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Tatura Irrigation & Wartime Camps Museum
Folio, Camp 3
Material collected and donated Material relating to Camp 3 and the Internees from Palestine. Sketch map of Camp 3 Memorium to Dieter Ruff, former Head of the Temple Society. Photo of steam passenger train at Rushworth Station. Various group photos. Copy of sketch of hut by Winkler. "in the Internment Camp Tatura" by K.M. Pfander Copy of talk given to her former pupils by Gudrun Gollong, in 1978. Poem written in Camp by Annie Lorenz. Poem by unknown writer "Life's Daily Routine" Interview with Babette Kirsch. Copy of children's learning book in German. Photos of toys and craft made for Kaltenbach family. Copy of Kaltenbach barracks by Cesare Vagarini. Story of Wilhelm Kuebler. Photos of wooden boxes made for Sgt. Cubbin. Copy of letter in German confirming the death in Camp of the two Stuerzenhofecker children. Copy of records Theo Stoll. School records Waltraud Doster Copy of Marriage Certificate Vollmer/Zollinger, August 1946. Recollections of Private Ashworth, guard at Camp 3. Photo taken 2001 by John Wepner of pump which supplied water to Camps 3 & 4 from No. 9 channel. Sketch of canoe made in camp from a sheep drinking trough by the Haering family. "From the Holy Land to the Home of the Kangaroo", by Hedwig Schnerring, translated by Peter Hornung, donor- Guenther Schnerring. "The Long Arm of the Third Reich" by Christine Winter. Photocopied extract of Walter Odorich Stenner's diary account of the transportation from Haifa to Australia. Research - Tatura WW2 Internment Camp 3, Annie Leschen Copy of map showing pump sites for water for Camps 3 and 4 Copy (laser) of a painting donated by Frieder Vollmer, artist "D 1943"? Adalbert Stern, Sir Nicholas - Son of Dunera boy "Adalbert Stern Copies of photos (4) of 2 cakes of Lux soap with pictures of "Roll Call, Tatura 1941" on one side and "Lux Toilet Soap" on the other Newspaper Article from "The Age" 14/04/1999 re Vagarini Exhibition Camp 3TaturaBlack 3 ring folder with printed matter and photos in plastic sleeves.documents, reports -
Victorian Aboriginal Corporation for Languages
Periodical, Australian Institute of Aboriginal and Torres Strait Islander Studies, Australian Aboriginal studies : journal of the Australian Institute of Aboriginal and Torres Strait Islander Studies, 2008
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 -
Victorian Aboriginal Corporation for Languages
Periodical, Australian Institute of Aboriginal and Torres Strait Islander Studies, Australian Aboriginal studies : journal of the Australian Institute of Aboriginal and Torres Strait Islander Studies, 2010
Mediating conflict in the age of Native Title Peter Sutton (The University of Adelaide and South Australian Museum) Mediators have played roles in managing conflict in Aboriginal societies for a long time. This paper discusses some of the similarities and differences between older customary mediator roles and those of the modern Native Title process. Determinants of tribunal outcomes for Indigenous footballers Neil Brewer, Carla Welsh and Jenny Williams (School of Psychology, Flinders University) This paper reports on a study that examined whether football tribunal members? judgments concerning players? alleged misdemeanours on the sporting field are likely to be shaped by extra-evidential factors that disadvantage players from Indigenous backgrounds. Indigenous and non-Indigenous Australian Football League (AFL) players, matched in terms of their typical levels of confidence and demeanour in public situations, were interrogated in a mock tribunal hearing about a hypothetical incident on the football field. The specific aim was to determine if the pressures of such questioning elicited behavioural differences likely to be interpreted as indicative of testimonial unreliability. Mock tribunal members (number = 103) then made judgments about the degree to which a number of behavioural characteristics were evident in the players? testimonies. Under intense interrogation, Indigenous players were judged as presenting less confidently and displaying a greater degree of gaze aversion than non-Indigenous players. These behavioural characteristics are commonly ? and inappropriately ? used as cues or heuristics to infer testimonial accuracy. The paper discusses the implications for Indigenous players appearing at tribunal hearings ? and for the justice system more broadly. Timothy Korkanoon: A child artist at the Merri Creek Baptist Aboriginal School, Melbourne, Victoria, 1846?47 ? a new interpretation of his life and work Ian D Clark (School of Business, University of Ballarat) This paper is concerned with the Coranderrk Aboriginal artist Timothy Korkanoon. Research has uncovered more about his life before he settled at the Coranderrk station in 1863. Evidence is provided that five sketches acquired by George Augustus Robinson, the former Chief Protector of Aborigines, in November 1851 in Melbourne, and found in his papers in the State Library of New South Wales, may also be attributed to the work of the young Korkanoon when he was a student at the Merri Creek Baptist Aboriginal School from 1846 to 1847. Developing a database for Australian Indigenous kinship terminology: The AustKin project Laurent Dousset (CREDO, and CNRS, Ecole des Hautes Etudes en Sciences Sociales), Rachel Hendery (The Australian National University), Claire Bowern (Yale University), Harold Koch (The Australian National University) and Patrick McConvell (The Australian National University) In order to make Australian Indigenous kinship vocabulary from hundreds of sources comparable, searchable and accessible for research and community purposes, we have developed a database that collates these resources. The creation of such a database brings with it technical, theoretical and practical challenges, some of which also apply to other research projects that collect and compare large amounts of Australian language data, and some of which apply to any database project in the humanities or social sciences. Our project has sought to overcome these challenges by adopting a modular, object-oriented, incremental programming approach, by keeping metadata, data and analysis sharply distinguished, and through ongoing consultation between programmers, linguists and communities. In this paper we report on the challenges and solutions we have come across and the lessons that can be drawn from our experience for other social science database projects, particularly in Australia. A time for change? Indigenous heritage values and management practice in the Coorong and Lower Murray Lakes region, South Australia Lynley A Wallis (Aboriginal Environments Research Centre, The University of Queensland) and Alice C Gorman (Department of Archaeology, Flinders University) The Coorong and Lower Murray Lakes in South Australia have long been recognised under the Ramsar Convention for their natural heritage values. Less well known is the fact that this area also has high social and cultural values, encompassing the traditional lands and waters (ruwe) of the Ngarrindjeri Nation. This unique ecosystem is currently teetering on the verge of collapse, a situation arguably brought about by prolonged drought after decades of unsustainable management practices. While at the federal level there have been moves to better integrate typically disparate ?cultural? and ?natural? heritage management regimes ? thereby supporting Indigenous groups in their attempts to gain a greater voice in how their traditional country is managed ? the distance has not yet been bridged in the Coorong. Here, current management planning continues to emphasise natural heritage values, with limited practical integration of cultural values or Ngarrindjeri viewpoints. As the future of the