This photograph of John Pascoe Fawkner was commissioned by artist William Strutt in 1857. In 1907 Strutt gave the photograph to Victoria's London agent, Mr. Lake, to be presented to the Victorian Parliamentary Library. In a letter to Mr. Lake now in the library's archives, Strutt describes how he had planned to make use of the photograph in his artistic practice, and when finished with it, had promised to give the photograph to the Victorian Parliamentary Librarian Charles Ridgway (c.1801-1865). "That time then has come, late it is true, but alas Mr. Ridgeway [sic] is dead, so is Fawkner, but the old patriot will ever live in this portrait".Framed ambrotype portrait photograph of John Pascoe Fawkner seated and wearing a smoking cap. Note from William Strutt adhered verso. The ambrotype is a positive photographic image on a glass plate mounted inside a glazed frame with a gold-coloured inner-frame/preserver (possibly celluloid) and black velvet-covered backing board. Handwritten black ink verso: "John Pasco [sic] Fawkner/ This admirable portrait/ of the Founder of Melbourne is now presented in/ fulfilment of my/ promise (made years/ ago to the late Mr/ Ridgeway) to present it/ to the Parliament House/ Library of Melbourne./ William Strutt./ Wedsmnt [?] Dec' 18.1007."strutt, william, 1825-1915, fawkner, john pascoe, 1792-1869, ridgway, charles c.1801-1865, victorian parliamentary library

The Armstrong Cannons were originally placed at Fort Gellibrand, located at the southernmost tip of the Williamstown peninsula. The Fort was developed during the 1850s as part of a defensive system for the city and port of Melbourne. The importance of the Fort batteries declined from the 1890s, when they were effectively replaced by new facilities at Queenscliff and Point Nepean, but they were still used for gunnery practice. Local residents, through the Williamstown Town Council, complained to the Acting Minister for Defence that the concussion from the guns damaged windows, walls and foundations of buildings. The Armstrong Cannons were moved from Fort Gellibrand to the Gardens in 1906. A primary source of evidence of the cannons being in the Gardens. The cannons are remembered fondly as play equipment for the local children. Many tales have been told of climbing over them and pretending to be shot out of them A collection of seven black and white photographs documenting the removal of the cannons from the Gardens Photo 1 (a) Black and white landscape image. View is looking through the main gates looking at the front of the truck, which has the name Walter Wright across the front bumper, the crane and canon. The gates and fence are painted a light colour, probably white. Photo 2 (b) Black and white landscape image. Back of loader with cannon on it. Man standing on top of the cannon bending over either tying or untying ropes. Trunk of a palm tree is on the left side of the photo with a top of a palm tree in the background. Photo 3 (c) Black and portrait white image. A cannon being loaded by the crane on to trailer. Palm tree is in the background and fronds from a palm tree can be seen in the right top corner. Photo 4 (d) Black and white landscape image. Side on view of a cannon on the truck parked outside the grounds of the Gardens. The logo of the name of the trucking company is on the door of the truck above the words ‘WALTER H WRIGHT / TRANSPORT PTY LTD / S SCHULZ ST WEST MELB’. A second cannon can be seen in the background. A bus is in the background on the middle right side of the image. Photo 5 (e) Black and white landscape image. Truck with cannon on the back leaving the ground of the Gardens. Tree on the right side of the image and power pole is behind the truck. The logo of the name of the trucking company is on the door of the truck above the words ‘WALTER H WRIGHT / TRANSPORT PTY LTD / S SCHULZ ST WEST MELB’. ‘WALTER WRIGHT’ is on the front bumper Photo 6 (f) Black and white landscape image. Cannon tied down on the back of the truck as it is being driven across the street. Three houses in the background and two cars, one is a Volkswagen Photo 7 (g) Black and white landscape image. Cannon on the back of the truck which is parked over the street from the Gardens. Three houses are in the background. Two trees bare of leaves. The front of a car in in the foreground – it has a sun visor and the steering wheel is a light colour.armstrong cannons, williamstown botanic gardens, hobsons bay city council, 1970, walter h wright / transport pty ltd

