Grey linen covered book with terracotta, yellow, black and gold decoration and text. There is a bookplate inside the front cover. 136p with black and white lithographic illustrations by Henry Courtney Selous. fictionewing memorial presbyterian sabbath school east malvern, lily mclean, j mckenzie king presbyterian sabbath school superintendent, mrs beynon presbyterian sabbath school teacher

Five postcard sized birthday cards with colour images and text which includes a birthday wish and a bible reference. The back of the cards E2127.23.1 yellow card with white lamb and red and black text. The back has a different birthday wish and an image of a birthday cake with one candle on it. E2127.23.2 white card with two kittens with blue, red and black text. The back has a different birthday wish and an image of a birthday cake with two candles on it. E2127.23.3 and E2127.23.4 white card with coloured scene with blue, red and black text. The back has grey text in the greetings space. E2127.23.4 white card with coloured scene with blue, red and black text. The back has black text at the top. "E2127.23.1 "Birthday Greetings Now you're 1 year old" Back: "We send you this greeting, dear, With a prayer that God's blessing Be with you all the year." E2127.23.2 "Happy Birthday 2 year old" Back: "May the Lord watch over you and care for you throughout the year." E2127.23.3 "Loving Wishes for Baby's First Birthday" Back: "Suffer little children to come unto me" "From The Superintendent of THE CRADLE ROLL of ... Sunday School" E2127.23.4 "Two Today ... We wish you Many Happy Returns." Back: "Suffer little children to come unto me" "From The Superintendent of THE CRADLE ROLL of ... Sunday School" E2127.23.5 "Birthday Blessings" Back: "Post Card"birthday card

G079.1 Dark brown leather box with gilt cross on its lid. The box has a single chrome keyed latch and is lined with pale grey satin. G079.2 - G079.7 Six small silver chalices with an etched cross on the front of each. They are secured by a leather strap to the side of G079.1. G079.8 Square white line cloth with an embroidered cross in one corner.glen iris uniting church, glen iris wesleyan church

From Glen IrisBlue and white triangular felt pennant with grey text."P.G.F.B.B.A. D GRADE 1946 PREMIERS"

From Glen IrisBlue and white triangular felt pennant with grey text."P.G.F.B.B.A. A GRADE 1947 PREMIERS"

From Glen IrisBlue and white triangular felt pennant with grey text."P.G.F.B.B.A. A GRADE 1948 RUNNERS UP"

The Boyds brought this vitamiser from their Camberwell home. Mandie Boyd, Robin and Patricia's eldest daughter, has very vivid memories of this gadget. "It made everything from milkshakes for us to mayonnaise, stuffing for chicken, soups, but especially I remember Robin in the kitchen using it to make daiquiris, endless ice, rum and lemon juice crushed and blended in the good old Vitamiser. He was wearing an amazing pale grey suit. American fabric beautifully cut, must have been synthetic, and had flecks of a darker grey through it, sounds hideous and was “of the time”. His American cotton business shirts were also beautifully tailored, with loads of room to move your arms unlike the daggy Aussie shirts." "Semak" Vitamiser, with a white plastic base, with 'on/off' switch at front of base. 4 black holders. Glass jug with black plastic lid. Black power cord. 3 black rubber stoppers at base.SN 7-81. 50 CYCLE 240v 120Wcookware, walsh st appliances, robin boyd

Miss Eliza Bromby was Principal of Ruyton Girls’ School, 1888-1910. She shared her Principalship with business partners Mrs Louise Gubbins & Miss Lilian Irving 1888-1895, and Miss Emilie Lascelles 1900-1910. Ruyton Girls' Schools was founded in 1878. From 1889-1920 Ruyton was located on the corner of Abeckett and Barry Streets, KewBlack & white photograph of Principal Miss Eliza Bromby, with the students and staff of Ruyton Girls’ School, in 1909. The group is arranged in four rows of seated and standing individuals, with the school’s main building behind them. The photograph has been mounted on grey card. It was taken at Ruyton, corner of A’Beckett & Barry Streets, Kew. Miss Bromby is seated in the second front row, ninth from left. Her co-Principal Miss Emilie Lascelles is probably the woman seated beside her. Miss Hilda Daniell, Principal of Ruyton 1913-1952, stands in the second from top row, eleventh from left.ruyton girls' school, kew, eliza bromby, emilie lascelles, abeckett street, 1900-1909, 1909, private school, school photo

