This apron was designed for the Ballarat Apron Festival by local designer Clare Schreenan of Clasch Designs Ballarat. The tartan fabric was designed by Art Gallery of Ballarat for the 2014 exhibition “For Auld Lang Syne: Images of Scottish Australia, from the First Fleet to Federation”, and is officially registered with the Scottish Register of Tartans. The colours are highly significant: grey being chosen for the basalt plains on which Ballarat is built upon; Blue and white representing the Eureka Flag; and yellow for the gold that has made Ballarat so famous. Born in Ballarat, Schreenan attended Loreto College before studying fashion at Melbourne College of Textiles. She has worked extensively in Sydney, travelling to Paris, London and Los Angeles for work projects. She returned to Ballarat in 2006, launching Clash Design. Featuring the official, highly symbolic Ballarat tartan, and made by highly renowned local designer Clare Schreenan, this contemporary apron is of local significance to the Ballarat community. Grey, blue, white and yellow wool tartan fabric apron with asymmetrical design. Velco closures on back with zipper detailing. ballarat, tartan, apron

Ill, bib, ports, p.107.non-fictionGaeilge Ghriandóite: A go Z a hAon/ Sunburnt Gaelic from A to Z, Edition One, records selected findings of four Australians about the neglected history of the Irish language and Gaelic culture in this country. Gaeilge Ghriandóite/ Sunburnt Gaelic means the Irish language as it is spoken and written in Australia, as it comes to grips with a new environment. It is written throughout in Irish and is the first, and only, such book about the topic. Readers will find that over the past two centuries there have been dramatic breaks in continuity but also common threads. Triggered by positive responses from both experts and general readers alike to talks and papers all four had given on the topic, at a meeting in August 2019 the authors decided that the time was ripe to present to the public some fruits of their collaboration. The book's 108 pages present historical and contemporary facts about Irish-language culture in Australia in short entries, arranged in alphabetical order, with over 60 illustrations. This format makes it easy to find information and suits the present stage of research and publication on the topic. Also the alphabetical listing provides a flexible format for future editions. The book includes two short overview pieces and the first detailed bibliography on the topic.australia - irish language, australia - irish culture

non-fictionMining the Collection was an Arts NSW funded project in which nine community members and four artists were invited to discover and select works from Albury City's seven cultural collections. The collections were Indigenous Collection, Textile Collection, Social History Objects Collection, Social History Collection (paper based), Photography Collection, Works on paper Collection (Drysdale, drawings) and the Painting Collection. The community members selected individual pieces for the artists to respond to in their chosen medium. All four artists – Arthur Wicks, Ponch Hawkes, Treahna Hamm and Frank Burgers – have a connection with the region and a national profile. The artists' responses to the individual works chosen for them and the range of works selected became an exhibition that introduced visitors to the collection and to the contemporary artworks it inspired. This is a publication to accompany that exhibition. albury art gallery and museum, museum collection albury, exhibitions albury

non-fictionThis is one of many publications by Bruce Pennay which focus on and analyse the policies and experiences of migrants at the Bonegilla Reception and Training Centre. In this latest item, he arranged picture collages (40 in all) and invited readers to see and consider how Bonegilla, Australia’s largest and longest-lasting postwar migrant accommodation centre, was perceived and represented by government, by the contemporary press, and by resident staff, migrants and refugees.bonegilla reception and training centre, bonegilla, postwar migration, migration australia

Werribee River Book features broken glass, garbage, wood, feathers and jars of water taken from the water along the Werribee River. This work was created as part of a professional development program, Wunder Gym, which gave the artist an opportunity to work with the Werribee River keeper and a local historian to create an artwork. Wyndham Art Prize LEAP 2021 WinnerLEAP 2021 Winnerprize winner, contemporary art, ecological art

ill, maps, p.107.non-fictionA pictorial history of the Lancefield and Kilmore Railway with historic & contemporary photos.lancefield to kilmore railway - history, railways in victoria - history

A book of 25cm H, containing 250 p; index; referencesnon-fictionBox Hill Cemetery is the final resting place of many notable identities such as Sidney Myer, C. J. Dennis and Joy Hester, pioneers, leaders in their fields, businessmen and women, church representatives, and people from all walks of life and numerous cultures. The successes, struggles, triumphs, and tragedies of scores of individuals and families have been documented as the fledgling burial ground evolved into the serene and expansive cemetery valued by many people.box hill cemetery (vic.), box hill (vic.) -- history, celestina sagazio

