic mechanism. The top and the end of the handle are metal disks. The related documents, designs, patent documentation, a hand written record of her inspiration for the design, and other archival material are also held in the Studio’s Collection.

The property is identified as 'Strathmore', the home of Joseph Sutton Crow and his wife Winifred (Jessie) Temby, whom he married in 1910. Joseph Sutton Crow: (1881-1969) - Joseph Sutton Crow gained his Diploma of Music from the Marshall Hall Conservatorium, the forerunner to the Melbourne University Conservatorium, in 1907. He taught both piano and organ and was organist and choirmaster in several churches. However it was as a fine administrator that Sutton Crow made a significant contribution to music in Melbourne. From 1910-1920 he was Secretary and Librarian of the Music Department at the University of Melbourne and from 1920 was the Secretary and Assistant Director of the Conservatorium of Music. From 1919 he was also Secretary of the Australian Music Examinations Board. He married lyric soprano, Jessie Temby and moved to ‘Strathmore’, 75 Victoria Crescent, Mont Albert in 1924 and lived there until 1952. In c1926 he was one of those behind establishing the public appeal to raise a million shillings to go towards the establishment of a permanent Symphony Orchestra. The appeal successfully raised both £4000 and the profile of orchestral music in Melbourne. The result was the Melbourne University Symphony Orchestra, which later became the Melbourne Symphony Orchestra, and from 1926-1939 he was its manager. Close local musical contemporaries were violinist Stanislau de Tarczynski and pianist Edward Goll, both of whom lived in Mont Albert. Winifred Jessie Temby (1883 - 1968) - soprano The donor was their daughter.A black and white photograph of a lady holding a sauce pan in her left hand and ladling out food to the fowls in front of her. Behind her there is a fenced off area with trees behind it.'strathmore', house names, victoria crescent, mont albert, surrey hills, joseph sutton crow (mr), winifred jessie temby (miss), jessie tremby (miss), winifred jessie crow (mrs), jessie crow (mrs), orchards, jean crow (miss)

The property is identified as 'Strathmore', the home of Joseph Sutton Crow and his wife Winifred (Jessie) Temby, whom he married in 1910. Joseph Sutton Crow: (1881-1969) - Joseph Sutton Crow gained his Diploma of Music from the Marshall Hall Conservatorium, the forerunner to the Melbourne University Conservatorium, in 1907. He taught both piano and organ and was organist and choirmaster in several churches. However it was as a fine administrator that Sutton Crow made a significant contribution to music in Melbourne. From 1910-1920 he was Secretary and Librarian of the Music Department at the University of Melbourne and from 1920 was the Secretary and Assistant Director of the Conservatorium of Music. From 1919 he was also Secretary of the Australian Music Examinations Board. He married lyric soprano, Jessie Temby and moved to ‘Strathmore’, 75 Victoria Crescent, Mont Albert in 1924 and lived there until 1952. In c1926 he was one of those behind establishing the public appeal to raise a million shillings to go towards the establishment of a permanent Symphony Orchestra. The appeal successfully raised both £4000 and the profile of orchestral music in Melbourne. The result was the Melbourne University Symphony Orchestra, which later became the Melbourne Symphony Orchestra, and from 1926-1939 he was its manager. Close local musical contemporaries were violinist Stanislau de Tarczynski and pianist Edward Goll, both of whom lived in Mont Albert. Winifred Jessie Temby (1883 - 1968) - soprano A black and white photograph of three sheep lying in the grounds of a house. There is a house and some sheds in the background behind a picket fence.'strathmore', house names, victoria crescent, mont albert, surrey hills, joseph sutton crow (mr), winifred jessie crow (mrs), jessie crow (mrs), jessie temby (miss), winifred jessie temby (miss), orchards, music

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 colours of this cloak refer to natural pink ochre and indigenous flowering plants on Wadawurrung Dja. The pink ochre is sourced by Deanne Gilson at Black Hill in Ballarat, Victoria. Men also made woven dilly bags to hold their possessions in. The basket making was an ongoing aspect of daily life for Wadawurrung people and often done in cooler months when the weather was too bad to go outside. Many women and family groups had their own style and techniques that were traded amongst other groups. Wadawurrung women had a particular stitch they used and incorporated elaborate symbols into the basket designs. Tammy Gilson’s weaving represents this stitch. This cloak pays homage to them and the changing seasons as they created, particularly the cooler months leading into the warmer season when several gum blossom flower. This cloak was worn once by artist Deanne Gilson at a formal opening at the Art Gallery of Ballarat in 2022. A Welcome to Country ceremony was performed while wearing it.Pink native flower in baskets motif on a pink background on outer cloak, pink 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

