leni (1960s- ) Born Melbourne Wotjobaluk "leni is both a long story and a short life. A Wotjobaluk woman, born in Melbourne in the sixties, adopted into a non-Aboriginal family and raised by true destiny on country in the Wimmera. leni was reunited with her mother and extended family in her late teens. Simple swift sentences with complex challenging undertones. Thus began an ever evolving and endlessly deep cultural and personal exploration which has passionately consumed, confused, enticed and enriched her since. leni’s creativity is inspired strongly by her cross cultural heritage, learnings and loves, failures and fears, passions and dreamings. This artwork has its own determination and authenticity. leni’s work constantly explores concepts of the past and present. leni has exhibited in the Koorie Heritage Trust, The Convent Gallery, Kirret Barreet Gallery, Gallery on Sturt, Tussock Gallery and others. Her work has been commissioned by various organisations, public and private collectors.A triptych commissioned for the Federation University Mt Helen A-Building Staircase.aboriginal, abstract

leni (1960s- ) Born Melbourne Wotjobaluk "leni is both a long story and a short life. A Wotjobaluk woman, born in Melbourne in the sixties, adopted into a non-Aboriginal family and raised by true destiny on country in the Wimmera. leni was reunited with her mother and extended family in her late teens. Simple swift sentences with complex challenging undertones. Thus began an ever evolving and endlessly deep cultural and personal exploration which has passionately consumed, confused, enticed and enriched her since. leni’s creativity is inspired strongly by her cross cultural heritage, learnings and loves, failures and fears, passions and dreamings. This artwork has its own determination and authenticity. leni’s work constantly explores concepts of the past and present. leni has exhibited in the Koorie Heritage Trust, The Convent Gallery, Kirret Barreet Gallery, Gallery on Sturt, Tussock Gallery and others. Her work has been commissioned by various organisations, public and private collectors.aboriginal, aboriignal education centre collection

leni (1960s- ) Born Melbourne Wotjobaluk "leni is both a long story and a short life. A Wotjobaluk woman, born in Melbourne in the sixties, adopted into a non-Aboriginal family and raised by true destiny on country in the Wimmera. leni was reunited with her mother and extended family in her late teens. Simple swift sentences with complex challenging undertones. Thus began an ever evolving and endlessly deep cultural and personal exploration which has passionately consumed, confused, enticed and enriched her since. leni’s creativity is inspired strongly by her cross cultural heritage, learnings and loves, failures and fears, passions and dreamings. This artwork has its own determination and authenticity. leni’s work constantly explores concepts of the past and present. leni has exhibited in the Koorie Heritage Trust, The Convent Gallery, Kirret Barreet Gallery, Gallery on Sturt, Tussock Gallery and others. Her work has been commissioned by various organisations, public and private collectors.aboriginal, aboriginal education centre collection

leni (1960s- ) Born Melbourne Wotjobaluk "leni is both a long story and a short life. A Wotjobaluk woman, born in Melbourne in the sixties, adopted into a non-Aboriginal family and raised by true destiny on country in the Wimmera. leni was reunited with her mother and extended family in her late teens. Simple swift sentences with complex challenging undertones. Thus began an ever evolving and endlessly deep cultural and personal exploration which has passionately consumed, confused, enticed and enriched her since. leni’s creativity is inspired strongly by her cross cultural heritage, learnings and loves, failures and fears, passions and dreamings. This artwork has its own determination and authenticity. leni’s work constantly explores concepts of the past and present. leni has exhibited in the Koorie Heritage Trust, The Convent Gallery, Kirret Barreet Gallery, Gallery on Sturt, Tussock Gallery and others. Her work has been commissioned by various organisations, public and private collectors.aboriginal, aboriginal education centre collection

Aboriginal people caused scars on trees by removing bark for various purposes, such as making canoes, containers and shields, and to build shelters. The scars, which vary in size, expose the sapwood on the trunk or branch of a tree.Colour photographs of the remains of a scarred tree at Harcourt, Victoriascarred tree, scar tree, harcourt, dja dja wurrung, aboriginal, aborigine, canoe tree