Coorong and Lower Murray Lakes is being debated, we suggest decision makers would do well to look to the Ngarrindjeri for guidance on the integration of natural and cultural values in management regimes as a vital step towards securing the long-term ecological viability of this iconic part of Australia. Hearts and minds: Evolving understandings of chronic cardiovascular disease in Aboriginal and Torres Strait Islander populations Ernest Hunter (Queensland Health and James Cook University) Using the experience and reflections of a non-Indigenous clinician and researcher, Randolph Spargo, who has worked in remote Aboriginal Australia for more than 40 years, this paper tracks how those at the clinical coal-face thought and responded as cardiovascular and other chronic diseases emerged as new health concerns in the 1970s to become major contributors to the burden of excess ill health across Indigenous Australia. The paper cites research evidence that informed prevailing paradigms drawing primarily on work in which the clinician participated, which was undertaken in the remote Kimberley region in the north of Western Australia. Two reports, one relating to the Narcoonie quarry in the Strzelecki Desert and the other concerning problematic alcohol use in urban settings.maps, b&w photographs, colour photographs, tablesstrzelecki desert, native title, timothy korkanoon, merri creek baptist aboriginal school, austkin project, coorong, lower murray lakes district, south australia, indigenous health -
Nillumbik Shire Council
Sculpture: Peter WEGNER (b.1954 NZ - a.1958 AUS), Peter Wegner, Man in Shock (from the 'Black Saturday' series), 2010
The 'Black Saturday' bushfires were a series of bushfires that ignited across the Australian state of Victoria on and around Saturday, 7 February 2009. It was Australia's worst ever natural disaster. The fires occurred during extreme bushfire-weather conditions and resulted in Australia's highest ever loss of life from a bushfire: 173 people died and 414 were injured as a result of the fires.This work is by a local contemporary artist with a national and international reputation for figurative and portrait works. The 'Black Saturday' series is a powerful investigation of emotion and grief as experienced by many Nillumbik residents during the 2009 'Black Saturday' bushfires. A cluster of bronze figurines either stand alone or embrace in groups. Their expressions and gestures of despair are made more pertinent with the raw like application and surface treatment of the material used. The 'Black Saturday' series is a challenging work, but one that encourages healing, connection and empathy. Solitary male figure wearing a long hooded coat clutching his hands underneath his chin in shock. Surface treatment is textured. Dark metallic brown colour. Hand carved on base, back of figure '2/6 WEGNER 10'wegner, bronze, figurine, black saturday, sculpture -
Melbourne Athenaeum Archives
Theatre Flyer, Six Ribbons ;remebering Jon English by Peter Cupples commencing producuction at the athenaeum theatre on the 19th of March 2017, 2017
Jon English was one of few Australian performers to combine a stellar career in music,television and stage. For over four decades he remained one of this country's most successful.loved, and enduring recording and performing artists.Jon sadly and unexpectedly passed away on the 9th of march 2016,just as he was about to record a new album and embark on a national tour . on the first anniversary of Jon's passing we present 'Six Ribbons'' - a two and a half hour tribute show to an extrodinary man who.over the coursr of his long professional life, brought such joy and entertainment to so many in many genres tribute show coloured flyerjon english -
Whitehorse Historical Society Inc.
Article, Tear gas brings end to day-long siege, 1996
Two articles re the 12 hour siege at Wainwright Ryan Solicitors in Mitcham when Peter Morris held the office up with a shotgun.Two articles re the 12 hour siege at Wainwright Ryan Solicitors in Mitcham when Peter Morris held the office up with a shotgun. He was a former client of Michael Ryan and had received a Supreme Court order to pay $1300 legal fees. Besides sizeable legal fees he had already paid and the loss of $200,000. Ryan was not present when Morris arrived and he held another solicitor, John Hoey, who later made his escape.Two articles re the 12 hour siege at Wainwright Ryan Solicitors in Mitcham when Peter Morris held the office up with a shotgun.shopping centres, mitcham shopping centre, wainwright ryan solicitors, ryan, michael, morris, peter evan john, hoey, john -
Whitehorse Historical Society Inc.
Clothing - Infants' coat, 1950
Made by donor for her children in the 1950sA cream viyella coat with Peter Pan collar, smocking on either side of press-stud opening with buttons. Smocking in cream with pink and blue rosebuds below yoke. Long sleeves have shaping darts and smocking at wrist.costume, infants' -
Whitehorse Historical Society Inc.
Machine - Motor Mower, c1960
Belong to Mary Cruickshank, Peter Simmenauer's mother-in-law.Victa motor mower UTILITY series 70. Four rubber wheels, front smaller than rear. All wheel adjustable for height. Two stroke motor with a cord pull start. Petrol tank is mounted on top of motor with transfer advising the use of BP Zoom Green petrol mix. Plastic tube connects tank with top of carburetter on motor. Long handles which can be collapsed for storage. Breather tube and air filter mounted on handle together with controls for starting and running.VICTA - cast into housing|Series 70 - transfer|UTILITY - orange and white transfer on front of motor.|BP Zoom Green - transfer on tank|CAUTION Transfer on back of tankmachinery, engines - internal combustion, domestic items, gardening -
Whitehorse Historical Society Inc.
Clothing - Boys shepherd suit top, 1950s
Worn by donor's baby boy in 1950sCream Vyella boys 'Shepherd' suit top. Yolk in lemon with one rabbit and a mushroom embroidered on each side. There is lemon and white smocking under the embroidery. 'Peter Pan' collar with lemon and white edging. Top has long sleeves with buttons on the cuffs. Top opens down the back with three button holes and buttons. There are two buttons on each the front and back to attach the pants.'Friedelle' Made in Australiacostume, children's -
Rutherglen Historical Society
Postcard - Photograph of a vineyard
Possibly Netherby Vineyard (no longer operating, now owned by Peter Smith of All Saints - 1985)Black & white photograph showing view of vines with cellars in background, printed on postcardOn back: "Post Card / Correspondence / Address Only" On Stamp corner: "Kodak / Australia / Australia / Kodak"netherby vineyard, rosewood cellars, all saints winery -
Unions Ballarat
The great Labor schism : a retrospective, 2005
A collection of chapters by different historians and writers; the book is about the 1955 split in the Australian Labor Party (ALP) and its longer-term effects.Significant to the history of the ALP around 1955 and subsequent formation of the DLP. Includes interference by the Groupers, Bob Santamaria and other characters.Paper; book. Blue and white cover with red and black writing.Title and names of editors on the front cover.btlc, ballarat trades hall, ballarat trades and labour council, alp, australian labor council, 1955, dlp, democratic labor party, alp factions, politics, government, b.a. santamaria, peter love, brian coster, paul strangio, catholic church, communism -
Ballarat Heritage Services
Digital photographs, L.J. Gervasoni, Prof McIntyre and Philip Slobom, c2009
