This hand drawn map shows the Gully Chair, Summit Tow and the Village Tow. It also highlights the Nursery Poma. Several buildings can be seen along with the Visitor Centre in the Gully carpark, Skyline can can be seen adjacent to the Gully Chair. The Sun Valley T-Bar was designed by Ron McCallum and began operation in 1967. It had a length of 826 metres and an elevation of approximately 200 metres. In 1989 the Sun Valley T-Bar was replaced by the Scott Quad. Ron McCallum was a founder of Alpine Developments. It appears that his first lift was the Skyline portable tow at Falls Creek in 1954. As an engineer, he went on to build about 20 chairlifts and T-bars in the 1960s and early 1970s including at least five at Falls Creek. This map is significant because it shows plans for the development of a major tow at Falls Creek in the 1960s.A framed black and white concept map for the proposed new lift in Sun Valley, Falls Creek.sun valley tow, ron mccallum, falls creek tows

Melbourne and Metropolitan Board of Works. Yarra 2500 [base map]. 12-22, Parishes of Keelbundora 2856, Municipalities of Whittlesea 239 and Diamond Valley 257. Shows street names, easement sizes, lot numbers, lodged plan numbers, names of prominent features, contour values, creek or river names. Watsonia Railway Station and environs. Prominent streets: Edmund Rice Parade and Macorna Street. Includes Christian Brothers Edmund Rice College and Janefield Special School sites and "proposed future freeway" (now Metropolitan Ring Road).MMBW Map in 1:2500 [scale] series. Cream parchment with green tape reinforcing on edges and punched holes on left edge.mmbw, melbourne and metropolitan board of works, shire of diamond valley, watsonia - maps, bundoora - maps

This pamphlet was published by the Army Survey Regiment as an overview of the Royal Australian Survey Corps (RASvy), its role and unit structure circa 1991, prior to RASvy’s disbandment in 1996. The pamphlet comprehensively detailed the eight steps of topographic map production: Establish Survey Control, Aerial Photography, Aerotriangulation, Stereoplotting, Field Verification, Cartography, Printing and Storage/Map Distribution. Leading technologies used by RA Svy in 1991 included GPS control surveys, 5 colour printing on the Speedmaster offset press and bulk map packaging using the Map Handling Station (with guillotine). Digital map production was operating on the AUTOMAP 2 system, before the “Newheart” system upgrade two years later. Printed on the pamphlet cover was a portion of the plane tabled “four inches to a mile” map of Newcastle. This was compiled and surveyed in 1910 by LCPL A. Barrett, a member of the RAE Detachment, as part of the first major topographic mapping effort of Australia.This is a Royal Australian Survey Corp pamphlet with a historical map printed in colour on cardboard on both sides of the cover. There are 16 pages printed in colour on gloss paper, with photos, diagrams and descriptions. The pamphlet is bounded by two staples on its spine. Each of the 17 images were scanned at 300 dpi in JPEG (.jpg) format and stored on the attached 16 Gb USB memory stick. The images have been converted into MPEG-4 (.mp4) video format, 4Mb in size and runs for 2:16 minutes and is also stored on the memory stick.royal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr

During the Second World War the P.S Marion operated as a passenger vehicle up and down the Murray River.This is a photograph showing Hugh Price steering the P.S. Marion while the Captain looks on! This photograph is linked to P000067, P000065 as they are all part of the Hugh Price Family collection.A copy of a black and white photograph of Hugh Price and Captain George Makins in the wheelhouse of the P.S Marion.In pencil, written on the back is Price / Oct 43 / Capt. Geo Makins, (in cap) & Hugh Price.p.s marion, hugh price, captain george makins, george makins, 1943, price family collection

These items came from the Godfrey family who lived in Warrnambool in the mid 20th century. The hat was bought and worn by Barbara Phipps (nee Godfrey) some time in the 1960s. It was bought from the department store of Cramond and Dickson, a prominent and important business in Warrnambool from 1855 to 1973. The two felt hat shapes were bought in Italy during World War Two by Jim Godfrey and given to his wife Joy. They were never made into hats to wear but remain in their original state. These items are of interest because they are connected to a 20th century Warrnambool family and because they are good examples of women's fashions of the past..1 A beige=coloured lady's felt hat with a slight fold in the crown and with a strip of felt around the outside of the crown ending in a single knot. There are some multi=coloured feathers attached to the felt strip.The hat has a cream lining on the inside edge of the crown and the brim is stitched .2 A cream felt hat shape .3 A green felt hat shape.1 Doeskin Felt 100% Wool Geo. W. Bollman & Co. Inc. Made in U.S.A.vintage women's clothing

