Australia 1846-1847Hand coloured Lithograph

Australian 1915 - 2000Gouache on paper Signed

A photo of Professor Geoffrey Blainey speaking at a the public launch of Legacy Week at the ANZ Pavilion at the Victorian Arts Centre. The date is 23 August 1988. Also a photo of John Lady and Terry Hawksley. The attached label says: " Melbourne Legacy held its first official public launch - a luncheon for Melbourne's leading business community at the ANZ Pavilion at the Victorian Arts Centre to highlight 'Legacy Week'. Professor Geoffrey Blainey, AO, addressed the guests and was joined by Legacy's 1988 personality, Australia's first under 4 minute miler, John Lady." They were in a folio of photos from 1988. (see also 001042 to 01049) From Wikipedia: "Geoffrey Norman Blainey AC, FAHA, FASSA (born 11 March 1930) is an Australian historian, academic, philanthropist and commentator with a wide international audience. Biographer Geoffrey Bolton argues that he has played multiple roles as an Australian historian: He first came to prominence in the 1950s as a pioneer in the neglected field of Australian business history....He produced during the 1960s and 1970s a number of surveys of Australian history in which explanation was organized around the exploration of the impact of the single factor (distance, mining, pre-settlement Aboriginal society).... Blainey next turned to the rhythms of global history in the industrial period.... Because of his authority as a historian, he was increasingly in demand as a commentator on Australian public affairs." From the name badges the attendees included: 1. Geoffrey Blainey. 2. John Landy and Terry Hawksley. 3. A girl and L/ Geoff Swan. 4. L/ David Millie and Jim Madden. 5. John ? and L/ Colin Bannister. 6. Patsy Adam-Smith (?) and artist Geoffrey Mallett. 7. ? and Jim Dickson. 8. Peter Prior and Abe Birmingham. 9. President Chas Wilks speaking. 10. President Chas Wilks and Rupe Thomas.A record of celebrities being involved in promoting Legacy Week in 1988 and an official launch at Victorian Arts Centre.Colour photo x 10 of public launch of Legacy Week in 1988.Yellow paper label explaining the event in black type.legacy week, legacy promotion, speakers

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

Sydney PERN (c1876-23 October 1967 ) Born Battley, England Dr Sydney Pern began practicing medicine in the Victorian town of Yarram before setting up practice in Ballarat. He was a competent artist, and as an amateur anthropologist collected Aboriginal artefacts during travels in Central and Northern Australia. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. Unframed coastal landscape art, artwork, meetung, sydney pern, unframed

Sydney PERN (c1876-23 October 1967 ) Born Battley, England Dr Sydney Pern began practicing medicine in the Victorian town of Yarram before setting up practice in Ballarat. He was a competent artist, and as an amateur anthropologist collected Aboriginal artefacts during travels in Central and Northern Australia. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Watercolour landscape glued onto card depicting a view towards Mount Dandenong.art, artwork, sydney pern, landscape, mount dandenong

This artwork is a story of life over coming darkness. Rebirth and renewal. As a Bunurong person this story means a lot to my people, this represents community past, present and future and the struggles we have had to overcome to become the people we are today in the world we are today. Kobi Summers is a young emerging Aboriginal Artist, who is a Proud Bunurong Man living in Melbourne. He specialises in Digital Art, Contemporary aboriginal Canvas Art, Mural Art and Clothing Art.australian first nations art, bunurong, cultural story

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

Invasion places an imaginative eye in Australian colonial history and turns around the dominant view, taking alien creatures into iconic London-based cityscapes, with white urban residents their victims. Cook's images express the shock that enveloped the Australian continent when European people appeared on Aboriginal shores. Aboriginals as aliens, sci-fi scaled animals - featherless birds, super sized grubs, giant lizards, possums on ufo's, laser shooting fembots, and clouds of rainbow lorikeets - arrive into urban London, the 'mother' country, and wreak havoc. Within the broad narrative are mini narratives that speak to the past, historical references that tease out and reverse the racist practices imposed on Aboriginals. The drama of such an event heightened with the use of vintage-inspired B-grade horror movie aesthetic - an ironic 'spoofy' edge.australian first nations art, photography, colonialisation, sci-fi

Invasion places an imaginative eye in Australian colonial history and turns around the dominant view, taking alien creatures into iconic London-based cityscapes, with white urban residents their victims. Cook's images express the shock that enveloped the Australian continent when European people appeared on Aboriginal shores. Aboriginals as aliens, sci-fi scaled animals - featherless birds, super sized grubs, giant lizards, possums on ufo's, laser shooting fembots, and clouds of rainbow lorikeets - arrive into urban London, the 'mother' country, and wreak havoc. Within the broad narrative are mini narratives that speak to the past, historical references that tease out and reverse the racist practices imposed on Aboriginals. The drama of such an event heightened with the use of vintage-inspired B-grade horror movie aesthetic - an ironic 'spoofy' edge.australian first nations art, photography, colonialisation, sci-fi

