Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. Black and white photograph with white border of two small ponies grazing on hay in front of some machinery and trees. A man in shorts rides the pony on the right side. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, hay, tractor

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. Black and white photograph of a pony and a foal standing beside a large cart, with the Hay barn on the right side of the frame, and a tree in the background. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, horse

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period.Black and white photograph with a white border of a horse hitched to a cart loaded with hay. The horse is pulled up alongside a fence with large trunks as posts, and a man is visible in the background as is the hay barn. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, working horse, hay

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. Black and white photograph of group of people gathered in two rows, mix of standing and sitting. Group are beside the water tank and in front of Rogers Cottages. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. Black and white photograph of Amess House, showing the heritage building, empty trellises, and the Norfolk Pine. Photograph has been taken from the Northern aspect, and shows the empty pasture. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, amess house

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. Black and white photograph of two people standing on the edge of the path, beside an empty trellis/pergola. A row of tall pine trees are visible in the background Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. Black and white photograph of a woman looking towards the camera and standing on a stepladder beside a fruit tree. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans

Kingsley MARKS (1929 - ) Kingsley Marks trained at the South Australian School of Art before teaching secondary schools. He became interested in pottery after attending a class one night a week at the John Martins building in Adelaide. He received grants to travel and study ceramics in Mexico the US and Canada, then taught for twenty years at the Torrens and South Australian Colleges of Advanced Education. Upon his retirement in 1985, he moved to Brentwood near Minlaton and established the Brentwood Pottery, specialising in sculptural work using a range of forming, decorative and firing techniques. (https://www.flickr.com/groups/1281707@N21/discuss/72157641492795284/) Kingsley Marks was a guest at Strezleckie Spotkanie in 1984. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Electric kiln-fired slipcast decorated earthenware. Kevin Marks uses the mark "K" on his work. Gift of the Artist, 1984ceramics, kingsley marks, artwork, gippsland campus, churchill, brentwood pottery, artist, jan feder memorial ceramics collection

David ALEXANDERFramed watercolour landscape depicting water in the foreground and mountains in the mid-ground.Signed and dated in ink lower left "DA Alexander '04"art, artist, david alexander, murray river, gippsland campus, landscape, watercolour, churchill

Barry Dunstan graduated with a Bachelor of Applied Chemistry, from the Ballarat School of Mines in 1960. He taught at Yallourn Technical College, including as Head, School of Applied Science at Gippsland Institute of Advanced Education (GIAE); Dean, Academic Affairs, Monash University College, Gippsland; Campus Director of Monash University, Gippsland; and member of the Monash University Vice Chancellor's Executive.Framed academic portrait of Professor Barry Dunstan.tom alberts, artists, artworks, academic portrait, gippsland campus, churchill, barry dunstan, gippsland institute of advanced education

Andrew SIBLEY ( 9 July 1933-2015) Born London Since the 1960s Andrew Sibley consistently exhibited throughout Australia and Internationally. He was senior lecturer of painting at RMIT from 1967-1987 and senior lecturer of painting at Monash University from 1990-1999. Six framed limited edition prints by Andrew Sibley using the Sugar-lift etching technique and hand colouring. Printed at the Australian Print Workshop, Melbourne and published by The Lytlewode Press, Melbourne in an edition of 125 in 2010. .1) 'Catch a Falling Star' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition: 17/125 Signed, inscribed and numbered by the artist. Catch a Falling Star written by Paul Vance (born 1929) and Lee Pockriss (1924-2011) 1957 .2) 'It’s only a Paper Moon' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition: 1/125 Signed, inscribed and numbered by the artist. It's Only a Paper Moon by Harold Arlen (1905-1986) lyrics by E. Y. Harburg (1896-1981) and Billy Rose (1899-1966) 1933 .3) 'Come Fly With Me' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition: 9/125 Signed, inscribed and numbered by the artist. Come Fly with Me by Jimmy Van Heusen (1913-1990) lyrics by Sammy Cahn (1913-1993) 1957 .4) 'You are the Sunshine of my Life' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition: 1/125 Signed, inscribed and numbered by the artist. .5) 'Some Enchanted Evening' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition:1/125 Signed, inscribed and numbered by the artist. Some Enchanted Evening Richard Rodgers (1902–1979) and Oscar Hammerstein II (1895–1960) South Pacific 1949 .6) 'Vilya, Oh Vilya' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition: 1/125 Signed, inscribed and numbered by the artist. Vilya, Oh Vilya Die lustige Witwe (The Merry Widow), operetta Vilya, oh vilya Composed by Franz Lehar (1870-1948) 1905 Donated through the Australian Government Cultural Gifts Programme by Katherine N. Littlewood, 2014artwork, artist, sibley, andrew sibley, printmaking, etching, churchill, gippsland campus

