Rear of the Palace Theatre, St Kilda 1948black and white photograph, unmounted original fair conditionAll aboard the train at St Kilda 1948 Rear of the Palace theatre. Donated to Historical Society of St Kilda by Charles Hall. December 1992.

Designed and built in the early 1920’s by Charles Robert Prosser , a Melbourne Engineer, for an enquiry by the Commonwealth Government into ways of solving the break of gauge problem. Breaks or changes in railway gauges existed at most state borders of Australia during the first half of the 20th century. Upon completion of this model, it was placed on display in the Federal Parliament then located in Parliament House, Melbourne. Patents on the Break of Gauge Bogie Application number Title Applicant(s) Inventor(s) Filing date 1921000390 Improved means of adjusting the wheels of rolling stock to suit railway tracks of different gauges Charles Robert Prosser Charles Robert Prosser 1921-02-01 1917004843 Improvements in and connected with railway or other ticket supply tubes Charles Robert Prosser Charles Robert Prosser 1917-08-09 1915016191 IMPROVEMENTS IN AND CONNECTED WITH THE ADAPTATION OF RAILWAY ROLLING STOCK TO DIFFERENT GAUGES Charles Robert Prosser Charles Robert Prosser 1915-05-01 1915015980 Improvements in and connected with the adaptation of railway rolling stock to different gauges Charles Robert Prosser Charles Robert Prosser 1915-04-09 1914012931 Improvements in and connected with the adaptation of railway rolling stock to different gauges Charles Robert Prosser Charles Robert Prosser 1914-04-20 The Sydney Morning Herald Fri 2 Sep 1921 Page 6 BREAK OF GAUGE DEVICE. http://nla.gov.au/nla.news-article28088233 Historic - Railway Invention Break of Gauge Bogie Break of Gauge Bogie made of iron and wrought iron & brassboggie, break of gauge, puffing billy

Sectioned steam pump so that the pump workings can be seen. Inscriptions & Markings: Tangye Birmingham, This steam pump was presented by the colonial gas Assn Ltd (brass plaque) The Colonial Gas Association was originally formed in London on 2 February 1888, as The Australasian Gas Association Limited. The primary objective of the company was to provide investment capital to help finance the construction and management of gasworks being established by the London engineering firm John Coates & Co in metropolitan cities and regional towns throughout Australia and New Zealand. By 1890, the Australasian Gas Association had acquired gasworks at Benalla, Shepparton, Wangaratta, Warragul, Maldon and Seymour, and had constructed a large gasworks at Box Hill to supply the eastern suburbs of Melbourne. In 1893, the company's name was changed to the Colonial Gas Association Limited. During the 1890s, the company acquired regional gasworks in Queensland, Western Australia and South Australia, followed by its first gasworks in New South Wales, in 1911. In 1914, the company consolidated its metropolitan supply area by purchasing the Oakleigh and Footscray gasworks. Further expansion occurred in the 1920s with the purchase of established gasworks at Williamstown, Frankston and Dandenong and the acquisition of ten further gas undertakings in Queensland and New South Wales, making the firm the fifth largest gas producer in Australia. info from The Colonial Gas Association Limited, circa 1893 https://collections.museumvictoria.com.au/items/1553322 Originally formed by the five Tangye brothers from Cornwall as James Tangye & Brothers in 1857, this Birmingham engineering firm grew to become one of the largest suppliers of jacks, pumps, steam and oil engines, hydraulic presses, gas producers and machine tools in the late 19th and early 20th centuries. The successful sideways launching of I.K. Brunel's 'Great Eastern' from the mud of the Thames in 1857 using Tangyes hydraulic jacks gave the firm much needed publicity and new orders flowed in. To finance expansion, George Price provided additional capital and the company name became Tangye Brothers & Price in 1859. A new factory known as the 'Cornwall Works' was built in Clement Street, Birmingham. In 1872, the firm became Tangye Brothers and in about 1879- 1880 began production of internal combustion stationary engines based on Horace Robinson's patents, later using the Otto four-stroke design for its Soho range of gas engines. Examples of the Soho engine were exhibited by the firm at the 1880 Melbourne International Exhibition. Petrol and oil engines were made from the 1890s onward, and by 1910 had developed into the Model B, BR and AA series engines. Tangyes supplied custom-built pumps and presses for particular applications, becoming a major exporter of engineering equipment. In 1884, Tangye Brothers opened a custom-built branch office, showroom and warehouse in Melbourne at Cornwall House in Collins Street West, advertising the full range of engineering products. These lantern slides images are taken from Tangyes product catalogues from the 1910-1925 period and are believed to have been used as sales promotional aids in Australia by the Tangye Brothers. info from https://collections.museumvictoria.com.au/articles/4670 Historic - Industrial Steam Operated Water Pump built by Tangye Bros and used by the Colonial Gas Company - Melbourne, Victoria, AustraliaSectioned steam pump so that the pump workings can be seen. Tangye Birmingham, This steam pump was presented by the colonial gas Assn Ltd (brass plaque)puffing billy, steam pump, sectioned, tangye bros

