non-fictionA collection of essays on Indigenous art in mainstream Australia by international Indigenous and non-Indigenous academics, arts administrators and practising artists. fiona foley, fiona nicoll, regina ganter, ole maiava, louise martin-chew, anna haebich, franca tamisari, aboriginal art, indigenous architecture

In their choir robes, with the female members wearing mortar boards, 19 members of the choir pose outside Holy Trinity Church, Port Melbourne.The Minister appears to be seated in the centre.B & W photograph of 19 choir members outside Holy Trinity Church, Port Melbourne.Holy Trinity Church Choirreligion - anglican (holy trinity), built environment - demolition, arts and entertainment - music

Document. Tri-fold envelope shape program performance of ''Iolanthe''. Royal Princess Theatre. Blue textured card. Printed in gold on the front ''with the Lord Chancellor's Compliments'' ''Iolanthe''. Printed in pencil on one front cover 17.12.02. Double sheet program printed in red ink on silk. Fastened in centre with pink ribbon. Mr Alex J. Hamilton played the part of the ''Lord Chancellor''.performing arts, elocution, theatre program

Document. Theatre program for Princess Theatre, Melbourne, ''A Little Ray of Sunshine'', Ten page booklet with centre fold out. Written in pencil on front 27/9/02.performing arts, elocution, theatre program

Document. Tissue paper serviette - white with red printing. Printed in centre; Milburn's Coffee Palace, Mitchell St Bendigo. Premier Caterer, pastrycook and Confectioner. Floral border (3cm) 2 cm inside edge. Four garlands in corners with printing inside Bon Appetit Wedding Breakfasts Wedding and Christening Cakes Aerated Waters.performing arts, elocution, serviette.

Document. Single sheet of writing paper with letterhead ''William Anderson's Famous Dramatic Organization''. It has a picture of acrobats in one corner. Written in pencil at the top from Geo Harper 6/4/02. Written in pencil in a rectangle in the centre ''This coin was given to Geo Harper by Scott Inglis 28/6/97 as a keepsake''. Written in pencil on the bottom of the page "Given to me by Geo Harper 6/4/02. Piece of V shaped paper glued to page. Remains of a piece of tape where coin was fastened to the page. Coin has been removed.performing arts, elocution, concert

Document. Green Christmas Card with paper insert secured with red cord. Front of card has painted farm scene in the centre. Handwritten greeting inside ''To Mr G.Harris From E and A Hocking, Sunshine.performing arts, elocution, christmas card

Typed program for the Eaglehawk Dahlia and Arts Festival from 23rd March to Tuesday 4th April 1972. Program lists the displays and entertainment for the duration of the Festival.event, exhibition, eaglehawk dahlia & arts festival, eaglehawk dahlia and arts festival 1972 program, historical society museum, karl steinbergs puppet show, bendigo gem club, australian handicapped and disabled artists, country women’s association, sam cragg, sandhurst boys centre, spastic children's friends & parents committee, sir rohan delacombe, national dahlia society, eaglehawk y m c a all grade basket ball summer competition, game birds society, bushwackers and bullocky's bush band, eaglehawk bowling club, state services orchestra recital, alan paull, arts council of australia, chitrasana dancers from ceylon, eaglehawk croquet club, bendigo music advancement society, phillip miechel, henry wenig, margaret schofield, shirley jacobs, the german national circus, bendigo clay target club, bendigo photographic society, eaglehawk bowling club, kennel club, eaglehawk citizen's band, society of organists, bendigo field naturalists

Belonged to the donors grest grest aunties ( there were four who lived together in Brighton, Sutherlands). One of them accompanied Melba on Cello. The program has since been passed down through the family..1 Grey booklet with circle cut out of the centre of the frontcover, an image of Melba printed on the first page is placed underneath the circle. The first page and last page contain advertising, the main pages detail the operas Melba performs in. .2 Cut out newspaper article placed between first two pages entitled 'Melba Leads Off' .1 Printed in Navy blue ink front page 'STORIES / OF THE OPERAS/ MELBA/ OPERA SEASON/ PRICE, SIXPENCE' .2 Inscribed u.r. corner in pencil, then blue ink over the top: 'april / 1927'melba, nellie (dame), peforming arts, opera, otello, la boheme, la traviata, samson and delilah, faust, aida, rigoletto, lucia di lammermoor, carmen, madame butterfly, la tosca