‘By Wagga Design’ is the winner of the Art Quilt Australia 2019 Expressions: Wool Quilt Prize. Barbara Mellor, of St Helens in Tasmania, made this quilt after researching the history of waggas and was fascinated by this early form of recycling. ‘By Wagga Design’ is her contemporary take on the traditional wagga that was born out of hard times and limited resources. Barbara wrote the poem below while thinking of the workers who used waggas while travelling: Black night campfire night sheep in the shadows dreams on the track a comforting wagga stitched with love for a homesick heart. The wagga was made in 2017 and was first submitted into the Bay of Fires Art Prize. In 2018 the wagga was submitted into the Break O’Day Stitchers Quilting and Embroidery Exhibition, where it won the Hanger’s Prize. Barbara sourced the fabrics used from a variety of places. Some are from her personal collection while others were given to her. She purchased a woollen three-piece suit from a local op shop and decided to incorporate it into the design, making some unique and distinctive shapes. Another distinctive feature of the quilt is the patch labelled ‘Parkside’. Barbara noted that it was cut from a blanket she purchased from a garage sale from a property that had once been a caravan park titled ‘Parkside’ in the 1960s. The filling of the wagga contains the rest of the Parkside blanket.Quilt made from various woollen garments and bedding in cool tone colours. Patches mostly cut into square and rectangle shapes. Three patches made from a second-hand woollen suit, showcasing the arm with cuff buttons, pocket flap on a hip pocket containing a pocket square and front of vest with buttons. wagga, art quilt australia, expressions: wool quilt prize

Images 9A and 9B 9A 'Periwinkle House' 1948 For Mr and Mrs J Holmes Built by Sonia Skipper, Horrie Judd, Tony Jackson and others Designed by Alistair Knox 9B Bob and Ada Zull house built 1970 Designed and built by Alistair Knox Floor laid by Ada Zull The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcada zull, alistair knox, alistair knox design, bob and ada zull house, bob zull, horrie judd, houses, j holmes, mud brick construction, periwinkle house, sonia skipper, tony jackson, alistair knox collection

Image 8 Professor Downing - Dorian Le Gallienne House Commenced 1948. Fourth and final wing added 1964 Built by Horrie Judd, Les Puch, Wynn Roberts, Sonia Skipper and others Designed by Alistair Knox The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcalistair knox design, horrie judd, houses, les puch, mud brick construction, professor downing - dorian le gallienne house, sonia skipper, wynn roberts, alistair knox collection

Image 25B Frank and Morag Jackson House 1960 Original building designed by Hal Peck Built by Horrie Judd and Hal Peck Extension designed by Macgregor Knox Built by Shane Aumont, commenced 1977 Completed 1978 - Interior view The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcfrank and morag jackson house, frank jackson, hal peck, horrie judd, houses, macgregor knox, morag jackson, mud brick construction, alistair knox collection

Image 8 Professor Downing - Dorian Le Gallienne House Commenced 1948. Fourth and final wing added 1964 Built by Horrie Judd, Les Puch, Wynn Roberts, Sonia Skipper and others Designed by Alistair Knox The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcalistair knox design, horrie judd, houses, les puch, mud brick construction, professor downing - dorian le gallienne house, sonia skipper, wynn roberts, alistair knox collection

Image 8 Professor Downing - Dorian Le Gallienne House Commenced 1948. Fourth and final wing added 1964 Built by Horrie Judd, Les Puch, Wynn Roberts, Sonia Skipper and others Designed by Alistair Knox The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcalistair knox design, horrie judd, houses, les puch, mud brick construction, professor downing - dorian le gallienne house, sonia skipper, wynn roberts, alistair knox collection

Image 25A Frank and Morag Jackson House 1960 Original building designed by Hal Peck Built by Horrie Judd and Hal Peck Extension designed by Macgregor Knox Built by Shane Aumont, commenced 1977 Completed 1978 - Exterior view The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcfrank and morag jackson house, frank jackson, hal peck, horrie judd, houses, macgregor knox, morag jackson, mud brick construction, alistair knox collection

