Colour photograph of old stone house. Photograph taken on LDHS trip to St Enoch's and Mt Widderin, 1986."At St Enoch's / Society trip".st enoch's homestead, ldhs activities

Colour photograph of old-style homestead. Photograph taken on LDHS trip to St Enoch's and Mt Widderin, 1986."St Enoch's LDHS trip".ldhs activities, st enoch's homestead

A recording of Seven Last Words, an oratorio by Clement Francois Theodore Dubois as Les Sept paroles du Christ (The seven last words of Christ), first performed at Easter 1867. This performance is by the Diamond Valley Choral Society on 01/04/1983, at St Andrews Box Hill.1 audio cassette in clear plastic caseHandwritten on cassette: "Seven last words - Dubois - St Andrews Box Hill. Good Friday 1.4.83".diamond valley choral society, seven last words (oratorio), clement dubois

I draw inspiration from the world around me and from particular aspects of life. Previously my work dealt with my experience as a Scottish migrant – looking back and forward, north and south, here and there, between two countries. This ‘in-between-ness’ of the migratory experience, while not unique to me or other Australians, contributes to my sense of being made up of many parts, a kind of fragmentation where certain components come into play at different times. There is an eternal mismatch or sense of being out of place in my world as I am recognized as Scottish in Australia when people hear me speak but in Scotland people comment on my Australian accent. In a wider sense Australia’s history and culture is made up of many examples of people and things brought together without a good likeness or fit. Woven tapestry allows me to combine my interests in textiles and visual art using the tactile qualities of materials in the highly complex woven form. It allows be to create realistic images, but change format, composition and placement to create images which invite the viewer to question. The intricate nature of multiple wefts twined between warps parallels the complexities of life and tapestry’s building /constructed process embodies the advancement of time.Wangaratta Art Gallery CollectionA small tapestry of a gum leaf and a singe root system handwoven in a colour palette of black, grey, and white.valerie kirk, tapestry, textile

I draw inspiration from the world around me and from particular aspects of life. Previously my work dealt with my experience as a Scottish migrant – looking back and forward, north and south, here and there, between two countries. This ‘in-between-ness’ of the migratory experience, while not unique to me or other Australians, contributes to my sense of being made up of many parts, a kind of fragmentation where certain components come into play at different times. There is an eternal mismatch or sense of being out of place in my world as I am recognized as Scottish in Australia when people hear me speak but in Scotland people comment on my Australian accent. In a wider sense Australia’s history and culture is made up of many examples of people and things brought together without a good likeness or fit. Woven tapestry allows me to combine my interests in textiles and visual art using the tactile qualities of materials in the highly complex woven form. It allows be to create realistic images, but change format, composition and placement to create images which invite the viewer to question. The intricate nature of multiple wefts twined between warps parallels the complexities of life and tapestry’s building /constructed process embodies the advancement of time.Wangaratta Art Gallery CollectionA small tapestry of roots and leaves handwoven using a colour palette of black, grey, and white.valerie kirk, textile, tapestry

I draw inspiration from the world around me and from particular aspects of life. Previously my work dealt with my experience as a Scottish migrant – looking back and forward, north and south, here and there, between two countries. This ‘in-between-ness’ of the migratory experience, while not unique to me or other Australians, contributes to my sense of being made up of many parts, a kind of fragmentation where certain components come into play at different times. There is an eternal mismatch or sense of being out of place in my world as I am recognized as Scottish in Australia when people hear me speak but in Scotland people comment on my Australian accent. In a wider sense Australia’s history and culture is made up of many examples of people and things brought together without a good likeness or fit. Woven tapestry allows me to combine my interests in textiles and visual art using the tactile qualities of materials in the highly complex woven form. It allows be to create realistic images, but change format, composition and placement to create images which invite the viewer to question. The intricate nature of multiple wefts twined between warps parallels the complexities of life and tapestry’s building /constructed process embodies the advancement of time.Wangaratta Art Gallery CollectionA small tapestry of a tree and its root system handwoven using a colour palette of black, grey, and white.valerie kirk, tapestry, textile

