This item is part of a series of media photographs taken of Tony Barbar, Sale of the Century?tony barber; television; game show;

Made by German internee from Palestine held in Camp 3. The dice are made from bone from the kitchen.Rectangular wooden board game, hinged in centre. Base is marked for playing a game of backgammon. Handmade. Pair of dice made from kitchen bone.toys, camp 3 entertainment, dice, backgammon board

The 4 women are wardens at Camp 4 Tatura, all ready for a game of tennis. Taken 1945. The wardens are: Nell Collins; "Bunnie"; Frances Sproat; and Pat Tongs in front.Black and white photograph of 3 women standing and 1 women squatting in front of the others. Back ground is the side of a hut. Flowers in front of the women. There are 3 tennis rackets being held by 3 of the women.camp 4 tatura, camp 4 army female wardens, nell collins, bunnie, frances sproat, pat tongs, peter liddelow, susan liddelow

used by POW's at camp 13, made by Albert Jahn, an internee.Carved wooden miniature chess set (31 pieces). 2 kings, 2 queens, 4 bishops, 4 knights, 4 rooks, 15 pawns. A khaki bag with a draw string top for storage. 15 pieces made of dark coloured wood. 16 pieces made of light coloured wood. (1 piece missing)albert jahn, chess set, miniature chess set, pow games, internment camp board games

Else Oertel was a German internee in Camp 3A from 1940-1945. The German Red Cross sent items to the internees in the camps and this game was one of the items given to the Oertel family. Else's daughter, Else-Lore Hukins donated the items.Cardboard box containing 3 in 1 game set. Box is tan & cream with small checkered pattern. Picture on front of two men in possible military uniforms playing chess. Double sided board with red & cream chess squares on one side & pattern of lines on reverse, folded to fit inside box. 16 red & cream, & 16 blue & cream coloured leather round chess/ draughts pieces for use on board.(On lid of box): Schach - Dame und Muhle/ Das Kombinationsspiel mit dem gleichen Stein (D.R.G.M.)/ Ein gruB aus der heimat/|(At bottom of picture on lid): Combi-Spiele G.m b.H., Hannover-Lindentatura, ww2, camp 3, internment, internee camps, toys, general

A collectionof light pink/orange cards in a box (6) is part of a Coles Book Arcade Competition Card Series. This one is called "Advertisement Evening". The cards are kept in a cardboard box and have the answers to the questions on the cards. Peach colour card, folded in half, printed in black. Front has simple graphics and text. Inside opens out to single spread listing 24 questions and space to answer them. Back page lists other competition topics.COMPETITION GAMES / E.W. COLE / BOOK ARCADE / MELBOURNE.cole's book arcade, advertisements, quiz, competition games

Game token, nineteenth century, brass imitation Spade Half Guinea. On short length of chain. Thin, with milled edge. On the obverse is a central effigy of King George facing right, surrounding legend "GEORGIUS I [?] DEI GRATIA"... On the reverse is a central shield. The legend is 'WCB. ET. CO. DG. REX F.O. B.I.R.M./1790".(As above)game token

"Stuka" game sent by German Red Cross to children interned in Camp 3Children's board game. Board numbered 1 - 88. 1 blue, 1 yellow, 1 purple, 1 black, 1 green, 1 red counter. Each counter has an aeroplane imprinted in silver. Box to hold packaged game red in colour with rectangle picture depicting 8 planes over a bombing site "Stuka das Packende Kampffliegerspiel" with cardboard insert.children, board game, german red cross, drescher, camp 3, tatura, ww2 war camp 3, toys, games, stuka

The Girls' Guilds were based on the New Commandment "That Ye Love One Another". The program consisted of Free Exercises; Bolas; Vaulting; Jumping; Rondo; Ball Game; Basket Ball; Hoops; Running; Dumbells; Group Balancing; Marching and Canoe."Wesley" Girls' Guild Annual Display held on 12th November, 1931 in St George's Church Hall folded program.girls' guild

Request to the Chief Knight asking to put forward a motion against the proposed amendments to the Gaming Act during WWII.Methodist Order of Knights High Court of Victoria circular from A. N. Cadd, K.G.C. and H. L. Hillis, G, C. K.methodist order of knights, gaming act, world war 1939-1946 australia, a.n.cadd, h.l. hillis

