John E. Blacker was a Methodist and then Uniting Church miinister - placements at Dandenong (Lilydale), Kilmore & Broadford, Kerang-Barham, Sunshine, and Moonee Ponds. In the early 1980s he led a charismatic renewal program at Sunshine and Moonee Ponds, and was involved with a controversy over re-baptisms. At a later point, he resigned from the Uniting Church ministry to lead the "Advance & Restoration Ministries" program that he and his son, Paul, managed.Head and shoulders studio portrait of John Blacker when still a Uniting Church minister, but working as "Advance & Restoration Ministries" which was then located in the 3rd floor of the Synod offices at 130 Little Collins Street Melbourne.John Blackerblacker, john e., advance & restoration ministries

Mary Ann Poultney, née Hisshion was born at Linton in 1864. She married John Poultney at Ballarat on December 31, 1888. It is understood that they lived in Sydney until John Poultney died in 1902, after which Mary Ann returned to Linton with her three daughters, Annie, Nell, and Lillian. She was librarian at the Linton Free Library between 1907 and 1911.Copy of original black and white photo of middle-aged couple. Man with moustache & buttonhole, lady seated with lace fichu. John and Mary Ann Poultney (nee Hission)."John & Mary Ann Poultney (nee Hisshion) undated"john poultney, mary ann poultney, mary ann hisshion

President John Wicking with his wife Janet is speaking to CEO John Wilson and his wife Eunice.B/W photograph of John and Janet Wicking speaking to Eunice and John Wilson.john wicking, janet wicking, eunice wilson, john wilson, association for the blind

Hardcover book with an illustration of a man holding a gun on front cover. 254 pages. Prior ownership: The Readwell Libraries, 107 Elizabeth St., Melbourne, Taylor's Pharmacy, Apollo Bay, Mooroopna Mechanics Hall & Free Library.fictionjohn bryan, fiction

John Brack (1920-1999) Born AustraliaFramed, limited edition lithograph. Originally produced to be bound in a book by private press publisher Tate Adams. The suite of lithographs for the book was started by John Brack in September 1981 and finished and published in December 1982. The book was launched with a series of original conte drawings, from which the lithographs were based, in Realities Galleries, Melbourne. As such a high cost of production was involved in the binding of the book, only fifteen copies were originally bound for exhibition and sale at the show. Subsequent to this approximately another thirty copies were bound, making a total finished edition of fewer than fifty copies, far less than the anticipated 200. A number of the 50 hors commerce editions have been sold as individual plates through auctions and galleries. A number of sheets were recently discovered through the estate of Brack’s art dealer Rudy Komon (1908-1982). This unsigned work is from Rudy Koman's estate.john brack, nude, life drawing, available, chair

Story of Alexander John McDonald's war service with the 8th Light Horse AIF at Gallipoli 1914-1916.Black and white text and photographsalexander john mcdonald, gallipoli, australian imperial force

Balang [John MAWURNDJUL] (1952 - ) Born Mumeka, Northern Territory Country: Milmilngkan, West Arnham Land, Northern Territory Clan: Na-Kurulk Language Group: Kunwinjku Location: Milmilngkan John Mawurndjul is an Australian indigenous artist. He is a member of the Kuninjku people of West Arnhem Land, Northern Territory. Growing up John had only occasional contact with non-indigenous people and culture. He was tutored in rarrk, a traditional painting technique using fine cross hatching and infill, working on small barks. During the 1980s he started producing larger and more complex works. The artist has painted 'Wayarra', a generic term which can include both malevolent spirit beings which continually inhabit certain sites or objects but can also mean the Spirit of a recently deceased person. These spirits are one of two spirits of the dead, the other being the 'Kun-malng' soul. The 'Wayarra' is the shadow or 'shade' of the dead and may take on the form of the deceased and haunt areas where the deceased recently inhabited. In order to prevent Wayarra spirits from harassing relative of the recently deceased, a smoking ceremont is performed where Ironwood leaves are burnt around the camp of the recently deceased and ochre is rubbed on all objects belonging to the deceased. Ochre may also be rubbed on vehicles, houses and trees. Some Wayarra are a particular Dreaming totem for people of certain clans. This is why many artists depict Wayarra in their bark paintings and sculptures. They are depicting clan totems particular to their lineage and which are celebrated in major regional patrimoiety ceremonies. In 1989 the work of John Mawurndjul was included in the landmark exhibition "Magiciens de la Terra' at the Centre Pompidou and Grande Halle de la Vilette in Paris, France. His works have also been exhibited in numerous solo and group exhibitions in Australia, New York, Paris and Japan. Mawurndjul is one of eight artists whose work in part of the largest inernational commission of contemporary Indigenous art from Australia at the Musee du Quai Branly, Paris. The work was exhibited in the Australian survey "John Mawurndjul: I Am The Old And The New", at the Museum of Contemporary Art, one of the 160-odd works all chosen by Mawurndjul for inclusion in the exhibition. 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.This artwork was chosen by John Murwurndjul as on of around 160 works for exhibition in the 2018 Australian Survey of his work at the Museum of Contemporary Art. The artist is known for his rarrk work, which is evident in 'Female Wayarra Spirit'.Aboriginal bark painting featurung rarrk. The artwork is associated with Dilebang, a duwa moiety place that belongs to the Kurulk clan. This work is currently on loan for exhibition in 'John Mawurndjul: I am the old and the new'. The exhibition will be shown at the Museum of Contemporary Art Australia (Sydney) from 6 July – 23 September 2018, and the Art Gallery of South Australia, Adelaide from 26 October 2018 – 28 January 2019.art, artwork, john mawurndjul, aboriginal, bark painting, rarrk, wayarra, kuninjku, maningrida, loan

