A book of 25cm H, containing 250 p; index; referencesnon-fictionBox Hill Cemetery is the final resting place of many notable identities such as Sidney Myer, C. J. Dennis and Joy Hester, pioneers, leaders in their fields, businessmen and women, church representatives, and people from all walks of life and numerous cultures. The successes, struggles, triumphs, and tragedies of scores of individuals and families have been documented as the fledgling burial ground evolved into the serene and expansive cemetery valued by many people.box hill cemetery (vic.), box hill (vic.) -- history, celestina sagazio

These captivating pieces are part of a series called "FOOD / FLESH / FAME," a collaborative effort between Melbourne-based Thai artists Bundit Puangthong and Vipoo Srivilasa. Drawing from Buddhist teachings, the series explores the three elements of attachment: Food (consumption), Flesh (sex), and Fame (power). Although these elements are known to cause suffering, they remain persistently alluring, a paradox that the artists intend to explore further in the future. In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FOOD" depicts a durian, the king of fruits, painted by Bundit Puangthong. He notes, "Despite its pungent aroma, many people still love to eat it."Donated the by the artists

In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FLESH" features a golden umbrella, serving as a metaphor for sex.

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

The Tibetan astrological calendar is a lunisolar calendar composed of either 12 or 13 lunar months, each beginning and ending with a new moon. A thirteenth month is added every two or three years, so that an average Tibetan year is equal to the solar year. The Tibetan astrological calendar has roots in the Indian calendar system and has been in use for over a thousand years.The Tibetan calendar is an important tool for determining auspicious dates and times and for making predictions about future events. The calendar is an essential aspect of Tibetan identity and culture and continues to be used and revered to this day. This ornate copper disk represents the traditional Tibetan astrological calendar (called Phukpa) based on a 60-year cycle where each year is associated with an animal and an element. The central figure is surrounded by eight trigrams (known as Parkhas), featuring one of the four seasons and four cardinal directions. The middle circle depicts 12 zodiac animals: the mouse, ox, tiger, hare, dragon, serpent, horse, sheep, monkey, rooster, dog, and pig. astrological calendars (almanacs), amulets