Ramon (Ray) Francis Honisett (11.04.1931 - 30.08.2019), Fellow RMIT and medallist specialised in philatelic design, marine and military aircraft painting art and was active in the 1960s - 1990s. Ray Honisett used to live in Rye, in the Mornington Peninsula. According to Gavin Fry's book: The painting likely depicts the Lysaght Endeavour loading at Hastings. "The Lysaght Endeavour and its sister ship Lysaght Entreprise were built in Newcastle in 1973 specifically to serve the regional steel industry on the route Port Kembla - Westernport - Adelaide. Even after being lengthened by 17 metres, the two ships had remarkably short working lines, with both being broken up by 1988."Maritime artLarge framed unglazed landscape format painting predominantly green depicting in foreground a merchant vessel, a roll-on roll-off cargo ship moored at a single quayside on a river or river mouth. The middle ground shows a moderate solid jetty leading to large storage sheds at right. The background appears primarily rural with fields and hills in the distance. The location is probably Hastings Western Port in Victoria - notice the forklifts loading rolls of steel produced at the nearby steel rolling mill - the buildings in the distance. You can see the rolls of steel lined up on the hard stand to the right of the ship. The funnel colours suggest the Australian National Line. The frame incorporates a beige fabric slip with gilt edge the actual dark wood frame also with inset banded gilt edge. The back of the painting is covered with brown paper in places damaged. Hangs on a cotton cord threaded between two screw in eyelet hooks.at lower right corner single uc word in black paint : "HONISETT"tankers, marine painting, maritime art, ramon honisett, ray honisett, anl maritime art prize, acta maritime art prize, hastings, western port, victoria, steel, roll on roll off, forklift, mornington peninsula, artwork-paintings

Marine art, Maritime artLarge framed glazed landscape format painting depicting in foreground a rusty hull of a ship against a deep aqua blue sky. The hull appears to be in a dry dock with a stylized figure with a red top and blue pants looks down from the prow at the set of low buildings and yard in the foreground. Another ship appears to be moored behind the rusty hull but only the bridge of the ship is visible. At near right in foreground there appear to be two rounded graves or headstones.The frame is sharply beaded and with gilding. The painting has a window mount and is glazed with glass. Paint surface is thinly but intensley painted and seems to be gouache or watercolour on paper. Sealed at back with brown paper mostly intact and a corded hanging system.at lower right corner quadrant there seems to be a mainly rectangular ciphertankers, marine painting, artwork-paintings

Robert Thomas Miller Born in Melbourne in 1916 Studied commercial art at RMIT and for many years worked as graphic designer and design director at ACI Ltd. Member of the Victorian Artists's Society (Council member since 1965), Australian Guild of Realist Artists, Old Water Colour Society Club (past president), Australian Watercolour Institute, Hughesdale Arts Group (past president), Burnie (Tas.) Coastal Art Group. His watercolours have won over 40 major awards, including Victorian Artists' Society, 1973 Artist of the Year Award, and the Rotary Club of Camberwell Watercolour Prize (twice). Represented in many Australian collections both public and private.Maritime artRobert T. Miller, Mission to Seafarers Victoria CollectionA framed and glazed mat mounted watercolour painting by award winning artist Robert T Miller in ''landscape" format showing moored, masted ships; The modern frame is of moulded or carved wood with appearance of brushed gilt type gilding; image is mounted with pale grey window mount; Backing sealed with paper wire strand hanging system;Artist signed front lower right corner of painting in black ink; no date; sepia label adhered on top centre Verso with artist bio and brief CV ; Other exhibition labels adhered ; inscription describing acquisition and title of work; ( details TBA) M3 in black markerharbour, dockside, artwork, marine art, robert thomas miller, robert t. miller, watercolour, artwork-paintings

The Vietnam War still haunts Americans. It colors perception of contemporary foreign policy, give rise to lawsuits, fills novels and films, and rages on in the nightmare of many of its veterans.vietnamese conflict, 1963-1975 - united states - addresses, essays, lectures.

These captivating pieces are part of a series called "FOOD / FLESH / FAME," a collaborative effort between Melbourne-based Thai artists Bundit Puangthong and Vipoo Srivilasa. Drawing from Buddhist teachings, the series explores the three elements of attachment: Food (consumption), Flesh (sex), and Fame (power). Although these elements are known to cause suffering, they remain persistently alluring, a paradox that the artists intend to explore further in the future. In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FOOD" depicts a durian, the king of fruits, painted by Bundit Puangthong. He notes, "Despite its pungent aroma, many people still love to eat it."Donated the by the artists

In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FLESH" features a golden umbrella, serving as a metaphor for sex.

‘Adeney Avenue’ was the title given to this painting following its donation to the Kew Historical Society, yet the work’s origins predate the naming of Adeney Avenue in 1907 [originally gazetted as ‘Park Street’ (1865) and ‘Park Street South’ (1875).] Park Street ran between High Street and Parkhill Road beside what was later to become ‘Victoria Park’. This area was described in 1851 as “…a dense forest of gums and wattles which were to be largely cleared by 1888 after the naming of a recreation reserve”. The Reserve was still bisected by an unnamed creek in 1896, when the area was surveyed by the MMBW. The panoramic vista selected by the artist would appear to include ‘Eborensis’ (c.1895) on the corner of Parkhill Road and what was then Park Street, with views across cleared land towards the distant ranges. In the 19th century, north Kew was largely undeveloped farms stretching down to the Yarra. Oil on canvas by an unidentified artist of a panoramic view depicting what is now known as East Kew with mountains on the horizon. In the foreground is a two storey brick residence - Eborensis - located on the northeast corner of Parkhill Road and what is now Adeney Avenue. The view of the landscape and its rolling hills resulted from farming practices adopted following colonisation and settlement. Trees in the foreground and in the distance include remnant Eucalypts and introduced exotics.Label on rear of frame states "House on corner of Adeney Ave & Parkhill. [Regd. 254"]. Otherwise unsigned and undatedadeney avenue (kew), eborensis, park street (kew)

