Invitation to The Chairman of the Mining Board, Bendigo Mr D H Fleming & Lady to a Conversazione in the Exhibition Building on Tuesday 7th May 1901. Invitation has native floral and animal decoration, scenes from Perth, Adelaide, Melbourne, Sydney, Brisbane and Hobart. It has the King And Queen at the centre sides and a swan in the top left corner, a lion in the top right, an aborigine and an explorer? In the bottom left, and a cross with a crown in the bottom right corner. At the centre top is a shield with a red cross with stars and a lion and at the bottom is a blue shield with the Southern Cross with a crown on the top. In the centre is a large picture of a building beside a lake. MP273 written at the top right corner. Rear of photo has impression of rubber stamp, royal Historical Society of Victoria, Bendigo Branch, 1959, 137 written in biro.document, invitations, official celebrations, invitation, australian commonwealth celebrations, mr d h fleming, government of victoria

Debbie LLOYD Debbie Lloyd returned to study in 2005 completing a Bachelor of Fine Arts (Visual Arts) degree at the University of Ballarat (now Federation University) in 2007, with honours the following year. She returned to the university as Artist in Residence in 2009. During her time at the University Debbie exhibited in many group exhibitions and her work was selected for the National Graduates Show at PICA in Western Australia. Debbie’s first solo exhibition was held at Space22 in Ballarat, towards the end of 2010. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Two artworks featuring a third dimension created with folded paper. Artist's Statement: "My artwork explores the visual experience that can be achieved using black and white, lineal patterns or by creating illusion and surface movement through the simple manipulation and repetition of forms. In these works I have used everyday objects, and shapes, repeated, reconfigured and recontextualised to provide the viewer with visual challenges that slow down and complicate the reading of the work. In the words of a former lecturer of mine, who kindly delivered the opening speech at one of my exhibitions – There is in Debbie’s work a belief in the transcendental power of repetition, a tribute in many respects to the fact that human kind is defined by nothing more noble and uplifting than its ability and obligation to persist." (http://100thgallery.com/gallery/debbie-lloyd/, accessed 08 May 2018) art, artwork, debbie lloyd, available, recycling, envelopes

Copy of a map from 'A Short History of Australia' by Ernest Scott.map, explorers, exploration, burke and wills, sturt, stuart, gregory, melbourne, perth, sydney, mitchell river, a.c. gregory, darling river, lachlan river, mt stuart, murray river

A collection of nine postcards donated by the Bass Coast Op Shop. Information on the back of No. 276-05. "Koala Bears were first seen by white explorers in the Blue Mountains, 1798. Early colonists from N.S.W. called it a "monkey bear". Koala means in Aboriginal "does not drink" or "no drink". They are slow-moving, tree-climbing, friendly marsupials with thick woolly fur coats, large ears and rubber nose. They live in gum trees and feed upon their leaves. Babies are born every two years, spending nine months in mother's pouch and then on her back for about six months, then leaving its parents and looking for a tree with comfortable branches."Nine coloured postcards of Phillip Island and wildlife. 276-01. Postcard showing four vintage vehicles displayed in the Len Lukey Memorial Museum & Gardens at the GP Race Track. 1. 1928 Austin Chummy. 2. 1926 Maxwell. 3. 1924 Model T Ford. 4. 1913 Model T Ford. 276-02. Postcard showing penguin in burrow possibly on egg/s 276-03. Postcard with two photographs of penguins coming up the beach at dusk. 276-04. Postcard with three photographs of penguins coming up the beach and people looking over the railing at them. 276-05. Postcard of a koala sitting on a branch. 276-06. Postcard of seals at Seal Rocks with man sitting on the rocks beside one. 276-07. Postcard with four photographs of koalas, penguins, Cowes Jetty and Cowes beach. 276-08. Postcard with three photographs of koalas, penguins and a seal. 276-09. Postcard with four photographs of penguins, koalas, seals and penguins.276-01. Len Lukey Memorial Museum & Gardens. Vehicle description as above in Physical Description. 276-02. Phillip Island, Victoria, Australia. On back: Australian Penguin Reserve, Phillip Island Victoria. 276-03. Australian Penguin Parade Phillip Island. 276-04. Penguins at Phillip Island, Victoria, Australia 276-05. On back: Full description of Koalas - see Historical Information below. 276-06. On back: Making friends at Seal Rocks, Phillip island, Vic. 276-07. Cowes Phillip Island. 276-08. Phillip Island Victoria 276-09. Greetings from Phillip Island. On back: Phillip Island, Victoria, Australia. Interesting aspects of this fascinating Island which gives shelter to some of Australia's unique fauna.wildlife - seals, wildlife - koala, wildlife - penguins, vintage cars, t model ford, len lukey musem, cowes beach, cowes pier, bass coast op shop

