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Eltham District Historical Society Inc
Photograph (Item) - Print, Sylvia Wiseman, Eltham Park, 1988
... for entry into the Eltham Photographic Survey Exhibition. Entries... for entry into the Eltham Photographic Survey Exhibition. Entries ...View looking towards footbridge across the Diamond Creek along the Diamond Creek Trail, north of Bridge Street. Eltham Town Park was partially constructed on a tip site. The park and lake were landscaped in 1973-1974. As early as late 1980 a proposal to rename it Alistair Knox Park was met with significant community resistance with a petition of 1600 signatures against however Council ultimately pushed the name through in 1987. Many residents continued to call it Eltham Town Park for some years later. Sylvia Wiseman 1988 Entrant No. 70 No negative The photographer noted that in a sad indictment of the local community, this German Shepherd dog and another had been abandoned by their owners to scavenge through the bins and chase the drunks around the lake at dawn. Both dogs were impounded and the owners never claimed them. As a consequence they were eventually both put down. SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Rear: Entrant No., name and address in blue ink; also 'Series 34' and the 'Item No.' in orange inkshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 34, alistair knox park, diamond creek (creek), diamond creek trail, eltham town park, footbridge, sylvia wiseman -
Eltham District Historical Society Inc
Photograph (Item) - Print, Sylvia Wiseman, Eltham Park, 1988
... for entry into the Eltham Photographic Survey Exhibition. Entries... for entry into the Eltham Photographic Survey Exhibition. Entries ...View looking north along the Diamond Creek Trail, north of Bridge Street near footbridge across the Diamond Creek. Eltham Town Park was partially constructed on a tip site. The park and lake were landscaped in 1973-1974. As early as late 1980 a proposal to rename it Alistair Knox Park was met with significant community resistance with a petition of 1600 signatures against however Council ultimately pushed the name through in 1987. Many residents continued to call it Eltham Town Park for some years later. Sylvia Wiseman 1988 Entrant No. 70 No negative The photographer noted that in a sad indictment of the local community, this German Shepherd dog and another had been abandoned by their owners to scavenge through the bins and chase the drunks around the lake at dawn. Both dogs were impounded and the owners never claimed them. As a consequence they were eventually both put down. SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Rear: Entrant No., name and address in blue ink; also 'Series 34' and the 'Item No.' in orange inkshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 34, alistair knox park, diamond creek trail, eltham town park, sylvia wiseman -
Eltham District Historical Society Inc
Photograph (Item) - Print, Stephanie Johnson, Bridge Near Leisure Centre, 1988
... for entry into the Eltham Photographic Survey Exhibition. Entries... for entry into the Eltham Photographic Survey Exhibition. Entries ...Brougham Street Bridge Stephanie Johnson 1988 Entrant No. 128 Ref: Series 34, Items 99, 100 The photographer noted that in a sad indictment of the local community, this German Shepherd dog and another had been abandoned by their owners to scavenge through the bins and chase the drunks around the lake at dawn. Both dogs were impounded and the owners never claimed them. As a consequence they were eventually both put down. The photographer noted that in a sad indictment of the local community, this German Shepherd dog and another had been abandoned by their owners to scavenge through the bins and chase the drunks around the lake at dawn. Both dogs were impounded and the owners never claimed them. As a consequence they were eventually both put down. SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Rear: Entrant No., name and address in blue ink; also 'Series 34' and the 'Item No.' in orange inkshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 34, series 35, brougham street bridge, film - kodak ga 100 5095, scan - 35mm negative, stephanie johnson -
Eltham District Historical Society Inc
Photograph (Item) - Print, Andrew Peel, Untitled (Former Bootmaker's Shop), 1988
... of photographers for entry into the Eltham Photographic Survey Exhibition... Photographic Survey Exhibition. Entries had to be submitted by May 13 ...701 Main Road, Eltham Situated originally on the corner of the Dalton Street road reserve west of Main Road (now present-day Wingrove Park Trail), the former Jarrold Cottage (White Cloud) was purchased by Lena Skipper following Thekla Jarrold's death in 1943. It was built by William Jarrold in the early 1850s and was here that he married Hannah Coleman in 1856. The Bootmaker's shop was built by Thekla Jarrold in 1930 for use by her friend, John Clark, a local photographer who had boarded with the Jarrold family since about 1910. In 1930 he changed profession to a bootmaker and leather worker. The shop is one of only three remaining early 20th century shops in what was Little Eltham, the others being present-day San Antionio Barber Shop at 820 Main Road and Cafe Zen Den at 736 Main Road. Andrew Peel 1988 Entrant No. 28 Ref: Series 34, Items 11, 60-63 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Rear: Entrant No., name and address in blue ink; also 'Series 34' and the 'Item No.' in orange inkshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 34, series 35, andrew peel, bootmaker's shop, film - kodak gb 200 5096, main road, scan - 35mm negative -