This article reports on Chief Secretary, Mr Hamer's opening of Tower Hill new history centre, opened the day before. Robin Boyd was the architect who designed the centre, which was designed to fit in naturally with the surroundings,tower hill, hamer, walsh st library

Hardcover w/ Dust Jacketwalsh st library

Hardcover w/ Dust JacketAustralian National Gallery Bookmark about publications and services insidewalsh st library

Mawul Rom Project: Openness, obligation and reconciliation Morgan Brigg (Universtiy of Queensland) and Anke Tonnaer (University of Aarhus, Denmark) Aboriginal Australian initiatives to restore balanced relationships with White Australians have recently become part of reconciliation efforts. This paper provides a contextualised report on one such initiative, the Mawul Rom crosscultural mediation project. Viewing Mawul Rom as a diplomatic venture in the lineage of adjustment and earlier Rom rituals raises questions about receptiveness, individual responsibility and the role of Indigenous ceremony in reconciliation efforts. Yolngu ceremonial leaders successfully draw participants into relationship and personally commit them to the tasks of cross-cultural advocacy and reconciliation. But Mawul Rom must also negotiate a paradox because emphasis on the cultural difference of ceremony risks increasing the very social distance that the ritual attempts to confront. Managing this tension will be a key challenge if Mawul Rom is to become an effective diplomatic mechanism for cross-cultural conflict resolution and reconciliation. Living in two camps: the strategies Goldfields Aboriginal people use to manage in the customary economy and the mainstream economy at the same time Howard Sercombe (Strathclyde University, Glasgow) The economic sustainability of Aboriginal households has been a matter of public concern across a range of contexts. This research, conducted in the Eastern Goldfields of Western Australia, shows how economically successful Aboriginal persons manage ?dual economic engagement?, or involvement in the customary economy and the mainstream economy at the same time. The two economies sometimes reinforce each other but are more often in conflict, and management of conflicting obligations requires high degrees of skill and innovation. As well as creating financially sustainable households, the participants contributed significantly to the health of their extended families and communities. The research also shows that many Aboriginal people, no matter what their material and personal resources, are conscious of how fragile and unpredictable their economic lives can be, and that involvement in the customary economy is a kind of mutual insurance to guarantee survival if times get tough. Indigenous population data for evaluation and performance measurement: A cautionary note Gaminiratne Wijesekere (Dept. of Families, Housing, Community Services and Indigenous Affairs, Canberra) I outline the status of population census counts for Indigenous peoples, identifying information on Indigenous births and deaths, and internal migration estimates. I comment on the ?experimental? Indigenous population projections and question the rationale for having two sets of projections. Program managers and evaluators need to be mindful of limitations of the data when using these projections for monitoring, evaluating and measuring Indigenous programs. Reaching out to a younger generation using a 3D computer game for storytelling: Vincent Serico?s legacy Theodor G Wyeld (Flinders University, Adeliade) and Brett Leavy (CyberDreaming Australia) Sadly, Vincent Serico (1949?2008), artist, activist and humanist, recently passed away. Born in southern Queensland in Wakka Wakka/Kabi Kabi Country (Carnarvon Gorge region) in 1949, Vincent was a member of the Stolen Generations. He was separated from his family by White administration at four years of age. He grew up on the Cherbourg Aboriginal Reserve in the 1950s, when the policies of segregation and assimilation were at their peak. Only returning to his Country in his early forties, Vincent started painting his stories and the stories that had been passed on to him about the region. These paintings manifest Vincent?s sanctity for tradition, storytelling, language, spirit and beliefs. A team of researchers was honoured and fortunate to have worked closely with Vincent to develop a 3D simulation of his Country using a 3D computer game toolkit. Embedded in this simulation of his Country, in the locations that their stories speak to, are some of Vincent?s important contemporary art works. They are accompanied by a narration of Vincent?s oral history about the places, people and events depicted. Vincent was deeply concerned about members of the younger generation around him ?losing their way? in modern times. In a similar vein, Brett Leavy (Kooma) sees the 3D game engine as an opportunity to engage the younger generation in its own cultural heritage in an activity that capitalises on a common pastime. Vincent was an enthusiastic advocate of this approach. Working in consultation with Vincent and the research team, CyberDreaming developed a simulation of Vincent?s Country for young Aboriginal and non-Aboriginal persons from the Carnarvon Gorge region to explore Vincent?s life stories of the region. The use of Vincent?s contemporary paintings as storyboards provides a traditional medium for the local people to interactively re-engage with traditional values. Called Serico?s World, it represents a legacy to his life?s works, joys and regrets. Here we discuss the background to this project and Vincent?s contribution. A singular beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land RG Gunn (La Trobe University) and RL Whear (Jawoyn Association) Samples from a beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land were analysed for radiocarbon and dated to be about 150 years old. An underlying beeswax figure was found to be approximately 1100 years old. The Dreaming Being Namarrkon is well known throughout Arnhem Land, although his sphere of activity is concentrated around the northern half of the Arnhem Land plateau. Namarrkon is well represented in rock-paintings in this area and continues to be well represented in contemporary canvas-paintings by artists from the broader plateau region. We conclude that representations of Namarrkon in both painted and beeswax forms appear to be parallel manifestations of the late Holocene regionalisation of Arnhem Land. ?Missing the point? or ?what to believe ? the theory or the data?: Rationales for the production of Kimberley points Kim Akerman (Moonah) In a recent article, Rodney Harrison presented an interesting view on the role glass Kimberley points played in the lives of the Aborigines who made and used them. Harrison employed ethnographic and historical data to argue that glass Kimberley points were not part of the normal suite of post-contact artefacts used primarily for hunting and fighting or Indigenous exchange purposes, but primarily were created to service a non-Indigenous market for aesthetically pleasing artefacts. Harrison asserted that this market determined the form that these points took. A critical analysis of the data does not substantiate either of these claims. Here I do not deal with Harrison?s theoretical material or arguments; I focus on the ethnographic and historical material that he has either omitted or failed to appreciate in developing his thesis and which, in turn, renders it invalid. The intensity of raw material utilisation as an indication of occupational history in surface stone artefact assemblages from the Strathbogie Ranges, central Victoria Justin Ian Shiner (La Trobe University, Bundoora) Stone artefact assemblages are a major source of information on past human?landscape relationships throughout much of Australia. These relationships are not well understood in the Strathbogie Ranges of central Victoria, where few detailed analyses of stone artefact assemblages have been undertaken. The purpose of this paper is to redress this situation through the analysis of two surface stone artefact assemblages recorded in early 2000 during a wider investigation of the region?s potential for postgraduate archaeological fieldwork. Analysis of raw material utilisation is used to assess the characteristics of the occupational histories of two locations with similar landscape settings. The analysis indicates variability in the intensity of raw material use between the assemblages, which suggests subtle differences in the occupational history of each location. The results of this work provide a direction for future stone artefact studies within this poorly understood region.document reproductions, maps, b&w photographs, colour photographskimberley, mawul rom project, 3d computer game, storytelling, vincent serico, beeswax, namarrkon, artefact assemblages, strathbogie ranges, groote eylandt, budd billy ii