In 1964, Robin and Patricia Boyd spent several weeks on a world tour - Boyd took a leading role at the International Design Conference in Aspen and he also visited Chicago, Yale University, and New York’s World Fair. The Boyds then travelled on to England, Finland (especially to see Tapiola), Russia and India to see Le Corbusier's Chandigarh, and also Hong Kong and Thailand.Colour slide in a mount. Carpenter Centre for the Visual Arts, Harvard University, Cambridge, Massachusetts, USA, 1963. (Architect: Le Corbusier.)Made in Australia / 6 / AUG 64Mslide, robin boyd

In 1964, Robin and Patricia Boyd spent several weeks on a world tour - Boyd took a leading role at the International Design Conference in Aspen and he also visited Chicago, Yale University, and New York’s World Fair. The Boyds then travelled on to England, Finland (especially to see Tapiola), Russia and India to see Le Corbusier's Chandigarh, and also Hong Kong and Thailand.Colour slide in a mount. Looking down the ramp onto 22 Prescott St from the Carpenter Centre for the Visual Arts, Harvard University, Cambridge, Massachusetts, USA, 1963. (Architect: Le Corbusier.)Made in Australia / 7 / AUG 64Mslide, robin boyd

Picture history of Box Hill showing the development of the area from 1960 - 1994 with rapid population growth and major administrative changes. Photos include government, community services, industry, transport, shops, churches, sport, entertainment and arts, people, schools, houses and "Salute to Box Hill" (the end of Box Hill as a City).box hill, history, photographs, government, community services, industry, transport, shops, churches, sport, entertainment, arts, people, schools, houses, 1960 - 1994

Penelope Aitken lives and works in Melbourne, Australia. She makes paintings and installations about relationships: between people, between things and between people and things. Recurring subjects include friendship, genealogy, romantic liaisons, and cross-cultural exchange as well as gardening, craft and landscape design. 'I am interested in the social, psychological and aesthetic motives behind organisation, belonging and displacement and I often make work that investigates such arrangements.' She has held regular solo exhibitions since 1995 and has been represented in group exhibitions since 1989. These have included shows in public and commercial galleries, artist run spaces, outdoor projects and festivals in Melbourne, Sydney, Perth, Brisbane, Bundaberg, Kuala Lumpur, Taipei, Tokyo and Famagusta, Northern Cyprus. Aitken has previously worked at the Australian Centre for Contemporary Art and at Asialink at the University of Melbourne. From 2006 - 2009 she was a board member of the Melbourne artist run gallery, West Space and she has also curated and coordinated numerous exhibitions and written and edited catalogues, articles and essays. She holds a Bachelor of Arts and a Bachelor of Education (Visual Arts) both from The University of Melbourne and completed her Masters of Fine Art at the Victorian College of the Arts in 2004. In 1997 Aitken was selected to be a studio artist for two years at Gertrude Contemporary Art Spaces, Melbourne and in 2000 she undertook an Australia Council Studio at the Taipei National University of the Arts, Taiwan. More recently she spent two months in 2007 at the Laughing Waters Residency, Birrarung, in Eltham, Victoria. There she began her current interest in the rocks used in the landscape designs of Gordon Ford. Paintings of Ford's rocks made since 2007 as well as glacial erratics, meteors, and other natural and displaced rocks were exhibited in March 2011 at the Light Factory Gallery in Eltham in a show called My History of here, and Second Nature, one work from this exhibition, was awarded first prize at Eltham Masterworks 2011. Other work made about rocks in nature and culture include: the project, A dark archive, as well as in two installations: You seem so settled for one that doesn't belong held at West Space in 2009 and Gathering these things to remind me of home shown in 2010 at the Bundaberg Regional Art Gallery, Queensland. In July and August 2007 Aitken undertook an arts recidency at Birrarung, a house and garden designed by Gordon Ford and managed as the Laughing Waters Artist in Residence Program by the Shire of Nillumbik Victoria. The rocks depicted in the painting 'Mapping Mass & Void 10' are all taken from the garden at Birrarung. Aitken has made reference to those rocks and the way in which Ford thought of the rocks as individuals that need to be handled and placed with consideration to show off their best aspects.oil and acrylic on linen ek prac 2015

Nillumbik Prize finalist (2018, 2016, 2015, 2014). The artist lives and works in Nillumbik. Abstract sculpture inspired by the artist attending a local ceremony in Nillumbik to harvest tubers of the Murnong (yam daisy), a traditional staple of the Wurundjeri people. Wirth was also inspired by the writing of Bruce Pascoe. Wirth works intuitively with awareness that meaning may be deciphered through the combination of material/mediums/techniques that she uses randomly. Through the process of experimentation and automatism Wirth allows her work to evolve organically. Wirth is represented in public art collections including: Victorian College of the Arts, Victorian Performing Arts Centre and Ararat Regional Gallery. She also completed a residency at Laughing Waters in 2012. Yellow abstract sculpture woven into a vessel with long tentacles using cotton yarn. N/Afinalist, nillumbik prize, abstract, textile, yellow, vessel, yam