Eltham District Historical Society Inc
Photograph (Item) - Print, Elizabeth Simkin, Untitled (Cane baskets), 1988
... for entry into the Eltham Photographic Survey Exhibition. Entries... for entry into the Eltham Photographic Survey Exhibition. Entries ...Riverclay Craft Gallery, 573 Main Road, Eltham Riverclay was located along with Ansell and Muir's Chicken shop opposite Eltham Lower Park. The building has since been demolished as it lay within the 1934 flood plain limits Elizabeth Simkin 1988 Entrant No. 149 Ref: Series 34, Items 39, 111-113 The photographer noted that in a sad indictment of the local community, this German Shepherd dog and another had been abandoned by their owners to scavenge through the bins and chase the drunks around the lake at dawn. Both dogs were impounded and the owners never claimed them. As a consequence they were eventually both put down. The photographer noted that in a sad indictment of the local community, this German Shepherd dog and another had been abandoned by their owners to scavenge through the bins and chase the drunks around the lake at dawn. Both dogs were impounded and the owners never claimed them. As a consequence they were eventually both put down. SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Rear: Entrant No., name and address in blue ink; also 'Series 34' and the 'Item No.' in orange inkshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 34, series 35, elizabeth simkin, film - kodak ga 100 5095, riverclay craft gallery, scan - 35mm negative -
The Beechworth Burke Museum
Card - Carte de Visite, 1864
The carte de visite features a photograph of Charles Sherwood Stratton (professionally known as General Tom Thumb) and his wife, Lavinia Warren Stratton. The image was taken in Paris, France in 1864. Charles Sherwood Stratton and Lavinia Warren Stratton were American performers who traveled with the Barnum & Bailey Circus, founded by Phineas Taylor (P. T.) Barnum in 1871. They each participated in various acts including singing, dancing, miming, and celebrity impersonations. Both Charles and Lavinia gained international fame for their successful careers and small physical stature. The duo performed in Australia in August 1870. They were joined by their touring party as part of the Barnum & Bailey Circus "Round the World" tour. The "Australian Tom Thumb", real name John David Armstrong, made his "audaciously competitive" stage debut alongside the popular Stratton couple when the circus performed at the Prahran Popular Entertainments in Melbourne. Charles, Lavinia, P. T. Barnum and the circus inspired the musical drama film, "The Greatest Showman" (2017).The carte de visite is historically significant due to Charles Sherwood Stratton's status as an internationally renowned performer. In a general sense, it also provides insight into the arts in Victoria during the late nineteenth century, illustrating the type of entertainment that was enjoyed by the public during this time. The record's historical significance is further enhanced by its medium as a "carte de visite"; a specific photographic method popularised in the nineteenth century. The record has a valid interpretive capacity for those interested in history and museum studies. It develops our understanding of the sensationalised "human curiosities" exhibition genre that was championed by the West during the late nineteenth and early twentieth centuries. Considering the record's historic context, it is a useful resource for discussing the ethics of representing live human beings for entertainment in a public exhibition context.Sepia rectangular photograph printed on matte photographic paper mounted on card.Obverse: General Tom Thumb and Wife, / in the identical costumes worn before Emperor Louis / Napoleon and the Empress Eugenie, at the Palace of / the Tuilleries, Nov. 29, 1864 / Reverse: 3707 / Compliments of / Charles SStratton. / Lavinia Warren Stratton. / Published by / E. & H. T. Anthony & Co. / CA / 591 Broadway New York. / MANUFACTURERS / of the best / PHOTOGRAPHIC ALBUMS / A02539 /entertainment, entertainment album, circus, general tom thumb, australian tom thumb, charles stratton, lavinia stratton, performance, arts, carnival, p. t. barnum, melbourne, prahran, john david armstrong, film -
Federation University Historical Collection
Correspondence, "Banner " Print, Dimboola, Correspondence from Kiata State School concerning an Exhibition of Wildflowers, 1958
