non-fictionA study of the Huon family, early pastoralists in the Wodonga area, and the mansion, De Kerilleau, which they built in 1870. The original lease of Wodonga Run was granted to Paul Huon as No. 202 on 7th February 1837, about a year after his cousin Charles Huon had squatted on the land. In August 1849, this run was transferred to Paul's son, William. Paul Huon was one of the children of Gabriel Louis Marie Huon de Kerilleau, a French nobleman who fled France during the French Revolution and travelled under a false identity with the Second Fleet in 1794. The mansion, De Kerilleau was built by William Huon in 1870.huon family., de kerilleau homestead, wodonga victoria

non-fictionAmazing People of the Border, features 40 stories of local identities based on interviews between 1985 and 2013local identities, albury-wodonga regions, history albury, history wodonga, biography

non-fictionA biographical dictionary of key pioneers and identities in the Ovens and Beechworth area of Victoriapioneers victoria, pioneers beechworth, pioneers ovens river

This photograph shows the Linton Street oval in Moorabbin in the early 1960's before it was redeveloped to become the home ground and club headquarters of the St Kilda Football ClubThe arrival of the St Kilda Football Club to Moorabbin was a significant event in the social and commercial development of Moorabbin. The presence of a VFL football team in the community created a sense of identity and belonging for many. Black and white photograph of a sporting oval. There are people on the field and more people lining the outside edge of the field. A row of parked cars is visible across the foreground.Handwritten in red ink: 60%city of moorabbin, moorabbin, st kilda football club, linton street oval

p.130.non-fictionYarns of the colorful identities who used to run the railways in the days of steam trains.australian folklore. special subjects: railway services. personal observations. collections., railroad operations - australia - history

Sunil Gupta is a British/Canadian citizen, (b. New Delhi 1953) MA (RCA) PhD (Westminster) who lives in London and has been involved with independent photography as a critical practice for many years focusing on race, migration and queer issues. A retrospective was shown at The Photographers’ Gallery, London (2020/21) and The Image Center, Toronto. He is a Professorial Fellow at UCA, Farnham. His latest book is “We Were Here: Sexuality, Photography, and Cultural Difference, Selected Writings by Sunil Gupta”, Aperture New York 2022. His work is in many private and public collections including; the Tokyo Museum of Photography, Philadelphia Museum of Art, Royal Ontario Museum, Tate, Metropolitan Museum of Art and the Museum of Modern Art. His work is represented by Hales Gallery (New York, London), Materià Gallery (Rome), Stephen Bulger Gallery (Toronto) and Vadehra Art Gallery (New Delhi).Part of Queer PHOTO (Midsumm x PHOTO 2024) photography, british photography, queer photography, race, migration, portrait

This thank you card is from Thomas Rome (1873-1974) when he was celebrating his 100th birthday in 1973. Thomas Rome came to Warrnambool from Beechworth to work with John Younger in his Warrnambool store in 1888. He worked there for 17 years before opening his boot and shoe shop at 115 Liebig Street in 1907, retiring in 1962. Thomas Rome is remembered today not only for his long life and prominent Liebig Street business but also because of the sound recordings he made in 1896-7 at the Warrnambool Industrial and Art Exhibition. With an Edison phonograph machine he made sound recordings of local artists and these are regarded as one of the oldest, if not the oldest, surviving sound recordings made in Australia. This card with its envelope is of interest as it reminds us of the long life of a prominent Warrnambool identity of the late 19th century and the first 70 years of the 20th century. The card has T. J. Rome’s signature. Mrs Vera Giles was the recipient of the card a long-serving member of the Warrnambool and District Historical Society and, like Tommy Rome, a person who reached her 100th year and beyond. This is a small piece of white lightweight card folded into two to make a card. Inside is a handwritten and printed message from Tommy Rome on the occasion of his 100th birthday The envelope bears the post mark 18th September 1973 and is addressed to Mrs Giles. Envelope: ‘Mrs Giles, 3 Cyma Street, Warrnambool, Vic. 3280, a seven cent stamp and a handwritten note – ‘Tom Rome, ‘thank you’ 100th b’day’. Card: ‘Murweh’, 203 Liebig Street, Warrnambool 3280 Dear Mrs Giles I would like to express my appreciation of your kind message which I received on my 100th birthday. The good wishes of so many have given me happiness and I ask you to accept my warm thanks, With kind regards, Yours sincerely, T.J.Rome thomas rome, murweh, warrnambool history, vera giles warrnambool

