Collection of thirty-nine postcards donated by Jillian Rigby which had been owned by her grandparents, George and Edith Weir, who from c.1917 lived at 84 Princess Street, Kew. The mostly 'mint' postcards were purchased in Victoria and while travelling overseas. The sole dated postcard is dated from 1929. The postcards are numbered sequentially from 2017.0058.01-39. The remainder of the collection donated by Jill Rigby which was once owned by the Weirs of Broken Hill and Kew consist of costumes, costume accessories, photographs, and documents.The postcards in the Weir collection, especially those purchased on a trip or trips to the mother country, i.e. United Kingdom, represent a representative sample of sites that were considered significant to those Australians undertaking a reverse grand tour by member of the erstwhile colonies. Those postcards which are early views of Melbourne must have been produced commercially for some decades from the early part of the 20th century.River Mersey - Through Wind and Wave. One of a set of three [originally six] 'High Class Postcards of Memories of the Mersey, Beautifully Reproduced in Nature Colours', in their original brown envelope.The postcard was probably purchased by George and Edith Weir on a trip to England and Scotland, circa 1928. postcards, george and edith weir, river mersey, postcards -- england (uk), weir collection

Poster - printed on semi gloss paper in two colours advertising a "Save the St Kilda Trains" meeting to be held at the St Kilda Town Hall on 15 March (1986?). Has an image of the front of a Tait Train. See also Reg Item 2659 for related material.trams, tramways, railways, closure, port melbourne, st kilda, light rail

This was one of several games in a series which focused on Regional Cities within NSW and Victoria, Australia. Their main function was to promote regions and businesses within the cities featured in each game. The gameboard is a full colour representation of each city and the players competed with each other to race to targeted destinations on the gameboard. The first player to arrive at the targeted destination bought that property and received a destination card. The first player to purchase 10 destination cards and return home safely, won the game. Cards in the game featured local businesses and landmarks. This item is significant because it was an alternate way to market the Albury- Wodonga region in the 1980s.A board game including a coloured board featuring locations in Albury - Wodonga. The board has a green background with streets and buildings in various colours. The box is half in bright yellow and features an image of family playing the game. The rest of the box features 9 images of locations in the area.On the box: This is your City Albury - Wodonga Game Limited Edition FUN FOR ALL THE FAMILYalbury - wodonga game, leisure activities albury wodonga, albury-wodonga marketing

UnknownAbstract composition of 24 circles, evenly spaced across image. In orange, yellow, brown, green, blue and white, with each alternate circle taking on aspects of the colours beside it. Set in dark blue background. Mounted in dark green matt. In wooden frame with glass glazing.Front: (no inscriptions) Back: "Eclipse 3" Neville Touzeau $40 '72 Touzeau 276 (lower right)(blue pen) Touzeau (black felt pen) Flight IV 50 Touzeau (blue pen, scribbled out in blue felt pen)

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Cotton is a common material for knitwear worn in the warmer months, as it is very breathable and absorbs moisture easily. While we mostly associate knitwear with keeping us warm in the cold, the market for Australian knitwear would be very limited without options to wear all year round. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Royal blue double breasted cardigan 'Reefer Jacket' with short sleeves in a textured rib stitch with six chrome metal buttons in two rows down centre front. Style 319/J .2 is sample tag with manufacturing information, including sizes and colours available.1) [white label at back neck with blue stitching] KATHRYN REGD. CREATED BY ALL COTTON / 24 / ROBERT BLAKE .2) [sample label] [OBVERSE] STYLE: 319/J – Reefer Jacket – Combed Cot. SIZE: 22” 24” 26” 28” 30” 32” PRICE: 20/- 21/- 22/6 24/- 26/- 27/6 COLOR: NAVY ONLY. [REVERSE] KATHRYN Garments are • PRE-SHRUNK • STANDARD MEASUREMENTS • FIT EXACTLY • LAUNDER PERFECTLY Designed and Manufactured by ROBERT BLAKE, MELBOURNEknitwear, children's knitwear, clothing, children's clothing, cardigan, manufacturing, fashion textile production, machine knitting, fashion cotton

In this image a woman weaves two different colours of plastic cording into a interconnecting X shaped pattern. Weaving has often been done as a commercial skill taught by blind institutes, however machine woven materials and goods have now turned this skill into a recreational one.1 black and white photograph of woman weavingrecreation, weaving

These are likely graduating students of the University of Ballarat Diploma or Advanced Diploma of Graphic Design, as two staff members -- Alister Heighway and Peter Lambeth -- are included. Please note, scanned images are for archive reference only. Images may appear flipped or rotated, and colours may not be accurate.Series of 35mm mounted slides featuring TAFE design students (and staff) with their faces pressed against glass or perspex.university of ballarat, federation university australia, design, graphic design, tafe, diploma, advanced diploma, smb

Produced by Tin Treasures, Toy City, Greater Noida, Uttar Pradesh. Painted in Melbourne City Circle tram colours, numbered tram 957, fitted with a Bank of Melbourne and "Take a Break with V/Line" roof advertisements. Based on the manufacturer's website, the roof advertisements are not original.Demonstrates a toy clockwork model City Circle tram.Painted tin plate model - fitted with a pantograph and two advertising signs. Equipped with a fixed bogie at one end driven by a windup clockwork geared motor and a swivelling bogie at the other with metal flanged wheels. Has the manufacturer's label on the underside - Tin Treasures.trams, tramways, toys, models, city circle tram, tram 957

Both documents relate to Oliver Foster being rejected for Military Service on the grounds of Temporary medical unfitness, one for 1943 & one 1944. Refer Cat No 4783Document, A.A.Form mob.6, off white colours, “Medical Certificates of Temporary Unfitness”. .1) All print in black, typing in black, signed in black & stamped twice in purple. .2) All print in black, hand written in blue, signed in black & stamped twice in purple..1) “Oliver Foster, Tree Lopper Rosedale Rd St Ives”, signed, “O Foster & W Brown”. .2) “Oliver Foster, Tree Lopper Rosedale Rd St Ives”, signed, “ O Foster & B.T Frankel”documents, medical unfitness

Designer book promoting graduating Graphic Design class of 1997. Accompanied by a Compact Disc (CD Rom) of student work, refer item 29163.2 for screen captures from CD Rom. Lecturer, Helmut Stenzel.Graduation book to including works by third (final) year graphic design students, 1997. Perfect bound book, pages printed on satin coated in two colours (black and silver). 4pp card cover printed black and silver external, inside covers printed full colour.university of ballarat, federation university, graphic design, ben mangan, russell kerr, luke keys, travis prices, karen grinter, rosie busuttil, peter horvat, felix lee, karl chandler, matt bowman, adam laszczuk, narelle pietsch, natasha pietsch, jenny tyquin, helmut stenzel

Photograph of a white, flat roofed building with contrasting colours around the windows, doors and sides and also along the top of the building. A white picket fence runs from either side of the hotel and a main road is in the foreground. On the reverse in biro is written: Magazine Hotel, Eaglehawk, negative, Trembath.buildings, hotel, magazine hotel, magazine hotel , eaglehawk, trembath

Circular black patch with red writing. "Military Police" top, "Sherrif's Office" in vlue writing on blue background. Steer head (middle) surounded by M P in red. Military ribbons (various colours) AFV PRO UNIT - NUI DAT SVN in red writing at bottom.Military Police. AFV PRO UNIT - NUI Dat SVNinsignia, military police, nui dat svn

Gold coloured Medal with Eagle standing on a feathyer with wings at it's side Attached to a red ribbon with white, blue and yellow stripes. Bar ribbon in same colours x two. One in material and the other in metal. Enclosed in blue case Reverse of Medal Shield and laurel leavesBlue hard case "United States of Americamedal, united states of america

B007.1, B007.2 - Round fabric badge mounted on card. The badge is black with blue white and grey detail. It has a St Andrew's cross in the centre beneath the letters PFA. Because of the materials and colours B007.1 appears to be the older badge. Both badges are probably blazer pocket badges."PFA"presbyterian fellowship association

These boots are rare and unwornHigh heeled boots with lace up style, curved heel and rounded toe. Two-toned effect with the colours of black and pale toffee. Leather uppers and canvas and polished cotton lining. Metal grommets to lace up. Original ribbon laces with metal tips. Circa 1920Printing inside reads: 1695-37-5 and the same number (in reverse) is on the sole eg, 37-5-1695

Robert Summerton Games served in the Boer War with the 5th Victorian Mounted Rifles No 1614. He enlisted again in WW1 and served with the 5th Australian Light Horse and also the 4th Camel Regiment. Ribbon bar for Queen South Africa and King South Africa Medals, Rosette made of cloth in the colours of the QSA. Also cardboard Qld railway pass dated 6th May 1919. Also part of the box that was sent to Pte. Games containing his Boer War QSA. Trooper R S Games

Black and white photograph of SEC No. 26, nearing completion of work to convert back to ESCo colours and California Open Combination tramcar. Photograph taken at St Aidans Drive, prior to foot boards and barrier rails being fitted. 30 or 31 October 1987. W.A.Doubleday in cabtrams, tramways, ballarat, st aidans drive , tram 26

Handwritten note, in ink or two colours - on a single sheet of paper titled "M&MT Board Disciplinary Action. 5/6/41". Describes MMTB disciplinary procedures for general matters and collisions and the Board of Reference which hears any appeals arising out of the disciplinary hearings.`trams, tramways, mmtb, unions, discipline, collision

Sports Clubs in Kew in the final decades of the 19th century and in the early 20th century were often umbrella organisations with facilities for a number of sports. Typically in Kew, this included teams in lawn bowls, tennis and croquet. The Kew Bowling Club was formed in 1880 while the privately owned Auburn Heights Recreation Club was opened in 1904. By 1998, the two Clubs decided to amalgamate at the Auburn Heights site in Barkers Road, forming the Kew Heights Sports Club. The combined club was itself taken over by the Melbourne Cricket Club in 2012 becoming MCC Kew Sports Club. In 2017 MCC Kew closed and its landholding was subsequently sold to Carey Baptist Grammar School. Both the Kew and Auburn Heights Clubs assembled important collections. These historically significant and large collections were donated to the Society in 2020. The collections include manuscripts, pictures, trophies, plans, honour boards etc. References Barnard FGA 1910, 'Sports and Pastimes' in Jubilee History of Kew Victoria: Its origin & progress 1803-1910. Nixon NV 1980, The History of the Kew Bowling Club 1880-1980. Reeve S 2012, City of Boroondara: Thematic Environmental History, p.216.The combined collections of the four sporting clubs making up the collection number hundreds of items that are historically significant locally. They are also significant to the sporting history of the greater Melbourne area and to the sports of lawn bowls and tennis in Australia in the 19th and 20th centuries. The collection illuminates two of the Victorian historic themes - 'Building community life' through forming community organisations and 'Shaping cultural and creative life' by participating in sport and recreation.President's Collar used as an insignia of office, comprised of a fabric band in the colours of the Kew Bowling Club, covered with club badges and with a decorative bowling ball attached. [The item is part of the large historic Kew Bowling Club collection (1880-1988) gifted to the Kew Historical Society in 2020].kew bowling club - wellington street - kew (vic), clubs - lawn bowls - kew (vic), insignia of office

