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Greensborough Historical Society
School Photograph - Digital Image, Greensborough Primary School Gr2062 1977 Grade Prep C, 1977_
Class photograph from Greensborough Primary School No.2062. 1977 Grade Prep C. Student names are not identified.Digital copy of colour group photograph.Class name marked on photograph.greensborough primary school, greensborough state school -
Greensborough Historical Society
School Photograph - Digital Image, Greensborough Primary School Gr2062 1977 Grade Prep M, 1977_
Class photograph from Greensborough Primary School No.2062. 1977 Grade Prep M. Student names are not identified.Digital copy of colour group photograph.Class name marked on photograph.greensborough primary school, greensborough state school -
Greensborough Historical Society
School Photograph - Digital Image, Greensborough Primary School Gr2062 1978 Grade 1 and 2, 1978_
Class photograph from Greensborough Primary School No.2062. 1978 Grade 1 and 2. Student names are not identified.Digital copy of colour group photograph.Class name marked on photograph.greensborough primary school, greensborough state school -
Puffing Billy Railway
Guards Hand Lamp - Harvey, Shaw & Drake 1913 Tri Colour, 1913
Guards Hand Lamp - Tri Colour Harvey, Shaw & Drake 1913 Gills Alley is located between Queen and Elizabeth streets, extending north to a dead-end from Little Collins Street. In 1895, Gills Alley extended through from Little Collins Street to Bourke Street. The Saracen's Head Hotel was located on the corner of Gills Alley and Bourke Street. By 1920, however, the north end of the lane had been closed off, leaving the sole entrance to the lane on Little Collins Street. Gills Alley was at this time the location of several warehouses, showrooms and factories belonging to the Harvey, Shaw and Drake Company.Guards Hand Lamp - Tri Colour Harvey, Shaw & Drake 1913 used by the victorian railwaysTri Colour Harvey, Shaw & Drake 1913 guards hand lamp Made of Metal , brass and glassTri Colour Harvey, Shaw & Drake 1913 puffing billy, guards hand lamp, harvey, shaw and drake company, tinsmith -
Glenelg Shire Council Cultural Collection
Photograph, Photograph - Grain storage, n.d
Port of Portland Authority Archivesport of portland -
Glenelg Shire Council Cultural Collection
Photograph, Photograph - Reclamation, n.d
Port of Portland Authority Archivesport of portland -
Glenelg Shire Council Cultural Collection
Photograph, Photograph - Grain storage, n.d
Port of Portland Authority ArchivesBack: 7cm wide border ruled around edge in pencil. 28cms x 21cms (15) top border, pencil. 58% pencil crossed out 60% blue pencil.port of portland -
Ringwood and District Historical Society
Photograph, Cub Gathering Photograph (Event/Date unknown) and second image of inscription on reverse
17.5x4.5cm creased photograph of large cub gathering in parkland. Cubs dressed as soldiers and aboriginals. Location and event unknown.On Reverse: Elsie M Dicker, Photographer, 170 Auburn Rd, Auburn E2. "Dear Mr Mabus. Would you please let me have any orders as soon as possible. Price 4/- each" -
Federation University Historical Collection
Photograph- Colour, Framed photograph of Morgan B. John and opening plaque at the opening of the Ballarat School of Mines M.B. John Building, 1987, 11/06/1987
Framed photograph of Morgan B. John and opening plaque at the opening of the Ballarat School of Mines M.B. John Building.The Ballarat School of Mines &Industries Ballarat Established 1870 This plaque commemorates the official opening of the M.B. John Building on 11th June 1887 by The Honourable John Cain M.P. Premier of Victoriaballarat school of mines buildings, m.b. john building, m.b. john, morgan b. john, john cain, visitors, buildings, opening, plaque -
Federation University Historical Collection
Photograph - Colour, 1949 Ballarat Teachers' College 50th Reunion Photograph, 1999
Coloured group photograph of those at the Reunion of the 1949 Exies pf Ballarat Teachers' College Ballarat, take in 19991949 Exies of Ballarat Teachers' College 50th Reunion Ballarat 1999 written on the backballarat teachers' college, 50th reunion, photograph, group photograph, colour photograph -
NMIT (Northern Melbourne Institute of TAFE)
Photograph: CTS Prefects 1963, Photograph: Collingwood Technical School Prefects 1963
Black and white photograph and copy pages from Turawan the school magazine of Collingwood Technical School about the Prefects.collingwood technical school, students, prefects, nmit -