Robin Boyd was involved in creating several TV series for the ABC University of the Air. 'Design in Australia' was an eight part series. (Items D184-D193 contain all the manuscripts except part six titled 'Communications'.) In part 1, Boyd discusses the general framework of the series in which the relationship between an Australian identity and a homogenising cultural force, reinforced by technology and mass production, is explored. Boyd questions the wholesale acceptance of imported ideas and goods, and instead advocates a critical examination of the Australian design culture, a search of an originality that does not fall into the myths of bush values. (Same content as item D184, differing Video cues of LHS of page.)This is a script for the ABC television program 'University of the Air', subtitled 'Design in Australia', broadcast in 1965. Item D184 is the draft version.Typewritten (c copy), foolscap, 9 pagesuniversity of the air, design in australia, robin boyd, australian design, nationality, national style, manuscript, ohm2022, ohm2022_30

Derryl Towers wrote to the editor of the Colac Herald about his concerns about the proposal for a loan to create a new municipal workshop and Shire Engineer's office in the Apollo Bay riding. He made several points: a lack of attendance at the poll could bring the matter back to the Council table again; the representative of the Regional Committee is exploring some downward adjustment in Shire contributions; 2/3 of the Shire is reserved for water catchment or timber purposes, in effect a national asset; that the Council Sub-committee's report was sound; all Councillor's agree that new buildings are a necessity; and if we spend money on the loan to renovate old buildings what happens to the proposal for new buildings? Derryl Towers, Letter to the editor. Handwritten, 4 pages, draft, quarto. shire of otway; ratepayers;

Opposite No. 11 Kerrie Crescent, (actually 71 Silver street), a 1948 Knox designed mudbrick, with a delightful inglenook fireplace. Additional bedrooms have been added on the top verandah; up the narrow stairs a concrete bath The 1993 Eltham Heritage Tour was enjoyed by a busload of members of the Historical Society on a fine, calm day, Sunday May 23rd. Between 10.00 am and 4.30 pm, except for a brief lunch stop at the Eltham Living and Learning Centre, members passed about thirty places of local interest and others recommended for the Historic Buildings Register and the Register of the National Estate. A number of significant trees and buildings were also highlighted along with the opportunity to explored some of the properties.35mm colour positive transparency (1 of 24) Mount - Kodak Kodachromeactivities, shire of eltham historical society, heritage excursion, eltham, houses, mudbrick, busst house, kerrie crescent, silver street

Opposite No. 11 Kerrie Crescent, (actually 71 Silver street), a 1948 Knox designed mudbrick, with a delightful inglenook fireplace. Additional bedrooms have been added on the top verandah; up the narrow stairs a concrete bath The 1993 Eltham Heritage Tour was enjoyed by a busload of members of the Historical Society on a fine, calm day, Sunday May 23rd. Between 10.00 am and 4.30 pm, except for a brief lunch stop at the Eltham Living and Learning Centre, members passed about thirty places of local interest and others recommended for the Historic Buildings Register and the Register of the National Estate. A number of significant trees and buildings were also highlighted along with the opportunity to explored some of the properties.35mm colour positive transparency (1 of 24) Mount - Kodak Kodachromeactivities, shire of eltham historical society, heritage excursion, eltham, houses, mudbrick, busst house, kerrie crescent, silver street

Opposite No. 11 Kerrie Crescent, (actually 71 Silver street), a 1948 Knox designed mudbrick, with a delightful inglenook fireplace. Additional bedrooms have been added on the top verandah; up the narrow stairs a concrete bath The 1993 Eltham Heritage Tour was enjoyed by a busload of members of the Historical Society on a fine, calm day, Sunday May 23rd. Between 10.00 am and 4.30 pm, except for a brief lunch stop at the Eltham Living and Learning Centre, members passed about thirty places of local interest and others recommended for the Historic Buildings Register and the Register of the National Estate. A number of significant trees and buildings were also highlighted along with the opportunity to explored some of the properties.35mm colour positive transparency (1 of 24) Mount - Kodak Kodachromeactivities, shire of eltham historical society, heritage excursion, eltham, houses, mudbrick, busst house, kerrie crescent, silver street