This swimsuit belonged to Audrey May Ferguson (nee Fulton), a longtime Brighton resident. Jantzen was founded 1916 in Portland, Oregon. The brand's "Diving Girl" logo - featuring a woman in a red bathing one-piece and cap in mid-dive - became famous throughout the world in the early twentieth century.Navy cotton/nylon terrycloth one-piece swimsuit with inbuilt bra. V-neck, with oversized white plastic zip from neckline to navel.Label: "Miss Jantzen / 16 / MADE IN AUSTRALIA"swimwear, audrey may ferguson, audrey may fulton, jantzen, miss jantzen, 1960s

This dress belonged to Brighton resident Isabell Nora "Billie" Blair, nee McNamara (1895-1989). Born in Mirboo North, Billie lost her mother Catherine at a young age in 1898 and was raised mostly by Catherine's sister, Isabell Frances Vallender. She married magistrate Douglas Granville Blair (1893-1976) in 1926. The couple lived first in Benalla, where their daughter Katherine Blair was born, before moving to Brighton, where they lived the rest of their lives.Mid-length velvet and chiffon dress with shallow v-neck. Velvet features a geometric pattern in purple, maroon, gold and green. Skirt is slashed at front and back with dark purple chiffon. Long dark purple chiffon sleeves with velvet cuffs. katherine fennell blair, isabell nora blair, isabell nora mcnamara, 1920s

This dress belonged to Katherine Blair, a longtime resident of Brighton. Katherine Fennell Blair was born in April 1929 in Benalla to magistrate Douglas Granville Blair (1893-1976) and his wife Isabell Nora (“Billie”) Blair, nee McNamara (1895-1989). Katherine was a child when the family moved to Brighton, where she attended St Joan of Arc Catholic Primary School and Star of the Sea College. After school, Katherine worked as a secretary and PA for various companies in the Melbourne CBD. Following a working holiday in the UK in 1959-61, she returned to Brighton, living first with her parents at 14 Kilrush Street and later in Burrows Street. An active part of the local community, Katherine was a member of the Brighton Red Cross, Brighton Probus Club and the St Joan of Arc Catholic parish and choir.Long-sleeved black velvet dress with shallow v-neck and self-covered belt. Smocked at shoulders and either side of waist. Floral embroidery around neck, cuffs and above smocking at waist.katherine fennell blair, 1940s, 1950s

This flag was used by Esperance Girls School, a private school based in Brighton from 1894-1956. Esperance was established in 1894 at 6 Normanby Street by Misses Emsie, Marion, Gussie and Daisy Beaver. The four sisters came from a formerly-prosperous land-owning family that had suffered badly as a result of the depression of the early 1890s. At a time when few occupations were open to gentlewomen, running a school provided the sisters with a respectable means of supporting themselves. Notable teachers at Esperance during the 1890s included elocution mistress Miss Jeannie Taylor, who would later become better known as the author Mrs Aeneas Gunn. In 1924 the school was sold to Miss Marian Taylor and Miss Christina McMillan, who had previously served as joint principals of Alexandra College in Hamilton between 1909 and 1913. Both women had strong family connections to Brighton: Christina was the granddaughter of early pioneer Archibald McMillan and Marian was a relative of long-serving town clerk J. H. Taylor. The new principals relocated the school to a large two-storey house on the corner of Park Street and Esperance Avenue, where it remained until its closure. They operated the school until 1950, when they sold it to a Miss Bury, who in turn sold it to the local Baptist Church in 1956. Following this final sale, the school continued for another four terms before closing.Navy blue flag, both sides featuring a large yellow-gold crest in centre, containing image of an anchor and surrounded by semicircular scroll with the motto "SPES ANCORA ANIMAE". Background features horizontal green stripe across centre, containing smaller red stripe and bordered on each side by yellow stripes.esperance girls school, flag, school flag

