Showing 38760 items
matching colour
-
Marysville & District Historical Society
Postcard (item) - Colour tinted postcard, Valentine Publishing Co. Pty. Ltd, Steavenson Falls, Marysville No.3, 1923-1963
An early colour tinted photograph of Steavenson Falls, Marysville, Victoria.An early colour tinted photograph of Steavenson Falls, Marysville, Victoria. The Steavenson Falls is named after the Victorian Assistant Commissioner of Roads and Bridges, John Steavenson who arrived in Victoria in the early 1860s. At 84 metres high, Steavenson Falls is Victoria's tallest cascading waterfall. The falls are split into roughly five cascades, with the last of these plunging into a small, picturesque rock pool. This postcard was published by the Valentine Publishing Co. Pty. Ltd as a souvenir of Marysville. Valentine's/ POST/ CARD SENDING YOU GREETINGS/ FOR ADDRESS ONLY PRINTED IN/ GT BRITAIN Published by The Valentine Publishing Co., Sydney and Melbourne. -THIS IS A REAL PHOTOGRAPH-steavenson falls, steavenson's falls, marysville, victoria, waterfalls, postcard, valentine publishing co, souvenir, john steavenson -
Marysville & District Historical Society
Photograph (item) - Colour tinted photograph, Valentine Publishing Co. Pty. Ltd, No.11. Taggerty River, Marysville, 1923-1963
An early colour tinted photograph of the Taggerty River in Marysville in Victoria.An early colour tinted photograph of the Taggerty River in Marysville in Victoria. This photograph was published by the Valentine Publishing Co Pty. Ltd. as a souvenir of Marysville.taggerty river, marysville, victoria, valentine publishing co, souvenir -
Marysville & District Historical Society
Photograph (Item) - Colour photograph, Unknown
A colour photograph of the rear gardens at Arbor Green Galleries in Marysville. This cottage, along with most of the buildings in the township, was destroyed in the 2009 Black Saturday bushfires.A colour photograph of the rear gardens at Arbor Green Galleries in Marysville.Arbor Green Gardens/ 1 Falls Rd M'sville./ Rear gardenmarysville, victoria, australia, photograph, accommodation, arbor green cottage, 2009 black saturday bushfires -
Marysville & District Historical Society
Photograph (Item) - Colour photograph, Unknown
A colour photograph of the kitchen in the cottage at Arbor Green Galleries and Cottage. This cottage, along with most of the buildings in the township, was destroyed in the 2009 Black Saturday bushfires.A colour photograph of the kitchen in the cottage at Arbor Green Galleries and Cottage.1 Falls Rd. M'sville./ Cottage Kitchen.marysville, victoria, australia, photograph, accommodation, arbor green cottage, 2009 black saturday bushfires -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Photograph, Lakes Post Newspaper, 1/05/1991 12:00:00 AM
Also another colour photograph of plaque on gatepost at Garden Cemetery 04974.2 10 x 15 cmColour photograph of plaque on gatepost of Garden Cemetery Palmer Road Lakes Entrance Victoriamemorials, cemeteries -
Marysville & District Historical Society
Postcard (item) - Colour postcard, Nucolorvue Productions Pty. Ltd, At Foot of Steavenson's Falls, 1950s
An early colour photograph of Steavenson Falls in Marysville in Victoria.An early colour photograph of two ladies standing at the foot of Steavenson Falls in Marysville, Victoria. The Steavenson Falls is named after the Victorian Assistant Commissioner of Roads and Bridges, John Steavenson who arrived in Victoria in the early 1860s. This postcard was published by Nucolorvue Productions in Elwood, Victoria as a souvenir of Marysville.POST CARD NUCOLORVUE PRODUCTIONS, ELWOOD, VICTORIAsteavenson falls, marysville, victoria, waterfall, nucolorvue productions, postcard, souvenir, john steavenson -
Marysville & District Historical Society
Postcard (Item) - Colour tinted postcard, Murray Views, Murray Views No. 16. Main Street, Marysville, Vic, c1940s
A colour tinted photograph of Murchison Street in Marysville in Victoria.A colour tinted photograph of the main street in Marysville in Victoria. This is now known as Murchison Street. This postcard was produced by Murray Views in Gympie in Queensland as a souvenir of Marysville.POST CARD STAMP REAL PHOTOGRAPH PRODUCED IN/ AUSTRALIA BY MURRAY VIEWS, GYMPIE, Q. Tuesday 16th/ Mount Kitchener House/ Marysville Dear Bill & Fran,/ Just a card hoping to find all well./ It is very cold night & mornings up here, only/ had a wet day though. The meals are very good/ here. I'm sure we shall both be pounds heavier./ Been fun 50th to be here, coming & going all the time./ We've been a few trips & for nice walks, some/ very stiff climbing. We are leaving here on/ Saturday morning & going to our friends at/ Heronswood for 2 or 3 days. Have you heard any/ thing of Bert's affair yet. We have been watching/ the papers. No more for now. Love to all./ Best wishes & love from us both - Bess. xoxmurchison street, marysville, victoria, murray views pty ltd, murray views no. 16., postcard, souvenir -
