Photos taken by the State Electricity Commission of Victoria. These photos are kept in the PRO Ref. 17092, Units 5 and 8 and have been copied and put on the DVD for the KVHS. The SECV constructed the Kiewa Hydro Electric Scheme. They employed an official photographer to take photos to record the development of the Scheme.White DVD with Archival Access Victoria printed in black above 'Bringing the Victorian Archives to you' / www.archivalaccessvictoria.com stored in a white cardboard envelope with a stamp, KVHS address and notation "Received Oct. 2015 / 17092 Unit 5 Photograph Albums SECV - 61 photos / Unit 8 Photograph Albums SECV - 28 photos'As Abovedvd secv, s.e.c.v. photos, mark grealy

COPYRIGHT City of Port Phillip collection pm1036 Black and white photo of A E Wearne & Son Coachbuilders at the corner of Crockford and Ingles Streets. Motor vehicles were constructed here up until the 1930s. Photo shows staff lined up on footpath outside the building. Image used in 2015 PMHPS calendar (February)a e wearne & son, coachbuilder, transport - motor vehicles, transport - horse, built environment - industrial

2015 CMHS members D. Maynard. Fran & Holger Bader compiled this Leaflet to provide a condensed information Leaflet about the origin and development of the area known as 'The City of Moorabbin' from 1850 -1994. Topics ; Aboriginal Bunurrung people, Henry Dendy's Special Survey 1841 in County of Bourke ; J.B Were, land agent, Pastoralists/ Squatters John O'Shannassy, Richard & John King, Moysey Family, Alexander MacDonald; Parish of Moorabbin Land Developers 1850 J.Holloway, A. Balcombe, D.Wickham, S. Charman, Keys Family; Road District of Moorabbin 1862 - 1870; Shire of Moorabbin 1871 - 1934; City of Moorabbin 1934 - 94; Amalgamation of Councils 1994 divided the City of Moorabbin between the Cities of Glen Eira, Bayside, Kingston and Monash; Origin of suburb names,This Leaflet was compiled in 2015 to provide a condensed history of the area known as 'The City of Moorabbin' for visitors , schools and local community1 x A4 printed both sides, black and white, folded x 3page 1 'BRIEF HISTORY OF THE CITY OF MOORABBIN' ; CITY OF MOORABBIN /1934-1994 page 2 'CITY OF MOORABBIN / 1934 - 94 city of moorabbin, county of bourke, moorabbin roads board, parish of moorabbin, shire of moorabbin, henry dendy's special survey 1841, were j.b.; bent thomas, o'shannassy john, king richard, charman s, highett william, ormond francis, maynard dennis,

Walala Tjapaltjarri (b. c1960) Language: Pintupi Region: Kiwirrkuru In late 1984 Walala Tjapaltjarri and several other members of the Pintupi Tribe walked out of the remote wilderness of the Gibson Desert in Western Australia and made contact for the first time with European society. Described as 'The Lost Tribe', he and his family created international headlines. Until that day in 1984, Walala and his family lived the traditional and nomadic life of a hunter-gatherer society. Their intimate knowledge of the land, its flora and fauna and waterholes allowed them to survive, as their ancestors had for thousands of years. It is this sacred landscape, and its significant sites, that Walala so strikingly describes in his paintings. His style is generally highlighted by a series of rectangles set against a monochrome background. He paints the Tingari Cycle (a series of sacred and secret mythological song cycles) which are associated with the artist's many dreaming sites - they are Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These Dreamings are the locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015) Walala Tjapaltjarri started painting in 1997. His earliest works were in a classical Tingari style usually reserved for body painting, ground painting and the decoration of traditional artifacts. Within a couple of months his painting had evolved into his own innovative style of work, including the abstraction of classical Pintupi designs which resulted in a highly graphic language to speak of his country and ceremonial sites. The rectangles so prominent in his paintings form both a physical and spiritual map establishing Walala as a discerning draughtsman for his ancient country. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015) This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Tingari Cycle - During the Tjukurrpa (Creation Era) Tingari ancestors beings gathered at a series of sites for Malliera (Initiation) Ceremonies. They travelled vast stretches of the country, performing rituals at specific sites that in turn created the diverse natural features of the environment. The Tingari men were accompanied by novices and usually followed by Tingari Women. The creation stories and rituals are venerated in the song cycles and ceremonies of today, forming part of the teachings of the post initiatory youths, whilst also providing explanations for contemporary customs. Walala Tjapaltjarri uses a highly personalised and minimal style to represent aspects of the sacred Tingari Cycle, an epic journey of Ancestors of the TJukurrpa (Creation Era). He paints aspects of the Tingari Cycle which are associated with the artist's many sacred sites - such as Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These are locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015)art, artwork, walala tjapaltjarri, aboriginal, dreaming, creation era, acrylic on linen, pintupi, kiwirrkuru, tingari, wilkinkarra, tarrku, njami, yarrawangu