The following were office bearers of the Kiata Progress Association in 1958: K. Jordon (President) G. Osborne (Secretary) Ivan Cole & S. Clark (Vice_Presidents Alison Jordan (Assistant Secretary) It is a assumed that the Kiata Progress Association Wildflower Exhibition was the predecessor of the Little Desert Wildflower Exhibition is held each year in September-October. Kiata is a town in the Wimmera region between Nhill and Dimboola, western Victoria, Australia.Correspondence from Kiata State School to the Ballarat School of Mines concerning an Exhibition of Wildflowers, 1958 .1-2) Two page hand written letter dates 20 August 1958 and signed by G.B. Osborne, Honorary Secretary of the Kiata Progress Association. .3) one page typed letter (carbon copy) dated 28 August 1958 in reply to above .4) Printed flyer advertising the Kiata Progress Association Exhibition of Wildflowers and Museum of Natural History to be held in Kiata Hall on 25 September to 05 October 1958. The flyer includes photographic depictions of Kakea Petiolaris, Hakea multilineata and Mallee Hens.mallee hens, kiata progress association, wildflower exhibition, kiata hall, little desert, lowan sanctuary, k. jordan, ivan cole, s. clarke, g. osborne, alison jordan -
Federation University Historical Collection
Book, 3rd Year Final Exhibitin 1992, 1992
White soft covered book with a listing of each 3rd Year Visual Art Student at Ballarat University College. Each open page features a photographic image of the artist in the studi, and an artist statement.ballarat university college, ceramics, elaine d'esterre, aleander purdie, f. sleeman, end of year exhibition, eye -
The Beechworth Burke Museum
Photograph, unknown
This photograph was taken in the Burke Museum c1970 and depicts an exhibition about the Kelly Gang. This photograph is of social significance due to its connection with the Burke Museum as well as the Kelly Gang. The Kelly Gang story is integral to the formation of an Australian identity and highlights the Irish oppression during the 1800s. Ned Kelly is an Australian icon, mythologised in Australian literature, art, folklore and history, and the Kelly Gang story permeates Australia's national consciousness. The Burke Museum is significant here also, as the image shows the importance of the Kelly Story to the Beechworth area and local identity. This photograph is also of research potential due to the great interest in the Kelly Gang history in Australia, and also for its presentation of a historical museum exhibition in Beechworth.Black and white, rectangular photograph, printed on photographic paperObverse: Beechworth/a pictorial record of the early days/and associations with the Kelly Gang Reverse: BMA03314 1997.3125/Agfaned kelly, kelly gang, burke museum, australia, museum, display, photograph, pictorial record, beechworth municipality, beechworth, exhibit, bust, clock, urn, vase, painting -
The Beechworth Burke Museum
Photograph, 1999
This photograph depicts members of the Beechworth Band at a 'Liedertafel' concert in the main hall at the Burke Museum in 1999. The concert was associated with an exhibition titled, 'From the Liedertafel to the Skating Rink: Entertainment in Beechworth 1852 - early 1900s', which celebrated the rich and diverse entertainments that were a part of Beechworth life in the nineteenth and early twentieth centuries. Marching bands, choirs, circus acts, theatrical performances, races, and seasonal activities, such as Mr. Spiller's roller skating rink, founded in the late 1860s, were among the attractions on offer. 'Liedertafel' is a tradition that accompanied German settlers to Australia. It refers to a friendly society of men united by an enthusiasm for singing. The Beechworth Brass Band was formed by Mr. H. Vandenberg in 1887. The Beechworth Liedertafel was established 14 March 1894 at the London Tavern, Camp Street, Beechworth, by Mr. A.A. Billson, and a visiting conductor, Mr. H. Fielder. German clubs, complete with marching bands, athletics associations and Liedertafel choirs, were centres of social activity attracting wide audiences not limited to members of their own ethnicity. Alfred Arthur Billson was the youngest son of Mr. George Billson, who served as Beechworth’s mayor between 1869-1871. In 1872, George purchased the Oven’s Brewery in Last Street, which became Billson’s Brewery, one of the oldest continuing beverage manufacturers in Australia. An active member of Beechworth’s cultural, business and political life around the turn of the century, A.A. Billson served on Beechworth Shire Council from 1884 to 1893, and from 1895 to 1910, with three terms as president (1888–89, 1899–1901, 1908–09). He founded the Beechworth Progress Association in 1891 and produced an ‘Illustrated Guide to Beechworth and Vicinity’ to develop tourism potential. This photograph of the Beechworth Band playing at the Burke Museum is historically significant for the information it conveys about an exhibition at the Burke Museum between