The sarcastic title of this work pokes fun at the old fashioned idea that race should not be the subject of polite conversation. Deacon uses a white and a Black dolly to represent the unequal power dynamics that exist within Australian society. The dolls stand in for people who, based on the colour of their skin, experience the impact of racial inequality in vastly different ways. The cracked head of the white doll reveals an empty void. Symbolically violent, perhaps this emptiness suggests the dolls will never be able to fully comprehend one another’s experiences.This work was curated in RACE 2016 at Wyndham Art Gallery. Destiny Deacon (1956–2024) was a descendant of the KuKu (Far North Queensland) and Erub/Mer (Torres Strait) people. She exhibited nationally and internationally since the early 1990s in solo and group shows. Deacon held two major retrospectives, in 2004 and 2020, at the Museum of Contemporary Art, Sydney and at the National Gallery of Victoria, Melbourne respectively. Her 2004 survey show, Walk & don’t look blak, toured to the Metropolitan Museum of Photography in Tokyo, the Tjibao Cultural Centre in Noumea, New Caledonia and Wellington City Gallery in New Zealand. In 2022, she was the recipient of the Red Ochre Award for Lifetime Achievement at First Nations Arts Awards. In the same year, Deacon’s work was shown at the Australian Embassy in Paris in an exhibition titled Destiny - The art of Destiny Deacon. In 2023, Deacon was included in the Sharjah Biennial 15, Thinking Historically in the Present, conceived by the late Okwui Enwezor and curated by Hoor Al Qasimi. In 2024, Deacon's work was exhibited in the 24th Biennale of Sydney, Ten Thousand Suns, curated by Cosmin Costinas and Inti Guerrero. Deacon’s work is held in most major public collections in Australia as well as Tate, London, Museum Moderner Kunst (MUMOK), Stifting Ludwig, Vienna, Austria and Museum Sammlung Essl, Austria.first nations photography, australian photography, australian indigenous art, race, racism, colonisation

Copy of pages 3 and 4 titled French's Corner and Village Parliaments. Some passengers travelling on the tram would ask to be put down at French's corner. The conductor had no idea where it was. The passenger would be returning to where he used to live or work. The old who met at the pub corner were mostly teetotallers, but they met at the pub where the publican provided the two forms of seats for them and if business was slack he would join in the discussion. Another group met at Uncle Tom Foss' shop further down the road. This group was made up of old men over 80 and they met inside the shoemaker's shop. One old man used to go to his granddaughter's house and sit beside the kitchen fire and then he would tell her he had a pain beneath his ribs and she would give him a little wine to drink. Then he lost the last of his cronies and he went slowly up the hill and told his granddaughter he had nobody left but his old stick. The pain of being left without contemporaries made him forget about the pain in his side. There was another group that met at Philpot's smithy. The men would talk and argue while the smith was shoeing the horses. This smith has a long finger- nail on his left hand which he would use to pick up horse shoe nails as he was shoeing the horse. The bottom of the page has a photo of the main street of Long Gully taken from the Blacksmiths Shop.bendigo, history, long gully history group, the long gully history group - french's corner and village parliaments, manchester arms, french's hotel, mr french, uncle tom foss' shop, philpot's smithy, a crossley

