Showing 3482 items
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National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Nan’s Spirit Watching over me (Rita Dalton) Cloak, 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future. The white ochre was used to create the feather pattern. White ochre is deeply connected to spirit or ‘murrup’ as we call it in language. The ochre is used on our bodies in ceremonies to paint our body up and is also placed on graves when someone passes. The white ochre is our most sacred connection to our ancestors and is used to celebrate both life and death. I source the white ochre from the You Yangs and only take what I need for ceremony and my painting.White and black feather motif with yellow eye design on outer clock, brown feather motif in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak -
Merri-bek City Council
Work on paper - letterpress print, Commoners Press, As Sorted, 2022
Time is an abstraction, a filing system used to arrange events and memories into a logical system of cause and effect. This new print was created with images arranged from drawings made while sitting by paths near nature, creeks and overlapping streets. I am a local artist and illustrator with a history of drawing, painting and printmaking.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print -
Merri-bek City Council
Work on paper - letterpress print, Commoners Press, Clay Pits of Brunswick, 2022
When I visit Merri-bek I wonder, when I step on the tarmac of the Barkly Square carpark, what was here before? In fact, at this spot and across Brunswick there were clay pits, which would feed the pottery workshops in Brunswick that produced the pottery, gargoyles and decorative items for Marvellous Melbourne homes and suburbs. Marvellous for those who had profited from gold, property and finance, not so for those working in the clay pits. My print is a contemplation on what is beneath our feet and our relationship to the ground. I am a design academic working at RMIT University and began my print and design practice on a Golding foot-treadle Letterpress machine.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print -
Merri-bek City Council
Work on paper - letterpress print, Commoners Press, Hard Rubbish, 2022
Merri-bek’s bi-annual collection and the communities’ tendency to dump rubbish makes these temporal sculptures part of the visual landscape of walking in Merri-bek. The collections of personal items, untold stories and connections which we all piece together whilst on an afternoon stroll. Over the years trends in pet ownership and technology advances can be documented in discarded items, also commenting on wealth and material value of objects. I have been living, parenting, working and volunteering in Merri-bek for the last 9 years. As time passes the community and landscape shift and change as does my connection to it. A once dedicated art practice is now tumbled around with life and family. Photography, video, drawing and painting are used to explore ideas around the everyday and meaning we attach to small moments of time.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print -
Merri-bek City Council
Work on paper - letterpress print, Commoners Press, Bin Chicken Island Campground, 2022
With two young kids, I often find myself at Coburg Lake on a weekend, playing amongst the natural beauty of the park area, rugged embankments, local birdlife, and... ‘Bin Chicken Island’. Bin Chicken Island has become a running joke in the community, known for its wafting stench and as an environmental eyesore (never go to the park on a warm day with an easterly breeze). So much so that someone added a campground listing on the island to Google Maps. Whenever I drive past the lake, I always keep an eye out for disgruntled backpackers who have realised that the only camping to be had is by the Bin Chickens themselves. I am a local graphic designer who lives in Pascoe Vale and works in Brunswick. I head up the design studio, Atticus Design.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print -
Merri-bek City Council
Work on paper - letterpress print, Commoners Press, Streets with no Beats, 2022
The image is based on a 3D component of one of my recent series of jewellery artworks. The heart metaphorically alludes to two locations of Merri-bek. One is Moreland Road, the other is Wallace Street in Brunswick. These locations pinpoint a time of collective trauma and communal experiential reflection. I was born in Brunswick in 1984 and have lived and worked there since. Brunswick for me is filled with stories of family, community, growth, tragedy and history experienced across a Greek Diasporic framework.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print -
Merri-bek City Council
Work on paper - letterpress print, Commoners Press, Chatting with Locals - Sound Lines of the Red Wattlebird, 2022
My work is dedicated to the animal residents that cohabit with us in the suburbs. I focused on the Red Wattlebird, as it is always a welcome visitor across the gardens and parks of Merri-bek. The frayed edges of the page from my notebook are reminiscent of the act of note taking and how we remember and observe things in our daily lives. I am a local artist and writer living in Naarm with a studio in Coburg as part of Schoolhouse Studios.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print -
Merri-bek City Council
Work on paper - letterpress print, Commoners Press, Ancestral Bouquet, 2022
Ancestral Bouquet is a visual homage to the different plant species each migrant community brought with them to the lands of Merri-bek. It is a celebration of these plant communities and those (elderly migrants) who still know and practice traditional forms of food harvest and preparation. I was born and raised in unceded Wurundjeri Willum Country, in Coburg. My Father lived in the Southern Suburbs of Naarm as a refugee from Palestine, and eventually found Coburg as a place he could fit in as a migrant. My arts practice varies in modalities, and always comes back to the story of displaced cultures, my folklore, and my connection to Coburg and the Merri Creek.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print -
