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Kew Historical Society Inc
Photograph - Grace Tabulo, 'Fairyland', 57 Malmsbury Street, c.1963
Mr. and Mrs. Tabulo, who owned the house between 1945 and 1965, created Fairyland in the 1940s. Fairyland was open to the public, especially children, who were invited to write their names in visitors’ books. These are now in the possession of the Kew Historical Society. Following the sale of the house after Mrs. Tabulo’s death, the garden and content of the house was cleared of its previous adornments. Grace Tabulo died in 1965. "CHILDREN LIVING IN THE ONE STREET soon find out which house will welcome them and which house to avoid. Few children in few streets have ever had such a find as those who live in Malmsbury st, Kew. At 56 Malmsbury st they all belong. It is their house. There are no young children who are actual residents, but they are to be found there all day long. Mrs J. Tabulo is chatelaine of 56, but few children know her by this name. To them she she is the Fairyland Lady. In her pocket handkerchief front garden there are few flowers; there isn't room, for it has been turned into a children's dream. Cement, tiles, old broken pieces of priceless china, miniature bottles, leadlights, and strange and beautiful little statues have been welded into a grotto which Mrs Tabulo says is only appreciated and understandable to children. It started off in a small way three years ago with a few odd statuettes, but with a street full of children ready and eager to build, it now has hardly room for even a miniature. Like the children, the Fairyland Lady knows and values each mosaic-like piece. Many a wedding present, succumbed at last to the ravages of time, holds a vantage spot in the grotto. The children bring along their broken bits and each is found a spot and cemented into the fairy story picture. In the cottage itself the children are also welcome. There is no spot, from skirting board to ceiling, that is not crowned with some gem or another. Fans, plaques, and china, some of it more than 300 years old, is handled daily by tiny but careful hands. "Children," said Mrs Tabulo, "should be allowed to love and handle beautiful things. They are much more careful than adults. Bless them!" -H.S (The Argus, 22 January 1949)A photograph of Mrs. Grace Tabulo in the garden of ‘Fairyland’ in 57 Malmsbury Street, Kew. fairyland, malmsbury street, kew, tabulo, grace tabulo -
Federation University Art Collection
Painting - Acrylic on Linen, 'Tingari Cycle' by Walala Tjapaltjarri
Walala Tjapaltjarri (b. c1960) Language: Pintupi Region: Kiwirrkuru In late 1984 Walala Tjapaltjarri and several other members of the Pintupi Tribe walked out of the remote wilderness of the Gibson Desert in Western Australia and made contact for the first time with European society. Described as 'The Lost Tribe', he and his family created international headlines. Until that day in 1984, Walala and his family lived the traditional and nomadic life of a hunter-gatherer society. Their intimate knowledge of the land, its flora and fauna and waterholes allowed them to survive, as their ancestors had for thousands of years. It is this sacred landscape, and its significant sites, that Walala so strikingly describes in his paintings. His style is generally highlighted by a series of rectangles set against a monochrome background. He paints the Tingari Cycle (a series of sacred and secret mythological song cycles) which are associated with the artist's many dreaming sites - they are Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These Dreamings are the locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015) Walala Tjapaltjarri started painting in 1997. His earliest works were in a classical Tingari style usually reserved for body painting, ground painting and the decoration of traditional artifacts. Within a couple of months his painting had evolved into his own innovative style of work, including the abstraction of classical Pintupi designs which resulted in a highly graphic language to speak of his country and ceremonial sites. The rectangles so prominent in his paintings form both a physical and spiritual map establishing Walala as a discerning draughtsman for his ancient country. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015) 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.Tingari Cycle - During the Tjukurrpa (Creation Era) Tingari ancestors beings gathered at a series of sites for Malliera (Initiation) Ceremonies. They travelled vast stretches of the country, performing rituals at specific sites that in turn created the diverse natural features of the environment. The Tingari men were accompanied by novices and usually followed by Tingari Women. The creation stories and rituals are venerated in the song cycles and ceremonies of today, forming part of the teachings of the post initiatory youths, whilst also providing explanations for contemporary customs. Walala Tjapaltjarri uses a highly personalised and minimal style to represent aspects of the sacred Tingari Cycle, an epic journey of Ancestors of the TJukurrpa (Creation Era). He paints aspects of the Tingari Cycle which are associated with the artist's many sacred sites - such as Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These are locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015)art, artwork, walala tjapaltjarri, aboriginal, dreaming, creation era, acrylic on linen, pintupi, kiwirrkuru, tingari, wilkinkarra, tarrku, njami, yarrawangu -
Mrs Aeneas Gunn Memorial Library
Book, Ruby Ferguson, Lady Rose and Mrs Memmary, 1949
The Countess of Lochlule marries Sir Hector, owner of the estate next to 'Keepsfield', the palatial Scottish mansion where she lives. But one day she meets someone on a park bench in Edinburgh. This novel is about dreams and the hard world of money and position and their relations to one another.p.223.fictionThe Countess of Lochlule marries Sir Hector, owner of the estate next to 'Keepsfield', the palatial Scottish mansion where she lives. But one day she meets someone on a park bench in Edinburgh. This novel is about dreams and the hard world of money and position and their relations to one another.england - fiction, romantic fiction -
Melbourne Legacy
Work on paper, Handwritten sheet music, 194
Handwritten sheet music played in Changi Prison. In pencil is a list of song names that were played. It was stored with sheet music that came with the 'Changi violin' donated by the family of Roy Arnel. It was on display in 2nd floor function room until 2024. The music and song playlist were on the reverse of the cover of a Prison Annual Report from 1931.A record of life in a POW camp.Handwritten sheet music on the reverse of the cover of an Annual Report on the Prisons of the Colony for the year 1931.Handwritten in pencil, bottom left 'End of a perfect day G D Slumber Song (Roy Arnell) request (inserted) Piano solo : Net St___ (inserted) O__a__ds 1st Waltz Annie Laurie C - E1 Vienna, City of Dreams G - D Let me call you sweetheart - G B Till we meet again G - Bchangi prison, pow, music -
The Celtic Club
Book, Harper Collins, Patrick Son of Ireland, 2003
HSlave, soldier, lover, hero, saint, 'his life mirrored the cataclysmic world into which he was born. His memory will outlast the ages. Born of a noble Welsh family, he is violently torn from his home by Irish raiders at age sixteen and sold as a slave to a brutal wilderness king. Rescued by the king's druids from almost certain death, he learns the arts of healing and song, and the mystical ways of a secretive order whose teachings tantalize with hints at a deeper wisdom. Yet young Succat Morgannwg cannot rest until he sheds the strangling yoke of slavery and returns to his homeland across the sea. He pursues his dream of freedom through horrific war and shattering tragedy'through great love and greater loss'from a dying, decimated Wales to the bloody battlefields of Gaul to the fading majesty of Rome. And in the twilight of a once-supreme empire, he is transformed yet again by divine hand and a passionate vision of "truth against the world," accepting the name that will one day become legendIndex, notes, p.454.fictionHSlave, soldier, lover, hero, saint, 'his