September and November 1999. The use of the contemporary Beechworth Band in a 'Liedertafel' performance provides insight into curatorial approaches at the turn of the twenty-first century and improves our understanding of how exhibitions use objects in the Burke Museum's Collection to tell stories about the past in the present. The image is historically and socially significant for attesting to the enduring appeal of local musical associations, which were a popular means of entertainment that fostered social connections among settlers from diverse ethnic backgrounds. Rectangular colour photograph printed on matte photographic paper. Reverse: 7029 / Label: 7029 / Source / Burke Museum / Beechworth / Band / 1999/2000 /liedertafel, beechworth band, burke museum, from the liedertafel to the skating rink, entertainment in beechworth 1852 - early 1900s, gold rush, immigration, beechworth's german heritage, london tavern beechworth, beechworth's first brick tavern, spiller's skating rink, vandenberg's beechworth brass band, protestantism, teetotallism, skating carnivals, beechworth german association, yma's, beechworth skating rink, progress societies, billson's brewery, german-australians, beechworth progess association, lodges, freemasonry, colonial australia -
The Beechworth Burke Museum
Photograph, c1999/2000
This photograph depicts female singers accompanied by members of the Beechworth Band at a 'Liedertafel' concert in the main hall at the Burke Museum in 1999. The concert related to an exhibition titled, 'From the Liedertafel to the Skating Rink: Entertainment in Beechworth 1852 - early 1900s', which celebrated the rich and diverse entertainments that were part of Beechworth life in the nineteenth and early twentieth centuries. 'Liedertafel' is a German tradition that accompanied European settlers to Australia. It refers to a friendly society of men united by an enthusiasm for singing. The Beechworth Liedertafel was established 14 March 1894 at the London Tavern, Camp Street, Beechworth, by president, Mr. A.A. Billson, and a visiting conductor, Mr. H. Fielder. The Beechworth Brass Band was formed by Mr. H. Vandenberg in 1887. Marching bands, choirs, circus acts, theatrical performances, races, and seasonal activities, such as Mr. Spiller's roller skating rink, which was founded in the late 1860s, were among the entertainments on offer in Beechworth.This photograph of the Beechworth Band playing at the Burke Museum is historically significant for the information it conveys about an exhibition at the Burke Museum between September and November 1999. The use of the contemporary Beechworth Band in a 'Liedertafel' performance provides insight into curatorial approaches at the turn of the twenty-first century and improves our understanding of how exhibitions use objects in the Burke Museum's Collection to tell stories about the past in the present. The image is historically and socially significant for attesting to the enduring appeal of local musical associations, which were a popular means of entertainment that fostered social connections among settlers from diverse ethnic backgrounds. Liedertafel choirs were originally male-only, therefore, the presence of female singers at the 1999 exhibition reflects progressive social and community values with regard to gender and inclusion.Rectangular colour photograph printed on matte photographic paper.Reverse: 7030 / Label: Burke Museum / Liedertafel Exh / Emily Messen, Luetta / Schier, Hannah / Routledge, Sarah / McKinley 2000 (?) / 2000 (?) / liedertafel, beechworth band, burke museum, exhibition 1999, from the liedertafel to the skating rink, entertainment in beechworth 1852 - early 1900s, past exhibitions, performances at the burke museum, european settlers, german community, german choral societies, brass bands, male choir, colonial passtimes, colonial entertainments, cultural traditions, gold rush, immigration, beechworth's german heritage, london tavern beechworth, camp st beechworth, beechworth historic district, beechworth's first brick tavern, spiller's skating rink, vandenberg's beechworth brass band, benevolent societies, intellectual societies, protestantism, billson brewery beechworth, teetotallism, fancy dress carnivals, skating carnivals, fundraising societies, german musicians, crimean war, beechworth german association, freemasonry, yma's, beechworth athenaeum, beechworth skating rink -
The Beechworth Burke Museum
Photograph, c1999