Inspected by Joanna Freslov, archaeologist 2.6.2008. Ground-edged axes first appeared in south-eastern Australia about 4,000 years ago and were used either with handles or hand-held. Stone tools were used for a variety of purposes, in ways similar to those of steel knives, axes, hammers and chisels. Ground-edge tools are made from fracture-resistant stone, such as basalt. This is able to withstand repeated impact making it suitable for use in objects such as stone axes. The stone was quarried, and then roughly shaped into a tool blank with blows from a hammerstone. The edges were then sharpened and refined by grinding the tool against a coarse, gritty rock. The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This item is an example of a stone tool used by the early Indigenous people of Eastern australia.A handmade stone Aboriginal axe head.axe-head aboriginal tool stone-artefact

Inspected by Joanna Freslov, archaeologist 2.6.2008. -unusual axe head. Ground-edge tools are made from fracture-resistant stone, such as basalt. This axe would able to withstand repeated impact. The stone would have been dug or found and then roughly shaped into a tool blank with blows from a hammerstone. The edges were then sharpened and refined by grinding the tool against a coarse, gritty rock. Ground-edge tools could be held in the hand, or fashioned to be fixed onto a haft or handle.The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This stone axe head is an example of a ground-edge tool used by the early Indigenous people in Eastern Australia.A handmade stone Aboriginal axe head.aboriginal tool aboriginal stone-artefact

Inspected by Joanna Freslov, archaeologist 2.6.2008 Ground-edged axes first appeared in south-eastern Australia about 4,000 years ago and were used either with handles or hand-held. Stone tools were used for a variety of purposes, in ways similar to those of steel knives, axes, hammers and chisels. Ground-edge tools are made from fracture-resistant stone, such as basalt which is able to withstand repeated impact, and so is suitable for use in objects such as stone axes. The stone was quarried, and then roughly shaped into a tool blank with blows from a hammerstone. The edges were then sharpened and refined by grinding the tool against a coarse, gritty rockThe necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This item is an example of an early axe head used by the Indigenous people of East Gippsland.A handmade stone Aboriginal axe head.aboriginal tool stone-artefact axe-head

Inspected by Joanna Freslov, archaeologist 2.6.2008. Stone tools were used for a variety of purposes, in ways similar to those of steel knives, axes, hammers and chisels. Ground-edge tools are made from fracture-resistant stone, such as basaltwhich is able to withstand repeated impact, and is suitable for use in objects such as stone axes. The stone was quarried, and then roughly shaped into a tool blank with blows from a hammerstone. The edges were then sharpened and refined by grinding the tool against a coarse, gritty rockThe necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This axe head is an example of an early stone tool used by the Indigenous people of Eastern Australia.A handmade stone Aboriginal axe head.aboriginal tool stone-artefact axe-head

Made as wedding present for Cameron, John (Mrs) in 1880 at Lakes Entrance. John Cameron (1847-1930) selected first land on Snowy River flats. Married Elizabeth Roadknight (1863-1939) who was born in Cunninghame (now Lakes Entrance).This item is associated with the Cameron family who were early Orbost settlers.Large handmade woven Aboriginal basket.basket household basket-woven aboriginal lakes-entrance cameron-john

A selection of images of Ebenezer Aboriginal Mission.

Egg (Aboriginal art) on a plastic stand

Head & shoulders portrait, wearing a suit."Rev. E. Charles Harris, President, Uniting Aboriginal & Islander Christian Congress"harris, charles, aboriginal and islander christian congress

Aboriginal artifact (possibly found in garden in Bank Street Port Fairy By Chris Sharpells) 2 entries in green book under different numbers namely 792 and 814 state thisStone axe smoothed at long end to make cutting edgelocal history, ethnographic material, hunting, fishing, axe, gathering, stone, aboriginal

Sepia? Photograph of policemen? With aboriginal prisoners in front of corrugated iron building. Aboriginals fastened by rope to uniformed male. Photo mounted on grey board.Martin Murphy, Laverton and Morgan's Photographerperson, group, aboriginals

Inspected by archaeologist, Joanna Freslov on 2.6.2008. Stone tools were used for a variety of purposes, in ways similar to those of steel knives, axes, hammers and chisels. Ground-edge tools are made from fracture-resistant stone, such as basalt.This is able to withstand repeated impact, and and so was suitable for use in objects such as stone axes. The stone was quarried, and then roughly shaped into a tool blank with blows from a hammerstone. The edges were then sharpened and refined by grinding the tool against a coarse, gritty rock. The necessary tools and equipment for hunting, fishing and warfare were some of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This artefact is an exaample of the stone tools that Aboriginal people used.A dark stone handmade Aboriginal axe head.aboriginal axe-head stone-artefacts tool