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

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Born digital photograph of the fireplace in the main bedroom of Villa Alba. The original 1880s white marble mantel surround has a raised iron and brass cast iron grate with hearth and side tiles by Mintons Ltd. The marble fire surround has being carved in a conventional style and lacks the opulence of what was at the time described as the grandest bedroom in the Colony, whereas the raised grate features decorative brass sun symbols and scrolling on the iron panels. The 'grey monochrome' surround tiles, of which there are eight in situ were produced to design by John Moyr Smith by Mintons Ltd as part of the 'Waverley' series (No, 1607) of which there were twelve subjects (Mintons Catalogue, p. 62/206). The selection conforms to William Greenlaw's desire to symbolically represent Scottish themes in the decoration of the house. It also relates to the mural in the dining room architrave of scenes from the novels of Sir Walter Scott. The three rows of hearth tiles employ a repeated geometric pattern.fireplaces, mintons, mintons - tiles, villa alba - main bedroom

Brighton Congregational Church sports groupB & W photograph of a group of 27 boys and young men dressed in white athletics clothing, with black stockings and white shoes. Photo is mounted on grey card.brighton congregational church, sports

In 1823 the membership of the Primitive Methodist church in the UK was 33,000. Forty years later, in 1863, membership had grown to half a million making it the third largest religious group after Anglican and Wesleyan Methodist. Primitive Methodism came to Australia in 1840. Source: https://www.movements.net/blog/2016/02/08/lessons-from-the-primitive-methodists-dave-price.htmlCH019.1 - Primitive Methodist white commemorative plate with grey, green, brown and gold illustrations and text. Images: Top: "First camp meeting, held at Mow Cop, May 31 1907". Right side: "Jubilee Chapel, Tunstall". Left side: "Memorial Chapel Mow Cop". Bottom:" Clowes Memorial Chapel, Burslem". Centre: "Hugh Bourne. Born April 3rd 1772. Died Oct 11th 1852" "William Cowes Born march 12th 1780 Died March 2nd 1858". The is text around the rim of the plate: "The little clouds increasing still which first arose upon Mow Hill" "The Centenary Camp Meeting was celebrated at Mow Cop on May 26th & 27th 1907". The back of the plate gives church statistics: "Truly What Hath God Wrought. Chapels & Preaching places 4,905. Ministers 1,153. Local Preachers 16,209. Church Members 210,173. Congregational ... 607,682. Sunday Schools 4,209. Teachers 61,275. Scholars 477,114. Value of Property 4,958,978 pounds. CH019.2 - Same as CH019.1 in white, blue and gold. CH019.3 - Same as CH019.1 with more gold and colour. The wording around the rim is the same but differently placed."1807 PRIMITIVE METHODIST CENTENARY 1907"primitive methodist, primitive methodist jubliee chapel tunstall, mow cop, bourne, hugh, clowes, william

White card house-shaped giving box with black and grey print on each side. Money slit in 'roof'.Front: "Australia for Christ" "The Church in Every Home"methodist home mission

Robert Bayles was born in England in 1864. He commenced his ministry in 1890, was President of the Victoria and Tasmania Conference of the Methodist Church from 1927 - 1928 and died at Burwood in 1928.Black and white head and shoulders studio portrait of Rev. Robert Bayles mounted on grey card. Rev Bayles is facing and looking to his right. He is wearing round eye glasses and his clerical collar. The photograph has white hand writing on the front."REV. ROBERT BAYLES PRESIDENT 1927-8"rev robert bayles president of the methodist conference of victoria and tasmania, rev robert bayles methodist minister.