Stawell Historical Society Inc
Photograph, "Heatherlie" House, 20 Seaby St. Stawell owned by Anthony Bone. c2011, May 2004
Colour print of "Heatherlie" House at 20 Seaby St.Colour Print of "Heatherlie" House 20 Seaby St Stawell. Image showing the front of house, garden, fence and surrounding trees.stawell building -
Kew Historical Society Inc
Slide - Facade of South Esk (formerly 'Ordsall'), 1980
One of a group of slides taken by members of the Society of built heritage in Kew in 1979-80. The selection of subject matter reflects the priorities of the period. The colour of some slides has degraded.The slides represent a snapshot in time of built architecture in Kew, much of which has changed in the forty-plus period since they were created. 35mm colour transparency (slide) taken from a photograph of the facade of South Esk (Ordsall). The photo was developed in 1980. There is a high degree of colour distortion in the transparency.victorian architecture, south esk -- cotham road -- kew (vic.), ordsall -
Kew Historical Society Inc
Slide - Portico of South Esk (formerly 'Ordsall'), 1980
One of a group of slides taken by members of the Society of built heritage in Kew in 1979-80. The selection of subject matter reflects the priorities of the period. The colour of some slides has degraded.The slides represent a snapshot in time of built architecture in Kew, much of which has changed in the forty-plus period since they were created. 35mm colour transparency (slide) taken from a photograph of the portico of South Esk (Ordsall). The photo was developed in 1980. There is a high degree of colour distortion in the transparency.victorian architecture, south esk -- cotham road -- kew (vic.), ordsall -
Greensborough Historical Society
Photograph, Jan Macdonald, Finds table at Viewbank Homestead dig, 1999
Colour photograph of finds table at the Viewbank Homestead. These photos taken in 1999 during the Viewbank Homestead archaeological dig. Finds shown are mainly broken pottery of good quality as befits a high status home.A colour photograph of Viewbank Homestead digviewbank homestead, banyule road viewbank, viewbank, archaeological digs -
National Wool Museum
Slide Folder, British Breeds of Sheep
Slide folder originally containing 12 slides of British breeds of sheep. Contains information about the slides.12 COLOUR SLIDES / BRITISH BREEDS OF SHEEPsheep - british -
National Wool Museum
Slide Folder, British Breeds of Sheep
Slide folder originally containing 9 slides of Merino and Australasian breeds of sheep. It has an information page inside printed with text about the slides.12 COLOUR SLIDES / BRITISH BREEDS OF SHEEPsheep - australian merino sheep, sheep - australian, merino sheep -
Victorian Aboriginal Corporation for Languages
Book, Various Artists, Deadly expressions : profiling contemporary and traditional Aboriginal art from South Eastern Australia, 2004
Curator: Esmai Manahan. Third exhibition in a series titled "Tribal expressions", held in Melbourne, 2004. Includes bibliographical references. colour photographs, b&w photographs, mapsart, arts, victoria, koori, koorie, gallery, exhibition, arts victoria, melbourne, artists -
Victorian Aboriginal Corporation for Languages
Book, Yilpanha wiya yamathi tjapirnku =? why the goanna and the lizard are no longer friends today : the Dreamtime story of the goanna and the lizard, 2005
Creation story.word lists, colour illustrations, CD-ROMwangkatha, western australia, dreamtime, storytelling, animals -
Victorian Aboriginal Corporation for Languages
Booklet with CDROM, Stan Grant, Wiradjuri Language : some useful words and phrases
Word lists, colour illustrations, CD-ROMwiradjuri -
Victorian Aboriginal Corporation for Languages
Booklet with CDROM, Stan Grant, Wiradjuri Language : some useful words and phrases vol. 2, 2011
word lists, colour illustrations, CD-ROMwiradjuri -
Victorian Aboriginal Corporation for Languages
Periodical, Australian Institute of Aboriginal and Torres Strait Islander Studies, Australian Aboriginal studies : journal of the Australian Institute of Aboriginal and Torres Strait Islander Studies, 2008
1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology -
Victorian Aboriginal Corporation for Languages
Book, Val Attenbrow, Aboriginal people of New South Wales, 2004
Looks at the culture and history of the some of the NSW Aboriginal people.maps, colour photographs, b&w photographs -
Victorian Aboriginal Corporation for Languages
Book, Julia Clark, Aboriginal People of Tasmania, 1992
colour photographs, illustrations, b&w photographs -
Victorian Aboriginal Corporation for Languages
Book, Val Attenbrow, Aboriginal people of New South Wales, 1992
Looks at the culture and history of the some of the NSW Aboriginal people.maps, colour photographs, b&w photographs -
Victorian Aboriginal Corporation for Languages
Book, Museum Victoria, Bunjilaka : the Aboriginal Centre at Melbourne Museum, 2000