This slide projector, which was purchased new in 1949, could be used on mains power or a car battery. It was used by Deaconess Hilda Fisher (Graham) as she travelled to promote the work of the Methodist Home Mission in Victoria and the inland of Australia.Tri-purpose SVE projector in its carry box. Picturol Model DD.115 volts, 150 Watts. Serial No. 12710. Includes two two inch semi-automatic slide changers, one in its original box; four six volt globes and electrical leads for connection to a car battery. Five pieces in all.methodist inland mission, deaconess hilda fisher, methodist deaconess, women's home mission league, methodist home mission

This piece was written just after the Melbourne Film Festival, where no Australian feature film was shown. It mourns the lack of support for the Australian film industry - Canada has been able to do it, why can't we use this as a model?Typewritten (c copy), pencil edits, 2nd copy typewritten (c copy), quarto, 3 pages225c. in pencil on the side. On back of last page, blue biro sketch - a fireplace?film industry, canadian film industry, australian film industry, john grierson, robin boyd, manuscript

The article celebrates Walter Burley Griffin and the impact he has had on Australian architects. Boyd calls Griffin 'America's greatest ever export to Australia after the T-model Ford'.Original manuscript for an article published in "Australia" (Los Angeles), Vol.2, August – October 1964, pp.13-15.Typewritten (c copy), quarto, 6 pages. (Four copies)american influence, walter burley griffin, capitol theatre, canberra, robin boyd, manuscript

Boyd discusses exemplar cases of historical preservation, and many lost opportunities. The task of preserving Australia's historic relics is left to volunteers and amateurs, with notable exception of Nunawading, unlike almost every other countries In other countries, the Government recognises its responsibility and Boyd presents examples. He suggests a model that Australia could follow.Original manuscript of an article published in "The Australian", 23.10.1965Typewritten (c copy), quarto, 9 pagesst matthew's church, francis greenway, robe, ormerod cottages, robe customs house, avoca lodge, andrew hayward newell, preservation, conservation, robin boyd, manuscript

Robin Boyd most likely saw Solstar at Asher Bilu's exhibition at South Yarra Gallery in September 1968. In November 1968, Robin Boyd arranged for the loan of this painting from South Yarra Gallery to Australian Pavilion at Expo '70 in Osaka, where Boyd was appointed Exhibit Architect. It hung in the bedroom over a bed, containing a life-size cut-out figure by Bruce Petty, in the Model House Interior exhibit on modern living in the Space Tube. On its return from Expo, the painting was in transit at the Boyd's home in Walsh Street and they liked it so much that they decided to buy it. Solstar originally hung on the wall at the end of the galley kitchen. The artwork at the Boyd's home in Walsh St has been moved several times over the years. Solstar now hangs above the dining table, but at the time of Solstar's acquisition, the Boyds hung the painting "Winter Triumphant" (1920) by Penleigh Boyd, Robin Boyd’s father, above the dining table. In early 2021, Asher and Luba Bilu visited Walsh St to view Solstar again. Asher was extremely happy with how the painting looked and its condition 53 years after painting it. He requested it be hung a little higher and he returned in April to make some minor restorations to remove scratches. Silver mixed media with large black circular area in the central lower half. On reverse has the title: Solstar/A. Bilu/Arrow showing which way up. Unsigned on the front.asher bilu, penleigh boyd, expo 70, osaka, robin boyd, south yarra gallery, walsh st artwork, ohm2022, ohm2022_13

This scale model is an unbuilt Boyd design for a project names Carnich Towers on 60 Clarendon St, East Melbourne. Boyd's perspective drawings from the late 1960's show the influence of Japanese Metabolist thinking in his late work. This model was created for the House of Ideas exhibition, made by a University of Melbourne, Melbourne School of Design, Masters student.Model of Boyd designed Clarendon St Flats, East Melbourne 1969-1971 (unbuilt)robin boyd

This scale model of the Robin Boyd-designed Pelican house, Davey's Bay Victoria, commissioned by Kenneth and Prue Myer in 1955. This house has been demolished. This model was created for the House of Ideas exhibition, made by a University of Melbourne, Melbourne School of Design, Masters student.Model of Pelican House, Davey's Bay in Mornington Peninsula, Victoriarobin boyd