Football matches were a popular onshore activity and Annual reports note Reverend Weller in the 1920s managed to establish a temporary pitch and a change room facility near Port Melbourne. The donor, Wally Nancarrow, was a tailor in the Queen Victoria Building in Sydney (from Nov. 1927- Aug. 1935 on Trove) so the relation with the Melbourne Mission is unclear. The shield can be seen hanging above the canteen on item 1713 (dated c. 1950) and in the Celia Little Room. The Annual Report 1936 mentions a shield (p11) seen on page 15: "Football: The competition has been extended this year, and in the future is to include all matches played in Australian ports. The Victorian Missions to Seamen Shield is the present trophy, and the Assistant-Chaplain has been appointed Organiser and Honorary Secretary." The shield may have been done after the one mentioned in the annual report and we can only speculate nothing was ever engraved because of WW2.The collection holds many historic and later contemporary colour photos of crew football teams posed onshore and on decks. Sports and games were an essential part of the welfare services offered by the Mission when seamen had long shore leave.Wooden shield featuring two circular disk silver plaques one on each side at the top. One with the engraving of a ship and the other with the engraving of a footballer. At the top in the centre is an anchor in relief gilded with a rope attached, falling across the front of it and coiling at the bottom of the anchor. Two flags crossing over in the middle of the shield; one the Australian Navy flag and the other the Mission to Seamen flag. Laying over the top of the poles of the flags is a brass banner with the competition description engraved on it. At the bottom is a brass scroll with an inscription about who presented it and where. The shield has 12 smaller, blank silver shields along the sides. The shield is kept inside a wooden display cabinet with a glass front and navy material back ground.engraved on brass banner: For annual competition by crew of merchant ships presented by Wally Nancarrow, Sydneyshield, soccer, football, anchor, brass, silver, wally nancarrow, mission to seafarers victoria, walter james nancarrow (1885 - 1961)

merri-bek public art collection

non-fictionIn the course researching the opening of Masonic temples in Victoria, James Nicolas noticed that many non-Masonic buildings in the 19th century were opened with Masonic ceremonies. They were primarily historic buildings, including Mechanics Institutes, Town Halls, bridges, schools, hospitals and churches. They Masonic aspect was frequently a key part of the opening ceremony. Nicolas looks at the history including the opposition, including newspapers and the strident opposition of the Catholic Church. Nicolas also explores the apparent expunging of Freemasonry from contemporary histories of the openings of these buildings.freemasonry, historic buildings

Jenna Lee dissects and reconstructs colonial 'Indigenous dictionaries' and embeds the works with new cultural meaning. Long obsessed with the duality of the destructive and healing properties that fire can yield, this element has been applied to the paper in the forms of burning and mark-making. In Without Us, Lee uses charcoal to conceal the text on the page, viewing this process as a ritualistic act of reclaiming and honouring Indigenous heritage while challenging the oppressive legacies of colonialism. Lee explains in Art Guide (2022), ‘These books in particular [used to create the proposed works] are Aboriginal language dictionaries—but there’s no such thing as “Aboriginal language”. There are hundreds of languages. The dictionary just presents words, with no reference to where they came from. It was specifically published by collating compendiums from the 1920s, 30s and 40s, with the purpose to give [non-Indigenous] people pleasant sounding Aboriginal words to name children, houses and boats. And yet the first things that were taken from us was our language, children, land and water. And the reason our words were so widely written down was because [white Australians] were trying to eradicate us. They thought we were going extinct. The deeper you get into it, the darker it gets. But the purpose of my work is to take those horrible things and cast them as something beautiful.’Framed artwork

Swapped in April 2025 for Australian bookmarks with Jakob, IFOB member from Poland.Contemporary 21st century Polish bookmarks swapped for Australian Bookmarks and adding to the large international collection at Hymettus Cottage that encompasses bookmarks from the mid-nineteenth century including Australian colonial examples to the present time. armorial, poland, ephemera, bookmarks

The Small Box Respirator (SBC) was a British gas mask of the First World War and a successor to the Large Box Respirator. In late 1916, the respirator was introduced by the British with the aim to provide reliable protection against chlorine and phosgene gases. The respirator offered a first line of defence against these. The use of mustard gas, was begun by the Germans; a vesicant ("blister agent") that burnt the skin of individuals that were exposed to it. Death rates were high with exposure to both the mixed phosgene, chlorine and mustard gas, however with soldiers having readily available access to the small box respirator, death rates lowered significantly. Light and reasonably fitting, the respirator was a key piece of equipment to protect soldiers on the battlefield.The Small Box Respirator ('SBR') proved to be the most effective gas mask produced during the First World War, and had a number of advantages over its French and German contemporaries.Canvas bag containing Small Box Respirator consisting of a rubberised fabric face mask, connected by a fabric covered rubber hose to a canister made of tin plate containing a chemical absorbent.gas mask, ww1