Introduction: The significance of international law /? Sarah Pritchard.-- Linking international standards with contemporary concerns of Aboriginal and Torres Strait Islander peoples /? Mick Dodson.-- The UN Charter-based human rights system: The UN Charter-based human rights system: an overview /? Garth Nettheim.-- Working Group on Indigenous Populations: mandate, standard-setting activities and future perspectives /? Sarah Pritchard.-- The UN treaty-based human rights system and individual complaints: The UN treaty-based human rights system: an overview /? Hilary Charlesworth.-- Individual complaints: an overview and admissibility requirements /? Hilary Charlesworth.-- Individual complaints: historical perspectives and the International Covenant on Economic, Social and Cultural Rights /? Philip Alston.-- Individual communications under the Optional Protocol to the International Covenant on Civil and Political Rights Elizabeth Evatt.-- Individual communications: the Convention against Torture and the Convention on the Elimination of All Forms of Racial Discrimination /? Michael O'Flaherty.-- The UN treaty-based human rights system and periodic reporting: Periodic reporting: the International Covenant on Economic, Social and Cultural Rights and the Convention on the Rights of the Child /? Philip Alston.-- Periodic reporting: the International Covenant on Civil and Political Rights and the Convention on the Elimination of All Forms of Discrimination against Women /? Elizabeth Evatt .-- The Committee on the Elimination of Racial Discrimination: non-governmental input and the early warning and urgent procedure /? Michael O'Flaherty.-- Indigenous peoples and some relevant human rights standards: Substantive provisions of the International Convention on the Elimination of All Forms of Racial Discrimination /? Michael O'Flaherty.-- The International Covenant on Civil and Political Rights and Indigenous peoples /? Sarah Pritchard.united nations -- history. indigenous peoples -- legal status, laws, etc. aboriginal australians -- civil rights. aboriginal australians -- legal status, laws, etc. human rights.

"Aboriginal approaches to the naming of places across Australia differ radically from the official introduced Anglo-Australian system. However, many of these earlier names have been incorporated into contemporary nomenclature, with considerable reinterpretations of their function and form. Recently, state jurisdictions have encouraged the adoption of a greater number of Indigenous names, sometimes alongside the accepted Anglo-Australian terms, around Sydney Harbour, for example. In some cases, the use of an introduced name, such as Gove, has been contested by local Indigenous people." "The 19 studies brought together in this book present an overview of current issues involving Indigenous placenames across the whole of Australia, drawing on the disciplines of geography, linguistics, history, and anthropology. They include meticulous studies of historical records, and perspectives stemming from contemporary Indigenous communities. The book includes a wealth of documentary information on some 400 specific placenames, including those of Sydney Harbour, the Blue Mountains, Canberra, western Victoria, the Lake Eyre district, the Victoria River District, and southwestern Cape York Peninsula." -- Publisher description. Contents: Introduction: Old and new aspects of Indigenous place-naming /? Harold Koch and Luise Hercus NSW &? ACT: 1. Aboriginal placenames around Port Jackson and Botany Bay, New South Wales, Australia: sources and uncertainties /? Val Attenbrow 2. Reinstating Aboriginal placenames around Port Jackson and Botany Bay /? Jakelin Troy and Michael Walsh 3. The recognition of Aboriginal placenames in New South Wales /? Greg Windsor 4. New insights into Gundungurra place naming /? Jim Smith 5. The methodology of reconstructing Indigenous placenames: Australian Capital Territory and south-eastern New South Wales /? Harold Koch Victoria: 6. Toponymic books and the representation of Indigenous identities /? Laura Kostanski 7. Reviving old Indigenous names for new purposes /? Laura Kostanski and Ian D. Clark 8. Reconstruction of Aboriginal microtoponymy in western and central Victoria: case studies from Tower Hill, the Hopkins River, and Lake Boga /? Ian Clark South Australia &? Central Australia: 'Aboriginal names of places in southern South Australia': placenames in the Norman B.Tindale collection of papers /? Paul Monaghan 10. Why Mulligan is not just another Irish name: Lake Callabonna, South Australia /? J.C. McEntee 11. Murkarra, a landscape nearly forgotten: the Arabana country of the noxious insects, north and northwest of Lake Eyre /? Luise Hercus 12. Some area names in the far north-east of South Australia /? Luise Hercus 13. Placenames of central Australia: European records and recent experience /? Richard Kimber Northern Australia: 14. Naming Bardi places /? Claire Bowern 15. Dog-people: the meaning of a north Kimberley story /? Mark Clendon 16. 'Where the spear sticks up': the variety of locatives in placenames in the Victoria River District, Northern Territory /? Patrick McConvell 17. 'This place already has a name' /? Melanie Wilkinson, Dr R. Marika and Nancy M. Williams 18. Manankurra: what's in a name? placenames and emotional geographies /? John J. Bradley and Amanda Kearney 19. Kurtjar placenames /? Paul Black.Maps, b&w photographs, tables, word listsaustralian placenames, sociolinguistics, linguistics, anthropology, sydney harbour placenames, blue mountains placenames, canberra placenames, western victoria placenames, lake eyre placenames, victoria river district placenames, cape york peninsula placenames