Daphne WALLACE (1964- ) Gomaroi, Ullaroi, Wurralli, Muralli Country Wallace is a Gamilaroi/Ullaroi-Yuwaaliaay artist whose intensely coloured and textured abstract and pictorial paintings are interpretations of the Yuwaaliaay stories passed down to her by her grandmother. They are evocative of her spiritual and emotional attachment to her home in Lightening Ridge.Daphne WALLACE Gomaroi, Ullaroi, Wurraili, Muraili country Artist's statement: This painting tells of many different stories, most of them I knew growing up and some were told to me since working on the Bubbles of the Surface Project. ... Reading this landscape through Murri / Murdi eyes and our relation to country. In the top, Yurri Yurri women/people, Rainbow serpents the other side of Coocoran Lake, Bunyip waterhol near Angledool, Ants nest believed to be where Baiame laid his tow wives, where the ants ate off the slime and brought them back to life, mining fields around Lightning Ridge, Bush tucker such as bumbull, burrigan, nappan, greewee, snotty gubbuls. In the middle, Gurra the crocodile, Gurra the crocodile himself, when Baiame killed him to retrieve the two wives, a rainbow shone no him and his scales turned inot opals, left to the Narran Lake was where Baiame sat down and left his bottom imprinted in the rock. he got up and moved onto the blue mountains where his wives gave birth to the three sisters. At the botttom of the painting, Walgett council dug up two old Kings sitting up face to face with their legs crossed, with their Tin King plates around their necks; Their head bands of kangaroo teeth were still inbedded in their skulls. The water dog stories are at spots along river "don't go down thereon the bend (Namour Researve River) the water dog witll get you" Nan used to tell us. It is believed that the water dog makes whirlpools and will drown you. He makes a druming sound, which can be heard along the Namoir, Barwon, Darling, Gwydir, Mihi and the Narran River; and the Duck is part of the creation story, with the twin platypus. It tells how the water dog kidnapped her and kept her in a cave on the river bank, she escaped back to her people. They knew she was bingal therefore vanished her fro that region, she travelled to New England region giving birth to twin platypus.daphne wallace, aboriginal, gippsland campus, churchill, gomaroi, ullaroi, wurraili, muraili

Tony Nankervis worked in the Lismore area of New South Wales. He exhibited with Owen Rye and Chester Nealie.Woodfired ceramic form by Tony Nankervis. Gift of the Artisttony nankervis, jan feder memorial collection, ceramics, jan feder, woodfire, gippsland campus, churchill, jan feder memorial ceramics collection

Tony Nankervis worked in the Lismore area of New South Wales. He exhibited with Owen Rye and Chester Nealie.Woodfired ceramic form by Tony Nankervis. tony nankervis, jan feder memorial collection, ceramics, jan feder, woodfire, gippsland campus, churchill, jan feder memorial ceramics collection

Woodfired ceramic form by Bill Brownhill jan feder memorial collection, ceramics, jan feder, woodfire, gippsland campus, churchill, jan feder memorial ceramics collection, bill brownhill

Steven Wells of Montmorency is a registered nurse and horticulturalist. He has developed a horticulture therapy program at Royal Talbot Rehabilitation Centre in Kew. He was awarded a Winston Churchill Memorial Trust Fellowship to further his studies overseas.News clipping, black text, colour image.steven wells, winston churchill memorial fellowship, royal talbot, rehabilitation

Churchill Island Heritage Farm has a large photograph collection dating from the mid-nineteenth century to the last decade. This series of photographs show candid pictures taken by previous residents of the Island showing different aspects of their lives.Black and white photograph showing a tractor with a trailer loaded with hay. Either loading or unloading onto the San Remo punt. Two men stand behind the trailer, with a third driving and looking over the side of the tractor.Catalogue number written in pencil on reverse. Two different styles of handwriting written in pencil on reverse. 'Loading (or unloading) the old San Remo Punt.' 'Arthur Evans.' 'c.1940'.'Hay. Punt used to take from San Remo -> Newhaven pre 1939 bridge. Harry bowwed to bring tractor etc to CI.'photograph