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

Uncle Brian McKinnon (b. 1957 – d. 2023) was a Geelong-based artist and descendent of the Amangu and Wongai people of Western Australia. He created powerful mixed media works that explore his campaign for Aboriginal rights and his childhood experiences growing up in Western Australia. Scars is a deeply personal and political work that reflects on some of the ways in which Aboriginal people have historically been discriminated against and marginalised because of the colour of their skin and cultural practices. Originally exhibited with two other paintings, it was also made in honour of the artist’s children and their struggle to maintain positive self-esteem. Uncle Brian McKinnon said his children inherited keloids from their ancestors: ‘These keloids look like body scars. In this work, I have placed them in the past and the presence of their ancestors through the act of beautifying the marks, which reflect the landscape and the identity of the person wearing the beautification marks. Although the marks on my children are not so beautiful and they are ostracised because of them, this made me think of racist policies and of course the referendum and when my people were seen for the first time as being human.’

Jenna Lee dissects and reconstructs colonial 'Indigenous dictionaries' and embeds the works with new cultural meaning. Long obsessed with the duality of the destructive and healing properties that fire can yield, this element has been applied to the paper in the forms of burning and mark-making. In Without Us, Lee uses charcoal to conceal the text on the page, viewing this process as a ritualistic act of reclaiming and honouring Indigenous heritage while challenging the oppressive legacies of colonialism. Lee explains in Art Guide (2022), ‘These books in particular [used to create the proposed works] are Aboriginal language dictionaries—but there’s no such thing as “Aboriginal language”. There are hundreds of languages. The dictionary just presents words, with no reference to where they came from. It was specifically published by collating compendiums from the 1920s, 30s and 40s, with the purpose to give [non-Indigenous] people pleasant sounding Aboriginal words to name children, houses and boats. And yet the first things that were taken from us was our language, children, land and water. And the reason our words were so widely written down was because [white Australians] were trying to eradicate us. They thought we were going extinct. The deeper you get into it, the darker it gets. But the purpose of my work is to take those horrible things and cast them as something beautiful.’Framed artwork

Alice McGREGOR Born: 1908; unknown parents. Possibly adopted by the Salter family? Electoral Roll 1936: Highland Terrace Kangaroo Flat. Alice Mary Salter and William Robert Salter living together; presumed to be sister and brother. William Robert Salter was killed in a MVA in Bendigo in 1937 aged 26. In Victoria in 1938, Alice Mary Salter married James Thomas McGregor (born Victoria 1917, died Victoria 1983, buried Fawkner Cemetery) Lived: 1968; 22 Wade Street Golden Square Alice McGregor Died: 1999 aged 91 at Anne Caudle Centre, Bendigo Buried: Kangaroo Flat Cemetery See additional research. Postcard Album of Alice McGregor contained 86 post cards.Postcard Album of Alice McGregor containing 86 post cards. See 1400. Colour photo of an aboriginal man and woman in a bush setting somewhere in S.W. Western Australia Addressed to Miss A. Stapleton, Arcade, Bendigo, Victoria Sender - Emma (?) PO stamp dated July 7, 1905, Kalgoorlie postcard, collector, alice mcgregor

15230 Sergeant Jeffrey Max Duroux, Royal Australian Infantry, Units:6 Battalion, Royal Australian Regiment* 9 Battalion, Royal Australian Regiment Vietnam service: 8 June 1966- 5 January 1969 Date of death: 5 January 1969, South Vietnam. *Duroux was a Battle of Long Tan veteran. He was an Aboriginal soldier, one of several who served in Vietnam.1x Australian Active Service Medal (clasps Thai-Malaya, Malaya, Vietnam) 1x General Service Medal (clasp Malaya) 1x Vietnam Medal 1x Australian Service Medal 1945-75 S.E. Asia 1x Australian Defence Medal 1x Republic of Vietnam Campaign Medal 1960- 1x Malaysia Medal 1x Infantry Combat Badge 3x Presidential Unit Citation Badgessgt. jeffrey max duroux, aboriginal, long tan, 6 rar, 9 rar, medal, badge, killed in action