Rev. E. H. Chapple (1866 - 1956) was educated at the University of Melbourne, and was ordained a Wesleyan minister. He was admitted Presbyterian in 1904. Matte, black and white 3/4 studio portrait of Rev. Edward Henry Chapple who is standing and looking directly at the camera. He is dressed in an academic gown over his clerical suit and collar and is holding a rolled document in his left had. The photograph has a grey which has a gold border and a black and gold script inscription. It is tipped onto brown card which has some pencil handwriting and an ink handwritten dedication at the bottom right.Front: "REV. E. H. CHAPPLE - B.A. MINISTER ST. ANDREWS 1913 - 1934" Back: "For Victor Taken 1930"rev e h chapple ba, st andrew's presbyterian church oakleigh, rev e h chapple ba presbyterian minister

Rev. G. S. Taylor (1901 - 1959) attended university of Melbourne and was a chaplain to the forces in World War Two.Semigloss, black and white, 3/4 studio portrait of Rev. George Stewart Taylor whose is looking directly at the camera with his body is facing to the right of the camera. He is wearing his clerical collar and academic gown. The photograph is on board and has a grey card mount with a gold border and inscription."REV. G.S.TAYLOR - B.A.,B.D. MINISTER OF ST. ANDREWS 1942-1959"rev g s taylor presbyterian minister, world war two chaplain, st andrew's presbyterian church oakleigh

Rev. MJL Griffiths (1926 - ) was Directory Stewardship and Promotion Vic in 1963 and Superintendent Australian Inland Mission in 1972 MBE.Semigloss, black and white, head and shoulders photograph of Rev. Maxwell John Lewis Griffiths who is wearing a collar and tie and looking to the right of the camera. The photograph is mounted on card and has a grey cardboard mount with a gold border and inscription."REV. M.J.L. GRIFFITHS - B.A., B.D., B.COMM. MINISTER ST ANDREWS 1960-1963"superintendent australian inland mission, rev maxwell john lewis griffiths presbyterian minsiter, st andrew's presbyterian church oakleigh

See entry for F51-1Semigloss, black and white studio portrait of Rev. Thomas C. Rentoul on grey board with inscription.Muntz Malvern Rev. T. C. Rentoul rentoul, t. c., methodist

Extract from The Spectator of June 12, 1946: "From the Queensland 'Methodist Times'. Dreams do come true. At any rate, that is what the Rev. Cliff Lanham believes, who after the lapse of several years finds that his early dream of a Flying Patrol for the Inland is now an actuality. The Methodist Inland Mission Board has purchased from the Disposals Commission of the R.A.A.F. a De Haviland Fox Moth Biplane. Indeed, two machines have been bought, but one will be broken up for spare parts. This 'new angel of the air' is fitted with a 130 h.p. engine and possesses a cruising speed of 100 miles per hour. The petrol consumption is only that of a big six-cylinder car—18 miles per gallon. In addition to the pilot there is room for three passengers, and a stretcher is installed whereby urgent cases of sickness or accident can be flown to the nearest hospital. In this machine, Mr Lanham proposes to cover the whole of S. W. Queensland and a portion of the Northern Territory from his headquarters at Mt Isa. It takes little imagination to realise what a boon the 'flying parson' will be to those of the great outback." …. "Before [Mr Lanham] inaugurated the scheme [the idea of a flying parson] he spent his first furlough from inland mission work (and incidentally £60) learning to fly. 'In a month,' he says whimsically, 'I was a pilot of sorts.' Mr Lanham is a son of the Church. His parents were staunch Methodists, and their home offered generous hospitality to mininsters and preachers. His brother, the Rev. Percy Lanham, M.A., died in Libya when on active service as a chaplain. His widowed mother must be proud of her tall, stalwart son, whom the Church now sends forth on his flying mission for the Lord. May he ever be wafted through inland skies on two wings and a prayer." It is of interest to note that although Cliff Lanham's brother, Percy, is listed in the Methodist Church of Australasia's Ministerial Index (9th Edition, Revised to 1961) Cliff Lanham himself is not listed as either active or deceased.Three B&W identical photographs of Lanham standing next to a Methodist Inland Mission bi-plane. Lanham and an unidentified man are holding a stretcher between them with a boy of about 10-11 on it. They seem to be exiting the plane. The original photograph F69-1 is a 110x65 mm Kodak print; the other two are 195x145 mm enlargements. Lanham is wearing a white shirt and grey trousers, the other person is wearing a safari helmet.All three photos identify "Rev. Cliff Lanham" on the back. They seem to have been originally used or intended for use by The Spectator.lanham, cliff, queensland, methodist inland mission, flying parson

White china crockery with gold rim and grey/black transfer print of headquarters. 4 plates, registration numbers 12.3, 12.4, 12.5 & 12.6; cup, registration number 12.1 and saucer, registration number 12.2.'The Carlton Methodist Mission Headquarters'carlton methodist mission headquarters, wesleyan methodist

