The key is one of a collection of seven 1860s keys once belonged to the Glenample Homestead near Princetown. They are all keyed with different bits and would have opened the external panelled doors of the Georgian building. The keys would now be around 150 years old. The keys are now part of the John Chance Collection. Locksmiths became a recognised trade by the middle of the 19th century, doing work that blacksmiths and gunsmiths would have done. They were craftsmen and trained apprentices for their trade. The local community and businesses relied on them for making a wide variety of precision objects such as locks and keys, knives, ornamental and decorative latticework, fine instruments, accurate tools and hardware items. Glenample Homestead became famous after the disastrous wreck of the sailing ship Loch Ard on June 1, 1878. The owners, Hugh Hamilton Gibson and Peter McArthur, were involved in the rescue and recovery of Eva Carmichael and Tom Pearce, the only two survivors, as well as overseeing the salvage of items from the shipwreck and the burial of those who lost their lives. Eva first met Jane Shields at Glenample and they became long-time friends.The keys are significant as an example of mid-19th century locksmith hardware, and for their connection with Glenample Homestead, and for their connection to the history of the Loch Ard shipwreck’s only two survivors. The set of keys also hold significance as they were discovered by John Chance, who was also a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Glenample Homestead is of historical, social and architectural significance to the State of Victoria and is listed on the Victorian Heritage Register (VHR H0392). It is a historical example of early settlement and development of a run in the coastal land of South West Victoria, and it is constructed from locally quarried sandstone but doesn’t take away from its Georgian design. Glenample Homestead is of State significance through its unique connection with the wreck of the ship Loch Ard and the connection to its owners, Hugh and Lavinia Gibson and Peter McArthur, played a historically and socially significant role in the rescue and care of the survivors, the salvage of goods and the burial of those who lost their lives. The shipwreck of the Loch Ard itself is of significance for Victoria and is registered on the Victorian Heritage Register (S417). Key; steel domestic door key. Flat open bow with 'figure 8' space, narrow collar on shank, close to the bow. Round shank flares out slightly above the collar on the bit. The rectangular bit has internal and external notches and grooves. There is a rounded pin on the end.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, glenample homestead, victorian heritage register vhr h0392, georgian homestead, loch ard, princetown, jane shields, eva carmichael, tom pearce, blue china tea set, antique door key, glenample photographs, john chance

The key is one of a collection of seven 1860s keys once belonged to the Glenample Homestead near Princetown. They are all keyed with different bits and would have opened the external panelled doors of the Georgian building. The keys would now be around 150 years old. The keys are now part of the John Chance Collection. Locksmiths became a recognised trade by the middle of the 19th century, doing work that blacksmiths and gunsmiths would have done. They were craftsmen and trained apprentices for their trade. The local community and businesses relied on them for making a wide variety of precision objects such as locks and keys, knives, ornamental and decorative latticework, fine instruments, accurate tools and hardware items. Glenample Homestead became famous after the disastrous wreck of the sailing ship Loch Ard on June 1, 1878. The owners, Hugh Hamilton Gibson and Peter McArthur, were involved in the rescue and recovery of Eva Carmichael and Tom Pearce, the only two survivors, as well as overseeing the salvage of items from the shipwreck and the burial of those who lost their lives. Eva first met Jane Shields at Glenample and they became long-time friends. The keys are significant as an example of mid-19th century locksmith hardware, and for their connection with Glenample Homestead, and for their connection to the history of the Loch Ard shipwreck’s only two survivors. The set of keys also hold significance as they were discovered by John Chance, who was also a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Glenample Homestead is of historical, social and architectural significance to the State of Victoria and is listed on the Victorian Heritage Register (VHR H0392). It is a historical example of early settlement and development of a run in the coastal land of South West Victoria, and it is constructed from locally quarried sandstone but doesn’t take away from its Georgian design. Glenample Homestead is of State significance through its unique connection with the wreck of the ship Loch Ard and the connection to its owners, Hugh and Lavinia Gibson and Peter McArthur, played a historically and socially significant role in the rescue and care of the survivors, the salvage of goods and the burial of those who lost their lives. The shipwreck of the Loch Ard itself is of significance for Victoria and is registered on the Victorian Heritage Register (S417). Key; steel domestic door key. Flat open bow with 'figure 8' space, narrow collar on shank, close to the bow. Round shank flares out slightly above the collar on the bit. The Rectangular bit has internal and external notches and grooves. There is a rounded pin on the end.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, glenample homestead, victorian heritage register vhr h0392, georgian homestead, loch ard, princetown, jane shields, eva carmichael, tom pearce, blue china tea set, antique door key, glenample photographs, john chance

The key is one of a collection of seven 1860s keys once belonged to the Glenample Homestead near Princetown. They are all keyed with different bits and would have opened the external panelled doors of the Georgian building. The keys would now be around 150 years old. The keys are now part of the John Chance Collection. Locksmiths became a recognised trade by the middle of the 19th century, doing work that blacksmiths and gunsmiths would have done. They were craftsmen and trained apprentices for their trade. The local community and businesses relied on them for making a wide variety of precision objects such as locks and keys, knives, ornamental and decorative latticework, fine instruments, accurate tools and hardware items. Glenample Homestead became famous after the disastrous wreck of the sailing ship Loch Ard on June 1, 1878. The owners, Hugh Hamilton Gibson and Peter McArthur, were involved in the rescue and recovery of Eva Carmichael and Tom Pearce, the only two survivors, as well as overseeing the salvage of items from the shipwreck and the burial of those who lost their lives. Eva first met Jane Shields at Glenample and they became long-time friends. The keys are significant as an example of mid-19th century locksmith hardware, and for their connection with Glenample Homestead, and for their connection to the history of the Loch Ard shipwreck’s only two survivors. The set of keys also hold significance as they were discovered by John Chance, who was also a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Glenample Homestead is of historical, social and architectural significance to the State of Victoria and is listed on the Victorian Heritage Register (VHR H0392). It is a historical example of early settlement and development of a run in the coastal land of South West Victoria, and it is constructed from locally quarried sandstone but doesn’t take away from its Georgian design. Glenample Homestead is of State significance through its unique connection with the wreck of the ship Loch Ard and the connection to its owners, Hugh and Lavinia Gibson and Peter McArthur, played a historically and socially significant role in the rescue and care of the survivors, the salvage of goods and the burial of those who lost their lives. The shipwreck of the Loch Ard itself is of significance for Victoria and is registered on the Victorian Heritage Register (S417). Key; steel domestic door key. Round, thin open bow with 'B' shaped internal space, collar on shank, close to the bow. Round shank flares out slightly above the collar on the bit. The rectangular bit has internal and external notches and grooves. There is a rounded pin on the end.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, glenample homestead, victorian heritage register vhr h0392, georgian homestead, loch ard, princetown, jane shields, eva carmichael, tom pearce, blue china tea set, antique door key, glenample photographs, john chance