William (Bill) ONUS (15 November 1906-1968) Born Cummeragunja Aboriginal Reserve, Murray River, New South Wales Clan: Wiradjuri William Townsend (Bill) Onus was a shearer, actor and activist who revived the Australian Aboriginese League in Melbourne in 1946. He retired from politics in to start the Aboriginal Enterprises workship in Belgrave with his brother Eric. They produced boomerangs, woomeras, fabrics and greeting cards imprinted with Aboriginal motifs. He ran the business from his small factory and shop at Belgrave in the Dandenong Ranges. To promote his wares Bill Onus toured widely in Victoria and beyond as a travelling showman, giving demonstrations of boomerang-throwing, which he advocated as a national sport. (ADB) Bill Onus adopted similar imagery to that which appeared in mass-produced indigenised design; however, he used such works to draw attention to his political work with the ‘Committee for Aboriginal Citizen Rights’ and the ‘Australian Aborigines League.’ William McLintock (Lin) Onus is the son of Bill Onus. Wooden plate decorated with Aboriginal design by Bill Onus.Stamped on back "Made in Australia Bill Onus"aboriginal, bill onus, aboriginal enterprise novelties, ceramics

Digitised directly from 'Blackfellows of Australia' by Charles Barrett and A.S. Kenyon (Sun Books)Aboriginal woman named Truganini wearing a shell necklace. She was a native of Bruni Island, Tasmania. Title - Truganini (When She Died Her Race Became Extinct).aborigine, aboriginal, truganini, tasmania, bruni island, shell necklace

Scanned from "Australia, her heritage, her future"Three people on a bark canoe.aborigines, aboriginal, canoe, bark canoe

Maree Clarke is a pivotal figure in the reclamation of south-east Australian Aboriginal art and cultural practices and has a passion for reviving and sharing elements of Aboriginal culture that were lost – or lying dormant – as a consequence of colonisation. She a leader in nurturing and promoting the diversity of contemporary Koorie artists through her revival of traditional possum skin cloaks, together with contemporary designs of kangaroo teeth necklaces, river reed necklaces and string headbands adorned with kangaroo teeth and echidna quills. River Reed Necklace forms a key element of the artist’s practice regenerating cultural practices and strengthening cultural identity and knowledge. Maree Clarke has exhibited widely both nationally and internationally, and in 2021 she was the subject of a major survey exhibition Maree Clarke – Ancestral Memories at the National Gallery of Victoria. Other recent exhibitions include Tarnanthi, Art Gallery of South Australia, Adelaide (2021), The National, Museum of Contemporary Art Sydney (2021), Reversible Destiny, Tokyo Photographic Museum, Tokyo Japan (2021) and the King Wood Mallesons Contemporary Art Prize, for which she was awarded the Victorian Artist award. In 2020 she was awarded the Linewide Commission for the Metro Tunnel project and was the recipient of the Australia Council Aboriginal and Torres Strait Islander Arts Fellowship.

BOUND FOLDER, BLACK CARDBOARD COVER 152 PAGESnon-fictionFred Cahir tells the story about the magnitude of Aboriginal involvement on the Victorian goldfields in the middle of the nineteenth century. The first history of Aboriginal–white interaction on the Victorian goldfields, Black Gold offers new insights on one of the great epochs in Australian and world history—the gold story. In vivid detail it describes how Aboriginal people often figured significantly in the search for gold and documents the devastating social impact of gold mining on Victorian Aboriginal communities. It reveals the complexity of their involvement from passive presence, to active discovery, to shunning the goldfields. This detailed examination of Aboriginal people on the goldfields of Victoria provides striking evidence which demonstrates that Aboriginal people participated in gold mining and interacted with non-Aboriginal people in a range of hitherto neglected ways. Running through this book are themes of Aboriginal empowerment, identity, integration, resistance, social disruption and communication. For more information on Aboriginal History Inc. please visit aboriginalhistory.org.au.first nations history, australia's victorian goldfields

George Pethard Collection including references to Taraxale Brewing Company Pty brown covered 29x19mm photographic album bound with gold string / 52 black and white Photographs of Reso tour to central Australia and Northern Territory / includes Aboriginal camps , camel trains / landscapes , war cemetery at Adelaide River / May 13- June 13 1947 / the 40 members of the party are also named includes: George Pethard / Aboriginal camp , Jay Creek consisting of makeshift tents / crowd playing 'Two Up ' Photo of the ship 'Meggs' at Darwin / Manton Dam - Darwin's water supply photo. Reso Tour to Central Australia and Northern Territory.Roy Dunstan Publicity and Tourist services Victoria Railwaysphotograph, person, male, george pethard / taraxale brewing company pty ltd / aboriginal camps / camel trains / war cemetary at adelaide river photo of the ship 'meggs' at darwin / manton dam - darwin's water supply photo

