From Cassell's Picturesque Austalia Pg 241-2 Western District Purchased 1990's in Stawell AreaFramed and Hand coloured scene of Stawell Wood engraving with mining Whim and GoatsCassell's Picturesque Australasia ( western District) Pg 241-2 Published 1887

Periodical/journal: "Embracing all aspects of mining history, mining archaeology and heritage." Articles by various contributors Copper Triangle’s Spanish Legacy: Leaching the Waste Dumps at Moonta Mines 1901-1944. Australian Geochemical Mineral Exploration: It all began at Moonta through V.P. Sokoloff. Hegemony, localism and ethnicity: The ‘Welsh’ mining communities of Currawang and Frogmore in southern New South Wales. A Thirsty and Confusing Diggings: The Albert Goldfield, Milparinka-Tibooburra, north-western NSW. ‘Another Broken Hill’: The Mount Deddick Silver-Lead Field. Michael Dineen O’Keeffe: Union Leader - a ‘colourful personality. Radium Hill: Bindi To Boom Town. Tragedy on the Strickland: Jack Hides and the Investors Ltd Expedition of 1937 COMMENTS Observations on the History of the Blackwater Gold Mine. Comment on Brian R. Hill, ‘A Reinterpretation of the History of the Acquisition of the Blackwater Gold Mine’, Journal of Australasian Mining History, vol. 4, September 2006, pp. 156-165. BOOK REVIEWS Bullfinch and the Yilgarn Goldfield, Hesperian Press, Victoria Park, Western Australia, 2007; xvi +265pp Reviewer: Lenore Layman, Murdoch University Fool’s Gold: Myths and Legends of Gold seeking in Australia, Lothian Books, Sydney, 2006. Reviewer: Philip Payton, Exeter University Relevant to Australian and New Zealand history, particularly around miners and mining.Paperback. Front cover: crème coloured background; black and white photo; red and black lettering; 180 pages.Front cover: title and publisher.btlc, ballarat trades and labour council, ballarat trades hall, history - mining, moonta mines, albert goldfield, milparinka-tibooburra, mount deddick, michael dineen o'keeffe, radium hill, strickland, investers ltd, blackwater gold mine, bullfinch, yilgam goldfield, gold

Two colour photographs showing view of town from across North Arm from western boat ramp east to Orme Street continued from 04216 number 04216.1 and 04216.2 size 10 x 15 cm|Colour photograph of town from Kalimna Heights showing Hill 60 on Hummocks taken 1975 c printed from slide number 04216.3Colour photograph of western end of town taken from Kalimna Heights showing cars parked near western boat ramp and North Arm, hummocks and Bass Strait in distance, Lakes Entrance Victorialookouts

Also another colour photograph of western entry to Lakes Entrance with the refurbished Information Centre and two small tourist buses in distance 04249.1 10 x15 cmColour photograph of signs at the western entry adjacent to Apex Park, the original Information Centre in the distance Lakes Entrance Victoriarecreational facilities, transport

ORIGINAL PAINTING HANGING IN WESTERN AUSTRALIAN ART GALLERY - PICTURE DEPICTS MINING TRAGEDIES IN THE LAST CENTURY. JOHN LONGSTAFF LIVED IN CLUNES IN HIS EARLY DAYS.FRAMED PRINT OF JOHN LONGSTAFF'S "BREAKING THE NEWS" OIL ON CANVAS, LIGHT COLOURED WOOD FRAME"BREAKING THE NEWS" OIL ON CANVAS. ORIGINAL IS IN THE COLLECTION OF THE ART GALLERY OF WESTERN AUSTRALIA.COPYRIGHT RESERVED.print, longstaff sir john, breaking the news

Walala Tjapaltjarri (b. c1960) Language: Pintupi Region: Kiwirrkuru In late 1984 Walala Tjapaltjarri and several other members of the Pintupi Tribe walked out of the remote wilderness of the Gibson Desert in Western Australia and made contact for the first time with European society. Described as 'The Lost Tribe', he and his family created international headlines. Until that day in 1984, Walala and his family lived the traditional and nomadic life of a hunter-gatherer society. Their intimate knowledge of the land, its flora and fauna and waterholes allowed them to survive, as their ancestors had for thousands of years. It is this sacred landscape, and its significant sites, that Walala so strikingly describes in his paintings. His style is generally highlighted by a series of rectangles set against a monochrome background. He paints the Tingari Cycle (a series of sacred and secret mythological song cycles) which are associated with the artist's many dreaming sites - they are Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These Dreamings are the locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015) Walala Tjapaltjarri started painting in 1997. His earliest works were in a classical Tingari style usually reserved for body painting, ground painting and the decoration of traditional artifacts. Within a couple of months his painting had evolved into his own innovative style of work, including the abstraction of classical Pintupi designs which resulted in a highly graphic language to speak of his country and ceremonial sites. The rectangles so prominent in his paintings form both a physical and spiritual map establishing Walala as a discerning draughtsman for his ancient country. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015) 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.Tingari Cycle - During the Tjukurrpa (Creation Era) Tingari ancestors beings gathered at a series of sites for Malliera (Initiation) Ceremonies. They travelled vast stretches of the country, performing rituals at specific sites that in turn created the diverse natural features of the environment. The Tingari men were accompanied by novices and usually followed by Tingari Women. The creation stories and rituals are venerated in the song cycles and ceremonies of today, forming part of the teachings of the post initiatory youths, whilst also providing explanations for contemporary customs. Walala Tjapaltjarri uses a highly personalised and minimal style to represent aspects of the sacred Tingari Cycle, an epic journey of Ancestors of the TJukurrpa (Creation Era). He paints aspects of the Tingari Cycle which are associated with the artist's many sacred sites - such as Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These are locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015)art, artwork, walala tjapaltjarri, aboriginal, dreaming, creation era, acrylic on linen, pintupi, kiwirrkuru, tingari, wilkinkarra, tarrku, njami, yarrawangu