Photograph. Harry Biggs Collection. In the foreground is a horse and commercial cart with the words J. Nixon Bendigo Confectionery Works High St. Beside it is his driver and 6 workers in their aprons. In the background is the shop & on its windows are the words Workrooms. J Nixon Wholesalers Retailplace, building, commercial, harry biggs collection, j nixon's confectionary works high st bendigo

Photograph. Harry Biggs Collection. 1 black & white photo of 5 men a dog standing in front of the Bears Lagoon Hotel. Wooden structure with iron roof. Beer keg on the verandah.place, building, commercial, harry biggs collection, bears lagoon hotel, bear's lagoon.

Photograph. Harry Biggs Collection. 1 black & white photo. A row of shops in Eaglehawk. Homes above the shops. Commercial signs are F W Chaplin, Olympic Tyres. Very dark under the verandahs as in shade. In the foreground is a young man on his bike.place, building, commercial, harry biggs collection, eaglehawk shops, f w chaplin

Photograph. Harry Biggs Collection. 1 black & white photo. A group of 15 man, 3 greyhounds & a horse & dray & driver standing in front of R Jeffery Timber Merchant & Ironmonger, Eaglehawk. Beside the store is another building titled R Jeffery Carpenter Wheelwright. The clothing of the era - hats, waistcoats, 3 piece suits & fob watches clearly seen.place, building, commercial, harry biggs collection, r jeffery store & group photo, eaglehawk.

Photograph. Harry Biggs Collection. 2 black & white photos (1 smaller) of 8 men with horses & drays standing in front of the R Jeffery Store. At the back of this group can be seen 3 people under the verandah. At the side is another man & also a horse & dray. On the verandah structure are the words - Bar, Hoop, sheets galvanised iron, zinc, lime cement, laths, doors, sashes, cast shear Blistered Steel. At the side of the verandah are the words Timber & Iron Yard. Plate 126 Premises of Jeffery Bros, Victoria Street, Eaglehawk. (Robinson Photo). 1 photocopy of these photos.Robinson Photoplace, building, commercial, harry biggs collection, r jeffery timber merchant & ironmonger, eaglehawk

Photograph. Harry Biggs Collection. 1 black & white photo. Shops with their ornate roofs above the buildings. Commercial signs are John Lay & Sons Chemists, Chemist. Reeds Fruit Juice Squash, Toppa Ice Cream. A very ornate light is above a shop. A car is parked in front of the chemist - (possibly a Chev.)place, building, commercial, harry biggs collection, shops high st. eaglehawk, john lay & sons chemist

Photograph. Harry Biggs Collection. 1 black & white photo. Foodland Store in High St. Eaglehawk. Store signs - above verandah - only centralised, FOODLAND - city prices only. On the shop windows are the words FOODLAND Specials, Penfolds Wine, wines, ales, spirits. There is a woman window shopping and a man, woman & 2 little girls walking past.place, building, commercial, harry biggs collection, foodland store

Photograph. Harry Biggs Collection. 1 black & white photo of garage covered with commercial signs - Use RPM - the premium motor oil; Caltex; Service Station for Atlantic Motor Oil. In front of workshop are the words Atlantic & Caltex. Above a bowser is the word Atlantic.place, building, commercial, harry biggs collection, atlantic garage eaglehawk

Harry Biggs Collection. Two black & white photos: View Point Butchery. Square brick building with iron roofed veranda. In the foreground are four men standing - one with a bike, another wearing a butcher's apron. One man is wearing a bowler hat & suit. One man wearing waist coat & bowler hat. There are also two men squatting in front of a tin fence at the side. See record 2400.168.place, building, commercial, harry biggs collection, view point butchery

Photograph. Harry Biggs Collection. 1 black & white photo of H M Leggo & Co., Merchants, Bendigo. Markings on the building - 1861 at the top, H M Leggo & Co., Merchant Importers. The large windows also have signs on them H M Leggo & Co., Merchants & Importers. In the foreground are 4 horses - each group of 2 pulling a lorry. The 2nd lorry is carrying bags of produce. Plate 165. H M Leggo & Co., Merchants, Bendigo. Exterior view of offices and warehouse.place, building, commercial, harry biggs collection, h m leggo & co. merchants bendigo