Caught Fish, PANGASIANODON GIGAS” is a miniature version of the larger tapestry described below and it embodies the same ideas: The giant Mekong Catfish is under threat of extinction due to over-fishing and loss of habitat. It is beleived that the fish used to reach sizes over 3 metres, but the largest recorded catch to date is 2.7 metres – a monster fish caught in Thailand in 2005. As its fame and the mythology surrounding it increases, so does the number of game fishermen keen to land a record catch or earn a sizeable amount of money in the exotic food marketplace. However, the water flow of the river is increasingly more controlled by China, changing the natural habitat of the river. It seems that survival of the great catfish is being left to chance and the fish’s ability to avoid nets, lines and traps in the murky green waters of the Mekong. My exhibition piece is a giant, woven Pangasianodon Gigas – made as a shaped tapestry which will hang the way a fisherman would hold up his catch to display or be photographed as his trophy. The drawing was made from photographs of very large fish I observed in Laos and the detail on the body of the fish is deliberately ambiguous scales/nets. The piece will be woven on cotton seine twine (which was originally made as a string for fish netting) with mixed weft yarns. Artist statement about the work: The final work is an abstraction of fish and nets – an image made with a hand drawn quality suggesting the personal observation that goes with looking and responding with ink on paper. The tapestry technique mimics the original marks to a certain degree but is also very obviously a woven form with its stepped edges and shapes, blending of tones through hachure and broad set of warp and weft.Wangaratta Art Gallery CollectionA small tapestry of a caught fish handwoven using a colour palette of black, grey, and white.valerie kirk, tapestry, textile, fish

ill, maps, p.94.non-fictionA history of diesel locomotives on the Australian National network in South Australia in the 1980s.locomotives - south australia - history, diesel locomotives - commonwealth railways - australia

Taken at a Debutante Ball 1957 St Kilda Town Hall. David Canolly was a lay reader and Marjorie Stafford, the daughter of George Stafford, a policeman who was involved in the Mission helping during the 1950s. (Conolly interview in 2016)Subjects LHLG member MS and Lay Reader DC had a long standing connection with the Mission Black and White Gloss print photograph of a couple in evening dress, both are standing.Hand written in black texta; l Circa 1957 Marjorie Stafford daughter of George Stafford, & D C at Debutante Ball for Robert Burns Lodge at Stkilda TRown Hall lay reader, david conolly, marjorie stafford, lhlg, st kilda town hall, george stafford

Invitation from St Kilda Mayor John Spierings to Don Taggart, the President of the SKHS Historical Society, to a reception on 28 February 1992 after the signing of a contract for works on the St Kilda Town Hall and Public Library. The extension to the St Kilda Public Library was officially opened on 19 December 1993. The redevelopment of St Kilda Town Hall was officially opened on 26 June 1994.Cream coloured card printed in brown, with St Kilda logoMr Don Taggart (invitee) st kilda town hall, st kilda library, st kilda mayor john spierings

black and white photograph, good conditionOriginal, mounted photograph. "special Meeting of the St Kilda City Council held on Oct 8th 1945 to celebrate the Victory of the Allied Nations 1939-1945"

Home of Justice Stewart Johnstone. c 1860s.sepia photograph, mounted, original, poor conditionOn back: Early view of Marli Terrace, Esplanade, St Kilda. Marli ? (home of Js Stewart Johnston) lies back be?? the left of ?? & cottage to the left of the photo

The Grave of James Black (died 20/07/1904), Elizabeth Black (died 27/07/1904), Mary Yeaman (died 23/04/1903) and George Yeaman (died 07/08/1924) , St Helena CemeterySt Helena Cemetery was originally the burial place of the Beale family and friends. The first burials took place in the 1850s. There are now over 200 burials.Digital copy of colour photographst helena cemetery, james black, elizabeth black, mary yeaman, george yeaman

Book - 'By Birney to Golden Square' by Brian Andrews = the last years of Bendigo's Tramways. Published in 1973. Book has chapters on Quarry Hill, Golden Square, history of Bendigo, many photos of trams, tracks, finishes of trams.Brian Andrewscottage, miners, golden square

A property illustration by Margaret Picken Commissioned by the real estate agency Woodards for the purpose of advertising 15 Satori St., Burwood Made by using Rotring ‘Rapidigraph’ drafting pens with Rotring ink on Rapidigraph polyester drafting film, double matte. Trained as a cartographic draftsman within the mining industry, Margaret Picken is an artist who worked producing property illustrations for real estate agencies in eastern suburbs of Victoria from 1983-2005. Retiring from the industry as technological changes favored coloured photography over illustrations, and commissioning companies over sole contractors.This artwork is of Historical Significance as a record of local domestic architecture.A black ink line drawing on drafters film by Margaret Picken, of 15 Satori St., Burwood. A single story brick house, with a driveway on the left leading to a connected carport which covers the front door. in the foreground is a horizontal plank timber fence, and a tall gumtree.15 Satori St., Burwood Woodards - B.Burn Margaret Pickenwhitehorse historical society, schwerkolt cottage, housing, architecture, margaret picken, burwood, house, garden