Framed bookplate for John Thwaites.Ex Libris John Thwaitesbookplate, framed bookplate, john thwaites, keith wingrove memorial trust, available, available framed bookplate

John Maynard and John Hazeldine standing in conversation - probably at the Tasmanian Synod in 1985"John Maynard Bob Hazeldine sheet 2.4"maynard, john, hazeldine, bob

John Wicking and Arthur Wilkins smile happily after their investiture at Government House.B/W photograph of John Wicking and Arthur Wilkins after their investiture on Australia Day.Sharing a joke. John Wickham [sic] (left) President of the Association (1973-1984) and Arthur Wilkins, Manager, Kooyong Centre (1968-1976).john wicking, arthur wilkins, association for the blind

This plan is of great significance to the local history of Warrnambool, in particular the Breakwater and its impact on Warrnambool's maritime and trade history. The plan shows the existing jetties at the Port of Warrnambool, plus the partially erected Breakwater and proposed works to the Breakwater by both the Borough of Warrnambool Surveyor and Sir John Coode. The plan was signed 28th February 1879 by Sir John Coode. The legend at the bottom left describes the existing works and the proposed works. The Warrnambool Breakwater Sir John Coode was a British harbour engineer. He was brought to Melbourne by the Melbourne Harbour Trust to advise on works to improve the Port of Melbourne. The Victorian Government commissioned him to present a plan to complete the Warrnambool Breakwater. His original plan was too expensive so he prepared a revised plan for a shorter structure. The work was completed in 1890. The construction proved to be too short to protect adequately from the weather and didn't allow enough depth for larger vessels to come into port. The decreasing trade was further affected by siltation in the bay due to the breakwater, and the completion of the railway line. The situation of the harbour became a real problem that, by 1910, required continuous dredging. In 1914 the Breakwater was extended but proved to be a failure because the work began to subside and by 1920 about two thirds of the harbour was silted up. Alterations made in the 1920's increased the silting problem and by the 1940's the harbour was no longer used. More alterations were made in the 1950's and 1960's. The Warrnambool Breakwater is registered as a place of significance on the Victorian Heritage Database. This plan of the proposed works for the existing Warrnambool Breakwater is of great significance to the local history of Warrnambool, in particular the Breakwater and its impact on Warrnambool's maritime and trade history. The Warrnambool Breakwater is registered as a place of significance on the Victorian Heritage Database (VHR H2024). It is historically significant to Victoria as one of the most important maritime engineering projects in Victoria in the late 19th century. The Warrnambool Breakwater is of historical significance as one of the most important maritime engineering projects in Victoria in the late nineteenth century. It is evidence of Victoria's nineteenth century investment in regional port infrastructure and the development of Victorian coastal shipping. It is of significance for its association with the English civil engineer Sir John Coode, the most distinguished harbour engineer of the nineteenth century, who was brought to Victoria to advise on works to improve the Port of Melbourne, but was retained by the Government to advise on improvements to the harbours at Portland, Geelong, Port Fairy, and Lakes Entrance, as well as Warrnambool. His projects for Melbourne, Lakes Entrance and Warrnambool were major engineering projects of the nineteenth century. The breakwater is historically significant as a reminder of Warrnambool's early maritime history as a Western District port, and as one of Victoria's major 'outer ports'. While the Warrnambool Breakwater is a demonstration of the engineering skills of the nineteenth century, it also demonstrates the limitations of knowledge relating to sedimentology at the time and the confidence apparent in a number of nineteenth century plans which assumed that natural forces could be overcome or contained by engineering.Plan of Warrnambool Harbour, Port of Warrnambool, dated 28 Feb 1879. Plan shows existing Breakwater and work proposed by both Warrnambool Borough Surveyor and Sir John Coode. Plan has gold coloured quarter-dowel rods top and bottom and a metal ring at the top. Stamped with title. Signed by Sir John Coode.Stamped "VICTORIAN HARBOURS / WARRNAMBOOL / PLAN / to accompany / SIR JOHN GOODE'S REPORT / DATED 28 FEB 1879" Signature "John Coode"flagstaff hill, warrnambool, maritime museum, shipwreck coast, great ocean road, sir john coode, borough of warrnambool surveyor, plan of warrnambool, victorian harbours, warrnambool harbour, warrnambool breakwater, port of warrnambool, vhd vhr h2024, flagstaff hill maritime museum & village, maritime village, map, chart, plan, lady bay, breakwater, jetty, pier, vhr h2024, proposed works, 1879