The Kodak powders inside this tin were used in the production of dry plate photography. Dry plate photography was a photographic technology invented by R.L. Maddox in 1871. Images were captured on a glass plate covered in a gelatin emulsion, which acted as a photographic negative. A negative could then be stored to develop at a later time in a dark room. The introduction of this technology allowed for greater flexibility in photographic practice outside of indoor studios, as earlier wet plate photographic technology required immediate exposure and development. Dry plate photography was superseded by the invention of celluloid film in the early twentieth century.This item forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of social life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history, and the history of photography.A silver toned alloy tin with hinged lid. Inside are two packets of Kodak brand dry plate developer powder. On face of tin lid "20 BELLMETAL REEDS/B.C DUNLOP SYSTEM/CRACKAJACK/HAND FITTED AND TURNED/MADE IN (SENIOR) GERMANY"photography, wet plate photography, dry plate photography, photos, haeusler collection, history of photography, historical photographs, technology, wodonga

Raafat Ishak is a Melbourne-based artist working across painting, installation and site-specific drawing. His work delves into the exploration of identity and the challenges of navigating life between two cultures, particularly influenced by his teenage emigration from Cairo, Egypt. Ishak employs a graphic visual language in his art, drawing inspiration from both architecture and his Arabic heritage. His artistic practice is situated at the crossroads of the personal and the political, delving into themes of utopia through the use of romanticised imagery. Through his work, Ishak seeks to scrutinize and interpret the complexities of cross-cultural dialogue.

This image is one of a series of photographs taken by Melbourne based photographers Stevenson and McNicoll who visited Bacchus Marsh and its nearby districts between September and November 1883. The house was built for Dr. Rae in 1880 following his retirement from his medical practice due to ill health. He lived there until his death. Dr. Vance then occupied it for a short time. It was bought by the sisters of St. Joseph in 1890 and formed the nucleus of St. Joseph’s Convent. It was demolished in the early years of the twentieth century, when a new two-storey brick convent was built.Small sepia 'carte de viste' style unframed photograph on card with gold border framing photograph. Housed in the Jeremeas Family Album which contains photographs of Bacchus Marsh and District in 1883 by the photographers Stevenson and McNicoll.The photo is of a large single-storey brick house with a return verandah supported by simple columns. Five chimneys can be seen. The house sits on a large block of land in a bush setting, with a hedge separating the house and garden. A picket fence runs across the block, with a paling fence along the northern side.Printed On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, doctors, houses bacchus marsh, convents, religious residences

Jordan Marani is a local artist who makes tongue-in-cheek observations of the human condition. Text-based works have been a major part of his practice (which also includes installation, sculpture, and figurative painting) since he first started creating four-letter word paintings in the late 1980s. He has been exploring wordplay, profanity and the joys of four-letter words ever since – Rent being one of the politer works from this series of text-based paintings. Highlighting the rental crisis in Melbourne, Rent is an objection to gentrification and its impact on artists.

General use of milk bottles is usually associated with the 20th century , with occasional late 19th century. Initially, milk was delivered in cans stacked upright in a wagon. At each stop, someone, usually the wife of the house, would bring a pitcher or a pail to the wagon, and the milk man would ladle out the desired amount of milk. Needless to say, this practice was hazardous and unhealthy. The New York State Tuberculosis Association condemned the practice of selling “loose milk,” still being conducted in New York City in 1922, as a major cause for the spread of tuberculosis (Glass Container1922:8). It is probable that the delivery of milk in glass containers became universal shortly thereafter. Melbourne Glass Bottle Works Spotswood 1880 - 1990. made bottles for various companies. Milk cartons first came to Australia in 1958, when the Model Dairy in Melbourne began packaging milk in 150 ml and 500 ml cartons. At the time, 160,000 new glass bottles were needed in Melbourne alone every week to keep up the delivery of 1.3 million bottles of milk a day. In 1970, the blow-moulded disposable plastic milk bottle was introduced. In 1987, only about 2% of milk was still being sold in glass bottles. Glass milk bottles are now rare After Decimalization 14/2/1966 Metric measure glass bottles were used A clear glass milk bottle ‘Imperial’ half pint. Around centre : IMPERIAL HALF PINT Base: M / 'scar' / 824 ( enclosed in a circle) / 8 / 760melbourne, early settlers, market gardeners, moorabbin, bentleigh, cheltenham, manufactured glass, milk bottles, dairy farmers, dairies