This photograph was taken at the Orbost High School Golden Jubilee celebrations in 1962. It shows Crs Truscott, Mr R. Osborne (1960-1963 Orbost High School Headmaster, and Mr George Cameron.Orbost High School / Orbost Secondary College has played a significant part in the education of senior students in the Orbost district . It is the sole senior educational institution. A black / white photograph of three men in suits.on back - hand-written -" Orbost H.S. Jubilee, 1962, Crs. Truscott, Osbourne & Geo. Cameron"education-orbost orbost-high-school

Image depicts a group of 3 soldiers who served with the 2/24 Battalion VX32810 William John McKILLOP DOB 23/11/1914 POW May 1941 Italy- 2/24 Battalion VX31847 George Cecil OLLEY DOB 14/7/1917 - 2/24 Battalion. The 2/24th Battalion was an infantry battalion of the Australian Army, which served during World War II .A unit of all-volunteers, it was formed in July 1940 from primarily Victorian volunteers and was known as "Wangaratta's Own" because of the time the battalion spent in the town during its formative period prior to deployment overseas. It served in North Africa in 1941–1942 as part of the 26th Brigade, which was assigned to the 7th Division, before being reassigned to the 9th Division. In early 1943, the battalion returned to Australia and later took part in campaigns against the Japanese in New Guinea in 1943–1944 and Borneo in 1945, before being disbanded in 1946. The 2/24th suffered the highest number of casualties of any 2nd AIF infantry battalion. The Unit was granted the Freedom of the City by the Rural City of Wangaratta in 1990 and one of the first, if not the first, to receive this type of honour.Original black and white photograph of 3 soldiers standing Handwritten on rear - Geo Olly centre, McKillop R & L, Frankston, 2/24 Btn2/24th battalion, wangaratta, george cecil olley, william john mckillop

BHS CollectionBlack and white photographs (5) mounted on rectangular brown board. House, weatherboard on lower portion, top portion rendered, brick verandah columns and parapet, 2 chimneys, small rectangular panes in front windows, wooden slat fence. 59 Neale Street. On back of photos ' Geo Every £950' and 'Smith's, late Geo Every ( next Sheffields) Neale St .£950 (crossed out) £775, terms £300 deposit, sewered' 2012 photo of house attached to record.Frank A. Jeffree Bendigot c watts and son, 59 neale street bendigo, george every

Blueprint copy of Survey Map detailing original Selectors' names and property locations. List of Parish map references including property bearings, distances in Links, and markings on trees. Descriptive remarks include areas marked "Farmer's Common", "Poor soil thickly/moderately timbered with stringy bark", and location of water and firewood reserves."Surveyed and plotted by N.M. Bickford, Superintendant of Mr. Hodgkinson's Field Party". "The land comprised in this survey is of inferior quality, moderately undulating, and thickly wooded. It is watered by Dandenong Creek and Deep Creek." Inset map showing location of (*proposed) cemetery on southern corner of Lillydale Road from Melbourne and Sawmill Road, later Mount Dandenong Road. (*Cemetery did not eventuate.)

Suitcase issued to aircraft captains or crew by RAAF during World War II. The contents of M D Frecker's suitcase include World War II medals awarded to the owner, photographs, maps, pilots' handbooks, language dictionaries (Malay, Pidgin, Japanese), propaganda leaflets dropped by Japanese.Has historical and social significance, also research significance. Provenance known, owner piloted B-24 Liberator bombers and General Blamey's personal aircraft; item was donated by son. Great interpretive potential.Worn dark suitcase belonging to Mason Day Frekker, strong cardboard covered with 'leatherette', metal fasteners on front, with carry handle. Suitcase contains Flying Log Book RAAF, Wedding Photo, National Archives Record Search Mason Day Frecker, Distinguished Flying Medal Register WW2 x 3, Papers on Medals and Victorian Ground Crew Numbers, Files 1 - 2 - 3 - Photographs, Leaflets, Pilots' Notes, Maps - Germany (28 maps), Buttons and badges and other medals."RAAF/402653/Frecker/M.D." on top surface, "M.D.F." on front surface under handle.b24 liberator bomber, world war ii, raaf pilot, world war ii aerial photographs, a22.00