Merri-bek City Council
Work on paper - letterpress print, Commoners Press, Untitled, 2022
This image of Coburg Olympic Swimming Pool represents my connection to Merri-bek / Moreland. Being brought up around water, swimming has played a key role in my family and I feel a sense of the community when swimming in a public pool. The gum trees and the proximity of this pool to the river reminds me of my home town, Albury. For me, a public pool is a gathering place, a place of leisure and play, somewhere to learn and grow, spend time and let go.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print -
Lara RSL Sub Branch
Group of Maps World War One, Group of Maps World War One - Dardanelles and Anzac Gallipoli Maps Circ 1915, Circ 1916
Gallipoli 1915 Maps and Naval plan of Operations World War One ANZACRare examples that explain both ANZAC and Naval Operations during World War One Gallipoli & Dardanelles Passage .!. Black and White Photocopy of Gallipoli 1915 ANZAC Battlefield - detailed positions of troops and Cemeteries. 2.The Allied Failure to Force The Dardanelles Passage 18 March 1915 - detailed line of Attack Naval Organisation, Mine layout, Plan of Attack (and copy).. 3. Map of Turkey and surrounding area written in Turkish and German Languages. C0olor version main roads and distances. (and copy).. 4. Map of ANZAC Trench Diagram. World War One.Color. (and copy). 5.Panorama of Chunuk Blair from 3 miles south of Nibrunesi Point, 3 November 1915 and Anzac from 1 mile N. E. of Ari Burnu, 21 November 1915. Black & White 6. Color Map of ANZAC positions with topographical Details, notes. 1. Artwork and copyright by Srewart Cownie, Gallipoli 1915 ANZAC Battlefield with Landings and later evacuation marked. 2. Details of Naval actions taken in the Dardanelles Passage 18 March 1918. 3. Local area Map or Turkey. Shows roads network and townships. 4. ANZAC Trench Diagram, copyright Whitcombe & Tombs Limited , Wellington N.Z. 1919 5. Panorama of two coast views of ANZAC area. Australian War Memorial, 6. Map of ANZAC positions of World War One, Gallipoli 1915. Published by H.E.C. Roberinson, George Street, Sydney N.S.W.18 April 1916maps operational of anzac and naval opations during 1915 etc, dardanelles naval opations -
Bendigo Historical Society Inc.
Slide - DIGGERS & MINING. LIFE OF THE SELECTORS, c1970
Diggers & Mining. Life Of The Selectors. A BIT FROM THE SQUATTING DISTRICTS. Station Hand.-''That there was a furrin language you were speaking to your brother this morning , weren’t it, sir?.'' New Chum Brother.- ''Yes, Jerry, it was.'' S.H.- ''Learn it easy, sir!'' N.C.B.- ''Well, yes, I picked it up in about a year.'' S.H.- ''Well, Sir, I know the french man 'as been out here nigh two years, and he can't speak enough English to bail up a cow. The picture show the 2 men having the discussion with one leaning on a wooden fence. Markings; Life Of The Selectors 1860-1890 Set 432 No. 21. A Bit From The Squatting Districts- ''Melbourne Punch,'' March 31 1870. Used as a teaching aid. Used as a teaching aid.Visual Education Centereducation, tertiary, goldfields -
Glenelg Shire Council Cultural Collection
Print, Alcoa - Heathland, 1983-1984
CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of a landscape with several social comments. The top of the work features a Micky Mouse symbol with dollar signs in his eyes and a speech bubble which says "We'll move the Heathland". To the left is text stating "ALCOA AIMS TO MOVE THE HEATHLAND. "AGE" 5-9-80". In the centre of the work vegetation burns, aboriginal people wave and a tractor drives below the text "THEY BURNT THE HEATHLAND 4-12-80". The lower section of the work shows two men with a red megaphone. A speech bubble comes from the megaphone which states, "I UNDERSTAND YOUR ANGUISH!" To the right of the men is a wreath of native plants with two animals (native mice?).Front: 26 B. Sharrock (lower right, image) (pencil) Back: 36 -
Bendigo Historical Society Inc.
Booklet - Frontier Life in the Loddon Protectorate, 1967
95-page light cover booklet of Episodes from Early Days 1837-1842 in the Loddon Aboriginal Protectorate in Victoria. By Edgar Morrison. Map showing the approximate limits of the Protectorate in Victoria on title page. Map of early station boundaries on page iv. Sketch of an Aborigine holding a spear on front cover. Illustrated with B&W photos. B&W photo of Edward Stone Parker (1802-1865) Protector of Aborigines in the Loddon District. A reprint of Parker's Lecture on the Aborigines of Australia, May 10, 1854, is given in a 31-page section at the back. Foreword by Edgar Morrison Feb. 1967. Hugh McColl, Printer, 'Banner' Office, Latrobe StreetHandwritten in ink on front page. 'To Mr A. Chisholm from Alan J. Hardy (?)aborigines, loddon protectorate, edgar morrison, edward stone parker -
Orbost & District Historical Society
newsletter, Jinga, July 1979
Cann River is 75 km east of Orbost. The Cann River School newsletter is published fortnightly and includes a calendar of upcoming activities in the school and local community. When the newsletter started (probably in 1968) there was a discussion in the school as to what it would be called - Jinga eventually came out of that and it's still the same today. Jinga derived its name from Croajingolong. Croajingolong possibly comes from the Aboriginal words for 'belonging to' and 'east' and is the name of one of the five clans of the Kurnai (Gunni) - the Krauatungalung, who lived in this region. It is likely that the decision to go with 'Jinga' over 'Jingo' was made by popular vote. For a few years the school published a year magazine called Croalong, and now combines the two so the last issue of Jinga for the year is actually titled Croajingolong! (Information provided by Ruby, current editor of Jinga.) In small rural communities newsletters are an important communication medium. Cann River P-12 College has played a significant part in the education students in the Cann River district . It is the sole educational institution in Cann river. A newsletter for Cann River School. It contains black and white photographs, children's work and reports.newsletter-jinga cann-river -
Warrnambool and District Historical Society Inc.
Poster, Poster for Robert Ulman exhibition, 1982
This is a poster advertising an art exhibition by the Warrnambool artist, Robert Ulmann. The exhibition was held in the Naringal Hall in November/December 1982. Robert Ulmann (1927-1999) was born in Zurich, Switzerland where he studied sculpture and painting. After living in Canada for some time he came to Australia in 1969. From 1970 to 1972 he was employed by the Northern Territory Administration as a manual arts instructor to the aboriginal people of Docker River west of Uluru. He exhibited extensively in city and regional galleries and won numerous awards for his artistic works. His love of wildlife extended to his interest in the Southern Right Whale and he was greatly responsible for publicizing the annual appearance of the whales at Logans Beach in Warrnambool and protecting their environment. His studio in Warrnambool is still visited by many tourists. This poster is of interest as it concerns an art exhibition of the work of Robert Ulmann, a well-known Warrnambool artist of the 20th century. This is a sheet of white paper with black edging. It is an advertisement for a Robert Ulmann Art Exhibition. The page has a sketch of three birds with Robert Ulmann’s signature underneath. robert ulmann, history of warrnambool -
Warrnambool and District Historical Society Inc.
Tradesman’s Work Diary, Book, 1940s
This exercise book contains details on the work carried out by A.Greed, a tradesman undertaking small carpentry and repair jobs in the Warrnambool region. The works completed date from 17 April 1945 to 11 October 1949. Mr Greed apparently worked mostly for the Public Works Department and had contracts for schools including Ecklin South, Panmure, Cudgee, Dennington, Mailors Flat, Grasmere, and Warrnambool Technical School and for other public buildings including the Warrnambool Court House, the Police Station and Housing Commission buildings. Other contracts included ones for the Framlingham Aboriginal Reserve, Callaghan’s Garage, the Caledonian Hotel, the Methodist Croquet Club and many private home owners. Details on the identity of ‘A. Greed’ are not known as there are several possibilities for the 1940s era. One clue is that an ‘E. Greed’ was also an employee.This exercise book is of some interest as an example of a tradesman’s handwritten details of his work as a carpenter and repair man in the 1940s in the Warrnambool area. There are many local names and businesses of interest mentioned in the exercise book. This is an exercise book with a grey cover with red binding. The dark blue printing on the front cover is enclosed in scroll patterns and the back cover has dark blue printing The cover is creased and has some ink splotches. The front cover has been stamped but the printing is now mostly illegible. The pages contain handwritten work and accounting information in black and blue ink. Some pages have been overwritten in red and black ink and pencil and there is one loose sheet.The Vana Exercise Booka.greed,, warrnambool tradesman, history of warrnambool -
Eltham District Historical Society Inc
Journal, Peter Doughtery, ArtStreams: Banyule, Darebin, Manningham, Nillumbik, Whittlesea & Yarra; Vol. 7, No. 4, Sep-Oct 2002, 2002
Vol. 7, No. 4, Sep-Oct 2002 CONTENTS Comment 2 War Heroes: the blood and the glory 3 Geoff Todd tells it all in paint John Patrick on trees and environmental survival 8 Pam Dougherty Short Story: Treading water 10 David Fettling Rivers of Life: Paintings by Kerry Kaskamanidis 13 Jill Orr: performance artist 14 John Jenkins Making Art with Liz Nettleton 16 Book review: Contemporary Aboriginal Art 18 Susan McCulloch Poetry News and Reviews 20 John Jenkins CD Reviews 22 Geoff Achison, Mirth, King Kadu On Various Bards 24 John di Mase Artin'about 27 Wining and Dining 30 Poetry by Ian McBryde 32 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/06) art streams, aboriginal reconciliation, bundoora homestead, jacqueline healy, willy wonka's ice cream gourmet food, melbourne rudolf steiner school, eltham fullife pharmacy, montsalvat, trees, landscape degeneration, urban development, david fettling, dynamic vegies, nillumbik artists' open studios, kerry kaskamanidis, jill orr, john jenkins, thompson's pharmacy, liz nettleton, st andrews hotel, hurstbridge nursery, chris pittard, mary-lou pittard, eltham wiregrass gallery, john di mase, eltham warrandyte pottery open studio, ian mcbryde, bulleen art & garden centre -
Orbost & District Historical Society
black and white photograph, 1908
This item is part of the Mary Gilbert Collection. Noorinbee School, situated on the Bombala Rd approximately 6.5 km north of Cann River, was opened on 26th of July 1900, with Albert Le Page as head teacher until 30th of September 1904. The school no longer functions. A school bus would daily to take the older children to the central classes at Cann River. "Noorinbee" is an Aboriginal word of unknown origin, The historical school is still at the front of the school yard. The Old Noorinbee School was been shifted twice. The first time they used a bullock team in 1924. The second time they used trucks and tractors in 1991. It was the first public building for the Cann Valleyand was first used as a hall and a church until it became the Noorinbee school in 1900. It was built in 1898.This item is associated with education in East Gippsland. It is also associated with the Gilbert family.A black / white photograph / postcard which has a letter written on the back. On the front is a small wooden building, a shed on the right, a wooden fence at the front with children scattered in the yard.on front - "State School No 3372" on back - " Mrs J. Gilbert Talangoota, Orbost"gilbert-annie noorinbee-state-school education-east-gippsland -
Flagstaff Hill Maritime Museum and Village
Document - Invitation, Government of New South Wales, Commonwealth of Australia Inaugural Celebrations, Bef. 01-01-1901
This is an Invitation to attend the Inaugural Celebrations of the Commonwealth of Australia, to celebrate the Federation of Australia's united Colonies. It was created on behalf of the Government of New South Wales. January 1st, 1901, is the official date of Australia's Federation. There is no recipient's name on the invitation. The illustrations on the invitation represent the Federation of Australian States, with their historic symbols carried on the sailing ship, representing the colonisation of Australia. The 'rising sun' possibly represents the rising of the young Australia. The Sough Australian symbol appears to be the historic seal of South Australia, depicting Britania meeting an Australian Aboriginal seated on the beach. The symbol was replaced in 1904. The Victorian symbol of a crown above the Southern Cross appears on the flag at the back of the ship, with a crown and the Southern Cross beside each other. The invitation was originally framed by G.U. Petterd, a picture framer and plush worker in Warrnambool, Victoria.The invitation holds great significance, representing a point in Australia's history when the British Colony became an independent nation, with the states uniting under a Federal government. The symbols on the invitation represent those used by each state at the time, many of which have evolved and changed since that time. The decorative and careful creation of the certificate represents the importance placed on the celebrations.Invitation; rectangular page printed in colour with text and illustrations, and attached to cardboard. The document has a floral border with a symbol in each corner. The illustration includes a wooden sailing ship with six figures with long fair hair wearing white robes, and holding six flags or symbols. The mast holds a swallow-tailed banner showing a flag and text. The invitation is from the Government of New South Wales, for the recipient to attend the inaugural celebrations in Sydney on 1st January 1901, for the official date of the Federation of Australia. There is a purple oval stamp on the revers with inscriptions. The picture was originally framed by G.U. Petterd, WarrnamboolSTAMP: "G.U. PETTERD, WARRNAMBOOL / PICTURE FRAMER & PLUSH / WORKER" TEST: - "Commonwealth of Australia. / INAUGURAL CELEBRATIONS / AT SYDNEY / COMMENCING on the 1st JANUARY 1901" "The GOVERNMENT of NEW SOUTH WALES / requests the honour of / (blank line) / presence at the Celebrations to take place / in connection with the inauguration of the Commonwealth of Australia" Symbols: - [white flag, blue cross, Union Jack] (Australian Federation Flag) [blue Maltese cross with crown in centre] (Queensland symbol) [red St George cross with a lion in the centre] (New South Wales symbol) [white with a symbol on one side (crown?) with a blue flag with Southern Cross on the other] (Victoria's symbols of Crown above Southern Cross) [red lion on white] (Tasmanian symbol) [black swan on yellow] (Western Australia badge) [two figures, one standing and one seated] (South Australian seal) and image of (rising sun on the horizon)flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, invitation, commonwealth of australia, inaugural celebrations, sydney, 1st january 1901, 01-01-1901, federation of australia, australian states, government of new south wales, symbols, flags, australian colony, certificate, g.u. petturd, picture framer and plush worker, picture framer, plush worker, 1901 -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Document,leaflet 'Brief History of the City of Moorabbin 1850 - 1934', 2015
2015 CMHS members D. Maynard. Fran & Holger Bader compiled this Leaflet to provide a condensed information Leaflet about the origin and development of the area known as 'The City of Moorabbin' from 1850 -1994. Topics ; Aboriginal Bunurrung people, Henry Dendy's Special Survey 1841 in County of Bourke ; J.B Were, land agent, Pastoralists/ Squatters John O'Shannassy, Richard & John King, Moysey Family, Alexander MacDonald; Parish of Moorabbin Land Developers 1850 J.Holloway, A. Balcombe, D.Wickham, S. Charman, Keys Family; Road District of Moorabbin 1862 - 1870; Shire of Moorabbin 1871 - 1934; City of Moorabbin 1934 - 94; Amalgamation of Councils 1994 divided the City of Moorabbin between the Cities of Glen Eira, Bayside, Kingston and Monash; Origin of suburb names,This Leaflet was compiled in 2015 to provide a condensed history of the area known as 'The City of Moorabbin' for visitors , schools and local community1 x A4 printed both sides, black and white, folded x 3page 1 'BRIEF HISTORY OF THE CITY OF MOORABBIN' ; CITY OF MOORABBIN /1934-1994 page 2 'CITY OF MOORABBIN / 1934 - 94 city of moorabbin, county of bourke, moorabbin roads board, parish of moorabbin, shire of moorabbin, henry dendy's special survey 1841, were j.b.; bent thomas, o'shannassy john, king richard, charman s, highett william, ormond francis, maynard dennis, -
Federation University Art Collection
Artwork - Painting, [Reconciliation] by Leoda Atkinson, 1999
Leoda ATKINSON "A few years ago Leoda Atkinson had never painted but now she works around the clock to keep up with the demand for her work. Leoda, a student in Koorie Art and Design at the School of Mines and Industries, Ballarat, was separated from her family as a child and wanted to learn more about her culture. ... (The Age, September 9, 1997) This work was commissioned by the University for the Aboriginal Education Centre's wall. It was designed and painted by Leoda Atkinson, a graduate of the University of Ballarat Koorie Art and Design course. With the assistance of Tom Clark and two third year students the painting of the mural was completed in two weeks. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.A brightly coloured work featuring themes of reconciliation and the University's campuses and learning. The use of the platypus reminded the artist of many different animals, represented the coming together of cultures at the University. art, artwork, leoda atkinson, aboriginal, alumni -
City of Greater Bendigo - Civic Collection
Photograph - Moomba Parade Bendigo Guest Float, City of Greater Bendigo, c 1980's
The origin of Moomba dates back to 1951, when Melbourne celebrated fifty years of Federation with a parade and the staging of the theatre production 'An Aboriginal Moomba: Out of the Dark'. The following year, the final Labour Day procession was held in Melbourne after running for almost a century. A parade through the streets of central Melbourne have been a key part of the Moomba festival since its beginning. The floats have an annual theme, usually an elaboration on 'Let's get together and have fun', the avowed mission and vision statement of Moomba. In the beginning the floats usually promoted a Commercial or Government organisation, but in later years, as business became more reluctant to spend money on elaborate floats, they tended to represent sporting clubs, ethnic groups and other community organisations (source Melbourne Museum).Mounted colour photograph with cover depicting the COGB Moomba Float. Taken on corner of Flinders and Swanston Streets, Melbourne. Bendigo Easter Fair Guest Float.moomba, swanston street, labour day, city of greater bendigo tourism, city of greater bendigo events -
Federation University Art Collection
Painting - Acrylic on Linen, 'Tingari Cycle' by Walala Tjapaltjarri
Walala Tjapaltjarri (b. c1960) Language: Pintupi Region: Kiwirrkuru In late 1984 Walala Tjapaltjarri and several other members of the Pintupi Tribe walked out of the remote wilderness of the Gibson Desert in Western Australia and made contact for the first time with European society. Described as 'The Lost Tribe', he and his family created international headlines. Until that day in 1984, Walala and his family lived the traditional and nomadic life of a hunter-gatherer society. Their intimate knowledge of the land, its flora and fauna and waterholes allowed them to survive, as their ancestors had for thousands of years. It is this sacred landscape, and its significant sites, that Walala so strikingly describes in his paintings. His style is generally highlighted by a series of rectangles set against a monochrome background. He paints the Tingari Cycle (a series of sacred and secret mythological song cycles) which are associated with the artist's many dreaming sites - they are Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These Dreamings are the locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015) Walala Tjapaltjarri started painting in 1997. His earliest works were in a classical Tingari style usually reserved for body painting, ground painting and the decoration of traditional artifacts. Within a couple of months his painting had evolved into his own innovative style of work, including the abstraction of classical Pintupi designs which resulted in a highly graphic language to speak of his country and ceremonial sites. The rectangles so prominent in his paintings form both a physical and spiritual map establishing Walala as a discerning draughtsman for his ancient country. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015) This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Tingari Cycle - During the Tjukurrpa (Creation Era) Tingari ancestors beings gathered at a series of sites for Malliera (Initiation) Ceremonies. They travelled vast stretches of the country, performing rituals at specific sites that in turn created the diverse natural features of the environment. The Tingari men were accompanied by novices and usually followed by Tingari Women. The creation stories and rituals are venerated in the song cycles and ceremonies of today, forming part of the teachings of the post initiatory youths, whilst also providing explanations for contemporary customs. Walala Tjapaltjarri uses a highly personalised and minimal style to represent aspects of the sacred Tingari Cycle, an epic journey of Ancestors of the TJukurrpa (Creation Era). He paints aspects of the Tingari Cycle which are associated with the artist's many sacred sites - such as Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These are locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015)art, artwork, walala tjapaltjarri, aboriginal, dreaming, creation era, acrylic on linen, pintupi, kiwirrkuru, tingari, wilkinkarra, tarrku, njami, yarrawangu -
Glen Eira Historical Society
Document - History of the City of Caulfield
This file contains 4 items: 1/Typewritten document titled ‘The City of Caulfield’. Author and date unknown. 1 page (back and front), 2 copies. Document covers topics such as origins of the name ‘Caulfield’, early settlement and the Caulfield Cup. 2/Typewritten document titled ‘History of Caulfield Council’. Author and date unknown. 6 pages, 3 copies. Document covers subjects such as early settlement, Aboriginal influence, Caulfield Road Board, Shire of Caulfield, Borough and town boundaries, coat of arms, and Freedom of Entry to the City. 3/Typewritten document (undated + author unknown) titled ‘The Structure of Local Government in Victoria with a history of the City of Caulfield’. 13 pages. Covers the following subjects: Powers, Planning, Public Works, Trading Undertakings, Health Services, Municipalities, Wards Electors or Ratepayers, Voters Roll, Councillors, Officers, Finance, Nature of Soil and Vegetation, Parks and Gardens and Reserves, Coat of Arms, Boundaries, How Did Caulfield get its Name, Aboriginal Influence, Caulfield Road Board, Shire of Caulfield, Borough and Town and the City of Caulfield. Also covered is early settlement. Note at the end of the document mentions that the historical content contained in the last section was based upon a thesis for the Department of Town and Regional Planning, University of Melbourne, 1968 by L. Alwis, P. Rowe, N. Wootten. Melbourne, ‘City of Caulfield: An Illustrated City Report’. 4/Typewritten document (undated) titled ‘The Structure of Local Government in Victoria with notes on the history of the City of Caulfield’. 8 pages, 2 copies. This document also includes a map/diagram of the city with boundaries and wards showing locations of railway stations and parks. Document covers the structure of local government and its functions then goes on to focus on City of Caulfield with subjects similar to those covered in item 3. Document signed off by Deputy Town Clerk.city of caulfield, caulfield john, caulfield baron, caulfield racecourse, elsternwick, ripponlea, st. mary’s church, caulfield council, kooyong road, neerim road, bambra road, greenmeadows house, caulfield park, paddy’s swamp, dandenong road, caulfield grammar school, chisholm institute of technology, murrumbeena, glen eira road, alma road, orrong road, balaclava road, inkerman road, ‘grosmont’, caulfield school room, caulfield road board, caulfield road district, crimean war, victorian amateur turf club, caulfield cup, glenhuntly road, north road, glenhuntly station, ormond station, outer circle railway, local government, gardenvale, carnegie, rosstown, poath road, nepean highway, hotham street, ormond park, princes park, ross william murray, caulfield institute of technology, ‘ross’ folly’, hawthorn road, glenhuntly, ormond, morris t. w., lloyd charles du plan, meals on wheels, shire of caulfield, caulfield railway station, caulfield rsl, bouran road, murrum murrumbeen, kooyong road, great dandenong road, neerim road, trams, prahran and malvern tramways trust, fisher andrew, mackinnon reserve, dover street, ‘glen eira’, blair max cr., insignia, third ordnance services unit, schools, street lighting, lampriere, mr. bevan, the caulfield leader, davies j. henry, curraweena road, st. georges road, o’neill college, hope george, market gardens, koornang reserve, packer reserve, murrumbeena reserve, hopetoun gardens, greenmeadows gardens, mirambeena, caulfield technical college, hart john, langdon h. j., ‘rosecraddock’, judge webb, ‘crotonhurst’, service james, ‘kilwinning’, ricketson henry, grimwade frederick sheppard, airdrie, jenner, st. aubin’s, caulfield john p. t., harlston, lempriere, lord reserve, ‘cantala’ -
Federation University Art Collection
Sculpture - Mace, 'University Mace' by Trefor Prest, 1995
The University's mace was carried in procession for the first time during the Graduation ceremonies in May 1996. The mace was presented to the University by former Chief Commissioner of the Ballarat City Council, Vern Robson, at a ceremony on 02 February, following a national competition for its design, sponsored by the Council. (The Flag, Issue 2, July 1996) Nineteen artists responded to the competition which called for a design that would embody a distinctive Australian image reflecting the heritage of the city and in relationship with gold, an Aboriginal element and the history of the University. The winning entry, dominated by a poppet head, was submitted by Central Victorian artist/sculptor Trefor Prest, a sessional lecturer in sculpture at the University.(The Flag, Issue 2, July 1996) The Herald Sun of 03 February 1996 reported 'the new mace shows importance elements of Ballarat's heritage as well as the university's focus on the future. The artist emphasises the egalitarian nature of Australia as embodied in Ballarat's famous slice of history - the Eureka uprising. ... The mace has a poppet head at the top of the shaft - an unusual element for a mace - but it represents Ballarat's mining history and the University's evolution from the Ballarat School of Mines. An opening egg at the top stands for the nurturing of development and learning. The mace's straight shaft is depicted as the tree of knowledge and, incorporating a bark canoe scar, Ballarat's Aboriginal heritage. At the end of the shaft is a surveying device, which represents precision and accuracy ads embodied in the university's academic pursuits.' Bob Morrell of the University organised the national competition to design the mace and said 'It is in keeping with the university's logo, 'proudly flying the flag', which incorporates the Southern Cross.' This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007. Trefor Prest lectured in Sculpture at the University of Ballarat from 1995-1996.The mace symbolises the office of the Chancellor. The design of the mace is the outcome of a national competition and represents the cultural diversity of Australia. The poppet head on the top of the mace refers to gold mining, which underpinned the development of Ballarat. The protruding spikes recall the Eureka Stockade. The 'egg' shape enfolds and nurtures the development of knowledge and learning. The shaft with the three 'branches' represents the Tree of Knowledge, and includes a bark canoe scar which recognises the integration of black and white Australian traditions. The lower part of the shaft culminates in a device suggestive of scientific or surveying and measuring technology. This represents precision and accuracy embodied in the academic pursuits of Federation University Australia.art, artwork, trefor prest, prest, mace, federation university, university, eureka stockade, aborigines, scarred tree, mining, university mace, ballarat -
Lara RSL Sub Branch
Plaques for Australian Navy 4 off, Australian Navy plaques - 1. Royal Australian Navy, 2. W.R.A.N.S.,3.HMAS Vampire, 4.HMAS Perth
Registered plaques representing R.A.N. , W.R.A.N.S. , H.M.A.S. Vampire, and H.M.A.S. Perth.Rare collection of Royal Australian Navy plaquesPine-board backing with 4 plaques mounted 1. Royal Australian Navy, 2. W.R.A.N.S.,3.HMAS Vampire, 4.HMAS Perth, The plaques are mounted on a wooden shields. 1. Royal Australian Navy plaque consists of an oval shape topped by a regal crown and bottom an anchor and chain, The center of the plaque is Black in color embossed in a ring of "Royal Australian Navy" the center of the plaque is a symbol of an anchor and chain. 2. W.R.A.N.S. Triangle shape with a Crown made-up from a sailing ship and the bottom a bow of blue ribbon. The lower half of the triangle is a wreath of leaves. the center of the triangle is painted light blue and has small stars one in each corner. In the center there is a ships anchor and chain. The bottom of the plaque is the initials "W.R.N.S." 3.HMAS Vampire A circular plaque a crown on the top a sailing ship in a crown format. Over a name of Vampire in gold on a black back ground the middle is a circle painted blue with a black Bat in the center. The bottom of the plaque is emblazoned with a boomerang, stone axe and aboriginal waddy followed by a banner "Audamus" meaning "we dare, we venture, we risk" 4.HMAS Perth, A circular plaque a crown on the top a sailing ship in a crown format. Over a name of Perth in gold on a black back ground. The middle is a circle painted gold with a black Griffen in the center. The bottom of the plaque is emblazoned with a boomerang, stone axe and aboriginal waddy followed by a banner "Fight and Flourish". motto.plaques, r.a.n., w.r.a.n., h.m.a.s. vampire -
Warrnambool and District Historical Society Inc.
Leisure object - Sheet music, On the road to victory, 1941
This piece of music has been produced during World War Two (1941) as a propaganda and fund-raising piece for the people of Alexandria in Egypt. It has both Greek and British backing with the headings on the cover in both languages. The music is a march and the title suggests that victory is on the way so the emotions are being stirred to keep up the morale. Egypt in World War Two was still under British influence and Alexandria is a port in Egypt at the mouth of the Nile River. In 1941 British battleships were based in the Alexandria harbor and two of them were disabled by Italian Navy divers. Hence it is not clear why it was the Hellenic (Greek) Red Cross raising funds for Alexandria through the sale of this music which was produced in that city by the Moharrem Press (founded 1938) and composed by Lena Bonfiliou, probably a Greek person. It is not known if this piece of music was bought in Australia or brought back to Australia by an Australian military person during World War Two.This is an interesting piece of music. Its connection to Warrnambool is not known but it is an example of the type of music produced during World War Two to help the war effort. This is a four page piece of music, ‘On the Road to Victory’ (a march) with a front cover, a blank end page and two pages of musical notation. The latter pages have black printing on white pages. The front cover has both Greek and English printing and a colour image of four British and Greek flags resting on a gun carriage with armaments underneath and indications of an explosion. There is a red stamp on the cover (Hellenic Red Cross). The pages are in good condition. English printing: ‘On the Road to Victory, March, P12’ Stamp: ‘For the Hellenic Red Cross, Alexandria’ alexandria, hellenic red cross, warrnambool, on the road to victory music -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Newsletter, City of Moorabbin Historical Society No. 6 Vol. 2 September 1962, City of Moorabbin Historical Society Newsletter No. 6 Vol. 2 September 1962, 1962
This is Newsletter No. 6 Vol. 2 produced in September 1962 by Mr T. A. Sheehy President CMHS for members and visitors Topic ; Council Elect, Moorabbin1851 The Aims of the CMHS are ‘to record the history of the City, and register something of the Australian Atmosphere, which the necessary speed-up in post-world-war two (WW11) immigration has caused to be lost; to produce a magazine at regular intervals, featuring the work of pioneers and the changing Australian scene; to work constantly with a long range view towards building a hall where records and exhibits can be housed’ The Original Newsletters reflect the history and heritage of the former City of Moorabbin — derived from Mooroobin, ‘a resting place’ in the Bunurrung spoken language. In 1994, the City of Moorabbin was integrated into the Cities of Bayside, Glen Eira, Kingston and Monash Moorabbin City Council elections results are recorded. A description of Moorabbin c 1850 , the Gold Rush and installation of the Toll Gates in St Kilda Rd This is Newsletter No. 6 Vol. 2 of CMHS September 1962 CMHS obtained a Kingston City Council Community Grant 2016 for the digitization and preservation of these Original CMHS Newsletters commenced in 1961 Foolscap L34cm x W 21cm paper folded into 4 pagesCITY OF MOORABBIN HISTORICAL / SOCIETY / (Affiliated with the Royal Historical Society of Victoria ). President T.A.Sheehy …… Secretary Mrs L. Harvey……. NEWSLETTER No 6 Vol. 2 SEPTEMBER 1962 city of moorabbin historical society 1961, sheehy t.a., harvey l, cheltenham & district co-operative society limited, -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Newsletter, CMHS Moorabbin Mirror Issue 14 April 2018, CMHS Moorabbin Mirror Newsletter Issue 14 April 2018, 2018
This is Issue 14 of the Moorabbin Mirror produced by CMHS members Fran & Holger Bader , Geoffrey Paterson, April 2018 The Moorabbin Mirror reflects the history and heritage of the former City of Moorabbin — derived from Mooroobin, ‘a resting place’ in the Bunurrung spoken language. In 1994, the City of Moorabbin was integrated into the Cities of Bayside, Glen Eira, Kingston and Monash. Topics : ANZAC display, Alonzo Box, 1914 HMAT A20 HORORATA, B Company 6th Battalion 2nd Brigade; Box Cottage grounds flooded by leaking tank Bowls Club 26th Dec ; Barn repairs, Barn storage; Filing Cabinets Inventory; GECC International Women's Day Biographies of 3 local women; GECC Alnutt Park March 18th promotion BCM; Welcome new BCM Volunteer Guides; KCC Network HS meeting; KCC Award Dr G Whitehead; KCC farm machinery preservation; FAHS funding; CMHS meeting dates This is Issue 14 of the Moorabbin Mirror, Newsletter of CMHS April 2018A4 x 1 paper folded to A5 x 4pp printed both sides Moorabbin / Mirror / Newsletter City of Moorabbin Historical Society Inc. A0020543 (CMHS) / operating Box Cottage Museum (BCM) / April 2018 Issue 14moorabbin mirror, bader fran, bader holger, patterson geoffrey, box alonzo, 1914 hmat a20 hororata; b company 6th battalion; gallipoli landings 1915; glen eira historical society, glen eira city council, kingston city council, whitehead dr g. farm machinery, international women's day; -
Croatian-Australian Immigration Museum
Family photograph, Vincent Gercovich family, c. 1889
Vincent Gercovich married Winifred Rebecca Bennett (English emigrant) on 13 February 1867 in St. Alipius church in Ballarat. They had a total of 12 children. Little is known about his life, but what is known that he was well disposed to several languages and due to his ability to communicate with immigrants worked at the entry gate to the city of Ballarat. He died at the age of 61. Vincent was one of these early Croatian immigrants who came to Victoria around 1850s. His surname Gercovich (probably Gerković or Jerković) came from the island of Hvar on Dalmatian coast. On his Australian citizenship documents, the place of birth was stated as Dalmatia, Austria. From research of collected documents it can be concluded that the first Croats arrived to this country some 150 years ago mainly because of gold discovery. Victoria had a few rich deposits of gold and for obvious reasons many came to join the great ‘Gold Rush’.A black and white family photograph features Gercovich family with 12 children photographed in a studio around 1889. Children ages on the photograph range from unborn to young adults.vincent and winifred gercovich, gercovich, early croatian immigrants, immigration, croatia, dalmatia, ballarat, gold rush