This flag was used by Rosbercon Girls Grammar School, which operated in Brighton from 1906 until 1941. The school was established in 1906 by the Tisdall family. The Tisdalls were a family of educators: Irish-born Henry Thomas Normanton Tisdall and his wife Lucy taught for many years at the Walhalla State School in Gippsland, along with Lucy's sisters Alice and Clara Weekes. Three of the Tisdall daughters, Ethel, Constance and Theodosia (Theo) followed their mother and aunts into the teaching profession. Constance in particular considered education her true calling and harboured a dream of one day being principal of her own school. After Henry's death in 1905, faced with financial uncertainty and several unmarried daughters to support, Lucy Tisdall decided to take a risk. She sold the family's Toorak home and, together with her sister Alice, leased 'Ashburnham', a large Victorian villa at 106 North Road, Brighton. The plan was to open a private school, with Ethel and Constance as co-principals and Lucy, Alice and Theo teaching and managing the household affairs. This came as a "joyful surprise" to Constance, who was only informed of the plan after it had been finalised. The school was named Rosbercon after Henry's home village in County Wexford, Ireland. The crest, designed by son Bert Tisdall around 1910, featured a crowned letter 'A' above the motto "amor vincit omnia" ("love conquers all"), both inspired by a verse in Geoffrey Chaucer's "The Prioress's Tale": "about her arm she bore/A paire of bedes gauded all in grene,/And theron heng a broche of gold full shene,/On which there was first writ a crowned 'A',/And after, Amor Vincit Omnia." It was a motto Constance held close to her heart, embodying her values as a teacher. Reflecting in 1961, she wrote, "In a school without punishments, a school with love and understanding between teacher and pupil - with a love of teaching on one side, and a desire to learn on the other, love would indeed conquer all." The school's opening day in 1906 proved less than auspicious, with no pupils arriving at all. The women persisted and by the end of the first week, five students had been enrolled. From here, the school grew steadily in size. A new schoolroom designed by architect Harold Desbrowe-Annear was built in the house's orchard to accommodate the increasing numbers, but by 1911 the Tisdalls began looking for larger premises. They leased the nearby property 'Hazeldean' at 124 North Road and, during the 1912 school holidays, the Desbrowe-Annear schoolroom was raised onto a lorry drawn by sixteen horses and moved down the road to what would become Rosbercon's new home. In 1923, Constance instituted a modified version of the Dalton Plan, an education model based on individualised learning. Girls in senior years were encouraged to work more independently, making regular use of the reference library and working to a monthly assignment schedule. The school performed well academically and in competitive sport, but over time was eclipsed by the nearby Firbank Church of England Girls' Grammar School (established 1909), whose institutional backing provided it with access to wider resources and facilities than those of the small family-run Rosbercon. At the end of 1933, Ethel and Theo retired and Constance became principal of St Anne's Church of England Girls' Grammar School (now Gippsland Grammar) in Sale. Rosbercon was sold to Miss Iris Hay, who served as principal from 1934 until the school's closure in 1941. Following her own retirement in 1947, Constance Tisdall settled in Erica Avenue, East Malvern, in a house named 'Rosbercon' after her former school. She continued teaching English literature, mostly to migrants, and enjoyed regular visits from former students. Well into the late 1960s, old Rosbercon girls continued a tradition of coming together for an annual reunion on the first Saturday in November, on which day Constance would fly the school flag at her home.Large navy blue flag with horizontal maroon stripe at top and bottom, and school crest in centre. Stylised maroon "A" topped with yellow crown. Yellow scroll below with motto in navy blue letters: "AMOR.VINCIT.OMNIA".flag, school flag, rosbercon girls grammar school

Plush fur collar with structured shoulders, featuring variegated colouring ranging from reddish brown to cream to white. Cream lining. Concealed hook and eye clasp at front.Label in centre back interior, white text on black: "Manton's / MELBOURNE"fur, fur collar, fur capelet, manton's department store

Fur stole consisting of two black mink pelts with heads at one end and tails at the other. Heads contain plastic eyes and noses. Black satin lining. Decorative front fastening consisting of a fabric-covered chain secured to a clip at one side and a hook fastening at the other.Label: "FURRIERS / Buckley & Nunn LTD/ MELBOURNE".fur, fur stole, mink, buckley & nunn, department stores

Black beaded cape, triangular with scalloped edging. Ruffled neck and wide lace ruffle around hem, edged with a line of black sequins and beads. Swirling/meandering beaded design on main body, with net insertions.cape, lewis & co. & folkestone

This coat was made by Kallman Feitel (1877-1947), an Austrian-born furrier who emigrated to Australia around 1899. His shop was situated at 102-103 Beach Street, Port Melbourne.Long dark brown astrakhan coat with a brown fur collar and brown silk lining. Embroidered in the lining near the hem is the monogram "M.E.C."Label, woven, gold text on brown: "K. FEITEL / MELBOURNE"fur coat, fur, astrakhan, kallman feitel, k feitel, 1940s