The photograph, taken in the 1890s, shows sailing ships and a wreck in Lady Bay, Warrnambool. Lady Bay was once a very busy port of trade in Warrnambool and was also called the Port of Warrnambool or Warrnambool Harbour. ENTERPRISE (1847-1850) NOTE: The “Enterprise” wrecked in 1850 in Warrnambool should not be confused with John Pascoe Faulkner’s ‘Enterprise’, which was wrecked in NSW in 1847. The 58-ton schooner Enterprise was built by David Hay in Waiheke, New Zealand in 1847 and registered by owners John Watson and Edward Byam in Melbourne, Australia. She was a single-deck sailing ship with two masts, used for carrying cargo such as local agricultural produce and general commodities between Melbourne and other colonial ports. On September 14th, 1850 the Enterprise had sailed from Melbourne under the control of the ship’s Master, James Gardiner Caught, and was moored in at the Tramway Jetty in Lady Bay, laden with wheat and potatoes. The vessel rode out a south-easterly gale but eventually dragged anchor and was beached, bow first and then broadside. Buckwall, a local indigenous man, braved the heavy surf and reached the stricken vessel with a rescue line, saving all five crew on board. There were no passengers on board. The Enterprise wreck was in an area called Tramway Jetty in Lady Bay. Since then the area has become the location of Lady Bay Hotel and now, in 2019, it is in the grounds of the Deep Blue Apartments. In fact, with the constantly changing coastline through built-up sand, the wreck site is now apparently under the No 2 Caravan Park on Pertobe Road, perhaps 150 metres from the high tide. Its location was found by Ian McKiggan (leader of the various searches in the 1980s for the legendary Mahogany Ship). The Warrnambool Wreck Enterprise is listed on the Victorian Heritage Database VHR S238. DIFFERENTIATING the New Zealand Schooner “Enterprise” from John Fawkner’s “Enterprize“ Dr Murray Johns, Melbourne, says in his article The Mahogany Ship Story, “…the Enterprise, wrecked in Lady Bay, Warrnambool in 1850 ... was soon covered by sand but was exposed again after several storms in 1887. “Samples of timber were then cut from the wreck, which would then have been buried for 37 years. In November 1887 the Warrnambool Standard reported that “the timber looks sound and hard, a penknife scarcely making any impression.” “For many years there was confusion about the identity of that ship in Lady Bay. Most people believed it was the wreck of John Pascoe Fawkner’s Enterprize, which had sailed from Tasmania to Victoria bringing the pioneer settlers to Melbourne in 1835. “In fact, as I documented in 1985, the Warrnambool wreck was of an entirely different ship, also called Enterprize [Enterprise], but built in New Zealand in 1847. Fawkner’s ship had already been sold to Captain Sullivan in 1845 and was wrecked on the Richmond Pier in northern New South Wales early in 1847. “In 1985 a piece of timber from the local Enterprise, which had been kept at the Warrnambool Museum since 1892, was identified histologically as a New Zealand timber, not Tasmanian timber such as blue gum, from which Fawkner’s Enterprize would have been built in 1830. This confirmed the identity of the Warrnambool Enterprize.”[Dr. M.W. Johns later wrote an article called “The Schooner Enterprise: A Final Word on a Historic Wreck.”] ABOUT THE S S EDINA The three-masted iron screw steamer SS Edina was built in Glasgow, Scotland, in 1854 by Barclay and Curle. She was adorned with the figurehead of the ‘fair maid of Judea’. The many years of service made SS Edina famous worldwide as the longest-serving screw steamer. (The term screw steamer comes from being driven by a single propeller, sometimes called a screw, driven by a steam engine.) SS Edina’s interesting history includes English Chanel runs, serving in the Crimean Ware carrying ammunition, horses and stores to the Black Sea, and further service in the American Civil War and later, serving in the western district of Victoria as well as in Queensland and carried gold, currency and gold prospectors Australia to New Zealand. SS Edina had the privilege of being an escort vessel to H.R.H. the Duke of Edinburgh during his visit to Australia in 1867. In March 1863 SS Edina arrived in Port Phillip Bay, Melbourne and was bought by Stephen Henty, of Portland fame, to work the cargo and passenger run from Melbourne – Warrnambool – Port Fairy - Portland. After a short time of working the run from Australia to New Zealand, with passengers and cargo that included gold and currency, she returned to her Melbourne - Warrnambool – Port Fairy run, with cargo including bales of wool produced in the western district of Victoria. The Warrnambool Steam Packet Company purchased SS Edina in 1867; she was now commanded by Captain John Thompson and Chief Engineer John Davies. She survived several mishaps at sea, had a complete service and overhaul and several changes of commanders. In 1870 SS Edina was in Lady Bay, Warrnambool, when a gale sprung up and caused a collision with the iron screw steamer SS Dandenong. SS Edina’s figurehead was broken into pieces and it was not ever replaced. SS Edina was re-fitted in 1870 and was then used as a coastal trader in Queensland for a period. She was then brought to Melbourne to carry cargo and passengers between Melbourne and Geelong and performed this service from 1880-1938. During this time (1917) she was again refitted with a new mast, funnel, bridge and promenade deck, altering her appearance. In 1938, after more collisions, SS Edina was taken out of service. However, she was later renamed Dinah and used as a ‘lighter’ (a vessel without an engine or superstructure) to be towed and carry wool and general cargo between Melbourne and Geelong. In 1957, after 104 years, the SS Edina was broken up at Footscray, Melbourne. Remains of SS Edina’s hull can be found in the Maribyrnong River, Port Phillip Bay. This photograph is significant for its association with the screw steamer SS Edina, heritage listed on the Victorian Heritage Database VHR S199. She had endeared herself to the people of Port Phillip Bay as a passenger ferry, part of their history and culture. She played a significant role in the Crimean War, the American Civil War and the gold rush in New Zealand. She also served western Victoria for many years in her cargo and passenger runs. The SS Edina is famous for being the longest-serving screw steamer in the world. After spending her first nine years overseas she arrived in Melbourne and her work included running the essential service of transporting cargo and passengers between Melbourne and the western Victoria ports of Warrnambool, Port Fairy and Portland. The SS Edina was purchased in the late 1860s by the local Warrnambool business, the Warrnambool Steam Packet Co. and continued trading from there as part of the local business community. Her original ‘fair maid of Judea’ figurehead was broken to pieces in a collision with another vessel (the SS Dandenong) in a gale off Warrnambool, Victoria, in 1870. The photograph is significant for its association wreck of the Victorian Heritage Listed schooner Enterprise, VHR S238, being a New Zealand-built but Australian-owned coastal trader. The wreck was also significant for its association with the local indigenous hero, Buckawall, who saved the lives of the five crew on board. Photograph "Vessels in the Bay". Black and white photograph of several vessels in Lady Bay, Warrnambool, including some small vessels and "S.S. Edina", the "Peveril" and "Tommy", plus the remains of the wrecked vessel "Enterprise" in the foreground. Photograph is mounted on beige card with label describing the vessels, plus pencilled vessel names. There are several pin holes in each corner of the photograph. Typed label under the photograph “VESSELS IN THE BAY – “EDINA” “PEREVIL” AND “TOMMY”. / REMAINS OF “THE ENTERPRISE” IN FOREGROUND. (Also crossed out on the label “FIRST VESSEL TO SAIL UP YARRA RIVER). In pencil script above the vessels on the photograph “S.S. Edina”, “Peveril” “Tommy”. On the reverse is a printed sticker with “F-Ph 59/2 74”, red felt-tip pen “88”, green pen script repeating the text that is under the photograph on the front.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, enterprize, port of warrnambool, warrnambool harbour, peveril, tommy, ss edina, lighter dinah, warrnambool steam packet company, lady bay, pleasure steamer, edina, trade, travel, screw ship, coastal trader, cargo, victoria, buckawall, indigenous rescue, indigenous hero