This photograph depicts two members of the Beechworth Band at a 'Liedertafel' concert in the main hall at the Burke Museum in 1999. The concert related to an exhibition titled, 'From the Liedertafel to the Skating Rink: Entertainment in Beechworth 1852 - early 1900s', which celebrated the rich and diverse entertainments that were a part of Beechworth life in the nineteenth and early twentieth centuries. 'Liedertafel' is a German tradition that accompanied European settlers to Australia. It refers to a friendly society of men united by an enthusiasm for singing. The Beechworth Liedertafel was established 14 March 1894 at the London Tavern, Camp Street, Beechworth, by president, Mr. A.A. Billson, and a visiting conductor, Mr. H. Fielder. The Beechworth Brass Band was formed by Mr. H. Vandenberg in 1887. Marching bands, choirs, processions, circus acts, theatrical performances, races, fancy dress and roller skating carnivals, were among the vibrant and diverse entertainments offered in Beechworth during the gold rush period. Race meetings were revived with a gala atmosphere at Baarmutha on New Year's Day and Easter Monday in the early 1880s. 'Spiller's Skating Rink', which premiered at St. Georges Hall in August 1869, was accompanied by the 'Beechworth Fire and Drum band'. In 1888, Beechworth had two skating rinks in operation, the Columbia Elite at Oddfellow's Hall, and the Beechworth Skating Rink, corner Camp and Last Streets, Beechworth. Vandenberg's Beechworth Brass Band was reported to have provided musical entertainment for patrons at both venues.This photograph of the Beechworth Band playing at the Burke Museum is historically significant for the information it conveys about an exhibition at the Burke Museum between September and November 1999. The use of the contemporary Beechworth Band in a 'Liedertafel' performance provides insight into curatorial approaches at the turn of the twenty-first century and improves our understanding of how exhibitions use objects in the Burke Museum's Collection to tell stories about the past in the present. The story of Liedertafel's and Beechworth Brass Band is historically and socially significant for understanding the role played by German immigrants in building Victorian communities. In settler communities, cultural associations centred on artistic, recreational and sporting activities not only provided a popular means of entertainment, but fostered social cohesion among settlers from diverse ethnic backgrounds.Rectangular colour photograph printed on matte photographic paper. Obverse (On keyboard): Technics / Reverse: 7028 / Label: Liedertafel / exh. / Beechworth / Band / 1999/2000 /liedertafel, beechworth band, burke museum, from the liedertafel to the skating rink, entertainment in beechworth 1852 - early 1900s, gold rush, immigration, beechworth's german heritage, london tavern beechworth, beechworth's first brick tavern, spiller's skating rink, vandenberg's beechworth brass band, protestantism, teetotallism, skating carnivals, beechworth german association, yma's, beechworth skating rink, progress societies, billson's brewery, german-australians, roller skating history -
The Beechworth Burke Museum
Photograph, c1999-2000
This photograph taken c1999/2000, depicts the Burke Museum’s granite façade and vestibule entrance. The museum's large red door is closed and there is a white sign is attached to the door. The museum site dates to the 1857 founding of the Beechworth Public Library and Athenaeum by a newly formed Young Men's Association (YMA). In 1863 the museum was dedicated as a memorial to former Beechworth police superintendent (1854-1858) and explorer Robert O’Hara Burke, following Burke’s death from malnutrition on the Burke and Wills expedition in 1861. Funded by the Victorian Government and the Royal Society of Victoria, the officially titled 'Victorian Exploring Expedition' was tasked with being the first European party to traverse Australia from south to north. The Burke Museum holds objects from the famous expedition and explores the multi-layered history of Beechworth and surrounds from the gold rush era to the present.This photograph is historically significant for its depiction of the Burke Museum c1999/2000. The Burke Museum is Australia’s oldest regional museum and part of Beechworth's Historic and Cultural Precinct, one of Australia’s best preserved historic-town sites and a popular tourist destination. Once the government centre for a vast gold fields region, this collection of nationally significant buildings tells the story of how Australia grew and prospered. The frequent use of honey-coloured local granite as a building material, which can be seen in the museum's fabric, gives Beechworth’s historic buildings a distinct and cohesive local character. This photograph captures this distinctive character and may be compared and studied alongside other images of historic buildings in the Burke Museum Photographic Collection.Rectangular colour photograph printed on photographic paper.Reverse: 7031 / Label: Burke Museum / 1999/2000 /burke museum, indigo shire, beechworth athanaeum, beechworth library, beechworth historic building, historic precinct, burke museum exhibition, from the liedertafel to the skating rink, honey-coloured local granite, robert o'hara burke, victorian gold fields, historic towns in victoria, colonial australia, liedertafel, colonial entertainments, beechworth brass band, historic victorian architecture, australia's oldest regional museum, burke and wills expedition, first europeans to cross australia, yound mens associations, beechworth tourism, things to see in beechworth, beechworth historic trail, young men's associations -