Personal recollections of Louis John Michel after the events which he described in The Argus on Saturday 28 December 1895

Albert John Watson was a son of John Watson Esq, Steward of the Kew Methodist Church.Studio portrait on a Paris Panel (Cabinet Card) of John Watson playing a cello. Joh Watson was the father of Mrs Ivory, the donor. Annotations on reverse: "Reg. No. KH.134. Albert John Watson, aged 21. Donated by Mrs Ivory, 1979. daughter and member Kew Historical Society."coles studio (melbourne), mrs ivory, albert john watson

Digital file only; scanned from copy of photo 12.07 x 20.4 cm on loanbald headed manor, bedside manor, clive purtan, eltham, gordon ford, graeme bell, john street, pee wee russell band, roger bell. peter glass

The Margaret Ball (Pre 1960s Houses) Collection was a personal project initiated to mark the year 2000 and arose as a result of the disappearance of many pre-1960s parts of Eltham due to development. Approximately 200 pre-1960s style houses that were left in Eltham between Main Road and east to Bible Street, between Cecil Street to the north and south to Dalton Street were photographed in late 1999. Not all of the houses could be photographed; some because the garden or trees blocked the view of the house, others because of rubbish or cars were in the way, some because people were working on the house or in the gardens at the time.Colour photographic print eltham, houses, streets, margaret ball (pre 1960s houses) collection, john street

16 colour prints 10 x 15 cm gayle blackwood collection, houses, eltham, john street, peter glass

The Margaret Ball (Pre 1960s Houses) Collection was a personal project initiated to mark the year 2000 and arose as a result of the disappearance of many pre-1960s parts of Eltham due to development. Approximately 200 pre-1960s style houses that were left in Eltham between Main Road and east to Bible Street, between Cecil Street to the north and south to Dalton Street were photographed in late 1999. Not all of the houses could be photographed; some because the garden or trees blocked the view of the house, others because of rubbish or cars were in the way, some because people were working on the house or in the gardens at the time.Roll of 35mm colour negative film, 7 stripsKodak GC 400-6eltham, houses, streets, margaret ball (pre 1960s houses) collection, john street

The Margaret Ball (Pre 1960s Houses) Collection was a personal project initiated to mark the year 2000 and arose as a result of the disappearance of many pre-1960s parts of Eltham due to development. Approximately 200 pre-1960s style houses that were left in Eltham between Main Road and east to Bible Street, between Cecil Street to the north and south to Dalton Street were photographed in late 1999. Not all of the houses could be photographed; some because the garden or trees blocked the view of the house, others because of rubbish or cars were in the way, some because people were working on the house or in the gardens at the time.Roll of 35mm colour negative film, 7 stripsKodak GC 400-6eltham, houses, streets, margaret ball (pre 1960s houses) collection, john street

The Margaret Ball (Pre 1960s Houses) Collection was a personal project initiated to mark the year 2000 and arose as a result of the disappearance of many pre-1960s parts of Eltham due to development. Approximately 200 pre-1960s style houses that were left in Eltham between Main Road and east to Bible Street, between Cecil Street to the north and south to Dalton Street were photographed in late 1999. Not all of the houses could be photographed; some because the garden or trees blocked the view of the house, others because of rubbish or cars were in the way, some because people were working on the house or in the gardens at the time.Roll of 35mm colour negative film, 7 stripsKodak GC 400-6eltham, houses, streets, margaret ball (pre 1960s houses) collection, john street

The Margaret Ball (Pre 1960s Houses) Collection was a personal project initiated to mark the year 2000 and arose as a result of the disappearance of many pre-1960s parts of Eltham due to development. Approximately 200 pre-1960s style houses that were left in Eltham between Main Road and east to Bible Street, between Cecil Street to the north and south to Dalton Street were photographed in late 1999. Not all of the houses could be photographed; some because the garden or trees blocked the view of the house, others because of rubbish or cars were in the way, some because people were working on the house or in the gardens at the time.Roll of 35mm colour negative film, 7 stripsKodak GC 400-6eltham, houses, streets, margaret ball (pre 1960s houses) collection, john street