This group photograph of the 1979 Jacana Primary School Softball Premiers highlights the school’s proud sporting tradition and its role in fostering teamwork, resilience, and school spirit. Established in 1959 and operating until the early 2000s, Jacana Primary was a cornerstone of the local community, offering not only academic education but also rich extracurricular opportunities. The image captures a moment of achievement and pride, reflecting the camaraderie and collective effort that defined the school’s culture. As a visual record, it provides insight into the everyday life of the school and illustrates the broader social and educational values that shaped the Jacana community during this period.This 1979 photograph of the Jacana Primary School Softball Premiers is significant as a testament to the school’s vibrant sporting culture and its broader role in fostering community spirit and student development. As a key part of Jacana Primary School’s legacy—an institution that served the local community from 1959 until its closure in the early 2000s—the image captures a moment of athletic achievement and collective pride. It reflects the school’s commitment to extracurricular excellence, teamwork, and inclusion, offering a valuable visual record of the social and educational values that shaped the lives of its students and the identity of the Jacana community.A glossy colour photo of Jacana primary schools' softball premiers' female students of 1979. Teacher is in the middle.jacana primary school, education, photograph, group photograph, 1979

A stapled, card-covered, forty-eight-page book with loose card cover. Oil stain bottom right of page 11 and bottom left of p.12.non-fictionSchool yearbook, presenting details of the events and students of Salesian College, Rupertswood, Sunbury.salesian college, rupertswood, sunbury, yearbook, "certantes in vita", 1974

This group photograph of the Grade 2/3 class at Jacana Primary School serves as a poignant reminder of the school’s enduring legacy within the local community. Established in 1959 and operating until the early 2000s, Jacana Primary was more than just a place of learning—it was a cornerstone of community life, shaping generations through education, inclusion, and shared experience. The image captures not only the young faces of its students but also the spirit of camaraderie, diversity, and belonging that defined the school’s culture. As a visual record, it offers insight into the everyday life of the school and reflects the broader social and educational landscape of Jacana during its years of operation.This photograph of the Grade 2/3 class at Jacana Primary School is significant as a visual record of a community-focused institution that operated from 1959 until the early 2000s. It captures the essence of the school’s role in shaping young lives through education, inclusion, and shared experience. The image reflects the values of camaraderie, diversity, and belonging that defined the school’s culture, offering insight into the social and educational environment of Jacana during this period. As one of the few remaining records of the school’s later years, it holds enduring value for understanding the local history and identity of the area.A vibrant laminated colour photograph featuring a group of children and staff seated in three rows. Their names are displayed on a white panel, printed on glossy paper, accompanied by the school logo.jacana primary school, education, photograph, group photograph, 1999, jade lloyd, teagan nash, analisa capretta, jovie anne orca, jomana matar, andrea ratnam, jocelyn towers, erika borigano, samantha iskander, kristijan mihaljev, emre akbiyik, trent gore, clara david, elias younan, stephanie melia, andrew knostenbergs, allak hamad, joshua harris, matthew welsh, maeve-aine oakley, andrew fuimaono, krishna hurley - edwards, benjamin grubb, mrs. vivien mcnish, ms. milly dobricic, ms carol taylor

This 1997 photograph of staff at Jacana Primary School represents a poignant chapter in the history of a community-focused educational institution that served Melbourne’s northern suburbs from 1959 until the early 2000s. Far more than a conventional staff portrait, the image stands as a historical artifact—capturing the ethos of a school that was deeply interwoven with its local community. Jacana Primary was a place where educational equity, inclusivity, and a strong sense of belonging were not just ideals but everyday practices. The photograph offers a window into the educational values, staff culture, and broader social dynamics of suburban Melbourne at the close of the 20th century, reflecting the school’s enduring impact on generations of students and families. This 1997 staff photograph from Jacana Primary School holds enduring historical and cultural value as a visual record of a community-centred institution that served Melbourne’s northern suburbs from 1959 until the early 2000s. The image encapsulates the school’s pivotal role in promoting inclusive education, fostering social cohesion, and shaping local identity during a period of significant demographic and educational change. As a representation of the school’s staff culture and values at the close of the 20th century, the photograph offers insight into broader trends in suburban public education, including the emphasis on equity, community engagement, and the professional dedication of educators. It stands as a testament to the legacy of Jacana Primary School and its lasting impact on generations of students, families, and the wider community.A colour photograph depicting teachers at Jacana Primary School, taken in 1997. The image is bordered by a black frame and features a white strip along the bottom edge with names of individuals neatly printed. The Jacana Primary School logo is located in the bottom right-hand corner. Photograph is laminated. jacana primary school, education, photograph, group photograph, mrs. heather faulkes, mrs. dora aylward, mr. rob merlino, mrs. linda mostyn, mrs. vivien mcnish, mr. graham archer, ms. mary stapleton, mrs. doreen brown, mrs. pam streete, mrs. kaye smith, 1997