Environmental approach to preserving Kew Court House 4 June 2010 Paint stripping from older buildings can be a hazardous task. The City of Boroondara has found an environmentally sustainable solution for the works at local heritage icon, the Kew Police Station and Court House. Council used an organic based paint stripping alternative as part of the repairs to the rendering on the building facade. Over nearly three months, the damaged and unsound render was removed, the paint was stripped and the render was repainted. Usually, paint is removed via high pressure water cleaning or sandblasting. This is a harsh method and involves combining extreme high amounts of pressure, water and sand and is highly toxic. It also creates high noise levels. In this 'green' project, Council used a soy bean paint stripper. The process uses a paste-like substance, which is highly effective, non toxic and biodegradable, and applied by hand. Initially, a bandage is applied (much like a leg waxing strip) over the top of paste. It is allowed to dry and then the bandage is stripped off. Noise was kept to a minimum by using the paint stripping alternative. Scrapings and bandages are then bagged and sent to the tip as landfill, so it does not end up in our water supply. The waste and debris don’t run-off into drains, and the bags and bi-products are biodegradable. Studley Ward Councillor Phillip Healey explained that soy bean paint removal is not greatly used in Melbourne or the local government sector. "We know of special cases where it has been used, such as high profile projects like Sydney Harbour Bridge, but Boroondara is one of the first in Victoria to employ this natural plant-based paint-stripping treatment to a large-scale building," Cr Healey said. "What this means is that no harmful substances were used and no injury was caused, soy paint removal also preserves, protects and restores the heritage integrity and decorative stone masonry features of the historic building. "This is a terrific example of our commitment to 'enhancing the environment' which is one of our key directions in the 2010–15 Council Plan." The restoration of the Kew Court House and Police Station is expected to be completed in the year ahead. Council purchased the heritage building in 2007 with the intention for it to be restored and used for the community. The building required extensive renovation including repair of the slate roof and ventilation dome, and the renovation plans include a new foyer, bathrooms and kitchen to ensure the venue meets a broad range of community needs. Heritage Victoria helped fund the cost of the roof repairs with a grant of $250,000, along with the Australian Government contributing $330,000 through its Regional and Local Community Infrastructure Program. Restoration Underway Concept plans for a new performance and exhibition space at the Kew Court House and Police Station have been developed by the City of Boroondara. Two years ago, Council Purchased the Kew Court House and Police Station from the State Government for $825,000 with the intention for it to be restored and used for the community. The building requires extensive renovation including repair of the slate roof and ventilation dome. The renovation plans include a new foyer, bathrooms and kitchen to ensure the venue meets a broad range of community needs. The restoration has been assisted with a Federal Government grant of $330,000 under the Regional and Local Community Infrastructure Program. In 2008, Council was also successful in obtaining a Heritage Victoria Grant of $250,000 towards the costs of the roof repairs. Having satisfied the necessary permit requirements, works are about to commence using slate of a similar quality to the original. The City of Boroondara would like to thank all residents and businesses who have contributed to the Kew Court House Restoration Appeal which has raised $650,000. Special thanks go to a private donor who donated $250,000 and the Kew Senior Citizens Club which contributed $50,000. NEWS FLASH 14th March “Council moves to provide certainty for the restoration of the courthouse”. In a historic meeting last night 13th March 07 at Boroondara Council voted overwhelmingly to complete the purchase of the Kew Court House. The partnership continues between the Kew Court House Restoration Appeal and the Council to see this project through. The project now has the overwhelming support of Council. “It is no longer about “if” it is about “when” the doors will re open” said Prof Peter McIntyre. With the property secured the fundraising can now be completed without the encumbrances and we know the restoration will be undertaken as the funds become available from the appeal. Work can commence as soon as significant fund raising is achieved. “The community, philanthropists and corporations can now enter this project with certainty. 7th March At the Council meeting on 5th March, following many hours of debate a motion was passed by 5 to 4 vote to purchase the Kew Court House and Police Station outright. As of 7th March Cr Dick Menting lodged a rescission notice. This means that there was another Council meeting at 6pm, Tuesday 13th March at Council Chambers. MEDIA RELEASE - Kew, 3rd December 2006 APPEAL LAUNCHED TO SAVE A NATIONAL TREASURE On the morning of Saturday 18th. November 2006 the people of Kew were aroused by the triumphant sound of the Boroondara Brass which had assembled outside the former Kew Police Station. After four long years of neglect, the precinct was being heralded back to life, and what a heartwarming sound it was for all those early shoppers who gathered to hear Cr. Phillip Healey introduce Patrons and supporters of the Save the Court House campaign. Following the speeches, the "Thermometer" was unveiled and the Appeal was formally under way. The various committees have worked very hard during these past weeks. The Kew Court House Arts Association Inc. has been formed under the leadership of Graeme McCoubrie. This organization brings all the amateur theatre groups in the City of Boroondara together with a view to providing them with a permanent performing space within the former Court House. As well as intimate theatre, there will be provision for the staging of instrumental and choral performances before an audience of 40 to 50 people. The Police Station will compliment the function of the Court House by providing a venue for artist groups to exhibit their work, for the Historical Societies of Boroondara to meet, and for study groups to meet, for activities such as play and poetry readings. It will be a Hub for the Arts in Kew. Of course none of this can happen unless the money to pay for restoration of the buildings is raised, and we only have until March 2007 in which to do this. The City of Boroondara, Kew Historical Society and the East Kew Community Bank are working together as a team to make this dream a reality, but WE NEED YOUR HELP. This is a fantastic one-off opportunity, and it must not be wasted. Donations to the Appeal can be made through the Kew East Kew Community Bank or any branch of the Bendigo Bank, or through the Kew Historical Society Inc., P.O. Box 175 Kew Vic 3101. All donations over $2 are tax deductible through the Community Enterprise Foundation. End Media Release Kew Courthouse future looks bright The State Government has accepted an offer from the local government of Boroondara to purchase the former Kew Courthouse and Police Station, Minister for Finance John Lenders said today. In a joint statement with the Mayor of Boroondara, Councillor Jack Wegman, Mr Lenders said he was pleased that agreement had been reached and the contract of sale document finalised. “I welcome the Council making this step towards purchasing this property after recent negotiations,” Mr Lenders said. “The settlement date for the purchase of the property is March 2007. The State government sold the property to Council at a reduced cost of $825,000 for community use. The full value of the buildings on the commercial marketplace was estimated to be about $2million,” he said. Cr Wegman