NMIT (Northern Melbourne Institute of TAFE)
Photograph: PCOT students in gym c1980s
Black and white photograph of Preston Technical School students in the school gym with two instructors. Undated but estimated to be 1980s.preston technical school, students, gym class, nmit -
NMIT (Northern Melbourne Institute of TAFE)
Photograph: PTS 1958 Girls School Class
Small black and white photograph of Preston Girls Technical School 1958 class of students, possibly in an art class. preston girls technical school, students, classes, nmit -
Ballarat Heritage Services
Photograph - Photograph - Colour, Stewart and Co Photograph
Two studio photographs by Stewart and Co or 217 -219 Bourke Street, Melbourne. One is of a man, the other is of a woman. stewart and co., photographers, studio portrait, women, men -
Queenscliffe Maritime Museum
Photograph - Photo of The Cut's first flow between Port Phillip and Swan Bay, Photograph of boat channel creation series, 1934-36
QUEENSCLIFFE boat channel being dug out c1934-36Boat channel for fishing fleet protectionBlack & white photograph of the Boat Channel - The Cut's first flow connecting between the Swan Bay and Port Phillip. Reverse - NILcommunity information, boat channel c1934-36, the cut -
Disability Sport & Recreation Victoria
Photograph and label, Photograph of wheelchair athletes 1960, 1960
The Austin Hospital in Melbourne established a Spinal Injuries Unit in 1957, and soon after helped pioneer the development of wheelchair sports in Australia.Black and white photo of wheelchair athletes at the Austin Hospital in 1960, along with a label attached naming those in the photograph.The label attached to the photo has the following: Balcony W*d (Ward?) 17 Austin 1960. Left to right: Kevin Coombs, Ron Hepburn, Fred Martin, Robin Luas, Graeme Philp, Brian Bird, Gordon Burch. The reverse of the photo contains the same text (written in pen), except with Graeme Philp written as Graeme "Phillp".kevin coombs, ron hepburn, fred martin, robin lucas, graeme philp, brian bird, gordon burch, austin hospital, wheelchair sport, disabled sports -
Greensborough Historical Society
School Photograph - Digital Image, Greensborough Primary School Gr2062 1975 Team Bat Tennis, 1975_
Sports team photograph from Greensborough Primary School No.2062. 1975 Team Bat Tennis. Student names are not identified.Digital copy of colour group photograph.Group name marked on photograph.greensborough primary school, greensborough state school, bat tennis -
Greensborough Historical Society
School Photograph - Digital Image, Greensborough Primary School Gr2062 1977 Team Netball, 1977_
Sport Team (Netball) photograph from Greensborough Primary School No.2062. 1977 Team Netball. Student names are not identified.Digital copy of colour group photograph.Class name marked on photograph.greensborough primary school, greensborough state school, netball -
Greensborough Historical Society
School Photograph - Digital Image, Greensborough Primary School Gr2062 1978 Grade 2 and 3 W, 1978_
Class photograph from Greensborough Primary School No.2062. 1978 Grade 2 and 3 W. Student names are not identified.Digital copy of colour group photograph.Class name marked on photograph.greensborough primary school, greensborough state school -
Eltham District Historical Society Inc
Document - Series Listing, Fraser Faithfull et al, Series 33: Shire Aerial Photograph Collection, 2000
Series consists of 39 aerial photographs and photo maps of the Shire and environs. A separate Item List exists (created on MS Excel spreadsheet), please refer to the attached pagesshire of eltham archives, series listing -
Hymettus Cottage & Garden Ballarat
Mounted & Framed Lithograph certificate, Hibernian certificate and photograph
The Hibernian Australasian Catholic Benefit Society was formed at Ballarat in 18 and William Taffe was Ballarat President in 1940 when presented with this mounted and framed photograph and photo-lithographic certificate.Thornton Richards & Co Ballarat inscribed on mounting board. Details of the subject, W.J.Taffe written in on the certificate. -
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, 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, 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, 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, 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, 1997
Looks at the culture and history of the some of the NSW Aboriginal people.maps, colour photographs, b&w photographs