Victor Bonney (1872- 1953) was a gifted and innovative surgeon. One of Bonney’s most notable achievements was his development of a successful procedure for myomectomy. After his wife developed fibroids and had her uterus removed early in their marriage, Bonney took a great interest in the practice of conservatism in surgery. Prior to Bonney, myomectomy “had fallen into disuse because of excessive blood loss during the operating and the infections that commonly followed” (Chamberlain, 'The master of myomectomy') , but Bonney saw an opportunity to revolutionise this practice. In his words: “I set myself to make myomectomy so feasible, successful and safe as to render it a fair alternative to hysterectomy in every case… Excepting only in a very few instances… I have succeeded, and now enter the operating theatre free of the trammels which at one time too often compelled my hand against my heart.” (Bonney, 'The fruits of conversatism') Bonney’s crucial innovation was the development of a new surgical clamp, an instrument which is now referred to as Bonney’s myomectomy clamp. The clamp was ingeniously designed to cut off blood supply to the uterus by compressing the uterine arteries, immediately reducing the excessive blood loss which had previously been associated with the procedure. Although technological advances mean that these are now seldom used, Bonney’s success with this procedure was such that his clamps were regularly used for myomectomy procedures for decades after his death. This instrument was included with other obstetric instruments, mostly destructive instruments, given to RANZCOG from Box Hill Hospital labour ward in February- March 1998. The maternity service at Box Hill Hospital combined with St George's Hospital in Kew to be known as Birralee Maternity Service. These instruments were collected by Julie Collette, Unit Manager, St George's Kew and given to RANZCOG Museum Curator, Susan Barnett. Stainless steel clamp. Scissor type instrument with two sets of finger grips and a locking ratchet mechanism. The blades close to form two apertures which can be selectively decreased in size."DOWN BROS LONDON STAINLESS" upper surface of RH handle; "B.H.H.L. WARD" inner surface of LH handle.surgery, obstetrics

Wooragee Landcare was formed in 1989 to promote sustainable conservation and land-use practices in the North-East region of Victoria. The organisation's work has included public awareness and education campaigns to control invasive, introduced species and protect native wildlife, such as campaigns to bait or trap foxes and to identify and monitor quoll populations in the region. The organisation has drawn on the work of a variety of Government and academic experts to inform best practice approaches are utilised. In 2004 Andrew Murray, a leading quoll expert from Parks Victoria, conducted training for Wooragee Landcare members and the local community in how to identify potential quoll habitat and populations (through identifying scat and other methods). Spotted-tail or Tiger quolls were known to have lived in the Mt Pilot and Stanley Plateau region previously but habitat encroachment, competitor species such as foxes and natural disasters had reduced sightings in recent years. The Spotted-Tail quoll (formerly known as the Tiger Quoll) is the largest of four species of native marsupial carnivore on mainland Australia, and the second-largest carnivore (after the dingo). The species' scientific name, Dasyurus maculatus, references its' 'hairy tail'. Adults are approximately 125cm long, including their long tail, and weigh around 5 kilograms. The Spotted-tail quoll is currently considered to be a threatened species, but other species are currently listed as endangered.This photograph is significant as an example of wildlife protection awareness programs undertaken by Wooragee Landcare Group in the 2000s in Indigo Shire.Landscape coloured photograph printed on gloss paper.Reverse: WAN NA 0ANA2N0 NNN+ 1 8743 / [PRINTED] (No.23) / 269wooragee, wooragee landcare, indigo shire, north-east victoria, andrew murray, queries about quolls, wildlife, conservation, farming, predators, spotted tail quolls, quolls, marsupials, south-east forests, mt pilot, stanley plateau

Wooragee Landcare was formed in 1989 to promote sustainable conservation and land-use practices in the North-East region of Victoria. The organisation's work has included public awareness and education campaigns to control invasive, introduced species and protect native wildlife, such as campaigns to bait or trap foxes and to identify and monitor quoll populations in the region. The organisation has drawn on the work of a variety of Government and academic experts to inform best practice approaches are utilised. In 2004 Andrew Murray, a leading quoll expert from Parks Victoria, conducted training for Wooragee Landcare members and the local community in how to identify potential quoll habitat and populations (through identifying scat and other methods). Spotted-tail or Tiger quolls were known to have lived in the Mt Pilot and Stanley Plateau region previously but habitat encroachment, competitor species such as foxes and natural disasters had reduced sightings in recent years. The Spotted-Tail quoll (formerly known as the Tiger Quoll) is the largest of four species of native marsupial carnivore on mainland Australia, and the second-largest carnivore (after the dingo). The species' scientific name, Dasyurus maculatus, references its' 'hairy tail'. Adults are approximately 125cm long, including their long tail, and weigh around 5 kilograms. The Spotted-tail quoll is currently considered to be a threatened species, but other species are currently listed as endangered. This photograph is significant as an example of wildlife protection awareness programs undertaken by Wooragee Landcare Group in the 2000s in Indigo Shire.Landscape coloured photograph printed on gloss paper.Reverse: WAN NA 0ANA2N0 NNN+ 2 8743 / [PRINTED] (No.22) / 268wooragee, wooragee landcare, kiewa landcare, indigo shire, north-east victoria, farming, conservation, wildlife, quoll, quolls, marsupials, predators, simon feillafe, andy murray, south-east forests, spotted tail quoll, mt pilot, stanley plateau, andrew murray