said the Contract of Sale provides that if the funds cannot be raised to restore the property for use as community buildings then they will be returned to the State government. In relation to this additional funding to restore and modernise the buildings, Council and the community will work together over the next eight months, with the encouragement of the State government, Cr Wegman said. Mr Lenders said both he and the Premier had advised the Council of fundraising opportunities to help the Council convert the property for its future use. Cr Wegman noted that applications for funding from the Community Support Fund and for State government heritage grants were being processed. “Council has agreed to a Memorandum of Understanding with the Kew Historical Society outlining arrangements for the Kew Court House Restoration Appeal and Council is delighted with the level of support shown by the community and is confident of a bright future for these historic buildings.” Mr Lenders said the Bracks Government is committed to securing the best outcome when buildings that have once served the community outlive their original purpose. “There is a responsibility for Governments to practice good financial management and achieve the best possible price when an asset is longer used by the State,” he said. “There is also a responsibility to consider the local community. The Government and City of Boroondara have worked hard to achieve a balance between these two interests.” The building ceased to operate as a courthouse in 1971 and as a police station in 2002. Part of the building was also used as a post office and this section of the building was sold by the Commonwealth in 1992 to a private owner and is currently run as a licensed restaurant. It is listed on the State's Heritage Register as a place of historical and architectural significance and is protected by the Victorian Heritage Act. Created: 30 August 2006 Last Update: 10 January 2007 kew, kew court house, phillip slobom, town crier, professor peter mcintyre -
Ballarat Heritage Services
Photograph - Digital photographs, L.J. Gervasoni, Kew Historical Society in the Former Kew Court House, c2009
Environmental approach to preserving Kew Court House 4 June 2010 Paint stripping from older buildings can be a hazardous task. The City of Boroondara has found an environmentally sustainable solution for the works at local heritage icon, the Kew Police Station and Court House. Council used an organic based paint stripping alternative as part of the repairs to the rendering on the building facade. Over nearly three months, the damaged and unsound render was removed, the paint was stripped and the render was repainted. Usually, paint is removed via high pressure water cleaning or sandblasting. This is a harsh method and involves combining extreme high amounts of pressure, water and sand and is highly toxic. It also creates high noise levels. In this 'green' project, Council used a soy bean paint stripper. The process uses a paste-like substance, which is highly effective, non toxic and biodegradable, and applied by hand. Initially, a bandage is applied (much like a leg waxing strip) over the top of paste. It is allowed to dry and then the bandage is stripped off. Noise was kept to a minimum by using the paint stripping alternative. Scrapings and bandages are then bagged and sent to the tip as landfill, so it does not end up in our water supply. The waste and debris don’t run-off into drains, and the bags and bi-products are biodegradable. Studley Ward Councillor Phillip Healey explained that soy bean paint removal is not greatly used in Melbourne or the local government sector. "We know of special cases where it has been used, such as high profile projects like Sydney Harbour Bridge, but Boroondara is one of the first in Victoria to employ this natural plant-based paint-stripping treatment to a large-scale building," Cr Healey said. "What this means is that no harmful substances were used and no injury was caused, soy paint removal also preserves, protects and restores the heritage integrity and decorative stone masonry features of the historic building. "This is a terrific example of our commitment to 'enhancing the environment' which is one of our key directions in the 2010–15 Council Plan." The restoration of the Kew Court House and Police Station is expected to be completed in the year ahead. Council purchased the heritage building in 2007 with the intention for it to be restored and used for the community. The building required extensive renovation including repair of the slate roof and ventilation dome, and the renovation plans include a new foyer, bathrooms and kitchen to ensure the venue meets a broad range of community needs. Heritage Victoria helped fund the cost of the roof repairs with a grant of $250,000, along with the Australian Government contributing $330,000 through its Regional and Local Community Infrastructure Program. Restoration Underway Concept plans for a new performance and exhibition space at the Kew Court House and Police Station have been developed by the City of Boroondara. Two years ago, Council Purchased the Kew Court House and Police Station from the State Government for $825,000 with the intention for it to be restored and used for the community. The building requires extensive renovation including repair of the slate roof and ventilation dome. The renovation plans include a new foyer, bathrooms and kitchen to ensure the venue meets a broad range of community needs. The restoration has been assisted with a Federal Government grant of $330,000 under the Regional and Local Community Infrastructure Program. In 2008, Council was also successful in obtaining a Heritage Victoria Grant of $250,000 towards the costs of the roof repairs. Having satisfied the necessary permit requirements, works are about to commence using slate of a similar quality to the original. The City of Boroondara would like to thank all residents and businesses who have contributed to the Kew Court House Restoration Appeal which has raised $650,000. Special thanks go to a private donor who donated $250,000 and the Kew Senior Citizens Club which contributed $50,000. NEWS FLASH 14th March “Council moves to provide certainty for the restoration of the courthouse”. In a historic meeting last night 13th March 07 at Boroondara Council voted overwhelmingly to complete the purchase of the Kew Court House. The partnership continues between the Kew Court House Restoration Appeal and the Council to see this project through. The project now has the overwhelming support of Council. “It is no longer about “if” it is about “when” the doors will re open” said Prof Peter McIntyre. With the property secured the fundraising can now be completed without the encumbrances and we know the restoration will be undertaken as the funds become available from the appeal. Work can commence as soon as significant fund raising is achieved. “The community, philanthropists and corporations can now enter this project with certainty. 