The Margaret Ball (Pre 1960s Houses) Collection was a personal project initiated to mark the year 2000 and arose as a result of the disappearance of many pre-1960s parts of Eltham due to development. Approximately 200 pre-1960s style houses that were left in Eltham between Main Road and east to Bible Street, between Cecil Street to the north and south to Dalton Street were photographed in late 1999. Not all of the houses could be photographed; some because the garden or trees blocked the view of the house, others because of rubbish or cars were in the way, some because people were working on the house or in the gardens at the time.Roll of 35mm colour negative film, 7 stripsKodak GC 400-6eltham, houses, streets, margaret ball (pre 1960s houses) collection, john street

The Margaret Ball (Pre 1960s Houses) Collection was a personal project initiated to mark the year 2000 and arose as a result of the disappearance of many pre-1960s parts of Eltham due to development. Approximately 200 pre-1960s style houses that were left in Eltham between Main Road and east to Bible Street, between Cecil Street to the north and south to Dalton Street were photographed in late 1999. Not all of the houses could be photographed; some because the garden or trees blocked the view of the house, others because of rubbish or cars were in the way, some because people were working on the house or in the gardens at the time.Roll of 35mm colour negative film, 7 stripsKodak GC 400-6eltham, houses, streets, margaret ball (pre 1960s houses) collection, john street

The Margaret Ball (Pre 1960s Houses) Collection was a personal project initiated to mark the year 2000 and arose as a result of the disappearance of many pre-1960s parts of Eltham due to development. Approximately 200 pre-1960s style houses that were left in Eltham between Main Road and east to Bible Street, between Cecil Street to the north and south to Dalton Street were photographed in late 1999. Not all of the houses could be photographed; some because the garden or trees blocked the view of the house, others because of rubbish or cars were in the way, some because people were working on the house or in the gardens at the time.Roll of 35mm colour negative film, 7 stripsKodak GC 400-6eltham, houses, streets, margaret ball (pre 1960s houses) collection, john street

The Margaret Ball (Pre 1960s Houses) Collection was a personal project initiated to mark the year 2000 and arose as a result of the disappearance of many pre-1960s parts of Eltham due to development. Approximately 200 pre-1960s style houses that were left in Eltham between Main Road and east to Bible Street, between Cecil Street to the north and south to Dalton Street were photographed in late 1999. Not all of the houses could be photographed; some because the garden or trees blocked the view of the house, others because of rubbish or cars were in the way, some because people were working on the house or in the gardens at the time.Roll of 35mm colour negative film, 7 stripsKodak GC 400-6eltham, houses, streets, margaret ball (pre 1960s houses) collection, john street

The Margaret Ball (Pre 1960s Houses) Collection was a personal project initiated to mark the year 2000 and arose as a result of the disappearance of many pre-1960s parts of Eltham due to development. Approximately 200 pre-1960s style houses that were left in Eltham between Main Road and east to Bible Street, between Cecil Street to the north and south to Dalton Street were photographed in late 1999. Not all of the houses could be photographed; some because the garden or trees blocked the view of the house, others because of rubbish or cars were in the way, some because people were working on the house or in the gardens at the time.Roll of 35mm colour negative film, 7 stripsKodak GC 400-6eltham, houses, streets, margaret ball (pre 1960s houses) collection, john street

The Margaret Ball (Pre 1960s Houses) Collection was a personal project initiated to mark the year 2000 and arose as a result of the disappearance of many pre-1960s parts of Eltham due to development. Approximately 200 pre-1960s style houses that were left in Eltham between Main Road and east to Bible Street, between Cecil Street to the north and south to Dalton Street were photographed in late 1999. Not all of the houses could be photographed; some because the garden or trees blocked the view of the house, others because of rubbish or cars were in the way, some because people were working on the house or in the gardens at the time.Roll of 35mm colour negative film, 7 stripsKodak GC 400-6eltham, houses, streets, margaret ball (pre 1960s houses) collection, john street

The Margaret Ball (Pre 1960s Houses) Collection was a personal project initiated to mark the year 2000 and arose as a result of the disappearance of many pre-1960s parts of Eltham due to development. Approximately 200 pre-1960s style houses that were left in Eltham between Main Road and east to Bible Street, between Cecil Street to the north and south to Dalton Street were photographed in late 1999. Not all of the houses could be photographed; some because the garden or trees blocked the view of the house, others because of rubbish or cars were in the way, some because people were working on the house or in the gardens at the time.Roll of 35mm colour negative film, 7 stripsKodak GC 400-6eltham, houses, streets, margaret ball (pre 1960s houses) collection, john street