The key is one of a collection of seven 1860s keys once belonged to the Glenample Homestead near Princetown. They are all keyed with different bits and would have opened the external panelled doors of the Georgian building. The keys would now be around 150 years old. The keys are now part of the John Chance Collection. Locksmiths became a recognised trade by the middle of the 19th century, doing work that blacksmiths and gunsmiths would have done. They were craftsmen and trained apprentices for their trade. The local community and businesses relied on them for making a wide variety of precision objects such as locks and keys, knives, ornamental and decorative latticework, fine instruments, accurate tools and hardware items. Glenample Homestead became famous after the disastrous wreck of the sailing ship Loch Ard on June 1, 1878. The owners, Hugh Hamilton Gibson and Peter McArthur, were involved in the rescue and recovery of Eva Carmichael and Tom Pearce, the only two survivors, as well as overseeing the salvage of items from the shipwreck and the burial of those who lost their lives. Eva first met Jane Shields at Glenample and they became long-time friends. The keys are significant as an example of mid-19th century locksmith hardware, and for their connection with Glenample Homestead, and for their connection to the history of the Loch Ard shipwreck’s only two survivors. The set of keys also hold significance as they were discovered by John Chance, who was also a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Glenample Homestead is of historical, social and architectural significance to the State of Victoria and is listed on the Victorian Heritage Register (VHR H0392). It is a historical example of early settlement and development of a run in the coastal land of South West Victoria, and it is constructed from locally quarried sandstone but doesn’t take away from its Georgian design. Glenample Homestead is of State significance through its unique connection with the wreck of the ship Loch Ard and the connection to its owners, Hugh and Lavinia Gibson and Peter McArthur, played a historically and socially significant role in the rescue and care of the survivors, the salvage of goods and the burial of those who lost their lives. The shipwreck of the Loch Ard itself is of significance for Victoria and is registered on the Victorian Heritage Register (S417). Key; steel domestic door key. Flat open bow with 'figure 8' space. Round narrow shank flares out slightly above the collar on the bit. The rectangular bit has has external notches and grooves. There is a rounded pin on the end.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, glenample homestead, victorian heritage register vhr h0392, georgian homestead, loch ard, princetown, jane shields, eva carmichael, tom pearce, blue china tea set, antique door key, glenample photographs, john chance

The key is one of a collection of seven 1860s keys once belonged to the Glenample Homestead near Princetown. They are all keyed with different bits and would have opened the external panelled doors of the Georgian building. The keys would now be around 150 years old. The keys are now part of the John Chance Collection. Locksmiths became a recognised trade by the middle of the 19th century, doing work that blacksmiths and gunsmiths would have done. They were craftsmen and trained apprentices for their trade. The local community and businesses relied on them for making a wide variety of precision objects such as locks and keys, knives, ornamental and decorative latticework, fine instruments, accurate tools and hardware items. Glenample Homestead became famous after the disastrous wreck of the sailing ship Loch Ard on June 1, 1878. The owners, Hugh Hamilton Gibson and Peter McArthur, were involved in the rescue and recovery of Eva Carmichael and Tom Pearce, the only two survivors, as well as overseeing the salvage of items from the shipwreck and the burial of those who lost their lives. Eva first met Jane Shields at Glenample and they became long-time friends.The keys are significant as an example of mid-19th century locksmith hardware, and for their connection with Glenample Homestead, and for their connection to the history of the Loch Ard shipwreck’s only two survivors. The set of keys also hold significance as they were discovered by John Chance, who was also a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Glenample Homestead is of historical, social and architectural significance to the State of Victoria and is listed on the Victorian Heritage Register (VHR H0392). It is a historical example of early settlement and development of a run in the coastal land of South West Victoria, and it is constructed from locally quarried sandstone but doesn’t take away from its Georgian design. Glenample Homestead is of State significance through its unique connection with the wreck of the ship Loch Ard and the connection to its owners, Hugh and Lavinia Gibson and Peter McArthur, played a historically and socially significant role in the rescue and care of the survivors, the salvage of goods and the burial of those who lost their lives. The shipwreck of the Loch Ard itself is of significance for Victoria and is registered on the Victorian Heritage Register (S417). Key; steel domestic door key. Flat open bow with 'figure 8' space, collar on shank, close to the bow. Round shank flares out slightly above the collar on the bit. The rectangular bit has external notches and grooves. There is a rounded pin on the end.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, glenample homestead, victorian heritage register vhr h0392, georgian homestead, loch ard, princetown, jane shields, eva carmichael, tom pearce, blue china tea set, antique door key, glenample photographs, john chance