7th March At the Council meeting on 5th March, following many hours of debate a motion was passed by 5 to 4 vote to purchase the Kew Court House and Police Station outright. As of 7th March Cr Dick Menting lodged a rescission notice. This means that there was another Council meeting at 6pm, Tuesday 13th March at Council Chambers. MEDIA RELEASE - Kew, 3rd December 2006 APPEAL LAUNCHED TO SAVE A NATIONAL TREASURE On the morning of Saturday 18th. November 2006 the people of Kew were aroused by the triumphant sound of the Boroondara Brass which had assembled outside the former Kew Police Station. After four long years of neglect, the precinct was being heralded back to life, and what a heartwarming sound it was for all those early shoppers who gathered to hear Cr. Phillip Healey introduce Patrons and supporters of the Save the Court House campaign. Following the speeches, the "Thermometer" was unveiled and the Appeal was formally under way. The various committees have worked very hard during these past weeks. The Kew Court House Arts Association Inc. has been formed under the leadership of Graeme McCoubrie. This organization brings all the amateur theatre groups in the City of Boroondara together with a view to providing them with a permanent performing space within the former Court House. As well as intimate theatre, there will be provision for the staging of instrumental and choral performances before an audience of 40 to 50 people. The Police Station will compliment the function of the Court House by providing a venue for artist groups to exhibit their work, for the Historical Societies of Boroondara to meet, and for study groups to meet, for activities such as play and poetry readings. It will be a Hub for the Arts in Kew. Of course none of this can happen unless the money to pay for restoration of the buildings is raised, and we only have until March 2007 in which to do this. The City of Boroondara, Kew Historical Society and the East Kew Community Bank are working together as a team to make this dream a reality, but WE NEED YOUR HELP. This is a fantastic one-off opportunity, and it must not be wasted. Donations to the Appeal can be made through the Kew East Kew Community Bank or any branch of the Bendigo Bank, or through the Kew Historical Society Inc., P.O. Box 175 Kew Vic 3101. All donations over $2 are tax deductible through the Community Enterprise Foundation. End Media Release Kew Courthouse future looks bright The State Government has accepted an offer from the local government of Boroondara to purchase the former Kew Courthouse and Police Station, Minister for Finance John Lenders said today. In a joint statement with the Mayor of Boroondara, Councillor Jack Wegman, Mr Lenders said he was pleased that agreement had been reached and the contract of sale document finalised. “I welcome the Council making this step towards purchasing this property after recent negotiations,” Mr Lenders said. “The settlement date for the purchase of the property is March 2007. The State government sold the property to Council at a reduced cost of $825,000 for community use. The full value of the buildings on the commercial marketplace was estimated to be about $2million,” he said. Cr Wegman said the Contract of Sale provides that if the funds cannot be raised to restore the property for use as community buildings then they will be returned to the State government. In relation to this additional funding to restore and modernise the buildings, Council and the community will work together over the next eight months, with the encouragement of the State government, Cr Wegman said. Mr Lenders said both he and the Premier had advised the Council of fundraising opportunities to help the Council convert the property for its future use. Cr Wegman noted that applications for funding from the Community Support Fund and for State government heritage grants were being processed. “Council has agreed to a Memorandum of Understanding with the Kew Historical Society outlining arrangements for the Kew Court House Restoration Appeal and Council is delighted with the level of support shown by the community and is confident of a bright future for these historic buildings.” Mr Lenders said the Bracks Government is committed to securing the best outcome when buildings that have once served the community outlive their original purpose. “There is a responsibility for Governments to practice good financial management and achieve the best possible price when an asset is longer used by the State,” he said. “There is also a responsibility to consider the local community. The Government and City of Boroondara have worked hard to achieve a balance between these two interests.” The building ceased to operate as a courthouse in 1971 and as a police station in 2002. Part of the building was also used as a post office and this section of the building was sold by the Commonwealth in 1992 to a private owner and is currently run as a licensed restaurant. It is listed on the State's Heritage Register as a place of historical and architectural significance and is protected by the Victorian Heritage Act. Created: 30 August 2006 Last Update: 10 January 2007 Colour photograph of the Kew Historical Society holding an event in the Former Kew Court House.kew, kew court house, kew historical society, meeting, city of boroondara -
Ballarat Heritage Services
Photograph - War memorial, Clare Gervasoni, Ballarat Prisoner of War Memorial, 11/03/2017
Designed in 2004 by sculptor Peter Lambert the memorial honours more than 35,000 Australians held prisoner of war during the Boer War, both world wars and the Korean War.Landscape featuring the Ballarat Prisoner of War Memorial. The memorial includes a 130 metre long wall of highly polished granite engraved with the names of all Australian prisoners of war. The paving stones at the centre of the path are cut in the shape of railway sleepers to symbolise the prisoners' journey. prisoner of war, ballarat priosner of war memorial, war memorial -
Ballarat Heritage Services
Ceramic, Old Ballarat Pottery, Old Ballarat Pottery Jug
Old Ballarat Pottery was set up by John Gilbert as part of the Old Ballarat Village, opposite Sovereign Hill. Gilbert had lectured at Ballarat College of Advanced Education before establishing the Edinburgh Pottery at Sovereign Hill in 1972 to enable visitors to see traditional trades at work. The Old Ballarat Pottery was a much larger concern, producing wares for sale through department stores and on party plan via Faberware as well as through the village. Early works looked as though they might have been made in the 1850s, with unturned bases, crude marks and dark treacle-like glazes. Peter Pilven, one of Gilbert's students, worked there after graduating from the Ballarat College of Advanced Education, teaching throwing to students like the potter John Ferguson, who was there from 1978-79. Potters were initially employed by Gilbert's company Pontresina Pty Ltd, registered in 1973. (The Old Ballarat Pottery was registered as a company from 1984-1994.) Early works are marked with an impressed long-tailed 'B', or an 'OB' on either side of a mine tower. A printed stamp also features a mine tower surrounded by the text 'Old Ballarat Pottery Made in Australia'. Later work is impressed 'Stoneware Old Ballarat Pottery Australia' with a kangaroo.Hand thrown blue glazed jug.Stamped 'Stoneware Old Ballarat Pottery?old ballarat pottery, australian studio pottery, jug, pontresina, ceramics -
Ballarat Heritage Services
Ceramic, Old Ballarat Pottery, Old Ballarat Pottery Bottle, C1990
Old Ballarat Pottery was set up by John Gilbert as part of the Old Ballarat Village, opposite Sovereign Hill. Gilbert had lectured at Ballarat College of Advanced Education before establishing the Edinburgh Pottery at Sovereign Hill in 1972 to enable visitors to see traditional trades at work. The Old Ballarat Pottery was a much larger concern, producing wares for sale through department stores and on party plan via Faberware as well as through the village. Early works looked as though they might have been made in the 1850s, with unturned bases, crude marks and dark treacle-like glazes. Peter Pilven, one of Gilbert's students, worked there after graduating from the Ballarat College of Advanced Education, teaching throwing to students like the potter John Ferguson, who was there from 1978-79. Potters were initially employed by Gilbert's company Pontresina Pty Ltd, registered in 1973. (The Old Ballarat Pottery was registered as a company from 1984-1994.) Early works are marked with an impressed long-tailed 'B', or an 'OB' on either side of a mine tower. A printed stamp also features a mine tower surrounded by the text 'Old Ballarat Pottery Made in Australia'. Later work is impressed 'Stoneware Old Ballarat Pottery Australia' with a kangaroo.Hand thrown black glazed bottle with lip. Stamped 'Stoneware Old Ballarat Pottery' and impressed with a long tailed B.old ballarat pottery, australian studio pottery, pontresina, bottle -