life mirrored the cataclysmic world into which he was born. His memory will outlast the ages. Born of a noble Welsh family, he is violently torn from his home by Irish raiders at age sixteen and sold as a slave to a brutal wilderness king. Rescued by the king's druids from almost certain death, he learns the arts of healing and song, and the mystical ways of a secretive order whose teachings tantalize with hints at a deeper wisdom. Yet young Succat Morgannwg cannot rest until he sheds the strangling yoke of slavery and returns to his homeland across the sea. He pursues his dream of freedom through horrific war and shattering tragedy'through great love and greater loss'from a dying, decimated Wales to the bloody battlefields of Gaul to the fading majesty of Rome. And in the twilight of a once-supreme empire, he is transformed yet again by divine hand and a passionate vision of "truth against the world," accepting the name that will one day become legendireland - historical fiction, christain saints - fiction -
Wodonga & District Historical Society Inc
Photograph - Falkiner Electric Road Train in front of George Leighton's Wodonga Store and Bakery Wodonga 1914
This image of the Ralph Falkiner’s Mueller Petrol-Electric Road Train was taken in Wodonga in February 1914. Imported from Germany by Mr Ralph S Falkiner in late 1913, the train’s inventor, Major W A Mueller with two assistants, came to Melbourne to assemble then commission the train. The train cost Mr Falkiner about £13,000 plus £4,591 import duties. The Falkiner family were sheep breeders in the Western Riverina and he hoped to use the road train primarily to convey wool to the railways for despatch to Sydney. The train was 216 feet long, weighed 43.5 tons with a top speed loaded of 6-8m/h and petrol consumption up to two gallons per mile. Its first Australian journey was to haul 50 tons of cargo to Edmondson & Co at Wagga Wagga, 277 miles away. The journey from Melbourne was plagued with problems including broken cylinders and crank shaft and overheating as it was not designed for Australian climatic conditions. Three months after leaving Melbourne it arrived in Wodonga. A series of problems between Springhurst and Wodonga, including broken cylinders and valves caused an eight day delay. Some of the cargo was off-loaded in Albury, then after repairs the train continued on to Wagga where it arrived in May 1914. After unloading there, the road train was taken to Mr Falkiner's Groongal Station, near Hay and subsequently made several long trips into drought-stricken areas or the Western Riverina. Eventually the dream collapsed when the engines gave out after the train bogged in the sticky black soil of the Hay plain with 251 bales of wool on board. The train was finally railed back to Melbourne and stored but destroyed when the warehouse burnt down. In this photo, the road train is drawn up outside the Wodonga Stores and Bakery owned and operated by George Leighton. Mr Leighton began his business opposite the Terminus Hotel in Sydney Street, Wodonga in 1885. His business included a general store, stocking groceries, ironmongery, drapery, crockeryware, boots and shoes as well as a bakery. He was very actively involved in the community and served on the Wodonga Council for 18 years including three terms as Wodonga Shire President in 1901 – 02, 1910-11 and 1913-14. He was also Chairman of the Wodonga Waterworks Trust for several terms. Mr. Leighton also took a prominent part in the movement to establish a Public Library in Wodonga. His other involvements including being a Founder of the Wodonga Lodge of Freemasons, Honorary Treasurer of the Wodonga Bulldogs Football Club and Secretary of the Wodonga Racing Club. Mr Leighton passed away in Wodonga in 1916.This image is significant because it records a rare event in Wodonga and an experiment in Australian road transport.Black and white images of the Falkiner Road Train in Wodonga and on its first journey from Melbourne to Wagga, NSW It is taken in front of the Wodonga Stores and Bakery operated by George Leighton in Sydney Street, Wodonga.falkiner electric train, early road transport, high street wodonga, george leighton -