This set of glossy black and white photographs is a set of images of Glenample Homestead circa late 1960s to early 1970s. They were taken by John Chance and are part of the John Chance Collection. The Colonial Georgian style Glenample Homestead was built from 1866 to 1869 from locally quarried sandstone. In is built on the top of a hill amongst trees. There are paddocks below and around the building. The building is basically a rectangular shape with a recessed room on the right side of the front. The pitched roof is covered in corrugated iron. The veranda, added in 1886, also has a corrugated iron room and is supported by square posts with decorative tops. It shelters three sides of the building. The edge of the veranda is decorated with scalloped shapes along the front and left side of the building. On the right is a brick wall incorporating a chimney. Another chimney on the left is contained within the building. The four-panelled outside doors are visible in some of the photos, as are the 12-paned glass windows, which are framed in contrasting stone. The veranda is trimmed with scalloped metal work on two sides and had some enclosed corners. There appears to be a cubical water tank on the roof line. Out-buildings include a toilet built against the house's brick wall. Another building appears to have two rooms with outside doors, perhaps for workers. There is the remains of a two-wheeled cart under a shelter. GLENAMPLE & the LOCH ARD Glenample Homestead became famous after the disastrous wreck of the sailing ship Loch Ard on June 1, 1878. The owners, Hugh Hamilton Gibson and Peter McArthur, were involved in the rescue and recovery of the only two survivors, as well as overseeing the salvage of items from the shipwreck and the burial of those who lost their lives. Glenample Homestead is on the Great Ocean Road at Princetown. Originally the land was part of Kennan’s Station lease, one of the district’s early settlements, circa 1847. James Murray bought Kerman’s land in 1856-57, combined it with nearby land, and named it Glenample Homestead. The ruins of huts Murray built on the property were still there until recently. Glenample was sold in 1866 to the partnership of Gibson and McArthur, who built a Georgian style house there using local sandstone, completing it by 1869. On 1st June 1878 the Loch Ard was wrecked at what is now called Loch Ard Gorge. Apprentice crewman Tom Pearce and eighteen year old passenger Eva Carmichael were the only survivors. Pearce had brought Eva ashore and sheltered her in a cave, reviving her with whiskey found amongst items washed up from the wreck. He climbed the cliffs and came across two riders from Glenample. No other survivors were found and sadly, Eva’s family members were amongst those who drowned. Hugh and Lavinia Gibson cared for Pearce and Eva at Glenample and extended their hospitality to Eva, who stayed on for about six weeks as she recovered from the ordeal physically and emotionally. Mrs Gibson introduced Eva to Jane Shields and the young ladies became lifelong friends. Years after Eva had returned to England, Jane’s daughter visited her. Eva handed her a blue china tea set to pass onto her mother as a gift. A descendant of Jane’s donated part of the tea set to Flagstaff Hill Maritime Village while another descendant donated her inherited share of the tea set to the Warrnambool and District Historical Society. In 1886 Glenample Homestead was updated to include a veranda on three sides. In 1887 Gibson sold his share to partner Peter McArthur. McArthur’s son Ernest inherited the property in 1897. Ernest established the Glenample Cheese Factory in around 1911. It was closed due to the World War and reopened in 1929 by McArthur’s sons, Robert and Colin, when they took control. In 1945 they sold Glenample and several owners followed but it was left unoccupied and became dilapidated. It was during this time that John Chance visited the property and photographed the buildings. In the 1980s the National Parks Service acquired the Glenample Homestead and began a restoration program. Work began in 1989 by Cathedral Stone, which was established in 1989 by James Charlwood, a specialist stonemason and son of maritime author Don Charlwood. This set of photographs are significant as a record of Glenample Homestead as it was from around the late 1860s to the late 1960s. The photographs are also significant as they were taken by John Chance, a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The photographs are significant as a link between Glenample, the vessel Loch Ard, and the only survivors of the Loch Ard. Glenample Homestead is of historical, social and architectural significance to the State of Victoria and is listed on the Victorian Heritage Register (VHR H0392). It is a historical example of early settlement and development of a run in the coastal land of South West Victoria, and it is constructed from locally quarried sandstone but doesn’t take away from its Georgian design. Glenample Homestead is of State significance through its unique connection with the wreck of the ship Loch Ard and the connection to its owners, Hugh and Lavinia Gibson and Peter McArthur, played a historically and socially significant role in the rescue and care of the survivors, the salvage of goods and the burial of those who lost their lives. The shipwreck of the Loch Ard itself is of significance for Victoria and is registered on the Victorian Heritage Register (S417). The set of ten rectangular black and white photographs of the Glenample Homestead, taken in the late 1960s or early 1970s, give san overview of the Glenample property. The views include the front, back and one side of the building, three outbuildings, and the situation of the homestead on the property. The details on the photographs show the materials used and the Colonial Georgian style. The photographs are also a record of the deterioration of the property over the years it was unoccupied.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, kennans station, glenample homestead, georgian homestead, loch ard, princetown, victoria, james murray, hugh hamilton gibson, lavinia gibson, jane shields, eva carmichael, tom pearce, blue china tea set, peter mcarthur, ernest mcarthur, robert mcarthur, colin mcarthur, glenample cheese factory, cathedral stone, don charlwood, james charlwood, antique door key, glenample photographs, john chance, victorian heritage database 392

This set of pairs of pintles and gudgeons was recovered from the wreck of the sailing ship Schomberg and was part of its rudder steering system. A reconstruction that includes four pairs is currently on display at Flagstaff Hill. The rudder installation of the Schomberg was almost seven metres tall. A pintle and gudgeon pair is a mechanical fitting that works like a pair of door hinges. One of the uses for this type of fitting is for ships’ rudders. On a ship, one or several gudgeons would be attached to the vertical rudder stempost on the rear of the ship’s hull. On the ship's rudder, an equal number of pintles would be fitted onto it. The rudder assembly would then fit down into the gudgeons on the ship and would be connected to its steering mechanism, allowing it to be moved from side to side and steer the vessel. The SCHOMBERG- The three-masted clipper ship Schomberg was built in 1855 by Alexander Hall and Co in Aberdeen, Scotland, for James Baines' famous Black Ball line. It measured 288 feet (88 meters) in length, with a beam of 45 feet (14 meters), a depth of 29.5 feet (8.99 meters) and 2,284 tons. The mainmast was 210 feet (64 meters) high and the ship carried 3.3 acres of sail. The wooden vessel was constructed with three skins; one planked fore and aft, and two diagonally planked. All skins were fastened together with screw-threaded trunnels (wooden rails). The Schomberg was one of only three clippers wrecked in Victorian waters that operated the England-to-Australia run. It was built to outrun Donald MacKay’s two American-built ships, the Empress of the Sea and the Lightning. It was hoped that Schomberg would make Liverpool to Melbourne voyage in sixty days, setting a record for the voyage. The Schomberg sailed from Liverpool on 6 October 1855 on her maiden voyage, under the command of Captain James Forbes. Her general cargo for Australia included jewellery, spirits, machinery, and 2,000 tons of iron rails and equipment for building the Melbourne to Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn, and17,000 letters and 31,800 newspapers. She also carried a cow for fresh milk, pens for fowls and pigs, plus 90,000 gallons of water for washing and drinking on board. There were approximately 473 passengers, including migrants for Australia, and a crew of 105. Light winds encountered at the equator dashed the expectations of a record-breaking voyage. On Christmas day the ship sighted Moonlight Head in southwest Victoria and even though there was a deadly combination of wind, currents and unmarked sand spits, the vessel continued on. Then the next day, December 26th 1855, the huge ship gently ran aground on a spit that juts into Newfield Bay, east of Curdies Inlet and the present town of Peterborough. Fortunately, the coastal trader, SS Queen, was nearby and managed to save all passengers and crew. In 1975 Flagstaff Hill’s former Director Peter Ronald and the team of divers recovered many objects and artefacts from the wreck of the Schomberg such as the ship’s fittings, equipment and personal effects including a diamond hidden for years in a communion set. This set of pintles and gudgeons is an example of steering equipment used on ships over 150 years ago, equipment that is still in use in today's shipping industry as well as many other everyday hardware applications.. The equipment is significant for its association with the ill-fated vessel Schomberg, which was wrecked in the local water in 1855 on its maiden voyage. The ship was built for speed and luxury, to sail on journeys with passengers, including migrants, travelling from Liverpool to Melbourne.Pintles and gudgeons, six pairs, plus one single pintle, from the wreck of the SCHOMBERG. Cast iron horse-shoe-shaped fittings with tapered ends. each with metal bars between the long sides. One piece of each pair has a round hollow cylinder and the other has a round solid shank. The single pintle has a tall shank with a pintle hook through it. Some pieces have remnants of grey paint.flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, schomberg, shipwreck, pintles, gudgeons, ship's rudder, ship's steering, clipper ship, james bain, black ball line, alexander hall and co., capt. james bully forbes, rudder pintles and gudgeons, rudder steering, pintles and braces, immigrant ship, maiden voyage, peterborough, 1855, marine technology