Ballarat Heritage Services
Photograph, L.J. Gervasoni, Ballarat Prisoner of War Memorial, 2006, 12/09/2006
The Ballarat Prisoner of War Memorial was dedicated on 06 February 2004 t acknowledge the pain and suffering that all Prisoners of War endured during their time in captivity, to commemorate the thousands of mates left behind and to acknowledge the sacrifice of families during wartime. The memorial was designed by sculptor Peter Blizzard and is made of natural stone-basalt and granite. 55,000 names are etched onto the 130 metre long granite wall.Photograph of the Ballarat Prisoner of War Memorial ballarat prisoner of war memorial, peter blizzard, pow -
Ballarat Heritage Services
Photograph, L.J. Gervasoni, Ballarat Prisoner of War Memorial, 2006, 12/09/2006
The Ballarat Prisoner of War Memorial was dedicated on 06 February 2004 t acknowledge the pain and suffering that all Prisoners of War endured during their time in captivity, to commemorate the thousands of mates left behind and to acknowledge the sacrifice of families during wartime. The memorial was designed by sculptor Peter Blizzard and is made of natural stone-basalt and granite. 55,000 names are etched onto the 130 metre long granite wall.Photograph of the Ballarat Prisoner of War Memorial ballarat prisoner of war memorial, peter blizzard, pow -
Ballarat Heritage Services
Photograph, L.J. Gervasoni, Ballarat Prisoner of War Memorial, 2006, 12/09/2006
The Ballarat Prisoner of War Memorial was dedicated on 06 February 2004 t acknowledge the pain and suffering that all Prisoners of War endured during their time in captivity, to commemorate the thousands of mates left behind and to acknowledge the sacrifice of families during wartime. The memorial was designed by sculptor Peter Blizzard and is made of natural stone-basalt and granite. 55,000 names are etched onto the 130 metre long granite wall.Photograph of the Ballarat Prisoner of War Memorial ballarat prisoner of war memorial, peter blizzard, pow -
Ballarat Heritage Services
Photograph, L.J. Gervasoni, Ballarat Prisoner of War Memorial, 2006, 12/09/2006
The Ballarat Prisoner of War Memorial was dedicated on 06 February 2004 t acknowledge the pain and suffering that all Prisoners of War endured during their time in captivity, to commemorate the thousands of mates left behind and to acknowledge the sacrifice of families during wartime. The memorial was designed by sculptor Peter Blizzard and is made of natural stone-basalt and granite. 55,000 names are etched onto the 130 metre long granite wall.Photograph of the Ballarat Prisoner of War Memorial ballarat prisoner of war memorial, peter blizzard, pow -
Ballarat Heritage Services
Photograph, L.J. Gervasoni, Ballarat Prisoner of War Memorial, 2006, 12/09/2006
The Ballarat Prisoner of War Memorial was dedicated on 06 February 2004 t acknowledge the pain and suffering that all Prisoners of War endured during their time in captivity, to commemorate the thousands of mates left behind and to acknowledge the sacrifice of families during wartime. The memorial was designed by sculptor Peter Blizzard and is made of natural stone-basalt and granite. 55,000 names are etched onto the 130 metre long granite wall.Photograph of the Ballarat Prisoner of War Memorial ballarat prisoner of war memorial, peter blizzard, pow -
Ballarat Heritage Services
Photograph - Photograph - Colour, Burning of an Effigy of Pauline Hanson, 03 December 2016, 03/12/2016
Media Release 29 January 2016 Advocate of Racism to burn at Eureka Dawn A cardboard effigy of Senator Pauline Hanson, will burn at the Ballarat Eureka Stockade Memorial next Eureka Dawn 3 December. For eight years now effigy burning has become an integral and flamboyant part of the annual 3 December Eureka remembrance, part of the Reclaim the Radical Spirit of the Eureka Rebellion program organised by Dr Joe Toscano, medical practitioner, broadcaster on Melbourne community radio 3CR and Australia's best known anarchist. -
Unions Ballarat
Photograph: Senator Peter Walsh and Norm Borchers, 1989
The photo is taken at John Mildren's farewell from office (member for Ballarat from 1980-1990). Norm Borchers (left side) and Senator Peter Walsh (right side). Third person, unknown. Peter Walsh was an Australian senator from 1974 to 1990. He served as Minister for Resources and Energy from 1983 to 1984 and Finance Minister from 1984 to 1990. Norm Borchers passed away in 2008. Borchers was a Club President of the Sebastopol Lions Club (1975-76). He worked for the railways as an engineering employee and was long-term trade unionist (Amalgamated Engineering Union and the Australian Railways Union) and ALP member; he lived and worked in the Ballarat area. Norm was active in workplace disputes during the ALP split in 1955. He was a long time supporter of Ballarat Trades Hall. Photograph.btlc, ballarat trades hall, ballarat trades and labour council, borchers, norm, mildren, john, walsh, peter, cabinet ministers -
Whitehorse Historical Society Inc.
Uniform - Khaki Army Shirt, 1965, 1965
From Mitcham RSL CollectionKhaki Army shirt with patch pockets and long sleeves. Lance Corporal Rank; Chexxxx of each sleeve (stripe). Belonged to Peter McPhee.Yakka Pty Ltd 1965 Victoria size 15 1/2 X S/L 33 D^D McPhee 98 mitcham rsl, army, yakka pty ltd, military -
Geelong Football Club
Geelong Cats Print 1990s players Sholl, Brad: Snell, Jason: Kilpatrick, Glenn: Hocking, Garry: Pickering, Liam: Riccardi, Peter: Colbert, Leigh: McGrath, Tim: Stoneham, Barry: Mansfield, Michae
Brad ‘Nails’ Sholl Born: 10/11/1972 From: Geelong College via North Melb Height: 184cm Weight: 84kg Natural kicking foot: Right Guernsey number: 12 First senior match for Geelong: Round 1, 1995 v Melbourne at Kardinia Park The attacking small defender delighted fans with his adventurous attacks on the ball and dashes out of the danger area. He was an excellent mark for his size and lacked nothing in courage and determination. His ability to rush to space to create a viable target for a team-mate was another of his trademarks. Occasionally, he was moved forward with success, where he took great delight in booting important goals. Total Brownlow Medal votes for Geelong: 54 Runner-up in club B&F count: 1996 Fourth in club B&F count: 1997, 1998, 2000 Fifth in club B&F count: 1995 Seventh in club B&F count: 1999 GFC Hall of Fame inductee (2002) GFC Life Membership (2001) Career span for Geelong: 1995-2002 Total matches for Geelong: Premiership 169, Night/Pre-Season Series 12, Interstate 1 Total goals for Geelong: Premiership 46, Night/Pre-Season Series 5, Interstate 0 Finals matches for Geelong: 7 Finals goals for Geelong: 0 Last senior match for Geelong: Round 19, 2002 v St Kilda at Docklands Stadium Jason Snell Born: 27/07/1977 From: Upwey-Tecoma/Eastern U18 Height: 181cm Weight: 81kg Natural kicking foot: Right Guernsey numbers: 25 (1996-97) & 4 (1998-2001) First senior match: Round 1, 1996 v Melbourne at the MCG The courageous mid-fielder/small forward possessed sound skills and an excellent football brain. Opposition coaches experienced difficulty in finding suitable match-up opponents to counter him. In a match at Kardinia Park against Port Adelaide in 1997 he scored a match-winning five goals after spending the first half on the bench. He won the club most improved player award in 1999. Tragically, a shocking leg injury sustained at the MCG prematurely terminated his highly promising career. Total Brownlow Medal