Opposite No. 11 Kerrie Crescent, (actually 71 Silver street), a 1948 Knox designed mudbrick, with a delightful inglenook fireplace. Additional bedrooms have been added on the top verandah; up the narrow stairs a concrete bath The 1993 Eltham Heritage Tour was enjoyed by a busload of members of the Historical Society on a fine, calm day, Sunday May 23rd. Between 10.00 am and 4.30 pm, except for a brief lunch stop at the Eltham Living and Learning Centre, members passed about thirty places of local interest and others recommended for the Historic Buildings Register and the Register of the National Estate. A number of significant trees and buildings were also highlighted along with the opportunity to explored some of the properties.35mm colour positive transparency (1 of 24) Mount - Kodak Kodachromeactivities, shire of eltham historical society, heritage excursion, eltham, houses, mudbrick, busst house, kerrie crescent, silver street

Opposite No. 11 Kerrie Crescent, (actually 71 Silver street), a 1948 Knox designed mudbrick, with a delightful inglenook fireplace. Additional bedrooms have been added on the top verandah; up the narrow stairs a concrete bath The 1993 Eltham Heritage Tour was enjoyed by a busload of members of the Historical Society on a fine, calm day, Sunday May 23rd. Between 10.00 am and 4.30 pm, except for a brief lunch stop at the Eltham Living and Learning Centre, members passed about thirty places of local interest and others recommended for the Historic Buildings Register and the Register of the National Estate. A number of significant trees and buildings were also highlighted along with the opportunity to explored some of the properties.35mm colour positive transparency (1 of 24) Mount - Kodak Kodachromeactivities, shire of eltham historical society, heritage excursion, eltham, houses, mudbrick, busst house, kerrie crescent, silver street

Opposite No. 11 Kerrie Crescent, (actually 71 Silver street), a 1948 Knox designed mudbrick, with a delightful inglenook fireplace. Additional bedrooms have been added on the top verandah; up the narrow stairs a concrete bath The 1993 Eltham Heritage Tour was enjoyed by a busload of members of the Historical Society on a fine, calm day, Sunday May 23rd. Between 10.00 am and 4.30 pm, except for a brief lunch stop at the Eltham Living and Learning Centre, members passed about thirty places of local interest and others recommended for the Historic Buildings Register and the Register of the National Estate. A number of significant trees and buildings were also highlighted along with the opportunity to explored some of the properties.35mm colour positive transparency (1 of 24) Mount - Kodak Kodachromeactivities, shire of eltham historical society, heritage excursion, eltham, houses, mudbrick, busst house, kerrie crescent, silver street

On November 21, 2010 Seeing Eye Dogs Australia (SEDA) hosted an annual public open day at its National Kennel and Puppy Centre in Kensington. People were invited to learn more about SEDA and participate in guided tours where they could explore the extensive facilities, which featured a rehabilitation therapy pool, breeding centre, public viewing platform directly into the heart of its kennels and puppy play centre. Demonstrations of Seeing Eye Dogs at work helped visitors gain a better understanding of how SEDA helps to transform the lives of people who are blind or have low vision, and potentially how they can contribute to the $30,000 cost required to train a Seeing Eye Dog.379 digital photographs of SEDA open day in 2010seeing eye dogs australia, fundraising, leona holloway

Was located in the stables at Mount Buffalo Chalet. It was used to record the names of horses that were ridden by Chalet guests when they were holidaying at the Chalet. 'Admiring the rugged beauty of the Buffalo Plateau and exploring its scenic attractions ...quickly became part of the Mount Buffalo Chalet tourist experience...The Chalet facilitated the experience by hosting guided tours, including trail rides on horseback...the horses remained at the Chalet for decades, and have been remembered with great affection, as demonstrated by the honour roll for Chalet horses and various commemorative plaques.' (Pg 98. Historica) Many of these horses are still remmbered by former guest of the Chalet. Granite and Punka were legendary and plaques in their honor are mounted on the large granite boulders in the stableyards.Listed in Draft Inventory of Significant Collection items. Appendix A.3, Snow sports equipment and other recreational items. (Pg 166 Historica).Wooden plaque with names painted onto strips of leather fixed to a board. The board is made of two sections of wood and is arched at the top and squared at the base. The piece at the top that appears to be earlier and has gold painted inscriptions with decorative scrolling around the edge. The board has leather strapping around the edge and two stirrups threaded onto leather at the base. The upper section of the board has all the names painted onto leather strips. The lower section of the board has some names painted onto strips but also some names are scratched directly onto the wood.At top of plaque, "ROLL OF HONOUR /TO / OUR FRIENDS - / THE CHALET HORSES, / WHO GAVE US MANY HAPPY HOURS / BUT WHO HAVE SINCE MOVED / "DOWN THE HILL". FROM THE / TIME OF "PUNKA" / WHO SERVED / FAITHFULLY FOR 20 YEARS" Underneat this are the names of the individual horses starting with , "PUNKA....."