Chu Chin Chow, Bendigo Operatic Society, opening 10th November, 1961 for six nights. Bendigo Operatic Society. President: Mr J McK. Cannon, Vice-President: Mr C Bubb, Secretary: Mr G Dart, Subscription Secretary: Mrs J Cannon, Treasurer: Mr RB Ralph, Committee: Mrs W Brown, Mrs J Smyth, Mrs W E Wright, Messes O Hamilton & M Welch, Messrs A Annison, B Thomas & L Spencely. President's Message Since its formation in 1952, the Bendigo Operatic Society has presented 23 well-known Musical Comedies, Pantomimes, and a Revue. . . Notes and photographs on Robert Watson, Sawn Beckwith, Valerie McCracken, Leonard Carr, Max O'Loghen, Carol McKenzie, Fred Trewarne, Max Beckwith, Olive Hamilton, John Stephens, Charles Phillips, Ferd Lorenz, Victor White, Peter Houston, Reg Boromeo, Joan Heard, Patricia Lyon, Miss M Welch, Mrs P House. Musical Numbers. . . Synopsis of Scenes. . . Bendigo Concert Orchestra Violins - Miss A McNair (Leader), Mesdames A Bolton, A Faulds, C Messer, F Robbins, J Weldon, Dr, J Borema, Messrs R Charlett, Dr Gault, Messrs C Gill, J Jordan, I Lacey, O Turner. Violas - Mr E Jarrett, Mr S McNeill, Mrs J Pinder. Cello - Mrs C Bubb, Miss L Slade, Mrs J Borema, Mr A Rutland. Bass - Mr C Hargreaves, Mr T French. Flutes - Mr C Bubb, Master D Bubb. Oboe - Mrs S Willis. Clarinets - Mr J McKay, Mr R Holyoake. Bassoon - Mr S Anderson. Trumpet - Mr B Armstrong, N Pearce. Trombone - Mr A Martin, Mr E Washington. Horn - Mr R Perry. Tympani - Mr J Allen. Bendigo Operatic Society presents by permission of Samuel French (Aust.) Ltd. Chu Chin Chow a Norman Lee Production. Told by Oscar Asche. Set to music by Fredric Norton. Dramatic Personnel - Robert Watson, Max Beckwith, Fred Trewarne, Leonard Carr, John Stephens, Charles Phillips, Ferd Lorenz, Peter Houston, Reg Boromeo, Victor White, Dawn Beckwith, Carol McKenzie, Valerie McCracken, Olive Hamilton, Joan Heard, Patricia Lyon. Ladies of the Ensemble - Kath Alexander, Bernice Boromeo, Joan Crane, Edna Faderson, Edith Glen, Wendy Griffiths, Joan Head, Emily Houston, Shirley Levers, Pat Lyon, Pat McCracken, Margery Reed, Ellen Stephens, Norma Trewarne. Gentlemen of the Ensemble - Alfred Annison, Ian Beckwith, Denis Cremin, Roy Cronin, Gerald Gleeson, Peter Houston, Ferd Lorenz, Keith Millar, Kenneth Nicholls, Robert Nicholls, Eric Pollock, Daryl Walker, Victor White. Ballet - Joan Harding, Shirley Harding, Jean McClellan, Kaye Miller, Carol O'Sullivan, Rosalie Panozza, Bronwen Townsend, Marion Weigard, Shirley Williams, Annette Wilson, Bill Arthur, Peter Houston. Musical Director: Mr Max O'Loghlen, Society Pianist: Mrs P House, Stage Manager: Mr Murray McGrath, Ballet Mistress and Asst. Stage Manager: Miss M Welch, Wardrobe Committee: Miss M Welch, Mrs P Lyons, Mrs N Lindrea, Mrs M Jarvis, Mrs A Annison, Mrs S Richardson. Publicity: Mrs J Smyth and Mr B Thomas. Scenery & Art Work: Messrs. N Cronin & A Watkins. Make-up: Mesdames E Wright & Miss S Cannon. House Manager: Mr B Searle. In Retrospect In mid 1952, a distinguished man arrived in Bendigo and interested several citizens, including Dr. P Goodman, the President of the Musical Advancement Society, in the formation of a Company for the production of Musical Comedy. The meeting was called at the home of Mr Fred Bush, and a group of enthusiasts made the acquaintance of Mr Norman Lee, our producer and sequently the M.A.S. and several leading citizens, sponsored the first production, by subscribing funds for initial expenses. From such humble beginning, our present Society originated. Mr Cyril Cyril Warne was appointed Musical Director, Mrs Phyllis House, Pianist, and Miss Madge Welch, Ballet Mistress. During the Season of ''Chu Chin Chow,'' the Society will stage its 100th performance - indeed an outstanding feat in such a brief history. Looking back it is interesting to recall the 23 shows which are included, and the productions are- (listing of productions included in program). Next Productions. . . Acknowledgements: 3BO, Bendigo Advertiser, Mr N Cronin, Mesdames C Neilson & T Lambert for Art Work, Messrs L Spencely, D Cremin & J Cannon for Scenery & Carpentry. Miss M Welch for use of Studio, Make-up Staff, Back Stage Staff, Front of House Management Usherettes and Programme Sellers. Advertisements: Martin Washington, Photographers, Bendigo. Hanro. Markings on front cover in black pen, Capital Theatre.Cambridge Press, Bendigoprogram, theatre, music advancement society of bendig, chu chin chow, bendigo operatic society, 10th november, 1961. president: mr j mck. cannon, vice-president: mr c bubb, secretary: mr g dart, subscription secretary: mrs j cannon, treasurer: mr rb ralph, committee: mrs w brown, mrs j smyth, mrs w e wright, messes o hamilton & m welch, messrs a annison, b thomas & l spencely. president's message formation1952, bendigo operatic society has presented 23 musical comedies, pantomimes, and a revue. . . notes and photographs robert watson, sawn beckwith, valerie mccracken, leonard carr, max o'loghen, carol mckenzie, fred trewarne, max beckwith, olive hamilton, john stephens, charles phillips, ferd lorenz, victor white, peter houston, reg boromeo, joan heard, patricia lyon, miss m welch, mrs p house. musical numbers. . . synopsis of scenes. . . bendigo concert orchestra violins - miss a mcnair (leader), mesdames a bolton, a faulds, c messer, f robbins, j weldon, dr, j borema, messrs r charlett, dr gault, messrs c gill, j jordan, i lacey, o turner. violas - mr e jarrett, mr s mcneill, mrs j pinder. cello - mrs c bubb, miss l slade, mrs j borema, mr a rutland. bass - mr c hargreaves, mr t french. flutes - mr c bubb, master d bubb. oboe - mrs s willis. clarinets - mr j mckay, mr r holyoake. bassoon - mr s anderson. trumpet - mr b armstrong, n pearce. trombone - mr a martin, mr e washington. horn - mr r perry. tympani - mr j allen. samuel french (aust.) ltd. chu chin chow a norman lee production. told by oscar asche. set to music by fredric norton. dramatic personnel - robert watson, max beckwith, fred trewarne, leonard carr, john stephens, charles phillips, ferd lorenz, peter houston, reg boromeo, victor white, dawn beckwith, carol mckenzie, valerie mccracken, olive hamilton, joan heard, patricia lyon. ladies of the ensemble - kath alexander, bernice boromeo, joan crane, edna faderson, edith glen, wendy griffiths, joan head, emily houston, shirley levers, pat lyon, pat mccracken, margery reed, ellen stephens, norma trewarne. gentlemen of the ensemble - alfred annison, ian beckwith, denis cremin, roy cronin, gerald gleeson, peter houston, ferd lorenz, keith millar, kenneth nicholls, robert nicholls, eric pollock, daryl walker, victor white. ballet - joan harding, shirley harding, jean mcclellan, kaye miller, carol o'sullivan, rosalie panozza, bronwen townsend, marion weigard, shirley williams, annette wilson, bill arthur, peter houston. musical director: mr max o'loghlen, society pianist: mrs p house, stage manager: mr murray mcgrath, ballet mistress and asst. stage manager: miss m welch, wardrobe committee: miss m welch, mrs p lyons, mrs n lindrea, mrs m jarvis, mrs a annison, mrs s richardson. publicity: mrs j smyth and mr b thomas. scenery & art work: messrs. n cronin & a watkins. make-up: mesdames e wright & miss s cannon. house manager: mr b searle. in mid 1952, arrived in bendigo dr. p goodman, the president of musical advancement society, formation of a company musical comedy. mr fred bush, mr norman lee, m.a.s.. society originated. mr cyril cyril warne musical director, mrs phyllis house, pianist, miss madge welch, ballet mistress. during the season of ''chu chin chow, '' the society will stage its 100th performance. recall the 23 shows. acknowledgements: 3bo, bendigo advertiser, mr n cronin, mesdames c neilson & t lambert messrs l spencely, d cremin & j cannon for scenery & carpentry. miss m welch.. advertisements: martin washington. hanro. capital theatre. chu chin chow, bendigo operatic society, 10th november, 1961. president: mr j mck. cannon, vice-president: mr c bubb, secretary: mr g dart, subscription secretary: mrs j cannon, treasurer: mr rb ralph, committee: mrs w brown, mrs j smyth, mrs w e wright, messes o hamilton & m welch, messrs a annison, b thomas & l spencely. president's message formation1952, bendigo operatic society has presented 23 musical comedies, pantomimes, and a revue. . . notes and photographs robert watson, sawn beckwith, valerie mccracken, leonard carr, max o'loghen, carol mckenzie, fred trewarne, max beckwith, olive hamilton, john stephens, charles phillips, ferd lorenz, victor white, peter houston, reg boromeo, joan heard, patricia lyon, miss m welch, mrs p house. musical numbers. . . synopsis of scenes. . . bendigo concert orchestra violins - miss a mcnair (leader), mesdames a bolton, a faulds, c messer, f robbins, j weldon, dr, j borema, messrs r charlett, dr gault, messrs c gill, j jordan, i lacey, o turner. violas - mr e jarrett, mr s mcneill, mrs j pinder. cello - mrs c bubb, miss l slade, mrs j borema, mr a rutland. bass - mr c hargreaves, mr t french. flutes - mr c bubb, master d bubb. oboe - mrs s willis. clarinets - mr j mckay, mr r holyoake. bassoon - mr s anderson. trumpet - mr b armstrong, n pearce. trombone - mr a martin, mr e washington. horn - mr r perry. tympani - mr j allen. samuel french (aust.) ltd. chu chin chow a norman lee production. told by oscar asche. set to music by fredric norton. dramatic personnel - robert watson, max beckwith, fred trewarne, leonard carr, john stephens, charles phillips, ferd lorenz, peter houston, reg boromeo, victor white, dawn beckwith, carol mckenzie, valerie mccracken, olive hamilton, joan heard, patricia lyon. ladies of the ensemble - kath alexander, bernice boromeo, joan crane, edna faderson, edith glen, wendy griffiths, joan head, emily houston, shirley levers, pat lyon, pat mccracken, margery reed, ellen stephens, norma trewarne. gentlemen of the ensemble - alfred annison, ian beckwith, denis cremin, roy cronin, gerald gleeson, peter houston, ferd lorenz, keith millar, kenneth nicholls, robert nicholls, eric pollock, daryl walker, victor white. ballet - joan harding, shirley harding, jean mcclellan, kaye miller, carol o'sullivan, rosalie panozza, bronwen townsend, marion weigard, shirley williams, annette wilson, bill arthur, peter houston. musical director: mr max o'loghlen, society pianist: mrs p house, stage manager: mr murray mcgrath, ballet mistress and asst. stage manager: miss m welch, wardrobe committee: miss m welch, mrs p lyons, mrs n lindrea, mrs m jarvis, mrs a annison, mrs s richardson. publicity: mrs j smyth and mr b thomas. scenery & art work: messrs. n cronin & a watkins. make-up: mesdames e wright & miss s cannon. house manager: mr b searle. in mid 1952, arrived in bendigo dr. p goodman, the president of musical advancement society, formation of a company musical comedy. mr fred bush, mr norman lee, m.a.s.. society originated. mr cyril cyril warne musical director, mrs phyllis house, pianist, miss madge welch, ballet mistress. during the season of ''chu chin chow, '' the society will stage its 100th performance. recall the 23 shows. acknowledgements: 3bo, bendigo advertiser, mr n cronin, mesdames c neilson & t lambert messrs l spencely, d cremin & j cannon for scenery & carpentry. miss m welch.. advertisements: martin washington. hanro. capital theatre.