Olinda girls practise the Maypole dance at 'Hillcrest' on Mernda Road in 1911. From front left circling back are: Lois Lyons, Edie Jackson, Beth Barrow, Phyllis Murray, Amy Allen, Jessie Ebbels, Faith Beatty, Vera Devine, Maggie Schneider, Vera Watson, Hope Barrow, Dolly Witt. The descriptive text on the reverse of this photograph was hand written by John Lundy-Clarke.1911 Olinda girls practicing the maypole dance under the direction of Vera Devine at the Devine’s home “Hillcrest” Mernda Road. Left to right from front circling 1. Lois Lyons 2. Edie Jackson 3. Beth Barrow 4. Phyllis Murray 5. Amy Allen 6. Jessie Ebbels 7. Faith Beatty 8. Vera Devine 9. Maggie Schneider 10. Vera Watson 11. Hope Barrow 12. Dolly Witt head just showing over ribbon on left. From Mrs A Dodd (Vera Devine) Copied by J.L.C. 1974 hillcrest, mernda road, maypole, vera devine, lois lyons, edie jackson, beth barrow, phyllis murray, amy allen, jessie ebbels, faith beatty, maggie schneider, vera watson, hope barrow, dolly witt, olinda

These documents came from the office of Rolf Crawley who was an engineer, surveyor and architect in private practice in Warrnambool and also the engineer for the Shire of Warrnambool from 1935 to 1968. His grandfather, father and uncle were also engineers, working in that capacity for the Shire of Warrnambool or as Secretary for the Shire of Warrnambool, with the Crawley family recording a total of 132 years of service to the Shire. The Shire of Warrnambool existed from 1863 to 1994. The documents came into the possession of Michael Hand who took over the Crawley surveying business in Warrnambool. The Warrnambool and District Historical Society acquired the documents, along with other Crawley memorabilia, from the Michael Hand Estate. These documents will be useful for reference and research, particularly in regard to the Shire of Warrnambool history.This is a packet of documents from the office of Rolf Crawley. They are mostly single sheets which include letters from the Office of the Surveyors Board, documents relating to employees and trainees and some Government papers. They are mostly typewritten with the signature of Rolf Crawley. There is one map of the Eumerella Drainage area.rolf crawley, warrnambool, shire of warrnambool

This instrument was used by Dr Fritz Duras (1896-1965), who moved to Australia from Germany in 1937. As his father was Jewish, Duras was forced to leave Germany, and came to Australia to take up a post as director of physical education at Melbourne University. Jetter and Scheerer were a surgical instrument maker founded in Germany in 1867. Their company symbol is that of a serpent curled around a rod, surmounted by a coronet/crown. This instrument was part of a collection of instruments given to his son-in-law, Dr Michael Kloss, who was an obstetrician. Dr Kloss subsequently had it engraved and used it in his own practice, before donating the item to the College. Metal instrument used for cervical sutures. Instrument consists of a handle and shaft. The end of the shaft is curved so as the tip of the instrument is almost perpendicular to the handle. The end of the shaft is in the shape of a loop to allow for sutures to be passed through it. The handle of the instrument is engraved with the word 'KLOSS'. The shaft of the needle is engraved with an image of the Rod of Asclepius, featuring a serpent wrapped around a staff, topped by a crown.'KLOSS' obstetrics

Station Sign - Railway General By-Laws Poster Since the very early days, Railways have had to have rules for those who travel and those who work on the trains. Some of the rules may refer to social practices of the time, the comfort of passengers or to the safety required in the Railway environment. The Victorian Railways referred to these rules as By-Laws. Not only were there rules, but there may be a fixed penalty (fines) for those who may break them. Being a government body the Victorian Railways had the rules and appropriate action authorised. This poster was issued in 1968 and was one of many that were displayed at most Victorian railway stations. Historic - Victorian Railways - notice board with General By-Laws PosterStation Sign - Railway By-Laws Poster wooden rectangle Station notice board with Railway By-Laws PosterGeneral By-Laws station sign, puffing billy, railway by-laws poster, victorian railways

