Three Ballarat notables were appointed by Mr Thomson to select the Statuary for the Botanical Gardens after his death.The tablet is significant in recording the benefactor and those responsible for the selection of the statuary. Also, the tablet testifies to the high esteem in which Mr Thomson was held.Brass tablet. Coloured photograph photocopied.Nonemr w.d. thomson, j. noble wilson, horatio arthur nevett, thomas stoddart, committee to select the statuary, statuary in the ballarat botanical gardens, benefactors, tablet., john garner collection, garner, dr, ballarat botanical gardens, gardens, ballarat

A pink covered paperback Tutor Book for the Violoncello. The title, publisher and series is printed in black lettering on the front cover. Price Two Shillings is written at the bottom along with the publisher details. The back cover lists 35 popular instruction books for other instruments. Listed inside the front and back covers are further Metzler's music books. Pp.36non-fictionA Violoncello tutor book No.12. in which everything relative to that instrument is clearly explained. To which is added - a selection of popular melodies easily arranged as Progressive Lessons by Henry W. Goodban.books, music books, music scores

Index, p.169.non-fictionA selection of Irish poetry.ireland - poetry, ireland

A paper back publication, including text and black and white photographs. The cover bears colour embossed images of the Olympic medals and the colours of the Olympics. The back cover features an image of the Coat of Arms of the City of Melbourne.A publication prepared to commemorate the Games of the Sixteenth Olympiad to be held in Melbourne from November 22 until December 8, 1956. The booklet details information about the selection of Melbourne and preparation for the Games as well as a history of aspects of the Olympic Games. It includes names of the Organising Committee as well as many images of Melbourne and noted athletes.melbourne olympics, 16th olympiad, australian sporting events

Index, ill, p.320.non-fictionDon's own account of his entire playing career, with a selection of historic photographs and a complete record of his scores from 1927 to 1949. cricket - australia - history, sir don bradman 1908-2001

ill, maps, p.112.non-fictionPresenting a selection of 104 color action photographs of the present and passing parade of modern-day trains of Australia and New Zealand around the late 1960s.railroads -- australia -- trains -- pictorial works, locomotives -- australia -- pictorial works

ill, maps, p.106.non-fictionA selection of articles about New Zealand Railways from the N Z Railway Observer magazine up to 1969railroads -- new zealand -- history., history of railways - new zealand

ill, p.136.non-fictionA selection of articles and photographs from the New Zealand Railway Observer magazine.railroads - new zealand - history, railroads pictorial - new zealand

Wooragee Landcare Group took a bus trip Sunday 5th September to Samaria, Tatong area (near Benalla) to look at land use on small farms. Around this time, Wooragee Landcare were looking into how small land holders could run some enterprises. This photo was taken at Tatong Tavern where the group had lunch. The Tatong Tavern is an old English style pub situated in the foothills of the Great Dividing Range the small community of Tatong 23km south-east of Benalla. The original weatherboard hotel was originally built in the 1880s by William Worrall who was listed as Hotel Keeper from 1886 to 1910. It was destroyed by fire in 1923 and replaced by the current building, which has undergone many changes over the past 100 years. The name has also changed from the Tatong Hotel or ‘Pub’ to the current name of Tatong Tavern.Tatong is a rural village in north-east Victoria, set in undulating country that rises southwards to the Tolmie ranges. The name is thought to derive from an Aboriginal expression, possibly referring to something unseen. The Tatong pastoral run was taken up in 1847 and farm selections began in the 1870s. A school opened in 1890 (closed in 2006). Dairy herds were grazed on the Tatong flats and a cooperative creamery operated from 1892 until 1918. In 1914 a branch railway line was opened from Benalla to Tatong that carried farm produce and timber to Tatong, which had two sawmills in the 1920s. There was also a general store, a police station, and a livestock trucking yard. St Albans Church of England was built in 1921. Most of those buildings have now disappeared. The Tatong Tavern along with the Hall built in 1904 are the only remaining buildings. The Tatong Tavern is a significant tangible and visual representation of the area’s cultural and social history over the past 100 years. Coloured rectangular photograph printed on paperReverse: WAN NA E0NA2N2. NNN- 14240/ (No. 20) 373/ tatong, tatong pub, tatong tavern, tolmie ranges, tatong flats, benalla, wooragee landcare, wooragee landcare group, bus trip, samaria, land use, william worrall, 1800s, 2004, mount samaria

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

Document gives the data about scheduled speeds in miles per hour for General Electric GE-264 motors for stops per miles, gear ratios, and wheel sizes for form A and B motors. Has a table for truck or bogie data and weights. Enabled street car or tramway operators to select their equipment and motors. Demonstrates a GE data sheet to assist tramway engineers in their equipment selection.Data sheet typed on foolscap paper.tramways, tramcars, ge, general electric, motors, specifications

merri-bek public art collection

News item titled " Public vote will choose the 2023 Pride tram" discussing the process for voting for the 2023 Pride tram, the prize money and timing. Quotes Yarra Trams CEO Julien Dehornoy. Has a photo of the current tram "AllAboard", a D Class tram. Written by Carol Saffer.Yields information about the selection of a wrap for the 2023 Pride Tram.Newspaper sheet - full colour - from "The Voice of Postcode 3008" - page 9 - October 2022transporting art, pride tram, yarra trams, decoarated trams

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

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