Girton College Presenting Anything Goes, Capital Theatre Bendigo. a/ Flyer: 1.30pm Saturday 31st August 1991. $3.00 Bookings 42 4877. b/ Girton College Presents ''Anything Goes!'' 27th, 28th August, Capital Theatre, Bendigo. The Plot. Cast: John Elder, Genevieve Gilbert, Scott Williams, Amber McDonald, Brendon Marshall, Kaye Porter, Lok Thornton, Anna Ledwich, Jason Burns, Simon Evans, Sarah Tweed, Amelia Doble, Jane Phillips, Linden Whiting, David Pearse, Jenni Rosen, Nick Evans. Girls: Louisa Dalley, Caroline Davey, Allisa Gullan, Adam Middlemis, Alistair Hampton, Jarrod Harris, Adrian Currie, Mark Tierney, Ben Brown, James Brook, Georgia Laughton, Carolyn Macdonald, Lachlan King, Luke Tracey, Sally Branson, Michael Elphinstone, Natalie Lawson, Tanya Kairn, Matthew Evans, Sally Thorn, Emma Chuck, Natalie Davey, Geraldine Carney, Henry Chan, Rossetti Luk, Kelly Chuck, Corinne McAlpine, Tania Ray, Sally Morris, Rachel Roberts. Dancers: Rachel Campbell, Alisa Gullan, Kate Harris, Carolyn Macdonald, Rachel Millar, Jane Phillips, Carlie Sutton, Linden Whiting, Lisa Owen, Kim Davis. Sound: Bronwyn Letts, Anthea Moncrieff. Technical Lighting Spot: Davydd Griffiths, Matthew Whiting. Backstage: Emma Goulding, Dallas Anson, Sarah Carlile, Alix Osborn, Matthew Williams, Michael Porter, Kasie Watson, Alexandra Hocking, Nerida Clark, Lisa Bibby, Sher Anson, Emma Toon, Mandi Smith. Production Mrs R Pedersen, Mr R Cooke, Matthew Tilling, Michael Chittick, Mrs K Branson, Mrs A Leech with year 9 Design Students. Mr L Young, Mrs R Pederson, Mrs J Whiting, Brenda Macdonald, Pam Sutton, Mrs S Draffin, Kara Draffin, Miss M Somerville, Mr S Jackson, Mrs S Neale, Adelle Middlemis, Moira Christie, Wendy McKinlay, Shona Christie, Mrs V Jackman. Orchestra: Mr R Cooke, Maria Ciancio, Grant Welling, Susannah Breaden, Meredith Cox, Kylie Smith, Jane Davies, Jeremy Breaden, Mal Hausler, Norm Gray, Kevin Kieley, Neil Bassett, Kevin Simmonds, Betty Higgs, John Snowdon, Peter Stewart. We gratefully acknowledge the assistance of: Keith Macdonald, Macdonald's Spring Gully Nursery. Graham & Irene Keogh, Limerick Tavern. Ashman's Formal Hire. Program produced by Ms S Albion. Program designed by Jason Williams, Lok Thornton and Matt Robinson. Graphics by Broughton Snell and Amber McDonald. C & d/Tickets no.s K8 & K9, Girton College Presents Anything Goes! 7.30pm, Wednesday 28th August 1991 at the Capital Theatre Bendigo Adult $6 Conc. $3.entertainment, theatre, anything goes, girton college presenting anything goes, capital theatre bendigo. a/ flyer: 1.30pm 31st august 1991. $3.00 bookings 42 4877. b/ girton college presents ''anything goes!'' 27th, 28th 1991, capital theatre, bendigo. the plot. cast: john elder, genevieve gilbert, scott williams, amber mcdonald, brendon marshall, kaye porter, lok thornton, anna ledwich, jason burns, simon evans, sarah tweed, amelia doble, jane phillips, linden whiting, david pearse, jenni rosen, nick evans. girls: louisa dalley, caroline davey, allisa gullan, adam middlemis, alistair hampton, jarrod harris, adrian currie, mark tierney, ben brown, james brook, georgia laughton, carolyn macdonald, lachlan king, luke tracey, sally branson, michael elphinstone, natalie lawson, tanya kairn, matthew evans, sally thorn, emma chuck, natalie davey, geraldine carney, henry chan, rossetti luk, kelly chuck, corinne mcalpine, tania ray, sally morris, rachel roberts. dancers: rachel campbell, alisa gullan, kate harris, carolyn macdonald, rachel millar, jane phillips, carlie sutton, linden whiting, lisa owen, kim davis. sound: bronwyn letts, anthea moncrieff. technical lighting spot: davydd griffiths, matthew whiting. backstage: emma goulding, dallas anson, sarah carlile, alix osborn, matthew williams, michael porter, kasie watson, alexandra hocking, nerida clark, lisa bibby, sher anson, emma toon, mandi smith. production mrs r pedersen, mr r cooke, matthew tilling, michael chittick, mrs k branson, mrs a leech with year 9 design students. mr l young, mrs r pederson, mrs j whiting, brenda macdonald, pam sutton, mrs s draffin, kara draffin, miss m somerville, mr s jackson, mrs s neale, adelle middlemis, moira christie, wendy mckinlay, shona christie, mrs v jackman. orchestra: mr r cooke, maria ciancio, grant welling, susannah breaden, meredith cox, kylie smith, jane davies, jeremy breaden, mal hausler, norm gray, kevin kieley, neil bassett, kevin simmonds, betty higgs, john snowdon, peter stewart. we gratefully acknowledge the assistance of: keith macdonald, macdonald's spring gully nursery. graham & irene keogh, limerick tavern. ashman's formal hire. program produced by ms s albion. program by jason williams, lok thornton and matt robinson. graphics by broughton snell and amber mcdonald. c & d/tickets no.s k8 & k9, 7.30pm, 28th august 1991 adult $6 conc. $3.