The Railway Hotel in Sunbury was owned and operated by the Edwards family until Dawn Edwards died in 2004. It is situated on the corner of Station and Evans Streets and over the years has undergone many changes to accommodate the changes in liquor and gaming laws.A black and white photograph of the Railway Hotel, renamed The Olive Tree. The building is sited on a corner block. it is a two storey building with seven windows on the upper floor and eight on the ground floor as well as a doorway. A Holden station wagon is angle parked on the LHS and two bare trees are growing on the nature strip.hotels, motels, evans street, edwards, dawn, railway hotel, olive tree hotel, george evans collection

This black and white photograph of the grave of A.W. Eustace is believed to have been taken in September 1987 at the Chiltern New Cemetery. Alfred William Eustace, an Australian artist, was born in the small village of Ashbury, Berkshire, England, the son of John Eustace, Head Game-keeper to the Earl of Craven at the beautiful Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped next to the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was owned by the Withers family and was in excess of 55,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that are in the Beechworth Museum collection are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by his relatives from the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.A. W. Eustace, as well as being a well-known Australian artist, was a significant member of the Chiltern community.Black and white photograph of the grave of A.W. Eustace, under glass, in a metal frame.Sticker on back: 184 (original Registration number)a. w. eustace, grave, chiltern new cemetery

COLOURED PHOTOGRAPH MENS BASKET BALL GAME IN PROGRESS AT CLUNES COMMUNITY CENTRElocal history, photography, photographs, sport, basket ball

COLOUR PHOTOGRAPH SMALL TREES PLANTED NEAR CREEK AND ROAD IN READINESS FOR PROJECT - CLUNES GUN CLUB - FIELD AND GAMElocal history, photography, photographs, gun club