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Sepia photograph of the Rayner family (8 women) taken whilst living at 8 Daphne Street Canterbury about 1893.canterbury, rayner family, spiller family, butler family, daphne street, clothing and dress

Murray Comrie Collection. A single page of The Advertiser (Maryborough) newspaper of June 12, 1981 with small article about the Tarnagulla CWA monthly meeting. tarnagulla, cwa, c.w.a., country womens association, women, clubs & societies

Murray Comrie Collection. A single page of The Advertiser (Maryborough) newspaper of December 11, 1981 with small article about the Tarnagulla CWA monthly meeting. tarnagulla, cwa, c.w.a., country womens association, women, clubs & societies

FORTNIGHTLY MAGAZINE "THE LOCAL" 10 MAY 2021 ARTICLE ON PAGE 27 ABOUT RICHARD FORD, COUNCILLOR, HORTICULTURALIST, ARTISTrichard ford, councillor richard ford

Article in "The Age" 05.08.1967 about the scrapping of a proposal to build a new high school in the park behind Burnley Horticultural College.the age, burnley school of horticulture, new school proposal, richmond park

Copy of article in "The Australasian" 18.02.1899 p. 13. Article about the fact that women were not allowed to wear trousers at Burnley. the australasian, women gardeners, trousers, uniform, students

friends of burnley gardens, garden designer, jacquie chirgwin, fobg

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