Programme: Bendigo Youth Choir presents ''Das Namensfest'' (The Grandfather's birthday party) by Sussmayr at the Bendigo Art Gallery on Saturday, 10th August, 1985 and Sunday 11th, August, 1985 at 7.00pm. Musical director: Valerie Broad Pianiste: Eileen Hetherington Soloist: Benjamin Fenselau, Luke Gallagher, Traude Beilharz, Marcus Mawby, David Evans, Paul Veitch, Russel Boivard, Jeni Fleay, Natalie Hetherington, Sonya Morrissey, Barnaby Breaden. Grandfather: Kevin Vallence. Choir members: Jane Ash, Holly Beazley, Jillian Boivard, Peter Campbell, Lyndon Carty, Lisette Curnow, Justine Dowdle, Jodi Elliot, Kara Every, Michael Ewart, Rachel Fenselau, Paula Fleay, Kirsten Fletcher, Matthew Garside, Lorinda Grant, Meagan Lee, Glenice McIntyre, Francis Fyffe, Simon Waugh, Janet Phillips, Rebecca Porter, Aleesa Pratt, Elizabeth Reid, Fiona Ritchie, Mary-Teresa Ritchie, Cindy Waugh, Alison Wells, Nicola Wells. Red bow tied to the top of the programme.clubs, music, youth choir