Photograph. Harry Biggs Collection. 1 black & white photo of the corner of High St. & Victoria St. Eaglehawk. Brick building with the sign Antiques. Bric a brac hanging out on the corner. Above a white framed window is another sign ANTIQUES. Behind the shop is a brick shed 7 behind that is a very tall chimney. A street sign says Victoria St. A road sign says Neangar Park Golf Club: Echuca 40 Rochester 72. There are ornate iron safety features on all upstairs windows.place, building, commercial, harry biggs collection, cnr. high st. & victoria st., eaglehawk, antique shop

Photograph. Harry Biggs Collection. 1 black & white photocopy of a pioneers grave at Myers Creek. In the form of a collage just below this is a photo of the Fountain Pall Mall roundabout full of people & horses & buggies. The early commercial area can be seen. The words Henderson & Goods Son Furniture & Drapery can be seen. Some wattle can be seen on the top left hand corner.place, building, site, harry biggs collection, pioneers grave myers creek

Photograph. Harry Biggs Collection. People walking through &andshopping in Bennetts Arcade. Commercial signs are Taubmans Paints, the best procurable, Bennetts Arcade, Stores. Along the side are words including Stationary, Fancy goods. Items are in front of the shops for purchase. A woman & 3 children are shopping. A group of adults are walking through. The roofing is clear to allow for light. The building is very ornate. There is a clock built into the wall of the Bennetts sign.place, building, commercial, harry biggs collection, bennetts arcade, taubmans paints

Photograph. Harry Biggs Collection. Very detailed photo of Bendigo Arcade / Bennetts Arcade c1940's. Many products are displayed in front of the shops - brooms, hoses, bins, lawn mowers, cases, baskets, brushes etc. Trade signs are Abbott & Co., Boots Shoes, Cheapest in Bendigo. Bennetts, ironmongery. On the left is a woman in a long winter coat shopping. There are three people walking through the Arcade. The roof is very ornate & the top is clear so it is well lit with the light coming through. See Research field and 2400.104.1.pdf (attached) for further information.place, building, commercial, harry biggs collection. bendigo arcade. bennetts arcade. boots shoes. abbott & co.

Photograph. Harry Biggs Collection. 10 photos small (identical) of Eaglehawk Circulating Library. 3 people on one side of veranda post and 4 on the other. Fashions of the period and shop front of interest store windows. 2 larger photos of the above.place, building, commercial, harry biggs collection, eaglehawk circulating library

Photograph. Letter. Harry Biggs Collection. This letter has been sent to 'Dear Harry' thanking him for the 2 photos of Neil Walker that Harry had sent to her - Marie Norris. The letter was dated 21 April 1982 and it has been typed. On the top of the letter has been hand written in black ink 'Shop now 37 Victoria St, Eaglehawk'place, building, commercial, harry biggs collection, f hayman shop

Photograph. Harry Biggs Collection. 3 copies of same photo - shop frontage - sign unclear --- butcher. Ornate veranda. Wide shop windows. 2 horse & covered carts in foreground. 5 men in foreground - 3 in butcher's aprons. 1 man sitting in cart. 'First shop Webster on Locket (?) Wrights site Peg Leg Rd Eaglehawk' written on the back.place, building, commercial, harry biggs collection, butcher shop

Photograph. Harry Biggs Collection. 2 copies - A group photo in front of Kidd's Store, California Gully. A lady with a bicycle & a gentleman in a horse & buggy. Two children & 3 men also & a lady on the veranda. Two copies are not as close as the first include another store to the left. Excellent photo of the store front veranda & veranda posts & the store windows.place, building, commercial, harry biggs collection, kidd's store, california gully, grocer, ironmonger

Harry Biggs Collection. Black & white photo of High St. Bendigo. Shop signs visible - T. Baldwin Hair Cutting, shaving shampooing; Burston's Colonial Boot Store, Royal Hotel, Britannia House. A sign post: 'Eadie & McIntyre Gold Office'. In foreground Bendigo Creek with a footbridge to the left. Two gnarled trees in centre of photo. Photo taken near View Point. Image taken in 1850's.place, building, commercial, harry biggs collection, high st. bendigo

Photograph. Harry Biggs Collection. Black and white photo of Bendigo. Pall Mall area, looking north. The unmade road has a line of shops to the right. - K Van Damme Tobacconist is in the foreground as is Cobb & Co booking office. Above the tobacconist is the sign Morey & Snow. 2 men are standing above a shop. Horse & carts are parked in front of the shops. Trees are to the left.place, building, commercial, harry biggs collection, bendigo pall mall

Photograph. Harry Biggs Collection. A black & white photo of the clock and of Bennetts Arcade. Numerous items are displayed out the front of the stores including hoses, lawn mowers, bins, baskets. People are shopping & walking through the Arcade. Taubmans paints sign - the best procurable can be seen as is Bennetts Arcade Stores.place, building, commercial, harry biggs collection, bennetts arcade