Exercise of this type aimed to practice driver skills, map reading, camouflage and concealment. The 8th/13th Victorian Mounted Rifles was raised as a regiment of the Royal Australian Armoured Corps on 1 May 1948 with Headquarters in Melbourne and squadrons in Sale, Benalla/Wangaratta and Albury. In 1955 Regimental Headquarters moved to Wangaratta and a second squadron was located at Albury. The Sale squadron transferred to 4th/19th Prince of Wales’s Light Horse. In 1977 8/13 VMR Regiment was reduced to an independent squadron A Squadron 8th/13th Victorian Mounted Rifles and in 1991 was linked with 4th/19th Prince of Wales’s Light Horse forming the VMR Squadron of that regiment.Colour photograph of truck in scrub-land covered with camouflage net,during " B " vehicle exercise in south west Victoria conducted by 8/13 Victorian Mounted Rifles, c. 1986.

Nathanial Billing was born in Brightwell Oxfordshire England on 5th May 1821. He emigrated to Australia on the ship 'Ballarat' in 1853 on arrival in Victoria he entered Government service and worked in the Warrnambool and Belfast districts until 1857. He then left the Public Service and commenced private practice. In 1850 Nathaniel and Henrietta Heybourne were married on July 17 at Hillingdon Parish, Middlesex, England. In Belfast Victoria he designed St Johns Church of England, the Bank of Australasia, and worked on St Patricks Catholic church from plans by English architect Hansom. He died on January 29 1910 in St Kilda, Victoria, Australia. Architect of 3 significant public buildings in Belfast/Port FairyBlack and white portrait of gentleman with black full beard and striped cravatpioneer, settler, portrait, people, architect, st johns church of england,, st patricks catholic church, bank of australasia, nathanial billing

Letter dated 11 September 1974 from (Legatee) H.L. Berg of Bernard Evans, Murphy, Berg & Hocking Pty. Ltd., Architects & Town Planners, to Legatee A. Quayle, Chairman of the Housing Steering Committee. The plan (01677.2) is undated and unnumbered, but produced by the same architects and sitting next to the letter in the file. The letter refers to a Drawing No.5 and sets out the difference in accommodation and areas from Drawing No. 1. It is unclear whether the plan is No.1 or No.5. At this time Melbourne Legacy was considering demolishing Blamey House and developing the site to build units to accommodate senior children initially and ultimately widows. (Cat. No. 01676). This was never put into practice.Part of the history of Melbourne Legacy's involvement with residential care for children.Photocopied unsigned letter and an architectural plan. residences, blamey house

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

Shaun Tan is best known for his illustrated books and short films that deal with social, political and historical subjects through dream-like imagery and fantastic creatures. In addition to his book and film work, Tan is a respected and prolific painter. Tan’s paintings capture a sense of place and atmosphere, even when the specific location is not made explicit. Tan says of his practice: “Often I don’t know why I need to paint a certain scene, only that I do, as if to stop it from drifting away too quickly, to just allow a little more time to think about it. Or to just say ‘I saw this’”.

This exercise book has been used by Winnifred (Winnie) Goodall in 1916 when she was a pupil at the Warrnambool Technical School. The material in the book mostly consists of letter-writing practice for business purposes. The Goodalls were pioneer settlers in the Warrnambool district with William and Ellen Goodall arriving in the area in the late 1840s. Eventually they had a property named Wanstead on the Allansford Road in East Warrnambool. One son, William, was an early manager of the Framlingham Aboriginal Settlement. Another son, Thomas, was a Warrnambool law clerk and Winnie, (born 1901 to mother Leah), was his granddaughter. The Warrnambool Technical School was established in 1913.This exercise book is of interest as an example of school work completed by a Warrnambool Technical School student in 1916. It is also of interest because it belonged to Winnie Goodall, a member of an important pioneering family in the Warrnambool district. This is a school exercise book with a cardboard cover and 17 double pages. The cover has a mottled pattern of brown and mauve and the pages have been attached by metal staples but the staples have been removed. The pages have blue ruled lines with handwritten material in blue and black ink. Some of the pages have red hand-drawn lines. The cover is slightly torn. On the first page two cartoon sketches from a newspaper have been pasted in. The front cover has a printed label in blue and white colouring pasted on, with handwritten information on the label. There is a has a circular black , white and blue logo pasted on the inside front cover.‘Exercise Book Written by Winnie Goodall, Commenced 9th February 1916’. Inside cover Logo: Sons of Temperance Warrnambool Division Instituted March 11 1870 Be Firm and Faithful Love Purity Fidelity winnifred goodall, warrnambool technical school, sons of temperance warrnambool