The Nunawading Council produced commemorative First Day Covers showing First Day of issue stamp during the years 1981-1992Three First Day Covers, each bearing 33 cent stamp, reproduction of painting of 'Australia Day 1986: An Aboriginal Perspective'. Postmarked 'First Day of Issue 24 Jan 1986 Nunawading Vic 3131' At left of envelope, logo and depiction of shearer shearing sheep; also 'Australia Day Family Festival' and '26th January 1986, Civic Centre, Nunawading'. Envelopes numbered 119, 120, 268Municipal Offices Nunawading Vic 3131philately, date stamps, civic mementoes, souvenirs

These are most likely student works from Koorie Art and Design course, 1994. Please note, scanned images are for archive reference only. Images may appear flipped or rotated, and colours may not be accurate.Series of 11 35mm mounted slides, from Koorie Art and Design classes, 1994. university of ballarat, federation university australia, graphic design, art, koorie, aboriginal art, indigenous art, first peoples, bill, rubina, kylie, abraham

Built by noted artist Theodore Penleigh Boyd, father of architect Robin Boyd. Covered under National Estate, National Trust of Australia (Victoria) Local Significance and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p111 The Robins at Warrandyte,* was once home to a member of a famous family and is also one of the first reinforced concrete houses in Victoria. The builder, Theodore Penleigh Boyd, born in 1890, was a talented painter1 noted for his works of the Warrandyte bush. He was the father of architect Robin Boyd, author of the Australian Ugliness and the uncle of painter, Arthur Boyd. Penleigh Boyd’s great grandfather was Sir William A’Beckett, Victoria’s first Chief Justice. Penleigh Boyd is considered by some to be an ‘unsung hero’ overshadowed by more famous members of his family. Mornington Gallery Director Andrea May said many believed Boyd ‘had never received the national acclaim that he deserved’.2 Classified by the National Trust3 and part of the Australian National Heritage,4 The Robins is set well back near the end of Kangaroo Ground – Warrandyte Road, unobserved by passers-by. Built in 1913, The Robins has some Art Nouveau influences and is a descendant of the Queen Anne style. It is covered in stucco and has a prominent attic, which Boyd used as a studio. Some parts of the house are up to 33 centimetres thick and built in part with pisé (rammed earth) and in part with reinforced concrete. Amazingly, Boyd built The Robins without an accessible driveway, and only a narrow track along which he had to cart building materials. The journey was uphill and Boyd terraced the land with Warrandyte rock5 without the aid of machinery. At only 33 years, Boyd was killed in a car accident in 1923. He was buried in Brighton near the home of his parents. Several people have since owned the house, including political journalist, Owen Webster. Boyd was born at Penleigh House, Wiltshire, and studied at Haileybury College, Melbourne and The Hutchins School, Hobart. He attended the Melbourne National Gallery School and in his final year exhibited at the Victorian Artists’ Society. He arrived in London in 1911 and his painting Springtime was hung at the Royal Academy. He painted in several studios in England and then worked in Paris.6 There he met painter Phillips Fox through whom he met artists of the French modern school and also his wife-to-be, Edith Anderson, whom he married in Paris in 1912. After touring France and Italy, the couple returned to Melbourne. In 1913 Boyd held an exhibition and won second prize in the Federal Capital site competition, then the Wynne Prize for landscape in 1914. In 1915 Boyd joined the Australian Imperial Force, and became a sergeant in the Electrical and Mechanical Mining Company. However he was severely gassed at Ypres and invalided to England. In 1918 in London Boyd published Salvage, writing the text and illustrating it with 20 black-and-white ink-sketches of army scenes. Later that year he returned to Melbourne, and, despite suffering from the effects of gas, he held several successful one-man shows, quickly selling his water-colour and oil paintings. In his short career Penleigh Boyd was recognized as one of Australia’s finest landscape painters. He loved colour, having been influenced early by Turner and McCubbin. His works are in all Australian state galleries, the National Collection in Canberra as well as in regional galleries.7 His wife Edith was also an artist having studied at the Slade School, London, and in Paris with Phillips Fox. After her marriage she continued to paint and excelled in drawing. In later years she wrote several dramas, staged by repertory companies, and radio plays for the Australian Broadcasting Commission, in which she took part. She was the model for the beautiful red-haired woman in several of Phillips Fox’s paintings and the family hold three of his portraits of her. *Possibly named after the Aboriginal words warran, meaning ‘object’ and dyte, meaning ‘thrown at’.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, kangaroo ground-warrandyte road, north warrandyte, the robins