Black and White Photo, Pall Mall and Mundy Streets Intersection, Photo Also includes 'Goudge Bros Butchers' in Howard Place, The shop next door has the sign 'J.J. Cohen, Importer of Fancy Goods', Photo markings on back 'Mundy Street and Pall Mall Intersectioon', 'Holterman Collection 1876'buildings, commercial, mundy street, pall mall, goudge bros butcher, butcher, j.j. cohen

Framed Poem written by Ric Norris to Commemorate the reopening of the Shamrock Hotel, titled ''Timeless Beauty'', the poem is dedicated to John Stoddart the new licensee and prime instigator towards the restoration.place, building, commercial, shamrock hotel poem, shamrock hotel, poems, shamrock

The programme of the Inaugural celebration of Favaloro's Café on pink card with gold print. ' Favaloro's Café Pall Mall, Bendigo Inaugural Celebration Sept. 9, 1920.' Programme details follow made up of music and dancing. The Accompanist is Miss Mabel McGauchie and the Programme is arranged by Mr. Alex. Hamilton.program, music, favaloro's café, lydia chancellor, collection, place, building, commercial, café, programme, music, dancing, celebration, favaloro's café, commerce

During prestige, long distance train journeys some carriages had air-conditioning, and the majority of passengers had to brave unheated carriages. To offer some comfort during the winter months, the non-air-conditioned carriages were provided with footwarmers. These were metal containers roughly 100 mm thick and 300 mm wide, and about 750 mm long, which were filled with salt crystals (concentrated crystalline hydrated sodium acetate). The footwarmers were covered by sleeves of thick canvas, and two footwarmers were usually placed in each compartment of non-air-conditioned carriages. To activate the chemicals, the footwarmers were heated almost to boiling point. This was done by removing the canvas sleeves and placing the footwarmers in a large bath of very hot water. After they had been heated, they were removed from the bath and the sleeves refitted. They were then ready to be placed in the carriages. The McLaren patent foot warmer was used on railways in New South Wales, Queensland, Victoria and South Australia as well as South Africa and New Zealand. It was during the 1901 royal visit by the Duke and Duchess of Cornwall that these foot warmers were first used in New Zealand in the royal carriage. Before railway carriage heating was introduced, McLaren patent foot warmers were placed on the floor of New South Wales government railway carriages from 1891 to provide a little passenger comfort. The rectangular steel container worked a bit like a hot water bottle but instead of water contained six and a half kilograms of loosely-packed salt crystals, (concentrated crystalline hydrated sodium acetate). This was permanently sealed inside the container with a soldered cap. After the foot warmer was heated in vat of boiling water for about one and a quarter hours the crystals became a hot liquid. (The melting point for sodium acetate is 58 degrees). There was a whole infrastructure of special furnaces set up at stations for the daily heating of foot warmers. By 1914 the Victorian railways had 4,000 foot warmers in service and by 1935 there were 33 furnaces at principal stations to heat them. After about 10 hours the container was picked up by the handle and given a good vertical shake which helped the cooled liquid reform into a solid mass of hot crystals. Staff or sometimes passengers shook them en route when the foot warmers began to get cold. However, as they were heavy this was only possible by fit and agile passengers. At the end of the journey the containers were boiled again for reuse on the next trip. Sodium acetate railway foot warmers were introduced in Victoria in 1889, Adelaide to Melbourne express in 1899. "Shaking up" on this service took place at Murray Bridge and Stawell on the tip to Melbourne and at Ballarat and Serviceton on the trip to Adelaide. The use of foot warmers began to decline in New South Wales from the 1930s with the first trial of carriage air-conditioning in 1936, steam heating from 1948 ad LP gas heating from 1961. By the early 1960s the main services using foot warmers were the overnight mail trains. info from : http://www.powerhousemuseum.com/collection/database/?irn=67564#ixzz4UBNzVf6t Under Creative Commons License: Attribution Non-Commercial There was a whole infrastructure set up at stations for the daily heating of foot warmers in special furnaces. In Victoria alone in 1935 there were 33 heating works.Historic - Victorian Railways - Carriage Heater - Foot warmerA rectangular-shaped stainless steel casing with a welded seam down the back and welded ends. There is a handle at one end for carrying and shaking. Inside the foot warmer are two baffle plates and three trays to contain the sodium acetate. There was a cast-iron ball in each internal compartment. puffing billy, victorian railways, carriage haeter, foot warmer, passenger comfort, station furnace, railway ephemera, early heating methods