Notes, index, bibliography, maps, p.463.non-fictionValiant for the truth charts Wilmots exceptional life as he reported key events of the twentieth century.world war 1939-1945 - journalists - biography, wilmot chester 1911-1954

Bendigo Advertiser "The way we were" from Wednesday, November 3, 2004. Entertainers: the Impalas, well known for their music, celebrate their 40th anniversary this year. Pictured in 1964 were Brian Sea, Frank Hovenden, Pam Jones, Garry Sea and Peter Robinson. The band presently consists of Geoff James, Mal Kent, Garry Sea, Rob Shedden and Peter Talbot.newspaper, bendigo advertiser, the way we were

Galen Catholic College in 2012 put on a junior school production of Peter Pan. These photos show the performers during the production itself, as well as the musicians and backstage crew. galen catholic college, galen college, school theatrical productions, peter pan, students, 2012, musicians, crew

Ex Camp 3 Templers who met up at the Museum in 1991.Colour photograph of Peter and Mrs Hoffmann and Erni Weller from Oakhurst NSW, standing in front of the original Museum. Mr Hoffmann holding a copy of Walls of Wire.Walls of Wire (cover)peter hoffmann, mrs hoffmann, erni weller

SoftcoverNewspaper article from Bulletin Review about Robin Boyd and the series "Melbourne Architectural Papers", of which this is one as well as Number 1918 and 1019pop architecture, 1970s' architecture, walsh st library

The Ruyton Reporter (formerly known as Ruyton Reports) captures the essential Ruyton Girls' School experience for the broader school community. It has been produced since 1986.The record has strong historic significance as it pertains to one of the oldest girls' school in Victoria, Australia. Ruyton was founded in 1878 in the Bulleen Road, Kew, home of newly widowed Mrs Charlotte Anderson (now High Street South). Thus, the record can be used as a reference example for research into Victorian school history. It also gives insight into the types of activities and events undertaken at Ruyton Girls' School during the period of its production. The record's significance is further enhanced by its exceptionally well-documented provenance, having remained the property of Ruyton Girls' School since its production.Black and white newsletter printed on paper with staple binding. 8 pages.Front Page: Vol. 5 No. 1 April, 1990 / R / RECTE ET FIDE LITER / RUYTON / 1878 - 1988 Reports / From Ruyton Girls' School / 12 Selbourne Road, Kew. 3101 / Telephone (03) 819 2422 / Breakfast with the Stars / L. to R. Peter Hudson, Luke Docking & Benny Lewis (Westside Saints) Paul / Hudson (Hawthorn F.C.), Tony Charlton / Tony Charlton with Tim Watson (Capt. Essendon F.C.) / Aerobics Display /ruyton girls' school, ruyton, school, students, newsletter, ruyton reports, ruyton news, kew, victoria, melbourne, girls school

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 play was written in Russia after the revolution in 1928. A satire on Soviet life, productions were banned and after 1934 the play disappeared completely until the 1970s.Translated by Peter TegelThis program contains historical information about both the author and the play as well as reviews from previous audiences :good conditionthe suicide, russell street theatre, program, melbourne theatre company