votes: 5 Career span: 1996-2001 Total matches: Premiership 68, Night/Pre-Season Series 8 Total goals: Premiership 62, Night/Pre-Season Series 3 Finals matches: 3 Finals goals: 1 Last senior match: Round 3, 2001 v Melbourne at the MCG Glenn ‘Killer’ Kilpatrick Born: 29/08/1972 From: Studfield via North Melb Reserves, West Adelaide (SA) & Essendon Height: 184cm Weight: 85kg Natural kicking foot: Right Guernsey number: 13 First senior match for Geelong: Round 5, 1996 v Richmond at Kardinia Park No-one could accuse the dogged half-back flanker and mid-fielder of not giving his all in every match that he played. He used courage and determination to win the ball, negate an opponent or block for a team-mate. Often, his repeated efforts would inspire his fellow Cats. Although effective disposal by foot did not come easy for him, he worked hard on the training track to improve. Total Brownlow Medal votes for Geelong: 27 Runner-up in club B&F count: 1997 Seventh in club B&F count: 2000 Eighth in club B&F count: 1999 (equal) Career span for Geelong: 1996-2002 Total matches for Geelong: Premiership 120, Night/Pre-Season Series 12 Total goals for Geelong: Premiership 31, Night/Pre-Season Series 1 Finals matches for Geelong: 3 Finals goals for Geelong: 0 Last senior match for Geelong: Round 20, 2002 v Fremantle at Subiaco Garry ‘Buddha’ Hocking Born: 08/10/1968 From: Cobram Height: 182cm Weight: 84kg Natural kicking foot: Right Guernsey numbers: 51 (1987) & 32 (1988-2001) First senior match: Round 3, 1987 v Melbourne at Kardinia Park As one of football’s genuine tough and skilful performers, he gave the Cats magnificent service. Undoubtedly, he became one of the code’s all-time greats. His ability to make perfect position, fix eyes on the ball at all costs, seize the ball in packs, mark with vice-like fingers and dispose by hand and foot on either side of his body to bring team-mates into the play made him a nightmare opponent. He delighted in applying gorilla-like tackles and bone-shattering bumps to open up opportunities for his allies. During the last few seasons of his career a severely damaged knee saw him ignore agonizing pain to continue to contribute. He just loved footy! Total Brownlow Medal votes: 133 Captain: 21 matches (1994-95; 1999) Third in Brownlow Medal count: 1991, 1994 Club Best & Fairest: 1991, 1993, 1994, 1996 Runner-up in club B&F count: 1990, 1998 Sixth in club B&F count: 1989, 2000 Seventh in club B&F count: 1997 Ninth in club B&F count: 1995 Tenth in club B&F count: 1992 All Australian selection: 1991, 1993, 1994, 1996 GFC Team of the Century selection (ruck-rover) GFC Hall of Fame inductee (2002) GFC Hall of Fame Legend GFC Life Membership (1995) Career span: 1987-2001 Total matches: Premiership 274, Night/Pre-Season Series 19, Interstate 8 Total goals: Premiership 243, Night/Pre-Season Series 6, Interstate 10 Finals matches: 21 Finals goals: 21 Last senior match: Round 22, 2001 v Carlton at Princes Park Liam Pickering Born: 09/09/1968 From: Stawell via North Melb Height: 184cm Weight: 85kg Natural kicking foot: Right Guernsey number: 23 First senior match for Geelong: Round 3, 1993 v North Melb at Kardinia Park After being unable to command regular senior selection with the Kangaroos, the dogged mid-fielder quickly gained the respect of Geelong coaching staff and team-mates with his faultless reading of the play and ability to bring others into the game. Although not fleet of foot, he was capable of instant decision-making and quick, accurate disposal. He knew how to restrict talented opponents with disciplined manning-up, while having a positive influence on play himself. A series of injuries terminated his career prematurely. Total Brownlow Medal votes for Geelong: 12 Captain: 3 matches (1996-97) Club Best & Fairest: 1997 Third in club B&F count: 1995 Eighth in club B&F count: 1994 Career span for Geelong: 1993-99 Total matches for Geelong: Premiership 102, Night/Pre-Season Series 3, Interstate 1 Total goals for Geelong: Premiership 46, Night/Pre-Season Series 1, Interstate 0 Finals matches for Geelong: 9 Finals goals for Geelong: 8 Last senior match for Geelong: Round 20, 1999 v Carlton at the MCG Peter Riccardi Born: 17/12/1972 From: West St Peters Height: 183cm Weight: 89kg Natural kicking foot: Left Guernsey number: 15 First senior match: Round 4, 1992 v West Coast at Subiaco Few players with more natural pace have represented the club. He is a crisp ball-handler, a safe mark and a long raking left-foot kick. Many of his goals have been registered in spectacular fashion from a long way out, on the run. His versatility as a mid-fielder/forward has been a valuable asset. In recent season he has improved his team-play by improving his tackling and chasing techniques. Total Brownlow Medal votes: 60 Club Best & Fairest: 1998 Runner-up in club B&F count: 1999 Third in club B&F count: 2002 Fifth in club B&F count: 1996 Sixth in club B&F count: 1995 Ninth in club B&F count: 2000 GFC Hall of Fame inductee (2002) GFC Life Membership (1999) Career span: 1992-2006 Total matches: Premiership 288, Night/Pre-Season Series 26, Interstate 2 Total goals: Premiership 286, Night/Pre-Season Series 24, Interstate 1 Finals matches: 19 Finals goals: 13 Last senior match: Round 19, 2006 v St Kilda at Docklands Stadium Leigh ‘Spider’ Colbert Born: 07/06/1975 From: Golden Square Height: 192cm Weight: 92kg Natural kicking foot: Right Guernsey numbers: 35 (1993) & 2 (1994-98) First senior match for Geelong: Round 7, 1993 v West Coast at Kardinia Park Although not strongly built, he was a fearless competitor who performed well at centre half-back. His versatility allowed him to be effective anywhere on the field. Reliable marking, sure ball handling and accurate disposals were features of his play. In 1999 he was appointed captain but a serious knee injury sustained in a pre-season practice match caused him to miss that season. He left the club in controversial circumstances. Total Brownlow Medal votes for Geelong: 10 Captain: 3 matches (1998) Third in club B&F count: 1996 Fifth in club B&F count: 1997 Sixth in club B&F count: 1998 Career span for Geelong: 1993-98 Total matches for Geelong: Premiership 105, Night/Pre-Season Series 7, Interstate 3 Total goals for Geelong: Premiership 50, Night/Pre-Season Series 3, Interstate 1 Finals matches for Geelong: 10 Finals goals for Geelong: 4 Last senior match for Geelong: Round 22, 1998 v Essendon at the MCG Transferred to North Melb in 2000 Tim ‘Bluey’ McGrath Born: 07/10/1970 From: North Dandenong via North Melb Height: 190cm Weight: 94kg Natural kicking foot: Right Guernsey number: 17 First senior match for Geelong: Round 1, 1992 v Hawthorn at Waverley Park He has been one of several players recruited from the Kangaroos to give the club excellent service. His first match for the Cats was a hectic one at full-back opposed to a rampant Jason Dunstall. The selectors showed faith in the strong red-headed defender and he rewarded them with a long string of highly serviceable performances. His determination, safe marking, sound defensive skills and leadership qualities were great assets. Often, he was able to outpoint champion opponents. Around the club he was a valuable role-model with his general attitude. Total Brownlow Medal votes for Geelong: 26 Captain: 8 matches (1999) Runner-up in club B&F count: 1998 Third in club B&F count: 1993, 1999 Seventh in club B&F count: 1998 Eighth in club B&F count: 1995, 1997 Ninth in club B&F count: 2001 Tenth in club B&F count: 1996 GFC Hall of Fame inductee (2002) GFC Life Membership (1998) Career span for Geelong: 1992-2002 Total matches for Geelong: Premiership 219, Night/Pre-Season Series 15, Interstate 1 Total goals for Geelong: Premiership 18, Night/Pre-Season Series 3, Interstate 0 Finals matches for Geelong: 14 Finals goals for Geelong: 1 Last