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

And Zarafa Kept Walking features an image of Zarafa, the first giraffe to be seen in France in the year 1826. She arrived as an exotic gift and political ploy from Muhammad Ali of Egypt to King Charles X. To the delight of many onlookers, she walked from Marseilles to Paris carrying with her perhaps a few feathered friends. She inspired tall hairstyles à la girafe, and prompted Honoré de Balzac to write a story about her. Gracia Haby and Louise Jennison have collaborated as ‘Gracia and Louise’ since 2002, exploring their mutual fascination with the adaptable possibilities of paper and creating works from found images to produce artists' books, prints, zines, drawings, and collages.

Copy of a map from 'A Short History of Australia' by Ernest Scott.map, explorers, exploration, bass straight, hobart, port davey, georgetown, beaconsfield, queenstown, gordon rover, derwent river, launceston, port dalrymple, banks straight, macquarie harbour, maps, plans

Copy of a map from 'A Short History of Australia' by Ernest Scott.map, explorers, exploration, westernport, port phillip, queenscliffe, melbourne, brighton, williamstown, port arlington, hobson bay, cape otway, geelong, barwon river, ballarat, yarra river, yarra yarra river

Forty Four page, with glossy white cover and plain white paper inside - "The Tramway Record Vol. 54, No. 11 March. 1992" - with title in green ink and Australian Tramway and Motor Omnibus Employees Association logo on the front cover. Printed by the Victorian branch of the union. Features on the front cover a photo (see image) of the W7 1032. Other items featured are "Tram Stories" written by Frank Puls (Ballarat), pages 29 - 30, about his activities with the Ballarat Tramway Preservation Society, his liking for trams, training, incidents. Features a photo of Frank standing adjacent to No. 13 in Wendouree Parade and a photo taken on Christmas Day 1991, with an Explorer Coach driver. On page 31 - 36 traffic returns and wage comparisons over the years provided by Norm Maddock of The Tramway Museum, Stanhope St. Malvern. Shows cost of living adjustments to wages.trams, tramways, unions, melbourne, ballarat, btps, atmoea

This photograph is of Robert O'Hara Burke (6 May 1821 – c. 28 June 1861) who was an Irish soldier and police officer who achieved fame as an Australian explorer. He was the leader of the ill-fated Burke and Wills expedition, which was the first expedition to cross Australia from south to north, finding a route across the continent from the settled areas of Victoria to the Gulf of Carpentaria. Prior to leading this expedition, Burke was the superintendent of Police in Beechworth from 1858-1860. The Robert O’Hara Burke Memorial Museum was named in honour of Robert O’Hara Burke after his death at Coopers Creek in 1861 during expedition. This particular image of Robert O'Hara Burke features on the 'Pioneer Board' which is currently on display in the Museum. Black and white rectangular copy of a photograph. Image is printed on gloss photographic paper and has a white unprinted boarder. Reverse: 34 / Photo credit: Burke Museum / BEECHWORTH / 46% /robert o'hara burke, pioneers of beechworth, pioneer board, beechworth, police superintendent

In October 1863 the Rev. James Bickford visited Sale to explore the possibilities of establishing a Methodist cause there. In March 1864 a group of 8 local men petitioned Conference to appoint a minister. The men were: Nehemiah Guthridge, G. Ross, J.H. Walters, J.E. Derrick, G.E. Hawkins, R. Gibbs, J.J. Drew, J. James. The Rev. Henry Baker arrived in the Gippsland Circuit later in 1864. The first Methodist services in Sale were held in the Mechanics Institute, but by July 1865 a Methodist church had been opened for worship. A Sunday School was constructed in 1886. The Sale Methodist Church was renovated at a cost of 2500 pounds in 1951. The new Sale Methodist Church was opened on 25 September 1965.B & W interior view of the new Sale Methodist Church. The image of the apse shows a communion table, cross, font, pulpit and flowers.methodist, sale, rev. james bickford, rev henry baker, gippsland circuit