Robin Boyd developed a close friendship with the founder of the Bauhaus in Weimar Germany, Walter Gropius, who had moved to the USA in the 1930s. Through this connection, Boyd was invited to be the Massachusetts Institute of Technology (MIT) Bemis Professor at the School in the North American academic year 1956-7. Robin and Patricia Boyd, with their youngest daughter Suzy, were based in Cambridge, Massachusetts for the year. Boyd gave some lectures at MIT and he was also invited to give lectures at many other universities, allowing him to travel widely within the USA, especially on the East Coast. This gave him the opportunity to meet architects like Frank Lloyd Wright, Eero Saarinen, Paul Rudolph and many others, and visit the offices of Skidmore, Owings and Merrill, and places like Taliesin and the General Motors Technical Center Detroit. On the way home, the Boyds visited London, Berlin, Paris and Le Corbusier’s Ronchamp Chapel in France.Colour slide in a mount. Aerial photograph, Pentagon (1943), Arlington, Virginia, USAThe Pentagon / Washington DC / D / RB (All Handwritten)mit bemis professorship, mit, robin boyd, slide

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

Robin Boyd developed a close friendship with the founder of the Bauhaus in Weimar Germany, Walter Gropius, who had moved to the USA in the 1930s. Through this connection, Boyd was invited to be the Massachusetts Institute of Technology (MIT) Bemis Professor at the School in the North American academic year 1956-7. Robin and Patricia Boyd, with their youngest daughter Suzy, were based in Cambridge, Massachusetts for the year. Boyd gave some lectures at MIT and he was also invited to give lectures at many other universities, allowing him to travel widely within the USA, especially on the East Coast. This gave him the opportunity to meet architects like Frank Lloyd Wright, Eero Saarinen, Paul Rudolph and many others, and visit the offices of Skidmore, Owings and Merrill, and places like Taliesin and the General Motors Technical Center Detroit. On the way home, the Boyds visited London, Berlin, Paris and Le Corbusier’s Ronchamp Chapel in France.Colour slide in a mount. Governor's Palace Supper Room Colonial Williamsburg, Virginia, USASuper Room, The Palace / Wallpaper handpainted in China / RB / D (All Handwritten)mit bemis professorship, mit, robin boyd, slide

Robin Boyd developed a close friendship with the founder of the Bauhaus in Weimar Germany, Walter Gropius, who had moved to the USA in the 1930s. Through this connection, Boyd was invited to be the Massachusetts Institute of Technology (MIT) Bemis Professor at the School in the North American academic year 1956-7. Robin and Patricia Boyd, with their youngest daughter Suzy, were based in Cambridge, Massachusetts for the year. Boyd gave some lectures at MIT and he was also invited to give lectures at many other universities, allowing him to travel widely within the USA, especially on the East Coast. This gave him the opportunity to meet architects like Frank Lloyd Wright, Eero Saarinen, Paul Rudolph and many others, and visit the offices of Skidmore, Owings and Merrill, and places like Taliesin and the General Motors Technical Center Detroit. On the way home, the Boyds visited London, Berlin, Paris and Le Corbusier’s Ronchamp Chapel in France.Colour slide in a mount. New Orleans, Louisiana, USANew Orleans Balconies / RB / A (All Handwritten)mit bemis professorship, mit, robin boyd, slide

Robin Boyd developed a close friendship with the founder of the Bauhaus in Weimar Germany, Walter Gropius, who had moved to the USA in the 1930s. Through this connection, Boyd was invited to be the Massachusetts Institute of Technology (MIT) Bemis Professor at the School in the North American academic year 1956-7. Robin and Patricia Boyd, with their youngest daughter Suzy, were based in Cambridge, Massachusetts for the year. Boyd gave some lectures at MIT and he was also invited to give lectures at many other universities, allowing him to travel widely within the USA, especially on the East Coast. This gave him the opportunity to meet architects like Frank Lloyd Wright, Eero Saarinen, Paul Rudolph and many others, and visit the offices of Skidmore, Owings and Merrill, and places like Taliesin and the General Motors Technical Center Detroit. On the way home, the Boyds visited London, Berlin, Paris and Le Corbusier’s Ronchamp Chapel in France.Colour slide in a mount. St Peter Street, New Orleans, Louisiana, USASt. Peter Street / RB / C (All Handwritten)mit bemis professorship, mit, robin boyd, slide