The Beechworth Burke Museum
Photograph, c1990s
Taken in the 1990’s, the photograph depicts an exhibition in Beechworth featuring a series of shop fronts or a streetscape inspired by the 1850s gold rush to Beechworth. Gold was discovered in the Beechworth area in 1852, leading to a significant rush to the area as diggers and hopeful migrants alike hoped to strike it rich. This gold rush to Beechworth, which was part of a larger and prolonged gold rush to the Victorian colony in the 1850’s, led to significant communal, social, and economic shifts in the area and the colony.This photograph contains historical and social significance, connecting with several themes such as gold mining, making regional centres, and marking significant phases of development for Victoria’s towns. The gold rush of the 1850’s was a significant historical phase for the Victorian colony that led to widespread social, economic, and communal changes as the population of the colony nearly tripled in size. The rush to Beechworth after the discovery of gold in 1852 was one of the earliest gold finds. The photograph depicts an interpretation of store fronts in Beechworth during the 1850’s following the gold rush, providing an example of the historical interpretation of the Beechworth gold rush in the 1990’s. The photograph also demonstrates the enduring importance of Beechworth’s gold rush history to the local community, who continued to demonstrate an interest in the Beechworth gold rush. Colour rectangular photograph printed on photographic paper.Obverse: DANCING EVERY NIGHT 8 P.M-6 A.M/ GOLD DIGGERS ARMS HOTEL/ STAR (illegible)/ SALOON/ EST. 1853/ BEECHWORTH GOLD (illegible)/ J. DAVIDSON/ LICENSE/ BANK OF VICTORIA/ GOLD BUYING OFFICE/ EST. 1856 (illegible) Reverse: 3306 gold rush, beechworth, exhibition, victorian colony, shops, store fronts, streetscape, saloon, gold buyer, hotel, store, bank of victoria, j. davidson -
The Beechworth Burke Museum
Photograph, 1999
This photograph features three display board sections showing information and photographs from 'The Harvest' exhibition inside the Burke Museum at Beechworth in 1999. The boards are titled 'To the Market' and 'Orchards'; the accompanying text cannot be read. The two accompanying photographs depict a man and woman picking fruit.This photograph is of social significance to Burke Museum and the Beechworth community, documenting an exhibition, The Harvest, held in 1999 to communicate the importance of agricultural development, specifically of orchards, in the area. The expansion of vineyards and horticulture in the Beechworth district followed gold rush prosperity in the mid-1850s, with nearly ninety acres of gardens and small farms under vineyards by 1865. There were 400 Chinese market gardeners and hawkers in the area in 1868. The growth of agriculture in the Ovens district in the mid -1860s led to advocacy by local farmers for the extension of railway infrastructure from Melbourne to improve access to distant markets.Colour rectangular photograph printed on matte AGFA photographic paper.Obverse: TO THE MARKET / ORCHARDS/ Reverse: 2856beechworth, burke museum, promoting settlement, living in country towns, making regional centres, preserving traditions and commemorating, farming and agriculture, orchards, exhibitions, burke museum exhibitions, fruitpicking, building local economies, transforming land, victorian agricultural history, marketing and promoting agricultural products, growing fruit and vegetables, the harvest exhibition, harvests, vineyards, victorian gold rush towns -
The Beechworth Burke Museum
Photograph, Estimate 1999
This photograph was taken in 1999 at 'The Harvest' exhibition at the Burke Museum for members of Baking Industry Victoria. The grain mill, manufactured by B.M. Purshouse in Wolverhampton, England, was of special interest.This photograph is of primary social significance to the Beechworth community because it depicts a 19th-century grain mill, manufactured by B.M. Purshouse in Wolverhampton, England, which was probably used at flour mills in the Ovens District, such as that at Tarrawingee, which opened in 1866. The purchase of agricultural machinery such as the grain mill accompanied the expansion of agriculture, including grain growing, in the Ovens District following the gold mining prosperity of the 1850s. This photograph may be of interest to researchers who wish to observe an image of the Purshouse grain mill.Colour rectangular photograph printed on matte AGFA photographic paper.Obverse: THE HARVEST / THE HARVEST Reverse: 2854beechworth, burke museum, promoting settlement, living in country towns, making regional centres, preserving traditions and commemorating, farming and agriculture, exhibitions, burke museum exhibitions, building local economies, transforming land, victorian agricultural history, marketing and promoting agricultural products, the harvest exhibition, harvests, victorian gold rush towns, grain mill, bm purshouse, crops and grain, baking industry victoria -