Karl Duldig’s ceramic bowl is a particularly interesting example of Karl’s ability to creatively respond to a new environment with a fresh visual repertoire, in this case, the flowering Eucalyptus in a design reminiscent of traditional European folk art. The bowl is an excellent example of the utilitarian and decorative studio pottery produced by Karl and his wife Slawa Horowitz-Duldig between 1944 and 1960. Clay was an important medium for Karl. When he was forced to flee Austria for Switzerland, working with clay became a convenient medium; and he continued to expand his use of clay in Singapore. In Australia his work in clay extended from domestic hand-made pottery to public sculptures and architectural reliefs. In 1944 Duldig purchased a kiln, which was installed in the garage of the family’s St. Kilda flat, soon after a pottery wheel was acquired. It was the beginning of a cottage industry that supplemented the family income during the war years and beyond. Duldig initially sold his decorative ceramic wares through a local florist in St. Kilda, and subsequently through shops such as the Chez Nous French Art Shop (Howey Place) and Light and Shade (Royal Arcade), and the Primrose Pottery shop in Collins Street. The Primrose Pottery shop was an extremely important commercial outlet, and hub, for emerging artists, potters and designers from 1929 until 1974. Its proprietors Edith and Betty MacMillan worked closely with their suppliers, commissioning and taking items on consignment. In the post war period important Melbourne studio potters such as Allan Lowe, Arthur Boyd, John Perceval and Neil Douglas exhibited and sold domestic wares in the Primrose Pottery shop. The Duldigs studio pottery provides a counterpoint to the ceramics produced at Arthur Merric Boyd Pottery in Murrumbeena, which was established in 1944 by Arthur Boyd, John Perceval and Peter Herbst. The emphasis on painterly decoration was important and the AMB potters also produced simple household wares decorated with Australian flora and wildlife, for example Neil Douglas also made small bowls decorated with the fairy wrens, lyrebirds, gumnuts and eucalypts. Ann Carew 2016The Duldig Studio’s collection of ceramics has national aesthetic and historic significance. It contains a representative sample of works of art in ceramics created by Karl Duldig during his lifetime, including small sculptures, as well as functional and novelty items for the tourist market during the 1956 Melbourne Olympic Games. The artist’s working methods and the development of his practice are comprehensively demonstrated in the collection. This in-situ collection demonstrates the philosophy of the Vienna Secession and its inheritors that handcrafted, simple functional domestic wares might enrich both the lives of the maker and the user. This bowl is part of a collection of ceramics that has national historic significance in providing a rich illustration of an immigrant and artistic experience, and touching on the themes of settlement adaptation of artistic practice. The collection is also associated with places of cultural and historical significance in Melbourne such as the Primrose Pottery Shop, and the story of Australian studio ceramics in the post-war years. Ann Carew 2016Cream earthenware bowl with flowering gum motif and sponged green background.Duldig in script incised under.

This work is by a local contemporary artist with a national and international reputation for figurative and portrait works. This lithograph comes from a series of still life by Wegner from the early 80's; a subject matter in which he has not returned to. Wegner is well known for his drawings and enjoys the immediate and directness of the process. He sees the drawn image as an experience of observation, with the content revealing the process of its making. Lithographic print - still life in black and white. Details several kitchen/household items: spoon, tea pot, egg holder, cup and saucer, bowl, chop sticks and mandarin.Lower far left: 'A/P'; Low centre: 'Mandarin on Kitchen Table'; Lower far right: 'PW 83'wegner, lithograph, still life, black and white, utensils, table, fruit, print

David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He has won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1903s on painting trips and used to camp on the banks of the Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires.Oil on canvas painting depicting a Panton Hill bush scape.Signed: D. Armfield in lower right hand corner. Not dated.david armfield, eltham art prize, panton hill

David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He has won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1903s on painting trips and used to camp on the banks of the Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires.'Untitled' by David Armfield an oil on canvas painting depicts sand, sea, distant mountains and various figures scattered about in a typical Armfield landscape. The figures tend to be annonymous, sometimes included more to establish the scale than for a narrative purpose. The figures are well clothed and it could be assumed that it is not a hot summer's day. Depth is established by changing of colours and diminishing the size of the figures.david armfield, beach, eltham, nillumbik shire council

David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He has won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1903s on painting trips and used to camp on the banks of the Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires. Painting: oil on canvas. Depicting the desolate aftermath of a bushfire in Eltham. Trees are bare and burnt, foreground is sparse, whilst background is fiery red.david armfield, eltham, bushfire

David Armfield: David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1930s on painting trips and used to camp on the banks of Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires.Ceramic stoneware. Reduction fired, dolomite glaze, wax resist decoration over iron. Decorated/painted by David Armfield. Cast by Joan Armfield.

This work is by a local contemporary artist with a national and international reputation for figurative and portrait works. This drawing has a link to another of Wegner's work in the Collection, the lithograph 'Mandarin on a Kitchen Table'. This portrait is of Danny Moynihan, one time lecturer at Phillip Institute of Technology (now RMIT - Bundoora campus) who taught Wegner printmaking (lithography) when he was a student at the institute in the 80's. Wegner is well known for his drawings and enjoys the immediate and directness of the process. He sees the drawn image as an experience of observation, with the content revealing the process of its making. He is inspired by English artist Leon Kossoffs' drawings where the likeness of the subject is secondary and separate from the credibility of the drawing itself. Black and white charcoal portrait drawing on paper of artist/teacher Danny Moynihan.Hand written (signature) in charcoal - lower right - 'Peter Wegner'wegner, drawing, charcoal, black and white, moynihan, artist, teacher

Alma Shanahan (1924-2015) was a Victorian potter who came to live at Clifton Pugh's Dunmoochin art colony at Cottlesbridge, on Melbourne's outskirts in 1953. Unable to join the co-operative proper, as she was a potter, not a painter, she built her house at the top of the hill, 135 Barreenong Road, Cottles Bridge. The c.1953 house is historically, aesthetically and architecturally significant because it is a good example of the design and ethos of mud brick dwellings synonymous with Eltham and features the extensive use of recycled materials, which was characteristic of the 'Eltham style' of architecture. Like the others in the artist community, Alma Shanahan built her own residence in stages out of local materials. Shanahan was later joined by neighbours and Dunmoochin potters Peter and Helen Laycock. She trained for a term with Peter Laycock but was otherwise self-taught, basing her practice on the teachings of Bernard Leach. After Pugh's death in 1991 she became the longest standing Dunmoochin resident. Her works are incised with her full name. Alma Shanahan was a part of the Dunmoochin Artist's community whose (other) members (Kevin Nolan, John Howley, John Olsen, Mirka Mora, Peter Laycock, Helen Laycock, Peter Wiseman and Chris Wiseman) made an important contribution to Victoria's cultural history. From the mid 1950s Pugh persuaded a number of other painters, as well as potters and other artists, to come and live at Dunmoochin and they formed one of Victoria's most important artist communities. She started potting around 1961 (aged 37). "Horse Power" was made using Chullora clay, which indicates it was made during her first seven years of production. Horse Power is about man's search for "energy" and how the "energy" can turn around. Made from Chullora (Sydney) clay. Glazed stoneware plates (x2) with brush decorations resting on hand made ceramic stands. Plate one: 2006.64.1VA (Horse Power + stand) shows a figure on horse back with blue foliage in background. Plate two: 2006.64.2VA (Flip Side + stand) shows a horse with figure under it's hooves. Hand painted signature in brown/black on back of both plates; "Alma Shanahan"shanahan, stoneware, glaze, plates, horse, dunmoochin