In October 1863 the Rev. James Bickford visited Sale to explore the possibilities of establishing a Methodist cause there. In March 1864 a group of 8 local men petitioned Conference to appoint a minister. The men were: Nehemiah Guthridge, G. Ross, J.H. Walters, J.E. Derrick, G.E. Hawkins, R. Gibbs, J.J. Drew, J. James. The Rev. Henry Baker arrived in the Gippsland Circuit later in 1864. The first Methodist services in Sale were held in the Mechanics Institute, but by July 1865 a Methodist church had been opened for worship. A Sunday School was constructed in 1886. The Sale Methodist Church was renovated at a cost of 2500 pounds in 1951. The new Sale Methodist Church was opened on 25 September 1965.B & W exterior view of the Sale Methodist Church showing a group of women and girls, hatted and gloved, standing in front of the church.methodist, sale, rev. james bickford, rev henry baker, gippsland circuit

Deborah KLEIN (1951- ) Born Melbourne Deborah Klein is an established Australian painter and printmaker who completed a Bachelor of Fine Art, Printmaking, Chisholm Institute of Technology, Melbourne from 1982-1984. She undertook a Graduate Diploma from the Gippsland Institute of Advanced Education from 1987 to 1988, and a Master of Arts, (Research), at Monash University, Gippsland Campus from 1995-1997. Klein often explores how women have been forgotten or erased in art and history. Imagery of braided hair and materials related to the stereotypically ‘female’ spheres of handcrafts and weaving are often features of her work. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed limited edition print featuring long hair braids.art, artwork, klein, deborah klein, printmaking, hair, alumni, available, braid

Cecil F. Syme was a 1930s Melbourne-based explorer and prospector. He was a son of David Syme, founder of The Age Newspaper, Melbourne. When Cecil’s brother Norman died in 1927, he left a wife and a six-year-old son, Leslie. Records suggest Cecil paid for his nephew, Leslie, to attend Mentone Grammar from 1936 – and that he donated the Syme Cup the following year. It was first awarded to Keith Goode. After leaving school, Leslie Syme enlisted with the Australian Navy. In I942, during World War II, he was killed when his warship, the HMAS Yarra, came under intense enemy fire. He was 21. Leslie Syme is remembered in our Avenue of Honour.Silver Cup on wood base

An unattributed draft report dated 19/04/1972 (to be read in conjunction with Cat. No. 01670) which updates Cat.No. 01672. The report gives details of the situation at that date and projected changes to the functions of the residences, occupancy rates, costs and likely trends in accommodation needs. It explores at length auxiliary and alternate accommodation such as the Salvation Army, YMCA, YWCA and church hostels, before recommending that when the number of residents over the age of 14 falls below 34 in two consecutive years Blamey House be disposed of or developed for other needs, Stanhope is converted to co-ed accommodation for over 14s, and Harelands is used as co-ed accommodation for the under 14s. The report also recommends investigating as a separate project maintaining a separate cottage for problem children.Part of the history of Melbourne Legacy's involvement with residential care for children.White foolscap sheets x 8 pages, with black type. Two holes punched for filing, and add-in. Page 1: in pencil: 'DRAFT 19/4/72 Discussed with J. Chancellor and G. Rosman 19-4-72 Page 3: pencilled 'A' circled and inserted before Item 5. Page 7: In pencil: 'See conclusions attached' at foot of page. 01673(8): in pencil circled 'A', in blue biro 'end of Para 4' 01673(9): in pencil: (i) 'de' scribbled out (iii) 'or re-development of site for other Legacy needs' after 'Disposal of Blamey House, 'Extend' changed to 'Limit', 'limit' deleted, 'for' changed to 'to', 'Havelands' changed to 'Harelands', 'Haveland plus' deleted, '(See addendum ---)' at end.residences, review, blamey house, harelands, stanhope

Gracia Haby and Louise Jennison have been creative collaborators since 1999, working together to make artist books, zines, collages, drawings, prints and stories. In this artwork, the animals have the upper hand. They are turning the tables on French acrobat, circus owner, and animal trainer, Alfred Court (1883-1977). In 1925, Court's menagerie boasted a collection of 25 lions, 8 tigers, 9 hyenas, 7 wolves, 3 cougars, 12 polar bears, 16 panthers and leopards, 5 jaguars, 2 cheetahs, and an extensive assemblage of exotic animals, including antelopes, llamas, and camels, alongside several monkeys, porcupines, and mongooses. Haby and Jennison’s collaboration explores their mutual fascination with the adaptable possibilities of paper and found images.