senior match for Geelong: Round 2, 2002 v Adelaide at Football Park Barry Stoneham Born: 09/02/1968 From: St Josephs (VCFL) Height: 194cm Weight: 98kg Natural kicking foot: Right Guernsey numbers: 53 (R 6, 1986) & 26 (R 7, 1986-2000) First senior match: Round 6, 1986 v Footscray at Kardinia Park A fanatical Geelong supporter all his life, the determined big man was in his element at centre half-forward. Excellent positioning, agility, magnificent marking, a mean streak and endless determination were his trademarks. He was able to bring crumbing team-mates into the play and score goals regularly. He was sufficiently versatile to play successfully in any key position or as a relief ruckman. Tragically, in 1994 a badly broken leg severely restricted his mobility and kicking power. Despite such restrictions, he retained his effectiveness by developing additional team skills. Total Brownlow Medal votes: 21 Captain: 59 matches (1991-93; 1996-98) Club Best & Fairest: 1990 Runner-up in club B&F count: 1989 Third in club B&F count: 1992 Fourth in club B&F count: 1991, 1993 Tenth in club B&F count: 1997, 1999 All Australian selection: 1989, 1992 GFC Hall of Fame inductee (2002) GFC Life Membership (1994) Career span: 1986-94; 1996-2000 Total matches: Premiership 241, Night/Pre-Season Series 21, Interstate 7 Total goals: Premiership 223, Night/Pre-Season Series 14, Interstate 2 Finals matches: 15 Finals goals: 14 Last senior match: First Elimination Final, 2000 v Hawthorn at Docklands Stadium Michael Mansfield Born: 08/08/1971 From: St Josephs (VCFL) Height: 183cm Weight: 85kg Natural kicking foot: Left Guernsey numbers: 49 (1990) & 21 (1991-99) First senior match for Geelong: Round 18, 1990 v Essendon at Kardinia Park The well-balanced performer played mostly as an attacking half-back flanker but was capable of being used effectively on the forward line. His exceptional strength, reliable marking and considerable mobility made him a difficult opponent who did not lack courage. His performances in finals matches were outstanding. Total Brownlow Medal votes for Geelong: 28 Captain: 9 matches (1997-99) Third in club B&F count: 1994, 1997 Fourth in club B&F count: 1995 Sixth in club B&F count: 1996 Eighth in club B&F count: 1998 GFC Hall of Fame inductee (2002) GFC Life Membership (1998) Career span for Geelong: 1990-99 Total matches for Geelong: Premiership 181, Night/Pre-Season Series 10, Interstate 4 Total goals for Geelong: Premiership 100, Night/Pre-Season Series 0, Interstate 1 Finals matches for Geelong: 15 Finals goals for Geelong: 9 Last senior match for Geelong: Round 22, 1999 v Fremantle at Kardinia Park Transferred to Carlton in 2000 Historical information provided by GFC Historian Col Hutchinson The print consists of ten player photographs and a Geelong Cat Mascot in the top centre of the print with the words - GEELONG/CATS - below the picture. In the top left are action photographs of Sholl and Snell. In the top right corner are action photographs of Kilpatrick and Hocking. Along the bottom of the print from left to right are action photographs of Pickering, Riccardi, Colbert, McGrath, Stoneham and Mansfield. Each photograph has the player's surname in white text in the bottom left hand corner. Has a wire along the back for hanging. 1990s players Sholl, Brad: Snell, Jason: Kilpatrick, Glenn: Hocking, Garry: Pickering, Liam: Riccardi, Peter: Colbert, Leigh: McGrath, Tim: Stoneham, Barry: Mansfield, Michael. -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Photograph, 1964
Also a faded black and white photograph of four school boys dressed in white with singlets emblazoned Bairnsdale. All barefooted, one boy holding a relay baton apparently representing a Bairnsdale Secondary school.Black and white photograph showing twenty four school boys all in uniform posed for Form 2B photograph named are Brian Laird, Rob Overend, Graham Hopkins, Robert Mortcroft, Graham Medling, Lindsay Mauger, R Nillson, Terry Albert,Stephen Prosser, John Poynton, Dennis Moon, Peter Naughton, Mauger, John Ray, Vince Rossin, Terry Teague, James Mitchelson, Allen Magnussen, Christopher Vidler, Gary Long at Technical School Bairnsdale Victoriagenealogy, shipyard -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Photograph, Ramsden Bairnsdale, 1/08/1966 12:00:00 AM
Black and white photograph of debutant ball in aid of Lakes Entrance Pre School and Welfare Association. Thirteen debutants were presented to Mr Peter Nixon MHR and Mrs Nixon and Tambo Shire Pres. Cr J Kilby and Mrs Kilby Back Row Sue Davis, June Mays, Pam Long, Mavis Barling, Janis Bulls, Rhonda Newman, Faye Ostler, Kay French, Front Row Margaret Allen, Joan Allen, Marion Bryce, Kathleen Allen, Laura Mitchelson. Flower Girl and page Lynette Houston, Gary Hubbard, Linda Hancock Lakes Entrance VictoriaBill Ramsden Photographer Bairnsdalesports -
Mt Dandenong & District Historical Society Inc.
Photograph
French Louis Merci is shown as J.L. Merci on the settlement map, having selected Lot 26 in the Village Settlement in 1901.It was a 5 acre Lot bordering Barbers Road and the Dray Track (now Link Road). Louis shared his hut for some time with Peter the Swede. When Louis became ill with cancer and could no longer work he sold his property to George Barber in return for a weekly payment.Black and white photograph of hut in row of blossoming trees.french louis, louis merci, j l merci, peter the swede, george barber, link road, barbers road, hut, dray track -
Melbourne Legacy
Certificate - Document, certificate, Presidents' Certificate
Lt-Colonel J.H.P. Eller was the second President of the Melbourne Legacy Club and followed H.E Cohen, the Foundation President. Eller's year of office was devoted chiefly to the consolidation of membership and is notable as a period when new ideas regarding the Club's future began to be entertained. The principle of "Preference to Returned Soldiers" and finding employment for them was no longer so important and it was recognised that a wider meaning might be given to the term "Legacy" by the undertaking of active work amongst the children of deceased soldiers. (Blatchford, Claude. 'Legacy: the story of the Melbourne Legacy Club'. Melbourne, W.D. Joynt, 1932. p.22)Presented to Peter Eller in recognition of his presidential service, a tradition which has continued to the present day for all retiring presidents.Rectangular in shape, clear glass, cardboard fawn coloured border, certificate white cardboard, black metal frame. Back, brown paper, brass coloured hanging wire."Melbourne Legacy Club, Presidents' [sic] certificate, J.H.Peter Eller, Year of Office 1924-1925 In commemoration of your service to Legacy, more especially in the office of president, this Certificate is presented with the sincere regard and thanks of fellow Legatees." Thomas W. White President Frank J. Doolan Secretary Written in black ink. Legacy badge at top centre.service award, past president -
Ballarat Tramway Museum
Slide - 35mm slide/s, Peter Moses, Dec. 1963
Photo of Ballarat tram 27, southbound at Grey St. loop waiting to cross a City bound tram car. Has one male passenger waiting to board the inbound tram and a conductor (in SEC hat) waiting to board the tram and act as the conductor back into the City. Trams between Bell St. and Sebastopol during the day, were driver only. Conductors changed trams at Bell St. or wherever they crossed one another on the single track. Tram has destination of "Sebastopol", and advertisements for "Twin Lakes" and Whitehorse whiskey. Note long grass on the left hand side of the photo. Tram has tiger stripes but not the white dash under the lights. Kodak cardboard mount slide, taken by Peter Moses December 1963.On back of slide in blue ink "1963 Dec. Tram Ballarat" and bottom right hand corner "P. Moses"tramways, trams, grey st, sebastopol, conductors, tram 27