Penleigh Boyd does not recall this being in the house.Model of a couch made of timber with grey cushions

This model of the Robin Boyd-designed Featherston house in Ivanhoe, Victoria commissioned by Grant and Mary Featherston (1967). This model was created for the House of Ideas exhibition, made by a University of Melbourne, Melbourne School of Design, Masters student.Model of Robin Boyd-designed Featherston house.robin boyd

This is a model of the Robin Boyd-designed Tower Hill Natural History Centre, Tower Hill, near Warrnambool, Victoria (1963). It was opened shortly after Robin Boyd died in November 1971. The Archive also holds some of the original architectural drawings (item PL136-P145). This model was created for the House of Ideas exhibition, made by a University of Melbourne, Melbourne School of Design, Masters student.3D timber model of the Tower Hill landscaperobin boyd

This display shows 12 examples of Stegbar windowalls in Robin Boyd designed homes. This model was created for the House of Ideas exhibition, made by a University of Melbourne, Melbourne School of Design, Masters student.Timber base with slots for 12 examples of use of Stegbar windowalls in Robin Boyd designed homes.walsh st, robin boyd

Tower Hill model - made for House of Ideas Exhibition, November 2017. Made by a University of Melbourne, Melbourne School of Design, Masters student.

Boyd designed the exhibition for the opening of the Australian Chancery in Washington DC held in June 1969. He designed six cylindrical clear acrylic display cases. One of these exhibits used an anamorphic optical illusion, using compressed images which had normal proportions when viewed through a lens of the half-cylindrical display cases. These bookends were designed as a small scale model for the Chancery exhibition. Placing the disc (item F158) underneath the adjacent two half-cylindrical bookends demonstrates how the bookends behave as a lens.Two half cylindrical acrylic prismsaustralian chancery, walsh st furnishings, robin boyd, ohm2022, ohm2022_3

Boyd designed the exhibition for the opening of the Australian Chancery in Washington DC held in June 1969. He designed six cylindrical clear acrylic display cases. One of these exhibits used an anamorphic optical illusion, using compressed images which had normal proportions when viewed through a lens of the half-cylindrical display cases. The bookends (item F157) were designed as a small scale model for the Chancery exhibition. Placing this disc underneath the adjacent two half-cylindrical bookends demonstrates how the bookends behave as a lens. This model was created for the House of Ideas exhibition, made by a University of Melbourne, Melbourne School of Design Masters student.Anamorphic image on circular discaustralian chancery, robin boyd, ohm2022, ohm2022_3

Boyd designed the exhibition for the opening of the Australian Chancery in Washington DC held in June 1969. He designed six cylindrical clear acrylic display cases. One of these exhibits used an anamorphic optical illusion, using compressed images which had normal proportions when viewed through a lens of the half-cylindrical display cases. The bookends (item F157) were designed as a small scale model for the Chancery exhibition. Placing the disc (item F158) underneath the adjacent two half-cylindrical bookends (item F157) demonstrates how the bookends behave as a lens.Photocopy of a image on a transparencyaustralian chancery, robin boyd

HardcoverBookplate inside front cover from Girls Grammar School, 'Awarded to Edith Anderson for Progress in Model Drawing, Brisbane 1895"walsh st library

1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

Currently, over 16,000 Indigenous students and 13,000 non-Indigenous students located in 260 Australian schools are involved in an Indigenous language program. More than 80 different Indigenous languages are taught. This project sought to present practice which would strengthen the quality of Indigenous language programs in schools. The report consists of a literature review, a mapping exercise to document current practices relating to Indigenous languages in Australian schools, an analysis of existing models of teacher preparation, and six case studies of good practice examples.colour illustrations, tables, word listseducation, curriculum development, language revival, language maintenance programs

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka and travelled to Osaka several times in 1969-1970. Boyd designed the innovative Space Tube, which had over 25 exhibition boxes, projecting from it. Amongst the topics covered were Australian scientific innovation (including brain research, immunology, Antarctic research, Snowy Mountains Hydro-Electric Power Scheme, rainmaking, and the night sky), Australian sport, house interiors, car manufacturing, Australian music and art, and Japanese-Australian relations.Colour slide in a mount. Model space station, Unknown pavilion, Osaka Expo '70, JapanExpo'70 / Space Stationexpo 70, osaka, robin boyd, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Magazine image of the Communications Centre in Kofu, Japan 1966. Now known as the Yamanashi Broadcasting and Press centre (model). (Architect: Kenzo Tange.)Made in Australia / 2 / OCT 64M / Encircled 61 (Handwritten)japan, slide