The Beechworth Burke Museum
Photograph, 1999
Taken in 1999, the photograph depicts a section of “The Harvest” exhibition held at the Burke Museum between May 1st and June 20th 1999 as part of the Baking Industry Victoria. In the foreground is believed to be an old seed distributor. The grain mill made by B. M. Purshouse in Wolverhampton, United Kingdom, was of special interest during the exhibition. This photograph is of historical and research significance, connecting with various themes such as farming, adapting to diverse environments, and the promotion of settlement in Victoria. The photograph is an example of an exhibition held at the Burke Museum in 1999, demonstrating the communal interest of Beechworth in their farming history. The photograph contains a strong interpretive capacity as it demonstrates the importance of farming to Beechworth and Beechworth's history, revealing the enduring connection between the local community and the surrounding land. The historical and research value of the photograph is further enhanced by the depiction of historical farming machinery, providing a means for future generations to view historical machines used in farming. Colour rectangular photograph printed on photographic paper.Reverse: 2857burke museum, the harvest, exhibition, baking industry, grain mill, b. m. purshouse, beechworth, baking industry victoria, seed, seed distributor -
The Beechworth Burke Museum
Photograph, 1999
Taken in 1999, the photograph depicts a section of “The Harvest” exhibition held at the Burke Museum between May 1st and June 20th 1999 as part of the Baking Industry Victoria. In the foreground is depicted a seed distributor. The grain mill, which can be seen in the background, was made by B. M. Purshouse in Wolverhampton, United Kingdom, and was of special interest during the exhibition. This photograph is of historical and research significance, connecting with various themes such as farming, adapting to diverse environments, and the promotion of settlement in Victoria. The photograph is an example of an exhibition held at the Burke Museum in 1999, demonstrating the communal interest of Beechworth in their farming history. The photograph contains a strong interpretive capacity as it demonstrates the importance of farming to Beechworth and Beechworth's history, revealing the enduring connection between the local community and the surrounding land. The historical and research value of the photograph is further enhanced by the depiction of historical farming machinery, providing a means for future generations to view historical machines used in farming.Colour rectangular photograph printed on photographic paper.Reverse: 2855burke museum, the harvest, baking industry, baking industry victoria, seed distributor, grain mill, b. m. purshouse, beechworth, exhibition -
The Beechworth Burke Museum
Photograph, 1997
This photograph is recorded as having been taken in the North East Victoria Regional Tourist Authority, Wangaratta and depicts an exhibition display of items and interpretative labels associated with the Kelly Gang. The display was reportedly laid out as part of a Vic Tour Stamp, with items from the Burke Museum Collection.This photograph is of social significance due to its connection with the Burke Museum as well as the Kelly Gang. The Kelly Gang story is integral to the formation of the Australian identity and highlights the Irish oppression during the 1880s. Ned Kelly is an Australian icon, mythologised in Australian literature, art, folklore and history, and the Kelly Gang permeates Australia's national consciousness. The significance of the Burke Museum is also highlighted here, as the photograph shows the importance of the Kelly story to the Beechworth area and local identity, as well as its significance within the museum collection. The photograph is of strong research potential due to its depiction of the Kelly Gang history in Australia and its presentation of a historical museum exhibition which toured from Beechworth to other Victorian locations. With a depiction of the exhibition and associated label, the photograph provides insight into how the language and historical interpretation of Kelly Gang has developed, and how cultural and social opinions which are often shaped by exhibition displays, have shifted. Black and white rectangular photograph printed on matte photographic paper.Obverse: Gold Cradle / History / Claim 1835 / The north east is rich in history. It was the home of Ned Kelly, the 'Man from Snowy River' and (???) dog Mogan. Century old buildings are common and (???)nders of the gold rush days are everywhere / V. R. / £8000 Reward / Robbery and Murder / (indeterminate) Reverse: The historical display laid out in VICTOUR / 1997 3135 / North East Victoria/ Regional Tourist Authority/ P.O. Box 250/ Wangaratta. 3577 /BMMA03324burke museum, ned kelly, kelly gang, museum collection, exhibition, display, gallery, museum, exhibit -
Warrnambool and District Historical Society Inc.