A book of 25cm H, containing 250 p; index; referencesnon-fictionBox Hill Cemetery is the final resting place of many notable identities such as Sidney Myer, C. J. Dennis and Joy Hester, pioneers, leaders in their fields, businessmen and women, church representatives, and people from all walks of life and numerous cultures. The successes, struggles, triumphs, and tragedies of scores of individuals and families have been documented as the fledgling burial ground evolved into the serene and expansive cemetery valued by many people.box hill cemetery (vic.), box hill (vic.) -- history, celestina sagazio

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

In Wealth for Toil #2, Raquel Ormella continues her ongoing exploration of Australian identity and our relationship to winning and money. It is one in a series of banners which explores gold as both a precious metal and as a metaphor. The artwork’s title references the Australian National Anthem. Raquel critiques some of the less desirable aspects of Australian patriotism – specifically the national public outcry when the Australian swimming team did not come back with gold at the 2012 London Olympics, despite thousands of dollars being poured into the Australian Institute of Sport. Australian currency incorporated into the workaustralian identity

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

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

Red cloth ID card tag holder with folded chromed terminal and steel chromed clip. The more orange tag has a plastic tag that allowed the tag to be disconnected. Both have Metlink and logs over printed on them.trams, tramways, metlink, identity cards

John William Henry Austin who emigrated with his brother Lindsay James to Australia in 1852, eventually settled in Durham Lead. He was a well known local photographer and also catered for local sporting functions including the Lal Lal races.John William Henry Austin was a well known local identity and photographer in the latter half of the 19th centuryCopy of photographed portrait of John William Henry AustinJohn William Henry Austin, Photographer, Durham Lead, 1870-1909.john william henry austin, austin family, photographer, local identity

A red hardcover book, The Rise and Fall of Marvellous Melbourne by Graeme Davidson. The red cover has large flourished gold embossed letters MM on the front cover with the title and publisher symbol at the bottom of the spine. It has a grey dust jacket with the title printed in black and red letters at the top front and the author written in white letters below. A full page grey and white cityscape of Melbourne wraps around the jacket. On the inside of the jacket there is a blurb explaining briefly the book's contents. There is a Contents, list of Illustrations, Acknowledgements, Notes and Abbreviations pages. On the back inside jacket are details of the author. Tables, black and white illustrations and photographs are included.non-fictionThis book looks beyond public events to discover how the experience of boom and depression touched the lives of ordinary Melburnians at work and at home and reshaped their society and their sense of urban identity.history melbourne, australian history, melbourne - economic conditions - 1880-1890

The group is pictured outside the Linton fire station/weighbridge. The occasion was probably to do with the visit to Australia by the Queen in 1954.Black and white photograph of five men wearing casual clothes and one woman wearing skirt with long-sleeved top and head scarf. The building they are in front of has the date "1939" on it. On the left behind them is a display with small Union Jack and Commonwealth flags, the word "LINTON", and the date "1954"."Bill Grigg (grandfather of Chris Grigg), Carrie Murrell / Ted Porter Les Ching / Bill Murrell Dave Nicol / Shire of Grenville weighbridge in background".bill grigg (william spencer grigg), carrie murrell, ted porter, les ching, bill murrell, dave nicol

These captivating pieces are part of a series called "FOOD / FLESH / FAME," a collaborative effort between Melbourne-based Thai artists Bundit Puangthong and Vipoo Srivilasa. Drawing from Buddhist teachings, the series explores the three elements of attachment: Food (consumption), Flesh (sex), and Fame (power). Although these elements are known to cause suffering, they remain persistently alluring, a paradox that the artists intend to explore further in the future. In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FOOD" depicts a durian, the king of fruits, painted by Bundit Puangthong. He notes, "Despite its pungent aroma, many people still love to eat it."Donated the by the artists

In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FLESH" features a golden umbrella, serving as a metaphor for sex.

Samuel Carson was a local farmer who in the late 1800's acquired land to the West of Warrnambool in the Farnham park estate and towards Tower Hill near Gorman's lane. By the time of his death on May 23, 1920 he left an amount of 11666 pounds. Apart from amounts left to individuals, he bequeathed one hundred pounds each to ten different orphanages, and homes for neglected children and the blind and leaving the remainder to charitable organisations at the discretion of his trustees.The donation of 3500 pounds in August 1922 was in the latter category. This plaque commemorates Samuel Carson's generosity to the newly refurbished Warrnambool Base Hospital. He left a son William who farmed at Yangery at the time of his father's death. This item is significant in that it links a local identity through his generous donation to the local hospital. It therefore has strong social,historical and interpretative value. His generosity is a significant part of the history of Warrnambool Base Hospital.Heavy rectangular cast brass plate with raised edge and text in capitals. Corners have rounded cutouts and there is a hole in each corner for attachment. The Samuel Carson Childrens' Ward.warrnambool, warrnambool base hospital, samuel carson, samuel carson warrnambool, childrens' ward warrnambool 1928