This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Oil on cotton fabric. Image of two young boys standing beside each other looking out to sea. They are painted against a background of blue-green water and a clear blue sky. The pattern on the sand is repeated in the boys' swimming costumes. One of the boys has his head turned away from the water.leah mariani, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, painting, www.leahmariani.com

This product was introduced in an era where the "silky smooth" look was in vogue. From the 1920s on, American and British film stars set the tone of how clean cut (hero type) masculine look attracts the opposite sex faster and in greater quantities than the "unkempt" or natural maintained look. This look was bold and "polished" and had the intended projection that the hair matched the character of "I look after myself and have a high opinion of physical appearances". As fashion goes this slick and well maintained look has circled many times, in and out of history and in Australia in the 1950s this was a prime example. The liberation of the stereo type of both sexes occurred in the 1960s when the freedom loving "hippie culture" had a marked affect upon the city inhabitants but not so strong among rural males. Sexism was still rife in that time frame.This jar of Brylcreem was a part of the (masculine) rural scene for a longer period than that found in the larger towns and cities. The long held "men are men" and "women are women" distinction between the sexes lingered on more in rural areas because of the perceived physical differences, mainly "strength" and perceived tasks such as "men only" activities (heavy farm/mining/construction). The jar of Brylcreem maintained the respectable male look for those special occasions when males "dressed" up and looked clean physically and well behaved (to show respect to the women folk)This glass jar with a glued on,red background, label detailing the product Brylcreem (a men's) hairdressing ointment is empty of its original product. It has been contoured on each side to allow for a man's fingers to comfortably and firmly grip the jar. This form would allow even "greased up" hands to maintain control. The glass thickness is far greater than needed and also added the extra stability to the standing jar. The shape of the jar is a latent attempt to emulate the physique of a fit young man (small waist, expanded and muscled mid rift and large shoulders). The jar does not distract from viewing its contents (clear glass). It has a black gloss screw (on/off) lid made from mild grade steel. The jar holds approximately 200 grams of a thick molasses textured product. On the front red Label; in large white letters "BRYLCREEM" underneath this is in smaller silver print "THE PERFECT HAIRDRESSING" underneath this is a banner type motif with a crown at the top and a black letter "B"in the centre. Below this and in much smaller print are printed in black script "BEECHAM (AUSTRALIA) PTY. LTD. MELBOURNE VICTORIA M A Imen's deportment, toiletries, men's hair styles, physical appearances

A woman being helped out of a Ford Customline police car by a First Constable on the left and a sergeant on the right, holding out his hand.police vehicles; wireless patrol; motor transport branch; motor transport section; ford customline car

Personal petrol one burner stove with three swing out feet, and three swing out grate arms. Petrol tank at baseStove Gasoline burner M-1950stove

Personal petrol one burner stove with three swing out feet and three swing out grate arms. petrol tank at baseStove gasoline burner M-1950. US "Rogers" Akron, Ohiostove

Used by Mrs. Alice Hoiles of Wandin North, Victoria, Australia.Treadle sewing machine in a wooden cabinet, with fold out lid, and a pull out drawer below the machine, and a foot operated treadle below."Wertheim" "Made in Germany"

Book titled "Melbourne's Tramways in 1974" written by David R. Keenan. Details the operation of the Melbourne Tramway system prior to the introduction of the then new Z class trams, in the final decade of the MMTB, its operations, track, training, management, power supplies, tickets and other operational systems. Includes notes on services, tramcar fleet allocation, depots, fare sections and running times. Has introduction by author looking at Melbourne compared to other tramway systems around the world at the time and acknowledgements. Two copies held. Yields information about Melbourne Tramways in 1974.Forty Eight page book stapled with a fold out track map at rear contained within a glued light card cover. Printed on gloss paper with many black and white photos. Book titled "Melbourne's Tramways in 1974" written by David R. Keenan. Details the operation of the Melbourne Tramway system prior to the introduction of the then new Z class trams, in the final decade of the MMTB, its operations, track, training, management, power supplies, tickets and other operational systems. Includes notes on services, tramcar fleet allocation, depots, fare sections and running times. Has introduction by author looking at Melbourne compared to other tramway systems around the world at the time and acknowledgements. Two copies held. On the front cover in black ink "Ex ARHS Archives". Copy 2 has a price sticker "2.25" in top right hand corner.trams, tramways, melbourne, mmtb, tramways, tramcars

Black and white photo of lithograph. 4 sailing ships in harbour. 5 small boats in bay. Trees on Battery Point. 3 small building under cliff. Pier.Front: Looking South from London Inn 1853.

