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Bendigo Historical Society Inc.Photograph - PETER ELLIS COLLECTION: PEOPLE IN THE BUSH
Colour photograph. Group of people standing in bush. Back of photo reads: Peter Ellis conducting a nature walk in the Whipstick.photo, group, mixed group -
Bendigo Historical Society Inc.Photograph - PETER ELLIS COLLECTION: ROCKY CLIFF
Colour photograph. Rocky cliff. Cavern. Tunnel. 5 people walking. 4 men 1 woman. Scrubby bush on top of rocky outcrop.photo, group, mixed group -
Bendigo Historical Society Inc.Photograph - PETER ELLIS COLLECTION: LIBRARY
Colour photograph. Library. Tour group. Books on stands.photo, group, mixed group -
Bendigo Historical Society Inc.Photograph - PETER ELLIS COLLECTION: WOMAN AND CHILDREN
Small black and white photo of a lady wearing a black sitting on a rock with two children. Written on the back: Study in black & white. Esther Williams is not in it.photo, group, mixed group, peter ellis collection, lady and children -
Bendigo Historical Society Inc.Photograph - PETER ELLIS COLLECTION: PHOTOS
Two black and white photos printed on paper. (1) is a lady and a man dressed in clown costumes in a garden and (2) is a group sitting at tables. Peter Ellis is standing talking to a couple. Nothing on the back.photo, group, mixed group, peter ellis collection, peter ellis -
Bendigo Historical Society Inc.Photograph - PETER ELLIS COLLECTION: GROUP PHOTO, Oct, 1977
Coloured photo of a group of people in front of a red steel structure. Some Japanese people in the photo. Peter Ellis third from the left. Souvenir of Tokyo JTB-HATO Bus Tour's Oct. 1977. Photo enclosed in a colour folder with Japanese buildings, ship, aeroplane, train and a picture of a man on the front.photo, group, mixed group, peter ellis collection, souvenir of tokyo jtb-hato bus tour's oct 1977 -
Bendigo Historical Society Inc.Photograph - PETER ELLIS COLLECTION: MUSICIANS
Black and white photo of four men and two women playing musical instruments. They are playing banjo, fiddle, accordions and Peter Ellis is playing the piano.photo, group, mixed group, peter ellis collection, peter ellis, keogh's c/h -
Bendigo Historical Society Inc.Photograph - PETER ELLIS COLLECTION: GROUP PHOTO, 28th April, 2010
Coloured photo of a group of men and women taken indoors. Peter Ellis is standing eighth from the left. Date printed on the back of the photo is: 28/04/2010.photo, group, mixed group, peter ellis collection, group photo, peter ellis -
Bendigo Historical Society Inc.Photograph - PETER ELLIS COLLECTION: GROUP OF PEOPLE
Black and white photo of men, women and children seated and standing outside tents. Some are playing instruments and some are listening. A lady is playing an old pedal organ with a man standing there turning the music pages for her. A man is playing a mandolin and a man behind him is possibly playing something small. The photo was taken in the bush. A yellow sticky note on the back reads: 'Somewhere in Vic. Old pedal organ. Mandolins. Gold rush poss with tents. Spoon why?'photo, group, mixed group, peter ellis collection, musical group -
Bendigo Historical Society Inc.Photograph - PETER ELLIS COLLECTION: ON A TRAIN
Colour photograph. Blurry. Train dining car. Waitress taking orders. Back of photo reads: Train to Glen Innes F.F.photo, group, mixed group -
Bendigo Historical Society Inc.Photograph - PETER ELLIS COLLECTION: PEOPLE STANDING AT BAR
Colour photograph. 4 people standing in bar in front of spirit shelves. Back of photo reads: Peter Ellis - (Emu Ck) Mario Marrone - (worked as stone mason on Bendigo Cathedral Spine) Marg Hogan - (Emu Ck) Carolyn Marrone (Emu Ck)photo, group, mixed group -
Bendigo Historical Society Inc.Photograph - PETER ELLIS COLLECTION: PICNIC
Colour photograph. Picnic table set with food. People in camp chairs. Caravan. Back of photo has sticky tape stuck to it.photo, group, mixed group -
Bendigo Historical Society Inc.Photograph - PETER ELLIS COLLECTION: PEOPLE SITTING OUTSIDE, 23rd March, 2002
Colour photograph. People sitting in camp chairs. Photo framed by tree branches foliage. Back of Photo reads: 'Buda' Castlemaine 23rd March 2002.photo, group, mixed group -
Bendigo Historical Society Inc.Mixed media - Golden Square Secondary College Class and staff photographs
Plastic bag containing photographs of Golden Square Secondary College students. The year covered is 1997 classes 7A-7B-7C-7D-7E-7F-7G-7H / 8A-8B-8C-8D-8E-8F-8G-8H / 9A-9B-9C-9D-9E-9F-9G / 10A-10B-10C-10D-10E-10F-10G Six photographs of teachers and staff.golden square secondary college, students' photographs, teachers and staff -
Bendigo Historical Society Inc.Mixed media - Golden Square Secondary College
TDK compact disc labelled photos 2005. On the CD several folders containing photos relating to the students at the college in 2005golden square secondary college, 2005 -
Bendigo Historical Society Inc.Mixed media - Bendigo Tramways 100th Anniversary National Trust DVD, 1990
The Sandhurst and Electric Tramway Company was the first to blaze a trail when it introduced battery trams to Bendigo in June 1890. Unfortunately they had made a serious miscalculation, as the batteries quickly proved inadequate for the hilly terrain of Bendigo. After a couple of months battery trams ceased running and were later replaced by steam trams in February 1892. Steam trams were a reliable means of transport and successfully moved Bendigonians around for ten years, but the onset of the recession forced the Bendigo Tramways Company to sell up in 1899 to the Electric Supply Company of Victoria (ESCo) who continued to run steam trams until 1902. This turn-of-the-century sale led to the introduction of electric trams to Bendigo in April 1903. These were a success from the very beginning. During peak hour people would be standing in the aisles, in the doorways, even on the running boards on the outside of the tram. In addition, the trams were also the first option for deliveries. Parcels, newspapers, movie reels for the picture theatres and even mail bags found their way onto the trams; sent from outlying post offices to the GPO in the city centre. At the end of World War I the Victorian Government constituted the new semi-government instrumentality, the State Electricity Commission of Victoria (SEC). The SEC was to take over all privately owned power generating companies in Victoria and operate as a state owned monopoly ... Bendigo's tramway system was an integral part of the deal.Bendigo Tramways 100th Anniversary National Trust 31 minute DVD. Content includes brief history of the Bendigo trams from 1890 to 1990; driver's view movies of each of the four Bendigo Lines; and the set up of the tourist trams after the closure of the lines by the State Electricity Commission of Victoria.history, bendigo, bendigo trams -
Bendigo Historical Society Inc.Mixed media - WHAT A GOOD IDEA: BENDIGO'S INNOVATION, AN EXHIBITION, 2002
DVD Copy of a printed book put together for an exhibition 15-28 July 2002 for the Bendigo Historical Society Inc. Labelled: 'What A Good Idea! Bendigo's Innovations An Exhibitions 15-28 July 2002' Proudly sponsored by the City of Greater Bendigo. Labelled attachment 15. An Exhibition by Helen Mainka (ed.). Contents include: Acknowledgements, Introduction, Australian Bell, Bendigo Mining, Coliban Water Scheme, Ford's Rock Boring Machine, Goyne's Battery Gratings, Hospital Sunday, The Huntly Bus, Ladies' Cricket Match, Movable Cuff Shirt, New Goldfields Act 1858, Safety Cages, Scalebuoys, School of Nursing, Sunday School Picnic, Taipan Catamarans, Taraxale, Victorian Police Guide, A Bendigo Miscellany, References and Further Reading, List of Artefacts and List of Illustrations.bendigo, industry, what a good idea! - bendigo's innovations - an exhibition, helen mainka (ed.), city of greater bendigo, bendigo historical society inc, joseph martin brady, robert gray ford, john goyne, joseph henry abbott, william bannerman, john edward buchan, joseph a c helm, benedict branch, john henry seymour, william middleton, richard h s abbott jnr, abraham harkness, greg goodall, jim boyer, george albert pethard, george albert pethard jnr, john barry -
Moorabbin Air Museum
Mixed media (Item) - USAF In Camera - over 800 quality photos on CD
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Ararat Gallery TAMAMixed media, Inga Hunter, Nrat-tuan Net Leader's Robe, 1986-1989
“A silver-grey robe, denoting a powerful official. The Netleader, or Netmaster, as he is sometimes called is head of one of the many craft guilds on Nrat-Tuan. Fishers Guilds are not only vital economic groups for Nrat-Tuan, but also for the whole Imperium, since the water planet is the major source of foodstuffs for Irusaqu, who cannot produce enough crops on what Is a relatively barren, planet. The various fishing crafts are most responsible occupations, entailing great care for the environment and the food chains. Fishing is carried out by means of either mirrors or nets, both being about equally popular. Mirror-faceted fabrics have always been used by Nrati-Tuan fishermen to dazzle and bemuse the creatures they are trying to catch, (the mirror may also have some predictive power). Research indicates that this odd technique is surprisingly effective. And the harvests are unfailingly good. Contact with the humans of Irusag, when the Imperium was first founded, brought the technique of netting to Nrat-Tuan. The Netleader heads the Netter Guild, which does not limit itself to the merely traditional fishing net, but works with a complex and sophisticated membrane technology, which has, in recent years, revolutionised the whole netting industry. The Master controls the experimental membrane laboratories, which deal with the extraction of metals from sea water, as well as with tools for the fishing industry.” -Inga Hunter -
Ararat Gallery TAMAMixed media, Inga Hunter, Nrat-tuan Boat Leader's Robe, 1986-1989
“Apart from the vast and sophisticated space fleet, the only forms of transport used by the Nrati-Tuan are boats and rafts. All the inhabitants are more at home in the water than on the land, but some transport is necessary, both for people and freight. Every family has at least two boats and an assortment of rafts. Many thousands live entirely on boats and never set foot on any form of land, even avoiding the floating islands. The Boatleader is really a leading transport official; the top office in a long chain of others, from the smallest boat-boy, to the night boatwatches who keep the waterways safe for traffic. There are several ranks of Boatleader, whose major function is to settle disputes about water rights and water paths. Courts of dispute sit regularly, handling the hundreds of problems which arise about water use, headed by a Boatleader of one rank or another. This robe is worn by the most senior of all. He is the representative of water rights at the great Court of the Imperium. To the Nrat-Tuan it is more a sacrifice than an honour to attend the Court, because none find it easy to stay on still, dry land for extended periods of time. Nrati-Tuan delegates to the Irusaqui Court are rewarded with high honours on their planet, to show public respect and gratitude for their endurance.” -Inga Hunter -
Ararat Gallery TAMAMixed media, Inga Hunter, Irusaq Robemaster's Robe, 1986-1989
“The Robemaster is the designer of all robes of office. Each one is individually made for its wearer, and is regarded as the personal portrait of the office-bearer. Each one is replicated in miniature for the archives, a record left behind when the original is destroyed on the office-bearer’s death, or when she in some other way relinquishes her (or his) position. Robemasters are usually women. Most positions on lrusaq are theoretically held by men or women equally, but some seem to separate out, for instance, the Master of the Mines, by the very nature of the requirements of office, is nearly always held by a man. Robemaster is the opposite. It seems that the particular type of creativity needed is more frequently found in lrusaqi females, so that the office has come to be an exclusive prerogative of women. Robemasters are very highly regarded, and the position has come to hold great power, not directly, but because of the influence the officer can wield. Robemasters deal with everyone, go everywhere and know everything. Traditionally a Robemaster is always one of the three Imperium heads of office and acts as the major figurehead and spokesman in Irusaqui affairs. The last Robe designed by any retiring Robemaster is that of her successor, and the only symbolism required by law is the representation of a Robe somewhere on the work, otherwise the designer has complete freedom.” -Inga Hunter -