The pieces represent the type of cutlery utensils issued to Defence Forces over a wide range of conflicts.Significant in respect to being an example of the types of equipment etc that was used during many conflicts including (likely) the Vietnam War.Era of usage is undetermined. Cutlery set, for use in base, comprising knife, fork and spoon, made of metal. Given the different markings on the pieces and the different aging colours, it is likely that this is not a set but notwithstanding that appearance, they still represent the standard issue of cutlery to the Armed Forces for use 'ín base'.Both the fork and spoon have Rising Sun imprinted onto the handles; plus the fork has two half moon swirls at the end of the handles. The knife has a twin line border on the handle. Additionally, the fork has nickel and silver, sheffield england on reverse of the handle.vietnam, vietnam war, diamond valley vietnam veterans sub branch, equipment

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. The colourwork dogs from this design are a very popular motif, and were available in both wool and Orlon in multiple styles from at least 1961-1972, including a cardigan and a pullover, selling 4346 of these in winter 1961. This example most likely dates from 1962-1966. An Illustration depicting this style is catalogued under NWM-09026. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Orlon was developed by DuPont in the 1940s and became the first commercially successful acrylic fibre in the 1950s and 1960s. The development of Orlon coincided with an increase in availability of washing machines in everyday Australian homes. The great appeal of Orlon was that while wool garments still had to be hand-washed, Orlon’s shrink-resistant nature made it machine washable and dryable. This was a very appealing prospect, especially for the seemingly unending task of cleaning active children’s clothing. Machine washable wool would not be available until the development of the ‘Superwash’ treatment by the Australian Wool Board and CSIRO in 1970. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Red children’s machine-knit jumper with white dog motif and green grass colourwork, closes with three red plastic buttons at left shoulder .2 and .3 are sample tags with manufacturing information, including sizes and colours available .4 is a swing tag with manufacturer care instructions.1) [label stitched at back neck] KATHRYN REGD. / 100% ORLON / 24 .2) STYLE: 44/OP – ORLON PULLOVER – ANIMAL MOTIF / SIZE: 18” 20” 22” 24”/ PRICE: 18/6 21/3 25/- 27/6 / COLOR: 18” PALE BLUE. LEMON. WHITE. / 20” – 24” SKY BLUE. LEMON. WHITE. REDCOAT. BOTANY BLUE. SULTRY GREEN. NUTTY BROWN. OATMEAL .3) STYLE: 44/PW – WOOL PULLOVER – ANIMAL MOTIF / SIZE: 18” 20” 22” 24”/ PRICE: 18/6 21/3 25/- 27/6 / COLOR: 18” PALE BLUE. LEMON. / 20” – 24” SKY BLUE. LEMON. REDCOAT. BOTANY BLUE. / SULTRY GREEN. NUTTY BROWN. NED KELLY GREEN. / .4) Obverse: [handwritten] 5/10 (unintelligible) Kathryn / ORLON KNITWEAR / Style : 44/OP / DESIGNED & MANUFACTURED BY / Robert Blake / MELBOURNE Reverse: STANDARD MEASUREMENTS / FIT EXACTLY / LAUNDER PERFECTLY / HOT WATER WILL DAMAGE / THIS GARMENT / WASHING INSTRUCTIONS / 1. Use lukewarm water and mild soap. / 2. Squeeze water out by hand – DO / NOT WRING. / 3. DO NOT ROLL. Hang on / Clothes hanger to dry. / To keep brushed garments like / new, brush frequently with / Nylon brush. / IRONING [m (handwritten)] ORLON garments require little / or no ironing if drip-dried. If / ironing is necessary, it may be done damp or dry, using / a warm iron. / DO NOT USE / STEAM IRON /knitwear, clothing, children's knitwear, children's clothing, manufacturing, fashion textile production, machine knitting, clothing set, dog motif, animal motif, colourwork