Black and white photograph. 2 copies- 1 large, 1 small.Written on back of small photograph- "Looking south west".

Black and white photographWritten on back of photograph: "Dec 1969, looking West.

Looking across new pool at indoor pool construction

Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." In Love for a Lifetime (loving couple)In Love for a Lifetime!/Godfrey Hirst of Geelong/This is the Label to Look For!blankets, blanket fever, wool, godfrey hirst, advertisement, geelong, woman magazine

Exploring Ballarat's Garden Heritage was published by BHS Publishing and written by Michael Taffe. Green covered book looking at the history of gardens in Ballarat.gardens, ballarat, michael taffe

Small inscribed (later) copy of High Street from Kew Junction"High Street Looking Up From Kew Junction"high street - kew (vic), bulleen road - kew (vic)

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.The Port of Liverpool. Coloured postcard. The postcard was probably purchased by George and Edith Weir on a trip to England and Scotland, circa 1928."The Port of Liverpool : Canida and Huskisson Docks, Looking South"postcards, george and edith weir, the port of liverpool, postcard series -- liverpool (uk), weir collection

Black and white photograph of the North Arm, showing the calm waters between steep banks covered in natural vegetation, but for one hillside which has been almost completely cleared, a few ring barked trees still standing. Lakes Entrance VictoriaLooking down the beautiful North Arm Lakes Entrancevegetation, waterways, topography

SEPIA PHOTOGRAPH OF CREEK PARADE, CLUNES, AND SOUTH CLUNES BATTERYCLUNES CREEK & CLUNES BATTERY LOOKING SOUTH WESTlocal history, photography, photographs, clunes landscape

Written on back of photographs - all prefixed "Jan '79. :Standing on top of concrete pole at end of handrail - Wantirna Rd. bridge over Dandenong Creek -" SS0357a: "looking east along creek." SS0357b: "looking north-east." SS0357c: "looking north." (along Wantirna Road) SS0357d: "looking west over gold club."

part of the township taken from shore of sand hummocks looking across Cunninghame Arm Lakes Entrance Victoria. Also two black and white photographs of Western part of township taken from sand hummocks across Cunninghame Arm 04315.1 and 04315.2 15 x 11 cm and 11 x 15 cmBlack and white photograph of part of the township taken from shore of sand hummocks looking across Cunninghame Arm Lakes Entrance Victoria. Also two black and white photographs of Western part of township taken from sand hummocks across Cunninghame Arm cm and 11 x 15 cmboats and boating, fishing boats, houses, township

Selection of 6 photographs and postcards of The Nobbies, A Seal and the SS Killara, donated by D Reid.A selection of postcards and photograph Black & White and Coloured of The Nobbies, a Seal and the SS Killara. Photo 1. View of the Nobbies with two people in the foreground. Photo 2. View of the Nobbies with a Horse and jinker in the foreground. Photo 3. A Seal resting on the rocks at Seal Rocks Phillip Island Photo 4. The Ferry steamer S. S. Killara arriving at Cowes Photo 5. Coloured view of the Nobbies looking across breakers on the rocks. Photo 6. Coloured coastal view looking towards the Nobbies in the distance.Inscriptions on the front of postcards Photo 2. The Rose Series. P 666. Looking to The Nobbies, Phillip Island, Victoria Photo 3. The Rose Series. P 747. A Seal on the rocks, Phillip Island, Victoria Photo 4. The Ferry Steamer S. S. "Killara" arrives at Cowes. Photo 5. The Nobbies, Cowes Photo 6. Coastal Scene Cowes. Nobbies in Distance.the nobbies phillip island, wildlife - seals, seal at seal rocks, ss killara, ferries

Gippsland Institute of Advanced Education is a predecessor institution of Federation University Australia.Two women looking at a large bookgippsland campus collection, churchill, gipplsand institute of advanced education

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 part of Cowes looking west.local history, photography, photographs, cowes, phillip island, john jenner, bryant west

Spirit level 2 looking glasses flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

The fledging town of Ballarat looking east. buninyong

A panoramic view of Sunbury looking west.sunbury township, macedon street, george evans collection

Colour Slide: Looking at the base of the damlake bellfield