Escape is a body of work by Taungurung/Filipino artist Alan Stewart made during Melbourne’s long lockdown to reflect his longing to connect to country. Alan says, “Country has always been my escape and connection to my culture. Without it, I lost a sense of self and a way to revitalise my spirit. Those early mornings and long drives helped me to see what’s special about being on country, land that holds such a deep meaning to my ancestors. I look back now and realise how lucky I was.”

Deanne Gilson is a Proud Wadawurrung woman, emerging Elder, cultural educator and award-winning visual artist from Ballarat, Victoria. Deanne works primarily in painting, fabric/textile design, clay installation and digital imagery. She explores the colonial disruption of her Wadawurrung family, looking at how the male and female gaze has and still does impact her matriarchal women. With an art practice that looks at the objectified, Deanne has found ways to cope with trans-generational trauma through art. Deanne is the first Wadawurrung artist since colonisation to revive lost cultural knowledge found specifically on her ancestral artefacts, consisting of four marks that define her family. Along with re-telling her mother’s Creation Story and the stories based on today’s lived experiences concerned with the physical and spiritual experience. Deanne has been developing her multidisciplinary practice in regional Victoria for almost 35 years and has shown across the National Gallery Victoria and the Koorie Heritage Trust. Post Preston, After the Bushfires, Our Country, Plants and Animals Need Healing is winning work in the 2021 Koorie Art Show.

More images TBCColour printed brochure x 24 pages about leaving a bequest to Legacy.wills, bequests

ill, p.336.Reminiscences of the Victorian Railways in Australia during the era of their Blue and Gold color scheme.railroads - victorian railways - personal reminiscence, railroad operations - victoria - history

Waa Waa – Crow Feathers is a painting from Aunty Marlene Gilson’s 2022 exhibition ‘Bunjil Wour Kun Ya – Spirit of My Ancestors’. This work tells the story of Waa-Waa, the first Wadawurrung to see a white man, Matthew Flinders and his crew surveying the southern Australian coastline near the You Yangs on 1 May 1802. Speaking to Wyndham Art Gallery’s curatorial framework themes of Foregrounding, Habitat and Localism, the work portrays in Wadawurrung lore the first sighting of a European and acknowledges Australian First Nations peoples original and ongoing connections with land, history, politics and knowledges of place. The scene is overlooking the You Yangs which is deeply connected with the local place and habitat of the Werribee Plain. Aunty Marlene Gilson is a Wathaurung (Wadawarrung) Elder living on country in Gordon, near Ballarat. Marlene Gilson’s multi-figure paintings work to overturn the colonial grasp on the past by reclaiming and re-contextualising the representation of historical events. Learning her Wathaurung history from her grandmother, Gilson began painting while recovering from an illness. The artist’s meticulously rendered works display a narrative richness and theatrical quality akin to the traditional genre of history painting. Gilson, however, privileges those stories relating to her ancestral land, which covers Ballarat, Werribee, Geelong, Skipton and the Otway Ranges in Victoria. Often including her two totems, Bunjil the Eagle and Waa the Crow, Gilson’s paintings not only reconfigure historical narratives, but display her spiritual connection to Country. australian first nations art, cultural story, australian painting, wathaurung, female artist

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

ill, maps, p.71.non-fictionA thesis presented by Paul Francis Fearon to the School of Historical and Philosophical Studies about Boroondara's aspiration for a much-derided nineteenth century railway, as part of a Diploma in Arts (Advanced) in the field of History for the Faculty of Arts Melbourne University.railroad construction - victoria - history, outer circle railway - victoria - history

index, ill, maps, p.196.non-fictionA history of the Overland passenger train from Melbourne to Adelaiderailroad passenger trains - australia, railroad trains - overland - history

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

wāni toaishara is a Congolese artist living and working in Melbourne. His practice explores African Futurisms, Statelessness, Indigeneity, climate justice, those on the margins of those movements and dialogues, Indigenous knowledge production and the effects of dislocation in a globalised anti-Black, Afrophobic society. Final Solution enters the Darebin Art Collection as the winning work of the 2021 Darebin Art Prize. A personal and introspective moving image work, Final Solution features the artist’s family and friends as a way of interrogates some of these broader ideas, speaking to urgent issues both in this nation and on an international level. The powerful message is offset by a sense of intimacy, much needed as we move forward amid the paradigm shifts of the last two years.