St Peter’s Church Eaglehawk, Bendigo. The small crosses indicate those that never came back being 22.Honour Board rectangular shape pointed at the top with a cross on, timber construction, all text & markings in gold.“St Peter’s Honour Roll - For God and Country in the Great War 1914 - 1919”. Cross symbol, “Supreme Sacrifice” at the bottom.honour, st peters, roll

26- 27- 28 Esplanade, street frontage, 1970s cars, Hile Terrace was designed by William Pittblack and white photograph, unmounted, good conditionhand written: terraces in Upper Esplanade opposite Palais Theatre, stamped: Graeme S. Breydon, 204 Carlisle St, Balaclava, 3183 phone 94 2886terraces

RESTORED PRINTRESTORED PRINT OF ST PAUL'S ANGLICAN CHURCHST PAUL'S CHURCH OF ENGLAND CLUNES. VICTORIA. REAL PHOTO SERIES M 2153local history, photography, photographs, churches st. pauls anglican

Colour photograph of old homestead set in gardens with group of people in front. Photograph taken on LDHS trip to St Enoch's and Mt Widderin, 1986."Group at St Enoch's".st enoch's homestead, ldhs activities

Opening of St. Paul's C of E Church in 1970s, with choir outsideWritten on back of photograph, "Opening St. Paul's C. of E."

This is a biography of Price Warung by Barry Andrews. Price Warung (1854-1911), whose real name was William Astley, has a place in Australia’s history as a journalist, writer and campaigner for Federation. He worked for a great number of newspapers throughout Australia and began an association with the Sydney ‘Bulletin’ in 1890. At this time he wrote the powerful works for which he is best remembered – ‘Convict Days’, four volumes of stories about Australia’s convict period. The major theme of these stories is the sordid nature of the convict system. Astley became heavily involved with the Federation campaign, firstly as the Secretary of the Bathurst Federal League and then as the organizing Secretary of the 1896 Bathurst Convention. This convention is considered by historians to have given the Federation campaign a new and vigorous vitality. In 1898 Astley wrote most of the official articles publicizing the ‘Yes’ vote in the Federation referendum. Astley lived and worked in Warrnambool in 1883/4 (for about twelve months) as a journalist for the Warrnambool ‘Standard’. This book is of great interest as it documents the life of Price Warung (William Astley) who features in the history of Warrnambool journalism as an Australian writer of note who also wrote for the Warrnambool Standard. Examples of Astley’s journalism can be found in the Warrnambool Standards of 1883/4. He wrote lengthy articles in a free-flowing and attractive but verbose style. His two articles on the well-known horse stud and hop farm called ‘Bryan O’Lynn’ appeared in the Standard in October 1884. This is a hard cover book of 197 pages. It has a dark green cover with an image of a world globe and a Pegasus on the front. The printed title, the author’s name and the images are in gold print. The cover has a plastic overlay and a library label had been mostly removed from the bottom section of the spine. The book has notes on the author, a photograph of Price Warung, a Preface, Acknowledgements, Chronology, eight chapters on Price Warung, Notes and References, a Bibliography and an Index. Inside front page: ‘Jane Carpenter’ Stamp: ‘Withdrawn from Library’ price warung (william astley), warrnambool and federation, federation movement in australia, history of warrnambool, warrnambool standard

Photograph of two world war one soldiers taken in Melbourne Jim Mc Intyre and Harold JenkinsBlack and white photo of two soldiers Front - Jim Mcintyre and Harold Jenkins Rear - Whitney Bros Electric Studios Melbourne Australia Beryl Kennyjim mcintyre, harold jenkins photograph

First recorded Waterboard Rate book for Wycheproof which was then under the St.Arnaud Shire. Early in 1893 the burning question in the north-central area was the possibility of severance from the St.Arnaud Shire On April 27,1894 the Shire of Wycheproof was constituted. Earliest Rate records for early Wycheproof residents 1893 - 1908 and property owners. Nine councillors elected to represent the new Shire of Wycheproof.Rate book -St.Arnaud Waterboard records Wycheproof Rate payers for Urban area 1893 - 1908. It comprises Surnames, Christian Names, Trade, Postal Address, Owner, Description and Situation of Rateable Property, Rates per Annum in the Pound and other details.water-rates, register, st.arnaud - shire, urban-wycheproof

Alva and Des Pickett outside of their home. Stories about their lives are included in the SHKS publication 'Voices from Elwood'Colour photograph laminatedDes and Alva Pickettpersonal histories, st kilda historical society, des pickett, alva pickett, st kilda, mitford street