Books used by Thomastown Golf Club to record members' handicaps 1994-1996. Maintained by Robert (Bob) Jones, Golf Club Secretary.Thomastown Golf Club was a social club formed in 1976. This is part of the Robert (Bob) Jones collection of Club memorabilia.Pages in manilla folders.Handwritten records.thomastown golf club, bob jones, golf handicaps

Front and back covers of "Selected recipes from "The Leader" small corner books". The back cover is an advertisement for Fowlers Vacola bottling outfits.An example of early 20th century advertisingDigital copy of front and back covers of a bookthe leader, recipe books, historic advertisements, fowlers vacola

Books used by Thomastown Golf Club to record members' handicaps 1987-1990 and 1992. Maintained by Robert (Bob) Jones, Golf Club Secretary.Thomastown Golf Club was a social club formed in 1976. This is part of the Robert (Bob) Jones collection of Club memorabilia.Bound pages in folders with clear plastic covers.Handwritten records.thomastown golf club, bob jones, golf handicaps

Books used by Thomastown Golf Club to record minutes of the Annual General Meetings 1976-2007. Maintained by Robert (Bob) Jones, Golf Club Secretary.Thomastown Golf Club was a social club formed in 1976. This is part of the Robert (Bob) Jones collection of Club memorabilia.3 Golf diaries, brown cover with gold writing. Handwritten minutes throughout.thomastown golf club, bob jones, minute books, annual general meetings

This photo appeared in the International House magazine, Satadal, in 1961, with the caption 'A small but interesting collection of books is available for students' casual reading. A wide selection of magazines and newspapers is also provided, and administered, by the International House Students' Club. The IH Library was formally created in 1962 as the Sir Angus Mitchell Library, with the Rotary Club of Melbourne a major source of financial support . Through 1961 and 1962, donated funds and books allowed for the development of a collection, initially focusing on necessary texts for undergraduate students, and texts on the histories and cultures of other countries.'Satadal 1961' inscribed on reverselibrary, books

Robert Lamb was connected with this company.Two receipt books relating to Lamb's Ballarat Knitting Co. Pty Ltd. The book has holes down the centre to enable a copy to be given to the customer. The 100 receipts in each book have been hand numbered. .1) One receipt used made out to the Ballarat Polo Crosse Club .2) All 24 used receipts in the book have been made out to Miss Oxlade, ballarat polo crosse club, lamb's knitting co, edwin rash, rash, robert lamb, lamb

Digital scan of photograph - Original Source Copy: St Margaret's Parish Archives. church of england, churches, eltham, st margarets church, blessing of the animals, reverend erica mathieson

Aboriginal knowledge of flora and fauna from the Moyle River and Neninh areas.Maps, b&w illustrations, b&w photographs, colour photographs,marri ngarr, magati ke, wadeye, moyle river, northern territory, flora, fauna, ethnobiology

Read to Giselda Bannister as a toddler in 1966-1967. Her favourite story: read, at her request, every night for 6 months, before bed!Example of child's Bible story book used in 1960s.Child's colour picture book of the Bible Story of Noah's Ark with die-cut tabs.2707 ST100bible story book

Three chickens in a farmyard2017, farm, animal, birds, chooks, chickens, farm animals

The Colac, Victoria-based Colanda Centre was one of the last Victorian institutions and offered disability accommodation from 1976, when it was established, until 2019, with its closure.Digitised scan of newspaper clipping about the Colanda Centre, entitled 'Fun for people of all abilities during week of celebration'. colanda, colac, disability services, residential services, disability, digitised photograph

‘Post Preston, After the Bushfires, Our Country, Plants and Animals Need Healing’, is Deanne Gilson’s response to Margaret Preston’s culturally appropriative works. With this painting, Deanne interrogates a complex field of inquiry regarding the objectified colonialist gaze, inappropriate commodification of cultural material and a reclaiming of lost knowledge. This work also speaks to the complicated history of the Bundoora Homestead site and challenges historical truth narratives from the settler perspective and works as an excellent companion to her mother Marlene Gilson’s ‘The Life and Times of Bundoora Homestead’ artwork, commissioned for the Darebin Art Collection in 2018. ‘Post Preston, After the Bushfires, Our Country, Plants and Animals Need Healing’ was a winning work in the 2021 Koorie Art Show. Artist Bio Dr Deanne Gilson is a proud Wadawurrung woman and an award-winning visual artist living and creating from her ancestral home of Ballarat in Victoria. Her multidisciplinary art practice interrogates the colonial disruption of her family and explores ways in which contemporary art can create a platform towards healing, acceptance and reclaiming cultural identity, often drawing upon traditional knowledges of her ancestors. The Victorian bush where Gilson grew up features predominantly in all of her paintings, alongside many Indigenous plants, trees and birds from her Creation Story. Gilson draws upon layers of tangible and intangible knowledge, she talks about the presence of the intangible as spiritual connections to Country and her ancestors, while the tangible knowledge reflects artefacts and other objects of daily Wadawurrung life. Her works portray a rich cultural history that continues to thrive and grow today despite the restrictions placed on her family by settlement. Gilson’s practice defines Aboriginal women’s business past and present through contemporary art. Traditional marks alongside contemporary marks, link her to the practices of Indigenous mark-making, especially that on her body when in ceremony. Stating that “all of my artworks are an extension of my women’s business and draw on ochre sourced from Wadawurrung Dja (Country)”. The white is used in traditional ceremonies, while the charcoal is a direct link to Gilson’s matriarchal line of her mother’s business. Gilson’s mother, Marlene Gilson, also an artist, gathers charcoal from her daily fire, passing this onto her daughter, extending upon the old and the new ways of sharing knowledge and connection to Country.