Donation by the artist

Muralpublic art, mural, australian art

August Schwerkolt walked between his properties at Northcote and Mitcham and probably crossed the Yarra River at the Banksia St bridge and took the ridge route which is now the Manningham, Doncaster and Mitcham Roads.non-fictionAugust Schwerkolt walked between his properties at Northcote and Mitcham and probably crossed the Yarra River at the Banksia St bridge and took the ridge route which is now the Manningham, Doncaster and Mitcham Roads.schwerkolt august, mitcham, doncaster road, mitcham road

index, ill, maps, p.63.non-fictionThe remarkable story of Kilcunda's railway history on the Nyora to Wonthaggi branch line in Victoria.railroad construction - victoria - history, railroad bridges - victoria - history

Victorian car, truck and motorcycle number plates for the years 1960 to 2014 have been printed from the VicRoads website, supplemented by further brief notes describing the plates. An updated list of car plates is also included with an updated plate number for 2014 and a further 4 years between 2015-2018. non-fictionVictorian car, truck and motorcycle number plates and for the years 1960 to 2014 have been printed from the VicRoads website, supplemented by further brief notes describing the plates from 1930. An updated list of car plates is also included with an updated plate number for 2014 and a further 4 years between 2015-2018. number plates, car, truck, motorcycle

Article from Brooksy's Briefing about the removal of the old Greensborough Electrical Substation at Greensborough StationNewsletter article, text with one colour photogreensborough, greensborough electrical substation, colin brooks, greensborough station, brooksy's briefing

Colour photograph of Tenth Street, Hepburn Springs looking towards the Hepburn Springs War Memorial. 10th street hepburn springs, hepburn springs war memorial, autumn leaves

The memorial gates are made from Harcourt stone. Colour photographs of memorial gates and War Memorial at Harcourt, Victoriaharcourt stone, war memorial, memorial gates, r. gartside, e.h. ely

After the Mont Albert Railway Station opened in 1890, 50 ratepayers petitioned the Nunawading Council to oppose the sale of the railway reserve to the north in order for it to be a recreation reserve.non-fictionAfter the Mont Albert Railway Station opened in 1890, 50 ratepayers petitioned the Nunawading Council to oppose the sale of the railway reserve to the north in order for it to become a recreation reserve.mont albert, railway stations, surrey hills golf club

Commission

Yields information about the period leading up to the last day of SEC tramway operations in Ballarat including the voices of four long term BTM members. Includes video of many aspects of the tramway - produced by BTV6 originally.Digital Movie made produced by Sam Boon for the 50th anniversary of closure of the Ballarat SEC system 19/9/1971. Features voices of Warren Doubleday, Carolyn Cleak, Graeme Cleak, Richard Gilbert and film from the BTV6 / WinTV archives. Includes trams 41, 27, 42, 36, 28, 21 (as the Showboat tram), 11, 26, 33, 40 and 39. Includes scenes in Sturt St, City, Gardens, Post Office, Bridge St, Lydiard St. Includes shots of Graeme Evan and Gavin Young Night photos of the last tram to Sebastopol Inspector checking tickets Towing trams from the old to the new depot 18 as the Neon tram Movie - 698Mb, See AV Files/Reg Item 8192 for the movie itself Image 8192i used as a reference point.trams, tramways, btm, closure, btv, win tv, last day, moving trams

Personal Paper - 2 A4 wheets with donation notes, titled "Trams in Hawthorn Depot 14 Feb 1996", listing the tramcar and location. Has notes on the event and why - Metcard testing on Z10. Gives the shift details. Z10 was stationed at the depot. Prepared by Hugh Waldron. Lists the all the trams placed there including the heritage fleet.trams, tramways, hawthorn depot, metcard, testing, heritage fleet, z class

Calendar - 12 full colour pages wire bound featuring night photos of W8 class trams in Melbourne CBD during the COVID-19 shutdowns. Photos by Brenden Schonfelder. Rear cover has a set of 12 images featured in the calendar along with photographer's contact details. Features trams 888, 856, 925trams, tramways, w8 class, covid-19, flinders st station, flinders st, docklands, city circle, route 35, night photo, spencer st, la trobe st, spring st, tram 888, tram 856, tram 925