Photo, Negatives Pioneers of Warrnambool & District board, 1975
The following extract written by Karen Tyers Warrnambool Family history group explains the journey and background of the Warrnambool Pioneer Board. Warrnambool is fortunate to have a photographic record of some of its pioneers. They are commemorated on the Pioneers’ Board. The Pioneers’ Board with its elaborate frame measures approximately 2 metres by 3 metres and holds 204 photographs of Warrnambool’s early pioneers. In 1907 Edward Vidler, secretary of the Warrnambool & District Progress League and Chamber of Commerce and Industry, invited descendants of those who arrived in Warrnambool before 1860 to send photographs of their pioneer ancestors to commemorate the Diamond Jubilee of Warrnambool’s foundation in 1847. A charge of £1 for each photograph was set. Lillian Foyle of Foyle’s photographic studio, was engaged to colour the photographs and undertake the associated artwork. By December 1907 the honour board was on exhibition in Bernard’s Gallery, Melbourne. Unfortunately Vidler left Warrnambool in 1907 with the honour board expenses unpaid. The Progress League refused to take responsibility for the debt and the honour board remained with Foyle’s Studio for 17 years. In 1922 subscriptions were called for and £43 16s 6d was acknowledged. After a final determined effort was made in 1924, the £100 debt was collected and Charles Foyle, Lillian’s brother, accepted settlement of the debt. On 2 May 1924 the honour board was moved from Foyle’s Studio to the Art Gallery. For many years the honour board was in the entrance passage to the public library. After the library was demolished in 1975 the pictures were removed to the Art Gallery where it was restored by the Director of the Art Gallery, Jack Welsh. The board was later stored in an empty front room at Murweh and the dismantled frame stored in an outbuilding. By 1982 the honour board was in the foyer of the City Council offices. During the renovations of the interior of the council offices in 1997 the honour board was moved to the library where it remained until moved to HeritageWorks in March 2014. For a full list of names go to http://www.warrnamboolhistory.org.au/warrnambool-history/pioneers-board/ The Warrnambool pioneer Board is one of those rare items which can claim significance on most if not all of the primary and comparative significance criteria. As a collection of early pioneers in the district it provides a valuable resource for historians and researchers. It gives light to a social scene in the district much of which can be verified from diaries and other items held by the historical society and also available on websites such as Trove. It has relevance to this day with many family historians enquiring of people included on the board. The collation of the board is a story of great interest in itself. While there are images of 204 men on the board the only reference to a woman is Lillian Foyle the artist who was responsible for much of the artistic work on the board. It compares well in size and quality with a number of montages, and collations of images from around the state of Victoria. It is by no means a complete list of pioneers of the district but there are many well- known ones included. They come from a wide range of backgrounds and as such presents a cross section of our earliest settlers in the district from 1840's to 1860’s.Cardboard folder with black and grey mottled cover with 3 metal studs along spine and white paper label with the word negative printed in black on front cover. Inside is a printed index of pioneers with reference relating to board number and negative number. There are three loose strips of negatives and 20 pages with pockets to hold strips of negatives. Up to page 13 have negatives strips inserted. There are 15 large and one small print of some of the pioneers from the board.This negative album was prepared by John A Welsh MBE JP Dip M Eng Director Warrnambool Art Gallery 1/7/1975 to 11/12/1977.There are a number of grey lead notations possibly corrections against some of the names in the index.warrnambool, warrnambool pioneer board, jack welsh, warrnambool art gallery, pioneers of warrnambool, foyles photography, lillian foyle, bernard framers, w mcaree, -
Eltham District Historical Society Inc
Photograph, Heritage Display, Heritage Week at 728 Main Road, Eltham, 1990
Two colour photographs of the Heritage Photographic Displays during Heritage Week in the former Police Residence and current home of Eltham District Historical Society at 728 Main Road, Eltham. One display was titled: Public Works- Construction of roads, bridges, railways etc.heritage week, eltham, courthouse, heritage display, exhibition, photographs, activities -
Torquay and District Historical Society
Copy Photo, Torquay History Exhibition 2016, Prepared for 2016 exhibition
Photo circa 1880 on Torquay Front Beach frontage displays a house owned by William Pride with Colonel Price's first holiday home in the backgroundA photographic record of the beginnings of the Torquay township.Black and white copy photograph -
Tatura Irrigation & Wartime Camps Museum
Booklet, Streetscape, 1998
... exhibitions Shepparton architecture Shepparton photographic images ...Printed in 1998 as a record of the exhibition held at Shepparton Art Gallery, July, 1998. Booklet deals with early architecture in Shepparton Region, includes maps, plans, photographic images and catalogue of 100 years of progress. Soft cardboard, light grey background with Shepparton Post Office fascade and first floor plan on front cover, view of the building from Wyndham Street and ground floor plan on back cover. The word "streetscape" printed across front seven times. early buildings, shepparton art gallery exhibitions, shepparton architecture, shepparton photographic images -
National Wool Museum
Photograph - 02 Wilkin, Nicole Marie, Women In Wool - Photographic Collection, 2018
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie -
National Wool Museum
Photograph - 03 Wendy, Nicole Marie, Women In Wool - Photographic Collection
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie -
National Wool Museum
Photograph - 04 Katelynn, Nicole Marie, Women In Wool - Photographic Collection, 2018
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke KeoghVirtual Imageswool, women in wool, nicole marie -
National Wool Museum
Photograph - 05 Chloe, Women In Wool - Photographic Collection, 2018
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie -
National Wool Museum
Photograph - 06 Tilly, Nicole Marie, Women In Wool - Photographic Collection, 2018
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie -
National Wool Museum
Photograph - 07 Panels, Nicole Marie, Women In Wool - Photographic Collection, 2018
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie -
National Wool Museum
Photograph - 08 Pinhole, Women In Wool - Photographic Collection, 2018
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie