contains two play named ''Conversations with a Cupboard man'' by Ian McEwan ''Confessions from the male'' by Murray OliverPart of the ''Next Wave Festival'' 1988Black and Whiteconversations & confessions, athenaeum theatre two, program, programme, hocking & woods, next wave festival, glenn elston

The one-man show was presented by Glenn Elston, Greg Hocking and Tim Woods starring Tom Barlow's one-man show.The performance was part of the Melbourne Fringe Festival for 1990.black ,pink and white coloured program in good conditionmy army, program, theatre de complicite, melbourne fringe festival, tim barlow, athenaeum theatre two

Black & white photographnillumbik, chute street, diamond creek

PHOTOGRAPH TAKEN IN FRASER STREET, CLUNES, OUTSIDE SHOP OWNED BY LEONARD, PAPERHANGERBLACK & WHITE COPY - GROUP OF WHITE CHILDREN AROUND A MAYPOLE, WITH INDIGENOUS MAN?local history, photography, photographs, shops, leonard, paperhanger, events and celebrations

BLACK & WHITE STUDIO PHOTOGRAPH OF A MAN DRESSED AS A SWAGGIE HOLDING HIS SWAGWITH COMPLIMENTS FROM HARD TIMES 1916 J. HORNBYlocal history, document, postcard, crick, shrigley, mc lennan & lazarus

BLACK & WHITE PHOTOGRAPH OF TWO LADIES AND ONE MANON RESERVE SIDE -TO DUNCAN FROM FATHER FLORA & OLIVE FRAMED BY COLIN 14,1,31local history, photography, photographs, unidentified photograph

CLUNES CATTLEMARKET HOTEL. BUILT ON THE SOUTH SIDE OF SMEATON ROAD BETWEEN DARLING AND BARKLEY STREETS..1.2 BLACK AND WHITE PHOTOGRAPH OF CLUNES CATTLEMARKET HOTEL, LOCATED ON SMEATON ROAD, CLUNES, MAN AND LADY STANDING IN FRONT .DOG RESTING ON VERANDAH. WOODEN CONSTRUCTION WITH SHINGLE ROOF. ENLARGED PHOTOGRAPHS .3-..6 BLACK AND WHITE PHOTOGRAPHS OF CLUNES CATTLE MARKET HOTEL..1 HANDWRITTEN ON BACKAUNTIE SIS AND UNCLE OWEN. MISS SYMONS AND BROTHER RELATED TO SPARKS . MAYOR - BUTCHER. CATTLE MARKET HOTELlocal history, photography, photographs, hotels - cattle market

BLACK AND WHITE PHOTOGRAPH MOUNTED ON FIRM CARDBOARD OF YOUNG MAN FORMALLY DRESSED IN THREE PIECE SUITVAGUE? ON REVERSE SIDE OF PHOTOGRAPH . MIFS PALMER. BROWN BEAD 2 @ 2/- 1 @ 1/6 HAIR? FRIDAY NIGHTlocal history, photography, photograph, local personalities

GOLD PAINTED WOODEN FRAMED PHOTOGRAPH MOUNTED/DISPLAYED ON GLASS BLACK AND WHITE PHOTO OF MAN AND LADYlocal history, photography, photographs

Wayne Alfred is a member of the Namgis Tribe of the Kwakwaka'wakw people. As a master carver he has an extremely high level of carving skill and knowledge about his peoples cultural objects, customs, tribal stories and legends. The Totem Poles of the North Pacific Coast in British Columbia and Alaska are traditionally carved out of red or yellow cedar, which has a spiritual and practical purpose. The wood was known for its durability, its resistance to rotting and the inner bark was utilised in ropemaking, clothing, hats, baskets and so forth. The Kwakitul People consider the cedar tree to be among the most sacred of all things provided by the Creator. They believed the Cedar tree to be the axis of the world and a pathway to the upper world. The wood is shaped using implements such as adzes, axes, chisels, carving knives, and chainsaws. Misinterpreted as Gods and idols to be worshipped, totems usually serve six purposes, such as a house pillar for support, a memorial or mortuary pole to commemorate (and house) the deceased, a potlatch pole (used for important traditional indigenous celebrations), a ridicule pole used to shame and a heraldic or family crest pole. Characters and symbols on these totem poles usually display family crests, history, wealth, social rank, inheritance, and privilege, as well as animalistic imagery derived from native animals and mythological creatures. Their sequence are indicative of past family events, ancestors, myths, and heraldic crests, with the bottom figure usually being the most prominent. In this work the 'thunderbird' is symbolic of power, strength and of ancestory. The Commonwealth Games Totem Pole was presented to the people of Nillumbik on behalf of the Canadian Government in recognition of Melbourne as the hosts of the Melbourne Commonwealth Games Team in 2006. Carved in cedar wood, this totem pole incorporates bold cuts and colours (such as red and green) offset by strong black. A relative degree of realism is used to depict the alligator located on the bottom of the pole, a man and a 'thunderbird'/eagle located on the top. With protuding element. No inscriptions. Bold cuts used to outline the characters and symbols as well as decorative and stylised features all over the pole. public art, kwakwaka'wakw, namgis, alfred, north pacific coast, british columbia, canada, totem pole, carved, commonwealth games, melbourne festival, cedar

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

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. Two men embrace in despair. One man throws his arms around the other man's shoulders. The other man holds the other's back. Surface treatment is textured. Dark metallic brown colour with figures starting to turn a green patina. Note stuck with tape underside of sculpture 'Savage Art Prize Peter Wegner (phone number) The Embrace 2011'wegner, bronze, figurines, black saturday, sculpture

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

From a family who had three generations that worked for Dennys Lascelles. This image depicts Arthur Ganly as a young man taking a break from painting the inside of one of the Dennys Lascelles wool store buildings. Ganly is third from the left with arms folded smoking a pipe.Grey cardboard backing with black and white attached. Photo depicts six men seemingly taking a break from painting. Five of the men are smoking pipes. The men are covered with paint drops and there are paint buckets on the ground in front of them. Many areas of spotting/foxing across backing and photo.

Literary Institute at Pleasant Creek, Stawell West. Built in 1868 and classified as part of a group by National Trust buildings. Worksheet notes state the building is one of the earliest known cavity wall buildings.Early black & white photograph of the two story Literary Institute built in 1868. Man, or boy standing on footpath near stone fence.stawell

Heatherlie Quarry. Black and white Photograph of Heatherlie Quarry with crane on right and cut blocks at bottom of cliff face. One small original and one enlargement. On the back of the small photo Quarries train escursion 1920. Third photo is different but given the man's clothing, he possibly was on the excursion. as were the people at the rock pool in 213-1stawell grampians industry

Black and white portrait of Frederick John Cato seated holding folded papers. The coloured photo is an A4 print of a painting of Fred Cato in the Canberra National Portrait Gallery. In both photos Frederick is seated and dressed in a suit, vest and tie. Frederick John Cato (1858 -1935) was a grocer, part of the Moran & Cato chain of some years ago. He was born in Stawell and went to 502 (Stawell State School) for many years eventually becoming an assistant teacher. He resigned in 1887 to go teaching in new Zealand. Frederick was a generous man and Cato prizes were presented to pupils attending 502. Stawell benefited in many ways from his generosity. Cato Park was named in his honor. Two photographs of Frederick John Cato. One a black and white photo the other an A4 print of a painting of Fred Cato in the National Portrait Gallery in Canberra.Fred Cato-Photo in National Portrait Gallery-Canberra c. Early 1930sstawell

Salvation Army Citadel Opening 1934. People in front of Citadel. Front Row from Left Mrs. Wilkinson, Mrs. Haines, Capt. Morris, Brig. Smalley, Col. Henry Mrs. Maxwell, Comm. Maxwell, Cr. Freeland, (Mayor), Col. Haines, Cr. R. McCracken, Rev. Ewin, Rev. Graham, Mr. Sharpley, Major Wilkinson. Black and white photograph of a group of people in uniform at an entrance to a brick building. The man in the center of the group appears to be opening the door to the building.. W.J. Chapman Photo artist Stawell. Col. A. Henry, Commissioner Maxwell, Col. W. Haines, Brig. F. Smalley, Mr. S. Freeland, Mayor of Stawell, Mr. R McCracken, Capt. F. Morris, Mrs. Col Haines, Mrs. Major Wilkinson, Town Clerk Mr. Sharpley, Major F. Wilkinson.stawell religion