Program and guide map of city of Melbourne. Map of Melbourne and suburbs. Map of N.S.W. and Victoria.XVIth Olympiad Olympic Guide, Melbourne 1956.documents, programmes

The Tawonga Store was a general store in the Upper Kiewa Valley providing for the farming community. This store had a variety of items and was the main store for many of the farming families who would travel in on horse and cart to make weekly trips to the store for supplies.George Potter owned the store before 1920. Whit Potter, George's son worked with his father for many years. See KVHS 0621 for early Ledgers, which give a comprehensive list of what type of items the residents of the Kiewa Valley purchased during this period.Rectangular sepia photo of Tawonga Store with Geo. Potter printed on its roof. Horse and cart and one early model car and one truck are parked out the front. The truck has a driver and passenger.tawonga store, george and whit potter

Frank Wright was a renown resident of Smeaton, where he was born on 2 August 1901. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.This single sheet of paper has the City of Ballaarat red printed Crest and waxed Seal and a typed letter of introduction and referral by the Mayor, A R Stewart and Town Clerk, Geo F Norton for Frank Wright.Watermark - Mitre Bond Signatures in black pencity of ballarat seal, city of ballarat crest, city of ballarat coat of arms, ballaarat soldiers' and sailors' memorial band, frank wright, arthur r. stewart, george f. norton, municipal seal, council seal

Set of eight cardboard cards models of slide valves. Card No 7 missing. Produced by Thomas Jomes and T Gilbert Jones. Manchester. Card No. 1 has 'Geo Richardson' written in Pencil on the back.education, tertiary, models for engineering students.

Invoice from The Northern seed Supply Co. 315 Hargreaves Street, Bendigo dated December 1, 1930 The invoice was issued to a Mr. Geo. Meakin and is for 3 pounds, 8 shillings and 4 pence.business, retail, northern seed supply

Letter from the Auditors, dated Jany 8th 1868. Financial position is mentioned, the number of members and they proposed a vote of thanks to the Secretary. Signed by Geo. Jas. Murray, Joseph French and Joseph King Smith.societies, aof, correspondence, ancient order of foresters no. 3770 collection - correspondence, geo jasw murray, joseph french, joseph king smith

Account written on a piece of blue paper, dated April 24 1872 for writing 3 letters on window over letter Box. Cost 2/-. Signed - Settled Geo Palmer 10/10/72.societies, aof, correspondence, ancient order of foresters no. 3770 collection - correspondence, aof society, geo palmer

Warning: This object includes historical language referring to First Nations Peoples which is no longer appropriate but has been recorded for historical purposes. Produced in 1853, this map shows the land holdings of European families. While the majority of holdings are small there are also large land holdings as can be seen with Henry Dendy's Special Survey. Of particular note is the "Reserve for Aborigines" which was established in approximately 1841 and consisted of over 830 acres. This area is the current location of Mordialloc township and Attenborough Park, in Mordialloc, is the last remnant of the reserve. An Alfred Sikes, possibly the surveyor/cartographer who drew this parish plan, purchased land in Berwick in 1854.A handrawn map on fabric, with blue markings representing the coastline to Port Phillip Bay, red markings representing a proposed train line to Mordialloc, major roads and street, as well as a "Reserve for Aborigines", which constituted approximately 830 acres. In the bottom right hand corner, the map has been signed and dated.Handwritten in ink: Alfred Sikes / 38 Collins St East / June. 1853moorabbin, mordialloc, dendy, port phillip bay, aboriginal reserve, attenborough park

Hardcover w/ Dust Jacket(Apart from the map that was already part of the book)walsh st library

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

A manual for participatory development.maps, b&w illustrations, tables, chartscommunity development, rural development

The Little Red Yellow Black Book is an accessible and highly illustrated pocket-sized guide. It's an invaluable introduction to Australia's rich Aboriginal and Torres Strait Islander histories and culture. It takes a non-chronological approach and is written from an Indigenous viewpoint. The themes that emerge are the importance of identity, and adaptation and continuity. If you want to read stories the media don't tell you, mini-essays on famous as well as everyday individuals and organisations will provide insights into a range of Australian Indigenous experiences.maps, b&w photographs, colour photographsindigenous history, culture, art, sport, health, education, employment, reconciliation, resistance, governance