Model of typical UK double deck, four-wheel tram made by Matchbox models. Notes that over 3000 similar trams were provided to nearly 50 operators by Dick Kerr, later the United Electric Car Company of Preston. Painted in the colours and livery of London Transport. Demonstrates of a model of a Preston UK built double decker tram in London Transport colours. This type of tram was a very popular body in the UK.Model of Preston (UK) double deck tram type Y15 - diecast, painted in a card board box by Matchbox with details of the tram on the rear.models, tramcars, dick kerr, uk trams, london transport, matchbox models

It is unknown how this specific item made its way into the Warrnambool Museum. However, many South African artefacts came to the museum through men who served in the army during the Boer Wars of 1880-81 and 1899-1902.A beaded rope necklace. The rope is made from cloth and plant fibre with glass beads. It has a brass fastening. There are five colours: white, green, black and red with a pink band at the top. In the Zulu culture beads and jewellery were used as a means of communication. Generally they were used to convey messages about whether someone was married, engaged or single. The colours had different meanings but when placed next to white, the meaning would always be positive. white: purity and love black: marriage and rebirth red: also love green: contentment pink: denoted high status Beadwork was almost solely the work of women but men would also wear the jewellery.zulu, south africa, jewellery, beads, kwa zulu natal, africa, boer war, warrnambool

Jane McGrath made this quilt 30 years ago from a tartan fabric sample book (c.1990). It was one of her first quilts. Jane was inspired to quilt by her mother Shirley Critchley. Jane recalls her mother being a very talented quilter, with one example being the “Unpicked Jumper Wagga” which can be found within the National Wool Museum’s Collection (REG 8283). Shirley taught Jane the basics in quilting and assisted her in preparing this quilt. The quilt is backed with material from disused woollen skirts. Jane could not recall what material was used for the internal insulating fabric. Jane donated the Tartan Fabric Sample Quilt to the National Wool Museum in 2021. The quilt had been languishing in her cupboard for many years and had found its way to the op-shop pile, as her children had no desire to inherit her quilts. The top layer of the quilt consists of five distinct rows of tartan samples appliqued together. The rows of tartan samples are broken with a boarder of white, grey, and brown fabric which runs in parallel lines. This fabric is also used to bind the quilt together at the edges. The internal insulating fabric of the quilt is not known. The backing fabric is a grey coloured wool originating from disused skirts. The Tartan samples contain stripes of varying width and colour. The samples have been arranged so that the stripes run diagonal on the quilt. Many different colours have been used. The predominant colours are red and black, with lessening amounts of blue, yellow, white, green, and grey featuring. quilts, tartan fabric samples, upcycle, shirley critchley/jane mcgrath collection

Demonstrates how ESCo managed Weekly tickets during the late 1920's and yields information about the way the system was arranged. The source of the ticket, NSW tramways is significant in that it was obtained by them as a sample. Morning and Evening Weekly Ticket, price 1/6, printed for Week 1, that is not available for Sundays or Holidays. Ticket printed on light weight card, in two colours, teal and light green, numbered 2600 available only between Orphanage and Doveton St. Notes the conditions of use, the time available for which the ticket may be used and where. Printed by J.J. Miller, Melbourne. Ticket has been removed from a block - has staple hole at the top with part of the ticket missing. See Reg Item 2948 for circular detailing their use at the commencement of the issue of this style of Weekly Tickets - some detail differences in the style and colours later on."1/3" in pencil in bottom right hand corner.trams, tramways, tickets, weekly tickets, esco

A large, square-shaped glass platter decorated in bright colours. The central well has three horizontal stripes of burgundy, burnt orange, and red. The central orange stripe has a black, roughly ovular shape in the middle with a red square in its centre. The lower red stripe depicts a person's face. Outside of the well is painted in an ultramarine blue, with a speckled yellow stripe across the width of the platter below the well. To the left of the well is the image of a snake in gold, and on the right of the well is the image of a goanna, also in gold. Above the well is the image of the Southern Cross painted in gold. In each corner of the platter is a square with a saltire (diagonal cross), each in different colours.platter, snake, goanna, indigenous art, aboriginal art, first nations art, southern cross