his group photograph of the Grade Prep/1 class at Jacana Primary School, taken in 1998, stands as a meaningful testament to the school’s lasting impact on the Jacana community. Founded in 1959 and active until the early 2000s, Jacana Primary was more than an educational institution—it was a vital hub of community life. Through decades of service, it fostered a spirit of inclusion, learning, and shared experience that shaped the lives of countless students and families. The image not only preserves the youthful faces of its students but also encapsulates the values of camaraderie, diversity, and belonging that were central to the school’s ethos. As a visual document, it offers valuable insight into the everyday experiences of school life and reflects the broader social and educational environment of Jacana during that era.The 1998 Grade Prep/1 class photograph from Jacana Primary School holds enduring historical and cultural value as a representation of the school’s pivotal role within the Jacana community. Established in 1959 and operated until the early 2000s, Jacana Primary was a foundational institution that contributed significantly to the educational and social development of the area. This image is significant not only as a record of the students and staff of that time but also as a reflection of the school’s inclusive and community-oriented ethos. It embodies the values of diversity, belonging, and collective identity that defined the school’s culture. As a visual artifact, it offers insight into the lived experiences of local families and the broader educational landscape of late 20th-century suburban Melbourne. The photograph serves as a tangible link to the past, preserving the memory of a place that shaped generations and fostered a strong sense of community connection.A vibrant laminated colour photograph featuring a group of children and staff seated in three rows. Their names are displayed on a white panel, printed on glossy paper, accompanied by the school logo.jacana primary school, education, photograph, group photograph, ms carol taylor, 1998, jennifer salib, dylan owen-buoy, teagan nash, krystal le, breanna nash, scott gore, christopher muscat, mohammad matar, andrea ratnam, andrew knostenbergs, jocelyn towers, hung phan, jesse west, mohamad saad, kristijan mihaljev, krishna hurley - edwards, matthew welsh, elias younan, alexandria ioseka, allak hamad, vanita harris, joshua harris, mrs. pam streete, mrs. linda mostyn

This 1977 Jubilee Year publication was a special project undertaken by the Form 5 Politics Class at Salesian College, Rupertswood, as part of the school’s commemorative efforts to reflect on its past, present, and future. Created during a year of celebration and reflection, the project was both a civic and educational exercise, allowing students to explore the structure and culture of their school through the lens of political systems. Organised under the themes of Legislative, Executive, and Judicial branches, the publication presents a unique and structured interpretation of the college’s operations and community life. It includes contributions on key aspects of the school such as the Salesian order, the Parents and Friends Association, academic and sporting programs, the media, and the Old Boys’ Association. The project reflects the educational ethos of the time—encouraging inquiry, collaboration, and pride in one’s school. It also highlights the role of student voice in shaping the narrative of the college’s history. As a student-led initiative, this publication stands as a testament to the creativity, engagement, and reflective spirit of the 1977 cohort.This 1977 Jubilee Year publication, compiled by the Form 5 Politics Class at Salesian College, Rupertswood, is a significant historical document that captures the voice, perspective, and civic engagement of students during a milestone year in the college’s history. Created as a special project, the publication reflects a thoughtful and structured examination of the school’s identity through the lens of political systems—Legislative, Executive, and Judicial—demonstrating both creativity and critical thinking. The document is notable for its student-led authorship, its comprehensive scope—including reflections on the Salesians, the Parents and Friends Association, media, agriculture, academics, sport, and alumni—and its collaborative spirit. It offers a rare and valuable insight into how students of the time understood and interpreted the structure and culture of their school community. As a preserved artifact, this publication contributes meaningfully to the archival record of Salesian College. It not only documents the educational and social environment of the late 1970s but also highlights the enduring values of participation, reflection, and pride in community that continue to define the Rupertswood legacy.A 27 page stapled document, with a yellow front page (cover), detailing the history of Salesian College, Sunbury to 1977.salesian college, rupertswood, sunbury, 1977, jubilee