One of a collection of over 400 photographs in an album commenced in 1960 and presented to the Phillip Island & Westernport Historical Society by the Shire of Phillip IslandPhotograph of the remains of Aboriginal Ovens at Cat Baylocal history, photography, aboriginal ovens, black & white photograph, aborigines, cooking & feasting, h r balfour, john jenner, bryant west

One of a collection of over 400 photographs in an album commenced in 1960 and presented to the Phillip Island & Westernport Historical Society by the Shire of Phillip IslandPhotograph of the remnants of Aboriginal feasting at Cat Baylocal history, photography, aboriginal feast site, black & white photograph, aborigines, cooking & feasting, h r balfour, john jenner, bryant west

Card with coloured illustration of Aboriginals hunting Possums.unknownartwork, print, landscape

Dr Janice Newton has had a long term interest in Indigenous Studies and Aboriginality, and has published papers linking Aboriginality to the counterculture and to artists and musicians. She has published a paper commenting on Ballarat's response to the death in 1896 of King Billy, the so called 'last of his tribe'. Janice has recently taught courses on 'The Anthropology of Indigenous Art' and 'Indigenous History' at Federation University Australia.56 page soft covered booklet outlining the life of Ballarat's Mullawallah (also known as King Billy or Frank Wilson). Numerous photographs. The book 'Mullawallah: The Last King Billy of Ballarat' is an initiative of Victorian Interpretive Projects. It is available for purchase for $15.00 (additional for postage). Please email [email protected] for further details. Images include: Ercildoun, Lake Burrumbeet, Lal Lal Falls, William Buckley, Warrenheip, King Billy and his Camp in McCree's Paddock, King Billy and His Tribe, Carl Walter King Billy, Mary of Carngham, Rosa of Carngham, King Billy (Bullip Bullip), Queen Mary of Buninyong, Queen Marie of Ballarat, Queen Mary and King Billy and their original mia mia, Football at Ercildoune, Thomas Jerusalem, Samuel Wilson, Frank the last of the Ballarat Tribe, The Burial of King Billy, King Billy's Grave. mullawullah, frank wilson, king billy, aborigines, wathauwrung, wadawurrung, aboriginal, ercildoun, ercildoune, lake learmonth

This is the second edition of a book published originally in 1851. It is an early work concerned with the recording of aboriginal languages and was published in Geelong. The author, Daniel Bunce (1813-1872) was a botanist who went on journeys with aborigines in Victoria in 1839 and later in 1846 joined Ludwig Leichhardt’s second expedition in his attempt to cross Australia from east to west. This was unsuccessful. Bunce’s experiences in 1839 and in 1846 enabled him to write his book on aboriginal languages. In 1858 Bunce became the Director of the Geelong Botanic Gardens and designed and planted out the gardens. No information has been found on Noel Hallowill. This book is of antiquarian interest as an early dictionary of aboriginal languages and as a book written by the botanist, Daniel Bunce. This is a hard cover book of 60 pages. The cover is yellow with black lettering. There is an ornamental border around the printing. There are two blue stamps of the Warrnambool and District Historical Society on the front cover and on the first page. The book is bound with brown tape. The book has a Preface, an Introduction and sections on the aboriginal languages in areas of Victoria and beyond. A copy of a letter from the explorer, Ludwig Leichhardt, is included at the end of the book. Stamp of ‘Noel Hallowill’ (name unclear) daniel bunce, aboriginal languages, ludwig leichhardt

Phonology in Australian Aboriginal languages; Aboriginal Languages of the Gascoyne-Ashburton region; Warlpiri; Tagalog and the Manila-Mt Isa axis; Gooniyandi narrative; general linguisticslinguistics, warlpiri

Includes articles on Simon Wonga, Aboriginal leader, Antecedent Force: The Port Phillip Aboriginal Protectorate Domestic European Constabulary 1840-1843, by Ian Clark.maps, b&w illustrations, b&w photographsbunurong, boon wurrung, woiworung, woi wurrung, taungurong, taungurung, wathaurung, wathaurong, jajowrong, dja dja wurrung, port phillip

This paper is the first of a series on Aboriginal languages commissioned by the State Board of Education and forms part of a project conducted in conjunction with the Victorian Aboriginal Education Association Incorporated.B&w photographskoori english, education

Tray made by unknown internee in Camp 3.Wooden tray. Two trays donated. Second registration number C8032.Scroll carving at either end. Map of Australia and Aboriginal man carved on body of tray.

