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

Digitised directly from 'The Native Races of the British Empire: Victoria' Black and white Image of a Victorian Aboriginal womanaborigine, aboriginal

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

Glazed jug with Aboriginal motif and the work 'Hepburn'.studio anna, jug, aboriginal, hepburn

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

Mary Ann Willis is a member of The Orbost Nixon family and as a child spent time in Orbost. Mrs Marion Dwyer held office at Bairnsdale Golf Club and the East Gippsland Golf Associates Association for many years, being honoured with Life Membership from both. She was also a member of the YGLU (now Golf Victoria) council for 10 years. Mrs Dwyer won a number of titles including: Victorian Country Champion 9 times, Victorian Veteran Champion 3 times, Gippsland Champion 13 times, East Gippsland Champion 16 times, East Gippsland Foursomes' Champion 2 times, Bairnsdale Golf Club Ladies Champion 32 times, Bairnsdale Golf Club Foursomes' Champion 4 times & 106 single tournaments.A large book with a black cover. Book written by Mary Ann Willis. Contains poetry and articles including an oral history of Marion Dwyer. willis-maryann literature dwyer-marion nixon-family orbost

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

Australia William Blandowski's illustrated encyclopaedia of aboriginal Australia edited by Harry Allen 188 pages with black and white illustrations & maps published by Aboriginal Studies PressHarry Allenaboriginal, book, history, australian history, aboriginal history, natural history

Prince Charlie was the second last member of the Liwira Gundidj clan, of the Djargurd Wurrung, still living on Country. He died in 1882 at Framlingham Mission just months before his companion Wombeetch Puyuun (Camperdown George).Black and white photograph of Prince Charlie, an Aboriginal manFront top: J. JORDAN, Liebig Street, WARRNAMBOOL; front bottom: Prince Charlie, Camperdowncdhs, djargurd wurrung, djargurdwurrung, prince charley, cdhsfirstnations

Line black and white image of an Aboriginal shell necklace.shell necklace, aboriginal, aborigine

Digitised directly from 'Blackfellows of Australia' by Charles Barrett and A.S. Kenyon (Sun Books)Black and white depiction of an Aboriginal man in a bark canoe. aborigine, aboriginal, bark canoe

Language notes, in German P.W.Schmidt, on the development of the Aboriginal Languages.german text, australian languages, pronouns

This souvenir bookmark was for an international conference that highlighted the role Australia archives in an international forum held in Brisbane and in Australia for the first time. It is one of a large collection of bookmarks held at Hymettus that records historical events from the mid-nineteenth century to 2020. small Australian boomerang shaped bookmark with aboriginal motifs.boomerang, archives, bookmarks, conferences, brisbane

Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal

This book was produced with a grant from the Victorian Government Dept of State and Regional Development. Grace Elizabeth Jennings Carmichael (1867-1904), poet and nurse, was born on 24 February 1867 at Ballarat, Victoria, daughter of Archibald Carmichael, a miner from Perthshire, Scotland, and his wife Margaret Jennings, née Clark, from Cornwall, England. . About 1880 the family moved to Gippsland where Henderson managed a station near Orbost. Grace learned to love the Gippsland forest. She began to express in verse her understanding of the sights, scents and sounds of the bush, often writing in some remote clearing, her manuscripts stored for privacy in a hollow trunk. The Bairnsdale Advertiser published her first story, and the Weekly Times an early poem; then on 28 November 1885 her poem 'The Old Maid' was published in the Australasian under her pen name Jennings Carmichael. Encouraged by its editor, David Watterston, Grace sent nearly all her subsequent verse to that newspaper. (Read more by Lindsay Gardiner in Australian Dictionary of Biography.)This is a useful collection of the poetry of Jennings Carmichael, a leading Australian poet who spent much of her childhood in Orbost.A thin, stapled, yellow covered paperback book. It is titled "Grace Elizabeth Jennings Carmichael" and is a limited edition print of Carmichael's poetry. Print is black.poetry literature jennings-carmichael

The Fellowship of Australian Writers was initially founded in Sydney in 1928 and a separate Victorian Branch was established in 1938.Scattered Nuggets Bendigo Fellowship Of Australian Writers, an anthology of poetry & prose by members of the Fellowship of Australian Writers (Vic) Inc Bendigo Regional Branch.books, collections, poetry

Postcard of aboriginal man and boy with traditional implements. Made in Western Germany in perfect colour for John Englander and Co Pty Ltd, Melbourne. Aboriginal artist at work, Australia.basil miller, aborigines, postcards.