Bendigo Historical Society Inc.
Document - ROYAL PRINCESS THEATRE COLLECTION: A SEQUEL TO MARJORIE IN WONDERLAND
Royal Princess Theatre - A Sequel to Marjorie in Wonderland. Saturday, 1st September 1917. Australian Children's Pantomime. Price of Programme, One Penny. Matinee Performance. In aid of 'Fruit & Vegetables Fund For Our Soldiers In The Trenches.' Produced by Miss Girlie Mackay and Miss Norma Moorhead. Musical Director: Mr. Stanley Upton. Stage Manager: Mr. J Dunphy. Lighting Effects: Mr. W Wenborn. Hon. Sec.: Mr. Norman Howell. Inside cover Synopsis of Pantomime. The First act is Marjorie's Dream of Fairyland. The curtain rises showing Marjorie asleep in cot from which Brownies entice her away. The curtain is. . . . Sale of Sweets supervised by Miss Nita E Weller and Assistants Rose by Mrs. A T Mackay. Dresses designed and made by Mrs. McQuie, Misses Lena Weller, Norma Moorhead, Girlie Mackay, assisted by Mrs. Ralph Ross, Mrs. Robert Mackay, and the Misses May Germann, Carola Iser and Hilda Meurer. Programme. Songs sung throughout Performance. Overture-'Marjorie in Wonderland; Specially arranged by Mr. Upton. Overture Synopsis-This is descriptive of Marjorie's Dream of Fairyland; at first mystic and subdued, tending to convey the impression of the mysterious movements of the Spirits of the Night intermingled with the occasional calls of birds, a vision of Elfland; from that the music develops in an expression of the coming of morn, and the stirring of forest nature into the active life of day, with the distant sounds of the anvil and of bells; and as the day wears on, the chiming of the hours again denote the approach of eventide, the melody throughout being that of the song 'Marjorie Sunbeam.' Instrumental Soloists are Messrs. J Collins & H M Hall. Act 1. 'Moonstruck' Myrtle Glanville. 2 Moonboat, by the Fairies. 3 'Fairy Revel' by the Bunnies. 4 'Bunnies Adventure' by the Bunnies.5 'Catching Birds' by the Goblins. 7 'Fairyland' Ruthie Murphy. Act 2. 1 'Fairy Song'. 2 'Kookaburra Mel Wearne. 3 'Marjorie Sunbeam' the Brownies. 4 'Kangaroo' the brownies. 5 'Autumn Winds' 6 'As I went o'er the Paddocks' Jean Walker. 7 'Sea Serpent' Jim Walker & Jim Long. 8 Swing Song, The Playmates. 9 'Belle Bird' Jean & Jim Walker. 10 'Baby Bear' Stella Coghlan. 11 'Coo-ee' Myrtle Glanville & Marie Hamilton. 12 Butterfly Dance Sheila Shannon.13 'The Mushroom Affair' Ruthie Murphy & Jim Nabbs. 14 'Corroboree' by the Aboriginals. 15 'The Boomerang' Ken McQuie. 16 Chorus-Wattle. 17 'In Two's & Three's' Brownies & Goblins. 18 'Bull Frog & Coon Stella Cook & Sid Whitelaw. 19 In a Fairy Boat' Rose Murphy. 20 Chorus-'Good Night'. _God Bless Our Splendid Men_ Cast of Characters: Jean Walker, Myrtle Glanville, Marie Hamilton, Thelma Thomas, Stella Coghlan, Jim Long, Jim Walker, Enid Webster, Lily Brown, Una Grelis, Biddie Bulley, Ellie Colcough, Dorothy Fullerton, Maud Clark, Una Leggo, Sheila Shannon, Ken Skewes, Jack Long, Bruce Barnier, Roger Horbury, Douglas Pain, Tom Henderson, Ruthie Murphy, Jim Nabbs, Tom Green, Douglas McQuie, Mel Wearne, Laurence Skewes, Sid Whitelaw, Ken Moore, Alma Jorgenson, Geoff Schultz, Doris Reed, Nancy Cahill, Hugh Long, Edna Spencer, Don Walker, Jack Schultz, Ken McQuie, Jack Weddell, Berni and Allan Monaghan, Reg Trevean, Stella Cook, Joyce Ross, Margaret Long, Olive Thomas, Margaret Macqie, Rose Murphy, Molly Robertson, Lorna Weddell, Minnie Harley, Jean Moran, Merle Nagel, Decima Hotorf, Myra Greasley, Vera Arundel, Joyce Long, Elma Jordan, Gwen Morley, Emmie Arthur, Lorna Parker, Ziska Ross, Ena Wright, Mary Rymer, Cecil Gleeson, Thelma Cairns, Dorothy Batchelder, Maudie Ferguson, Marion Henderson, Lorna Cattran, Alice Murphy, Essie Whitelaw, Eileen Coghlin, Thelma Ross, Jean Miller, Mavis Tozer, Monnie Fattorini, Vivian Reed, Lily O'Connor, Alice Evans, Jean Barlow (Names of parts were included). Columbine Ballet: Alma Day, Kathleen Smithwick, Margery Greaves, Wilma Martin, Roma Cook, Dot Cravino, Alma Reardon, Jean Cairns.Cambridge Press, Print.program, theatre, royal princess theatre