The Lady Nelson was the first decked ship to enter Western Port at the beginning of 1801, captained by Lt James Grant, who named Churchill Island after a man in Dawlish, Devon who gave him a quantity of a variety of seeds, including wheat, which he sowed on CI. Lady Nelson returned at the end of the year under the command of Murray, who reported that most of the seeds had grown. He harvested the wheat to feed to the swans they had on board for fresh meat. Friends of Churchill Island Society commissioned the building of the model ship from David Lumsden, who built it for FOCIS for the cost of materials.See historical information for the significance of the Lady Nelson to Churchill Island.1:24 scale model of the Lady Nelson (c.1801) made from cardboard, wood, cord, string, wool. Carvill Hull black ochre-yellow colour, brown timbers. Masts fawn with black trim and fittings. Lifeboat hull clinker built black and white. White inside, brown floor. Brown oars x 4. Tied onto Lady Nelson deck. LN flags: jack on stern gaff yard, and Royal Naval pennant on peak of rear mast."LADY NELSON" on stern white lettering on black.

These works are a display of my frustration of hour our family were lucky we were not beheaded, scalped, taken away and impaled as a warning to others not to enter farming lands, which had been traditional lands of the Nganyaywana country. The word 'Policy' represents the White Australia Policy, the word "Lost' stands for those lost including hundreds of family members, 'Jobs' asks why Aboriginal people can only find employment if through Aboriginal positions and policies. The number 3 symbolises myself and my siblings, red is for bloodshed, blue is for secrets and black the family history. Patrice MUTHAYMILES MAHONEY OAM Anewan/Nganyaywan/Dunghutti country. Patrice Mahoney is a printmaker, sculptor, weaver, drawer and painter. Her work challenges mainstream and Aboriginal Australians and is profoundly influenced by space, place and country, taking inspiration from nature, environment and looking forward to a time when she can return to her family's traditional country to make work. In 2012 the artist completed a Bachelor of Visual and Media Arts at Monash University’s Churchill campus (from 2014 Federation University's Churchill Campus). The Victorian Indigenous Art Awards 2014 were exhibited and judged at the Art Gallery of Ballarat.This unique edition triptych involves the techniques of intaglio copper plate, pigment, soft ground, open bite, aquatint, spit-bite, stamping, relief, drawing and burnishing on paper. It was awarded the 2014 Victorian Indigenous Art Awards Federation University Acquisitive Award for for work by a Victorian regional artist. Text, colour, metaphor and Aboriginal symbolism are important components of her work. This work expresses the artist's frustration with unjust situations experienced by traditional owners of Nganyaywana country. The word 'Policy' refers to White Australia Policy, 'Lost' the hundreds of lost family members, and 'Jobs' highlights the difficulty of Aboriginal peple obtaining work, especially outside Aboriginal positions and policy. The number 3 symbolises Patrice Mahoney's siblings, with black used to denote family history. The violently splattered red represents bloodshed, with the blue washing across the work obscuring details and representing secrets. The Selection Panel of the 2014 Victorian Indigenous Art Awards made the following comments on the work: 'The selection panel for the Federation University Acquisitive Award for 2014 were highly impressed by this work and applauded the vigorous use of symbolism and metaphor in a well scripted visual composition. The poignancy of connectedness to the past, memory, place and country is palpable and enhanced by the suggestive employment of text and minimal colour. A provocative and evocative work of art!artist, artwork, patrice mahoney, aboriginal, victorian indigenous awards, jobs, culture, printmaking, drawing, policies, lost, victorian indigenous art awards, available, alumni

Articles in annual report include: the retirement of Mrs Esme Dunell MBE - former matron (nurse) of the nursery worked since 1960, 1971 she was awarded Churchill fellowship to investigate work for blind child in other countries, supporting the Anti Rubella Crusade, Margaret Fialides staff member awarded Churchill Fellowship study tour of major libraries and production centres for talking books in Europe, UK and USA, occupational centre in Raleigh Street keeps 36 people employed, establishment of a Vocational Development department, purchase of high-speed duplicators for the library, and the RVIB stand at Royal Melbourne show won 1st prize in their section.1 volume of text and illustrationsroyal victorian institute for the blind, corporation records