HardcoverIndigenous colonial history, cattle station life, white-aboriginal relations, Australian fictiongardening, walsh st library

The Wurundjeri Woi Wurrung People were the original owners of the land on which the City of Boroondara is now located. They made active use of the Yarra for food and transport [an original canoe is held in the collection of the Melbourne Museum]. From 1863, members of the Wurundjeri Woi Wurrung were resettled at the Corranderrk Aboriginal reserve at Healesville. The [now] best known member of the Wurundjeri People was William Barak, who may be pictured here.If the attribution in the annotation is correct, then this may be the earliest photograph of members of the Wurundjeri People at Kew. The photo may be unique.Hand tinted photograph on mounting card of members of the Wurundjeri Woi Wurrung on the banks of the River Yarra, allegedly at Studley Park before 1855 [according to the annotation on the reverse] The photograph of the river and its near and far banks includes two boats on the river, a row boat and a canoe, and people standing on the near bank or seated on the branch of a tree. In addition to men and women of the Wurundjeri People, there appears to be two Europeans pictured, one wearing a hat and the other standing at right. Annotations on the reverse identify a [possible] location and date. [Size: Mount 140 x 215mm | Photograph 125 x 190mm]Various hands and dates: "Original lead pencil lettering Studley Yarra Yarra / Yarra Yarra Studley / Studley (Park?) / Note aboriginals in a bark canoe / Prior 1855 / Very early photo Yarra River originally known as the Yarra Yarra / [illegible part word in ink]".wurundjeri woi wurrung, yarra river, aboriginal and torres straight islander

Reproductions of various transactions and reports relating to Aboriginal people in Port Phillip in the period 1838-39. Includes studies of the establishment of an Aboriginal Protectorate, the Native Police, missions, and includes numerous reports by various protectors about events in their districts and government policy towards Aboriginal people.b&w illustrations, b&w photographs, tablesvictorian history, james dredge, william thomas, yarra, westernport, sievwright, mount macedon, goulburn river, john montagu, maria robinson, worredy, trucanini, george augustus robinson, tunermenerwail, jackia jackia, george langhorne, benbow, nerrebrunin, billibellary

Barbara Weir (b. 1945-03/01/2023) Born: In the region of Utopia, North East of Alice Springs, formerly known as Derry Downs Station Language: Anmatyerre and Alywarr Country: Atnwengerrp, Utopia Region, North East of Alice Springs, Northern Territory One of the Stolen Generation, Barbara Weir was removed from her Aboriginal family at the age of nine, and she was raised in a series of foster homes. Reuniting with her mother, Minnie Pwerle, in the 1960s, Weir eventually returned to her family territory of Utopia, 300 kilometres northeast of Alice Springs. Active in the local land rights movement of the 1970s Barbara Weir was elected the first woman president of the Indigenous Urapunta Council in 1985. Barbara’s career as an artist was inspired by the dynamic community of artists at Utopia and the work of her adopted auntie Emily Kame Kngwarreye. Highly experimental in her approach, Barabara Weir tried many mediums before travelling to Indonesia in 1994 with other artists to explore batik technique. She returned full of ideas on how to develop her own style which has since evolved to a more expressive abstract form. Grass Seed is part of her Dreamings and is associated with women’s ceremony and the activity of food gathering of local seeds, grasses, berries, potato, plum, banana, flowers and yams. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Barbara Weir's paintings include representations of particular plants and "dreamings". Inspired by a small grass found in Utopia called Lyaw, Munyeroo or Pigsweed, Barbara's Grass Seed paintings consist of a series of small brush strokes that overlap and weave to create a swaying effect. This Dreaming tells the story of grass seed that is part of the bush tucker found in the region of Utopia. This seed is collected, crushed to a fine powder and is then used to make a bread, very similar to damper. The people of Utopia were still using this seed as late as the 1950s. During that time the seed grew in abundance but as the years passed there were very few good seeds to be found due to bullocks roaming the land and eating the grasses. The people then began to eat a substitute that the white man provided, and today very few Aboriginal people collect these seeds. art, artwork, barbara weir, aboriginal, dreaming, stolen generation, acrylic on linen