Charles Hunt Smith (Court House Residence). This photograph taken around 1914 belongs to the Smith Family. Donated to the society by Mr. Bill Smith. The photo is of his father who was a builder and lived at Pleasant Creek Court house.Photograph of an elderly man dressed in jacket, waistcoat & tie. He is standing in front of a brick building and below 3 steps. The original photo is a sepia colour and cut down just to include the gentleman with an enlarged black and white copy on card with the photo.Dad's father Charles Hunt Smith.stawell

Group of males in football clothing. Stawell Football Club Premiers 1938 – 1939 23.09.1939 Stawell Team Backs: L. Maddocks, L. Reeves, A. Neal Half Back: K. Robson, W. Gilchrist, A. Grainger, Centre: O. Friend, W. Earle, H. Oliver Half Forward: W. Roberts, D. Brilliant, D. McKey Forward: T. Tiddy, R. McKey, W. Pickering Ruck: L. Hughson and C. Faulkner Roving: G. Gilchrist Emergencies: E. Maddocks, P. Jamieson and R. Mason.Black and white Team photo of football players in jumpers and shorts. Older man possibly coach at center front seated.W.J. Chapman Photo Arist Stawell In handwriting Wimmera Football League Stawell Football Club Premiers 1938 and 1939stawell sport

This handkerchief was used as a marketing material to promote the film titled "The Heavens are ours" in Greek by "New World Film Entertainment" shown at Melbourne Town Hall. There were 2000 of these printed by the company for the premiera showing. The film was later screened by the same company at Premier Theatre in November 1958 by popular demand. The handkerchief gesture had the desired effect of attracting large crowds to the show.This handkerchief's primary significance is derived from the innovative story behind its use. A white printed paper towel inscribed, in black ink, with a message in Greek to those it was handed to by "Cosmopolitan Motion Pictures"The inscription in Greek says: "ΦΕΡΤΕ ΤΟ ΜΑΖΥ ΣΑΣ. Θα σας χρησιμεύσει να σφουγγίσετε τα δάκρυά σας παρακολουθώντας το συγκινητικώτερο, το δραματικώτερο δράμα όλων των εποχών που θα κάνει και τις άψυχες πέτρες να ραγίσουν 'ΟΙ ΟΥΡΑΝΟΙ ΕΙΝΑΙ ΔΙΚΟΙ ΜΑΣ'...." In English translation it says: "BRING IT WITH YOU. You will need to wipe your tears watching the most dramatic and emotional film ever, that will have stones with no soul crack... titled "THE HEAVENS ARE OURS" with the unforgettable Golfo Antigoni Valakou, of the most prominent film production company FINOS-FILM presented by NEW WORLD ENTERTAINMENT. The touching story of a girl who has been lost by her parents she still lives with them, in sadness and in laughter.... THE MOVIE THAT NEEDS TO BE WATCHED BY EVERY FATHER , EVERY MOTHER, EVERY YOUNG MAN AND WOMAN. In Melbourne On Saturday, 19th April 1958 MELBOURNE TOWN HALLhandkerchief, film, greek, language, entertainment, cinema, theatre, μαντηλάκι, γιαννούδης, yiannoudes

Digital Photo taken from glass slide by Geoff McMillan, Cooper Street Stawell and reproduced as a photo - printed at Stawell Historical Society 2019Black & White Photo showing the bee hives belonging to Charles Best at Best's. - Bee hives in a bush setting with a man attending them.

Digital Photo taken from glass slide by Geoff McMillan, Cooper Street Stawell and reproduced as a photo - printed at Stawell Historical Society 2019Black & White Photo of Bests Residence at their vineyard, Great Western. Man on Right is Joseph Best (son of Henry)

Digital Photo taken from glass slide by Geoff McMillan, Cooper Street Stawell and reproduced as a photo - printed at Stawell Historical Society 2019Black & White Photo - place unknown. Three children, Two ladies and one man. names unknown

Black and White portrait of man seated and woman standing. James and Sarah (Prior) Rathgeber. c1900James + Sarah (nee Prior) Rathgeber Concongellaengine, industry, forrest, ww1

Digital Photo taken from glass slide by Geoff McMillan, Cooper Street Stawell and reproduced as a photo - printed at Stawell Historical Society 2019Black & White Photo 3 Men on a horse drawn cart loaded with barrels of grapes and a man in the left winching the barrels up - at Henry Best's Concongella vineyard, Great Western winery, wine making