All members of the Australian Survey Corps, that was later renamed the Royal Australian Survey Corps were expected to be proficient at freehand lettering and figuring. Initially all text on military maps was hand lettered in ink and an extremely high level of proficiency was required. Later technology changes meant that there was less reliance on hand lettering. This 17 x foolscap sized page booklet with light buff coloured cardboard covers held together with an ARNOS fastener was used to teach members of the Australian Survey Corps how to Hand Letter in 1947. Example practice lettering style work sheets are included at the rear of the document.17 x foolscap sized pages with light buff coloured cardboard covers held together with an ARNOS fastener. Example lettering style work sheets at the rear of the document. Cover has Australian Survey Corps Theodolite Badge in black and white above the Title "Freehand Lettering Published By Australian Survey Corps 1947.Hand-written No"11" in top RH corner. Has a stamp " E COMD FIELD SURVEY Unit"royal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr, school of military survey, sms, balcombe

99 p.; 29 cmnon-fictionThe book 100 Years in Skye, 1850-1950 by Dot Morrison explores the history of Skye in a detailed account of the area's development over a century, including its social, economic, and cultural changes. The book's illustrations, maps, and photographs offer a vivid portrayal of life in Skye during this period. Includes an index and bibliography.skye (vic.), skye (vic.) -- history, skye (vic.) -- road names, wedge family, skye (vic.) -- murders, south lyndhurst state school

Photograph shows X2 class tram 677 parallel to an unknown W2 class tram in Glen Huntly Rd, Elsternwick near Elsternwick Stn. 677 has its single trolley pole set ready to be driven over a crossover and probably onto Point Ormond terminus. Perhaps it is waiting for the City bound W2 to pass. 677's east facing destination blind still reads Elsternwick Rly Stn as it was M&MTB practice on short shuttle services such as this to only show the correct destination on the front of the tram. The photograph was taken in daylight hours with local shops and motor cars in the background. Yields information about X2 class 677 and Point Ormond to Elsternwick Station shuttleBlack and white print with no notes.x2 class tram, 677, elsternwick rly stn, point ormond, w2 class, shuttle

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

The portrait was commissioned in 1884, near the end of Molesworth's term of office. The portrait was commissioned at the same time as those of Redmond Barry and Chief Justice Stawell. Robert Molesworth, like his contemporaries, Stawell and Barry, went to Trinity College, Dublin, and practiced at the Irish Bar before migrating to Australia in 1852. Molesworth quickly gained a large practice at the Bar. In 1853 he was acting Chief Justice and he later served as Solicitor-General in the early Victorian colonial administrations. Molesworth was appointed to the bench in 1856. He primarily worked in the Equity area, but his main contribution to Colonial administration was as the Chief Judge of the Court of Mines, establishing the basis of mining law in Australia.The portrait of Molesworth is significant because of whom it portrays and is the only known portrait of Molesworth.Full length portrait in oils of Sir Robert Molesworth. He is seated at a desk and dressed in Judicial robes. The frame is of 20th century originSigned with monogram and dated 1885 lower left. Plaque identifies sitter as The Hon. Sir Robert Molesworth Judge of the Supreme Court. 1856-1886courts, molesworth robert, a beckett edward

Webb Brothers & Co. were a large manufacturing company in Lava Street, Warrnambool at the end of the 19th century and the beginning of the 20th century. They manufactured windmills, dairying utensils, steam boilers and oil engines and other items associated with plumbing, tinsmithing, engineering, brassfoundries, and, later in the 20th century, motor car work. In 1921 they opened a branch of their business in Melbourne. It is not clear for what reason Webb Brothers made this tag. It may have been a practice piece for their labelling of products or it may have been an advertising gimmick. The firm did not appear to manufacture any items for which a leather tag would be appropriate unless the tag was attached by a chain. This item is of minor interest in itself but it is an interesting adjunct to the items and information we hold on one of Warrnambool’s important industries – Webb Brothers & Co of Lava Street. This is a leather tag in the shape of a shield. It is smooth on one side and rough on the other and the shape has been roughly cut out. The name of the company (Webb Bros) has been embossed on the centre panel.Embossed on front: ‘Webb Bros & Co. Makers, Warrnambool’webb brothers & co., warrnambool