Contains information about - Building Bunjilika, Koori Voices, Belonging to Country, Two laws, Suggested Reading, A Note on Terminology, Keeping Places in Victoria, Photo Credits, Acknowledgements.colour photographs, b&w photographs, artworkbunjilaka, victorian keeping places, koori history, victorian history, bunjil, kulin, yorta yorta, wurundjeri -
Victorian Aboriginal Corporation for Languages
Book, Ian Clark, Scars in the landscape : a register of massacre sites in Western Victoria 1803-1859, 1995
Register and documentation of massacre sites in ten language groups of Western Victoria; each language group includes details of clans, history of European occupation and government policy.maps, colour photographs, b&w photographsdhauwurd wurrung, djab wurrung, djadja wurrung, djargurd wurrung, gadubanud, girai wurrung, keerray-woorroong, gulidjan, jardwadjali, watha wurrung, wathaurong, wergaia, colonisation, race relations, racism, european occupation, government policy -
Victorian Aboriginal Corporation for Languages
Book, Michael Cannon, Historical records of Victoria : foundation series : volume 6 : the crown, the land and the squatter 1835-1840, 1991
Reproductions of various transactions and reports dealing with squatting, land tenure and agricultural production in Port Phillip in the years 1835-1840. A history of land grants, surveying, squatters? life and land use during this period.maps, b&w illustrations, colour illustrationsvictorian history -
Victorian Aboriginal Corporation for Languages
Book, Bruce Pascoe, The little red yellow black book : an introduction to Indigenous Australia, 2008
The Little Red Yellow Black Book is an accessible and highly illustrated pocket-sized guide. It's an invaluable introduction to Australia's rich Aboriginal and Torres Strait Islander histories and culture. It takes a non-chronological approach and is written from an Indigenous viewpoint. The themes that emerge are the importance of identity, and adaptation and continuity. If you want to read stories the media don't tell you, mini-essays on famous as well as everyday individuals and organisations will provide insights into a range of Australian Indigenous experiences.maps, b&w photographs, colour photographsindigenous history, culture, art, sport, health, education, employment, reconciliation, resistance, governance -
Victorian Aboriginal Corporation for Languages
Book, Edgar Morrison, A successful failure, a trilogy : the Aborigines and early settlers, 2002
Tells of the Aboriginal Protectorate System in Colonial Victoria during the period 1838 to 1852. The system was designed to be a buffer between the original inhabitants and the influx of white squatters. That the system failed is of little wonder. This story traces the times of Edward Stone Parker, Assistant Aboriginal Protector in the Loddon region of Victoria.maps, b&w photograph, colour photographs -
Victorian Aboriginal Corporation for Languages
Book, John Morgan, The life and adventures of William Buckley, 1996
Early (1852) biography of William Buckley, with introduction and notes by Roland Schicht (1996).maps, b&w illustrations, colour illustrationsport phillip bay, yarra river, william buckley -
Victorian Aboriginal Corporation for Languages
Book, Lewis Yerloburka O'Brien, And the clock struck thirteen : the life and thoughts of Kaurna Elder Uncle Lewis Yerloburka O'Brien /? as told to Mary-Anne Gale, 2007
The story of Kaurna man Uncle Lewis O'Brien and his family, beginning with his great, great grandmother Kudnarto - the first Aboriginal woman to marry a white man in South Australia. Contents: 1: Padniadlu wadu: Let's walk together in harmony 2: Kudnarto of Skillogalee Creek 3: Who was Tom Adam senior? 4: Tom and Tim Adams of Poonindie 5: The Adams Family of Point Pearce mission 6: Treasured memories and lessons from the mission 7: My difficult childhood 8: Leaving school and doing an apprenticeship 9: Joining the Merchant Navy 10: Becoming a 'land-lover' and settling down 11: Reflections on working in schools and university 12: Sharing our space 13: Achievements and celebrations.colour photographs, maps, b&w photographskaurna, south australia, political activism -
Victorian Aboriginal Corporation for Languages
Book, Rory O'Connor, The Kombumerri : Aboriginal people of the Gold Coast, 1992
Comprehensive book with coloured photos of the Kombumerri people and their traditional life in Queensland?s Gold Coast. Tells of white settlement, historic sites, flora and fauna, customs and myths, repression and land.colour photographs, b&w photographs, mapskombumerri, gold coast, queensland -
Victorian Aboriginal Corporation for Languages
Book with CD, Mark Crocombe, Muli Kanybubi Tjitjuk Kawuny na Yagatiya =? the two mermaids' dreaming place : ancestral knowledge of the Marri Ngarr Yek Dirranga people, 2003
Story in Language and English with illustrations.Illustrations, colour photographs, word lists, CDmarringarr, folklore, storytelling, northern territory