Churchill Island Heritage Farm has a large photograph collection dating from the mid-nineteenth century to the last decade. This series of photographs show images from daily life while the Island was owned by the Jenkins family from 1936 - 63. Black and white photograph of Valda Treadwall - woman in bathing suit, with hair secured in a towel. Posing in front of closed gate.Catalogue number in pencil on reverse. In pencil on reverse: “VALDA TREADWELL Has been in the (*’the’ is crossed out) by dam swimming” In pencil on reverse from later date: “C. 1940” Stamp on reverse: “KODAK PRINT” Faded numerical stamp on reverse. “1 78” still visible. “.VELOX.” stamps over reverse. photograph, jenkins, valda treadwell, churchill island

Churchill Island has a large photograph collection dating from the nineteenth century. This series shows snippets of life on the Island after its acquisition by the Victorian Government in the late 1970s. This photograph shows Edith Jeffery, Gerald Jeffery, and Sally O'Neill.Photograph of group of four people standing in the herb garden, with the Amess House Half Cellar in the backgroundcatalogue number written on reverse in pencilchurchill island, photograph, edith jeffery, gerald jeffery, sally o'neill

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. This photograph is of Billie Smith.Sepia photograph of a woman standing among the grass, looking at the camera and wearing a jumpsuit. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, billie smith

Churchill Island has a large photographic collection dating from the nineteenth century. This series shows the extensive work and volunteering conducted on site by workers after it was turned into a heritage site and former employee, Scott Campbell, can be seen driving oxen.Colour photograph of a group of six oxen yoked together in pairs walking towards the camera. A man with a bullwhip walks to their left. Potentially taken in 2001 at a Working Horses ExpoCatalogue number on reverse in pencil. churchill island, photograph, scott campbell

Stephen CUTHILL Stephen Cuthill was a diploma graduate from the Gippsland Centre of Art and Design (GCAD), and was later a tutor. He exhibited works at the Churchill Switchback Gallery iduring the 1980s. His mark is an impressed 'Cuthill' or an impressed stamp 'Stephen Cuthill"A salt glazed bottle with titanium slip glaze.jan feder memorial ceramics collection, salt glaze, alumni, stephen cuthill

Anthea WILLIAMS The sculptural practice of Gippsland-based artist Anthea Williams includes welded metals, moulds and assemblages. She has lectured Visual Arts at Federation University, Churchill and has many years experience as a technician at Latrobe Regional Gallery. Large steel sculptureanthea williams, gippsland art collection, sculpture

Contents: • Next meeting, guest speaker; David Cameron, Botanist: The significance of the Eltham area for nature conservation • Eltham Community Festival • November Meeting • Churchill Island Trip • Christmas Break-up • Twentieth Anniversary Functions • Other Brief Items The Shire of Eltham Historical Society was formed in October 1967. The first newsletter of the Society was issued May 1978 and has been published continuously ever since on a bi-monthly basis. With the cessation of the Shire of Eltham in late 1994, the Society's name was revised to Eltham District Historical Society and this name first appeared with issue No. 103, July 1995. The collection of the Society's newsletters provides a valuable resource on the history of the Society's activities, office bearers and committee members, guest speakers and subjects of historical interest pertinent to the former Shire of Eltham and the Eltham District.A4 photocopied newsletter distributed to membersnewsletter, eltham district historical society, shire of eltham historical society

Rogers Cottage was built by John Rogers on the hill on Churchill Island in the early 1860s. It is believed he first built the Bakehouse in 1865 and shortly after built the 2 roomed dormitory which was originally lined with calico and plaster - later with hand split boards."Rogers Cottage" showing portion of the rear section and pathway with shrubs and a flower pot.local history, photographs, buildings - historical, rural industry, coloured photograph, john cook, churchill island, rogers cottage

Rogers Cottage was built by John Rogers on the hill on Churchill Island in the early 1860s. It is believed he first built the Bakehouse in 1865 and shortly after built the 2 roomed dormitory which was originally lined with calico and plaster - later with hand split boards."Rogers Cottage" showing the rear section. circular saw in foreground. Note guard on saw.local history, photographs, buildings - historical, rural industry, coloured photograph, john cook, churchill island, rogers cottage