As the man at the back is holding onto a sheaf of wheat, it seems to suggest that this photograph was taken at a Harvest Festival celebration. The diverse group of men, women and children dressed in formal clothing indicate that the event was a church function.A mounted sepia photograph of a group of men, women and children standing behind a hedge near a bluestone building. There are girls in the front row wearing white pinafores over their dresses. A man at the back is holding a sheaf of wheat. Grey and cream mounting 4.5cm x 5.5cm.clothing and dress, churches, schools, festivals and celebrations, children, george evans collection

The granite coach house and kitchen are part of the Glen Loeman complex which is situated on Loemans Road in Bulla. Most of the buildings on the estate were constructed in the 1850's. The first owner of the property was Michail Loeman and his wife Isobella.A coloured photograph of outbuildings. The pitched roof is slate clad and is partly moss covered. The grey stone chimney stack at the end of the building is finished with a simple cornice. The stone walls are constructed in a random rubble pattern. There are two doorways. The wider doorway has black timber doors and is finished with an arched stone lintel and the smaller doorway has a straight stone lintel. The twelve paned sash window has a white painted frame and stone lintel and sill.granite, coach house, burns, joseph, loeman, michael, glen loeman, george evans collection

This came as part of a large collection of photos from Eric Boardman. Originally catalogued by R Waters on 12.02.1988. There are 3 copies of the original in black & white 20.5 cm x 25.5 cm format. According to information in the supplementary file from Bob Cahill who is the grandson of JF Cahill and son of Malachi Cahill, the identification of the photo is as follows: L to R (standing): James, John Francis (father), John, Malachi; L to R (seated): Mary / Margaret nee Ryan (mother), Polly (Mary), Michael (Mick) and ? (not specified) Margaret. NB/ Nora (Annie) who ran the Ball Court Hotel is missing from the photo. Other details: John Francis Cahill was a blacksmith & bootmaker and thought to be English; he married Mary or Margaret Ryan prior to coming to Sunbury. He built the Ball Court Hotel in 1854. (See 'Bulla Bulla'.) Nora (Annie) married a McGrath; Margaret married a Breen; James did not marry; Mary (Polly) married Justin Ford, Shire President in 1917. Malachi (born in 1878) married Mary Jane English. She was aged forty at the time of marriage & was originally from Ballarat. She worked at 'The Hill'. Malachi was a railway worker & died travelling on a train. There is also information about the Bulla Cahill family in the supplementary file.Mounted black & white photograph of the family of John Francis Cahill. It portrays 5 males and 3 females seated formally in front of a building. The photo is in sepia tonings mounted on a grey mount."Cahill Family" written in blue biro on the centre front of the mount below the photo; "Eric Boardman" handwritten in red pencil on the back of the mount.pioneers, cahill family, cahill, john francis, mary, ryan, john, malachi, polly, michael, ball court hotel, boardman, eric, ford, justin, matson & frazer, george evans collection

Skirt in slate grey denim, hand sewn with a heavy (linen?) thread, waistband - coarse herringbone weave webbing, white with navy stripes, waist ties white cotton, hand-stitched to form tapes. Made in three pieces and roughly pleated into waist.Waistband front marked "F2" twice in red (paint) mark on wearer's left overstrikes "F5" in black (Ink)costume, sunbury asylum, george evans collection

Worn by patients at Sunbury Asylum.Overalls in grey (faded blue) galatea, with white pinstripe. Back straps held at bib with two buckles. Single pocket on front right hip. Opening on right side.Nonecostume, sunbury asylum, george evans collection

Skirt in slate-grey denim, Roughly pleated at top into blue and white striped webbing waistband. Fastens at the waist with grey tapes. Hem and back opening Roughly hand-sewn with brown thread.costume, sunbury asylum, george evans collection

Worn by patients at Sunbury AsylumPetticoat - grey narrow striped wool skirt sewn to white cotton sheeting bodice. Bodice is sleeveless, fastens at back with four metal buttons, and has four darts at the waist.costume, sunbury asylum, george evans collection

This book was used in pencil drawing classes in primary schools.A book with a grey cover and black lettering and drawings. It was used as a drawing book with a pencil drawing on the first page.Top LH corner written in pencil "PHILLIPA WHITE"white, phillipa, primary school, teaching, state education, george evans collection