Ararat Gallery TAMAMixed media, Inga Hunter, Irusaq Void Sayer's Robe, 1986-1989
“The lIrusaqi are monotheistic Void worshippers. The Void is an extremely complex concept, and seems to include multiple interpretations of the two great signs, the triangle and the circle. On one level the triangle symbolises Man, and on another, the whole material universe. The Void, symbolised by the circle, is both within and without Man and the material universe. So, we find many variations of the circle and triangle imagery permeating the whole of lrusaqi society, i.e. villages are laid out in pyramid form, with a circular well at the centre, towns are built on a series of triangles, intersected by highways and the Court of the Imperium itself is based on a central circle within a triangle, with delegates to the Court in the three corners, while the positions of the three Heads of State and the one Head Speaker, repeat the pattern. The Void itself is always portrayed as an expanding and contracting circle, (not unlike the aperture of a camera). This Robe is worn by the High Priest’s acolyte and spokesman. The Voidsayer interprets the prophesies and sayings of the Priest, in words readily understood by the common people. The disc on the back of the Robe is the Void, and the gold lines symbolise the words of the Priest, coming from the source of life. The Robe is covered in gold chain mail, a sign that the Robe-wearer will defend his master with his life, if necessary.” -Inga Hunter -
Ararat Gallery TAMAMixed media, Irusaq Presenter at Arm's Robe, 1986-1989
“All Irusagi robes of office are highly symbolic. Generally black or dark blue, they are richly jewelled and embroidered; each one individually designed for its owner, as he, or she, takes office at the central court. The miniature is a record of this office. This, the Armourer’s Robe is typical of the richly decorated formal styles of the 10” to 12" Centuries Post Imperium. The symbolism is obvious: oversleeves of silver, to indicate one of the metals used in the making of weapons; decorative daggers, indicative of the famous throwing and fighting knives; studs, symbolising protective armour; and touches of red alongside the predominating metal, to represent the shedding of blood, (a minor theme, because bloodshed is undesirable). The Void, the centre of Irusaqu worship is always shown on this Robe, because all fighting men or women have a deep religious responsibility to obey the Voidic code. Lastly, the jewel, with its elongated triangle, forms the ancient symbol of Man, at the base of the Void, but not subordinate to it.” -Inga Hunter -
Ararat Gallery TAMAMixed media, Mona Hessing, Trail, 1997
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Ararat Gallery TAMAMixed media, Mona Hessing, Songlines, 1995
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Ararat Gallery TAMAMixed media, Inga Hunter, Iboriis Robe of the Keeper of the Dead, 1986-1989
“The Keeper looks after the shrines of the dead and he is responsible for their wellbeing, to make sure that their spirits do not return to make trouble for the living. Beyond their grave there is no blame, so he keeps all the dead, criminal, foreign etc. Keepers are not often seen because they live well away from all social groups, being supposed to spend most of their time in the nether world. The Keeper’s Robes carry complex amulets or protection from the dead, who he both guards and fears. He must also stop the living from using his charges against one another. His life is almost totally ritual, given over to chants and spells. He will never marry, but will breed by impregnating a selected mate in order to carry on the line, the office is hereditary. When his children are old enough, they are apprenticed to him and must live apart from the community, looked after by a nurse and taught all the rituals necessary for their future career. Very occasionally, a child is chosen from the community because of some special characteristic - precognition, albino colouring, special interest in the dead etc. At any time there might be up to twelve apprentices of various ages who assist the Keeper in his work. These children are taboo to all others, who must close their eyes if they accidentally catch sight of an apprentice.” -Inga Hunter -
Ararat Gallery TAMAMixed media, Inga Hunter, Iboriis Sun Worshipper's Robe, 1986-1989
“The Bird God cult is the official lboriisi religion, but there are certain sections of the planet where people worship the sun - not the big Voidstar, but the smaller erratic red star, known as Lanturan on lrusag, and lisa, or “Womb of the Wave Stone” on Iboriis. The sun is thought to be the creator and controller of all things, both benevolent and capricious. Priest of the Sunworshippers sacrifice appropriately coloured fruits and vegetables to the Sun God to ensure continuity of crops and a rich, peaceful life. When the red sun disappears from the sky on its erratic orbit, the God is thought to be displeased and the people gather in great groups to pray for better times. It is at this time that the Sun dances are performed in specially prepared dancing grounds in the forests. This essentially peaceable religion is hated and feared by followers of the Bird God, so that Sunworshippers are hunted and destroyed whenever possible. It is considered a favourable omen if the year’s sacrificial victims can be Sunworshippers, a sure sign of a good future harvest. Naturally enough, Sunworshippers are never delegates to the Court — this Robe was smuggled out of lboriis by a team of dedicated anthropologist who risked their lives to study the Sun God religion.” -Inga Hunter -
Ararat Gallery TAMAMixed media, Inga Hunter, Iboriis Bone Bag, 1986-1989
´This is the bag carried by the Keeper of the Dead, in which he keeps his relics of the dead, the ritual objects of his trade and the special talisman to protect both himself and his charges from harm. He casts the Bones in regular protection ceremonies, and is sought after secretly by people who want to find out the spiritual state of their loved ones. Some think he can predict the future with unfailing accuracy, though few dare to seek him out for such a purpose.´ -Inga Hunter -
Ararat Gallery TAMAMixed media, Inga Hunter, The Forest People Robe of the Keeper of the Pathwa, 1986-1989
“The Keeper of Pathways is a simple, secular office. Her job involves the maintaining of routes through and within the forests, and the lighting of night paths. She keeps a team of designers, workers and artificers, who must constantly strive to keep the wayrights free from invading undergrowth, so that they may admit safe and well-lit passage for all travellers. Not an exciting job, but one which is vital to communication between groups, and to the general safety of Forest dwellers. The forest paths (wayrights) are lit by strings of small lights made from a species of glowing fungus, which is specially cultivated in the mountain caves. A whole team of workers is responsible for the growth of the light fungus, taking shifts as a public duty. No Forest Dweller like caves, so the shift-work is shared out as a public service, one which each person must carry out at regular times, dictated by the clerks of the Keeper of the Pathways.”-Inga Hunter -
Ararat Gallery TAMAMixed media, Inga Hunter, The Forest People - Three Quivers, 1986-1989
"The Forest People use poison on their darts, and on some of their arrows, to stun or kill small prey. Poison Brewers distil the venom, which is obtained from roots, bark, leaves, and the skin of a certain frog-like creature. Alchemancers distribute the venom to hunters and healers. Poison-impregnated darts are kept in special pouches or quivers, blessed by the Alchemancer or the Guardian with special spells and incantations to prevent accidents and the perversion of the tools by evil spirits. Each of these quivers carries amulets of protection. The quivers themselves, were made by a specially trained craftsman who is able to sing incantations into the actual structures themselves, ensuring double and sometimes treble protection from danger, as well as increased effectiveness, sureness of flight, efficacy of the poison etc. Quivers such as these are kept on the belt, on the side away from the dominant hand, to ensure considered, careful use, and to prevent the wrongful use of poison when a simple arrow would be sufficient." - Inga Hunter
