Showing 244 items
matching a country heritage
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Federation University Art Collection
Work on paper - Digital Prints, Gilson, Deanne, 'Wadawurrung Axe Heads 1-4' by Deanne Gilson, 2011
Dr Deanne GILSON (1967- ) Country: Wadawurrung Deanne Gilson is a Federation University alumni, and an award-winning multi-disciplinary artist. Her practice draws its inspiration from ‘Ancestral marks’ and design on cultural objects found in museum archives and family oral histories. Deanne’s practice seeks to interrogate the colonial legacy of settlement and the western hegemonic systems of class, race and representation in historical photographs that were imposed on her Ancestors. Her work also explores the matriarchal role through her feminist perspectives, looking at the history of marriage and the oppressive function it has played within her family. Deanne has completed the following educationala achievements. 2014 – 2015 Masters by Research (Visual Art), Deakin University Geelong 2013 Graduate Diploma in Education Secondary, Federation University 2011 Certificate IV in Aboriginal Contemporary Art & Craft 2010 Cultural Heritage Management Course, Lakes Entrance 1 Week 2007 – 2010 Graduated, Bachelor of Visual Arts with Honours, University of Ballarat 1984 Diploma of Art, School of Mines & Industries TAFE This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.This work depicts an axehead found on Wadawurrung country and is a responce to workign alongside archeologists untertaking land surveys of her ancestral lands and the visual documentaiton of artefcts.art, artwork, deanne gilson, gilson, wadawurrung, stone axe, aboriginal, alumni -
Vision Australia
Painting - Artwork, Portrait of John Wicking, 1980
Framed portrait of John Wicking who was President of the Association for the Blind 1973-1984 as well as a generous benefactor. It is part of a series of paintings commissioned by the AFB Board to commemorate the work of past presidents of the organisation. Mr Wicking wears a navy suit, white shirt and navy blue Kiwi tie. John Wicking served as President of Vision Australia from 1973 to 1984 and as Vice President in 1990. He was Managing Director and Chairman of Kiwi International when he was introduced to the Committee in 1971. With a natural air of authority, he was known to be both strong and wise. One of the first hurdles Mr Wicking faced following his election as President in 1973 was understanding the health service system and sorting out the differing views of committee members over recommendations for projects costing hundreds of thousands of dollars with no funds to implement them. The ten years of his Presidency were a time of exceptional growth and expansion. He was instrumental in acquiring an adjacent property to those already owned in Glenferrie Road in 1974 at a cost of $120,000, on which the Low Vision Clinic was erected – the first of its type in Australia. Land was also bought in both the metropolitan and country areas for future expansion. Day care centres were opened in Ballarat and Bendigo and new metropolitan services commenced. Mr Wicking formed a committee to explore the possibility of a radio station people unable to read standard print. As a result 3RPH commenced broadcasting in 1981. Mr Wicking was also involved in the incorporation of Vision Australia under the Companies Act in 1990. After his retirement as President Mr. Wicking continued as a committee member until 1994. In 1995 he was instrumental in the establishment of the Tilly Aston Heritage Collection, on which he served as Chairman until sadly passing away in 2002. 1 art original in old gold frameThe plaque at the base of the painting reads 'Mr John O. Wicking AM / President 1973-1984 / Association for the Blind'. association for the blind, vision australia, john wicking -
Federation University Art Collection
Painting - Artwork - Painting, 'Strive & Grow, Thrive & Flow' by leni
leni (1960s- ) Born Melbourne Wotjobaluk "leni is both a long story and a short life. A Wotjobaluk woman, born in Melbourne in the sixties, adopted into a non-Aboriginal family and raised by true destiny on country in the Wimmera. leni was reunited with her mother and extended family in her late teens. Simple swift sentences with complex challenging undertones. Thus began an ever evolving and endlessly deep cultural and personal exploration which has passionately consumed, confused, enticed and enriched her since. leni’s creativity is inspired strongly by her cross cultural heritage, learnings and loves, failures and fears, passions and dreamings. This artwork has its own determination and authenticity. leni’s work constantly explores concepts of the past and present. leni has exhibited in the Koorie Heritage Trust, The Convent Gallery, Kirret Barreet Gallery, Gallery on Sturt, Tussock Gallery and others. Her work has been commissioned by various organisations, public and private collectors.A triptych commissioned for the Federation University Mt Helen A-Building Staircase.aboriginal, abstract -
Federation University Art Collection
Painting - Artwork - Painting, 'The heart's path' by leni, 2019
leni (1960s- ) Born Melbourne Wotjobaluk "leni is both a long story and a short life. A Wotjobaluk woman, born in Melbourne in the sixties, adopted into a non-Aboriginal family and raised by true destiny on country in the Wimmera. leni was reunited with her mother and extended family in her late teens. Simple swift sentences with complex challenging undertones. Thus began an ever evolving and endlessly deep cultural and personal exploration which has passionately consumed, confused, enticed and enriched her since. leni’s creativity is inspired strongly by her cross cultural heritage, learnings and loves, failures and fears, passions and dreamings. This artwork has its own determination and authenticity. leni’s work constantly explores concepts of the past and present. leni has exhibited in the Koorie Heritage Trust, The Convent Gallery, Kirret Barreet Gallery, Gallery on Sturt, Tussock Gallery and others. Her work has been commissioned by various organisations, public and private collectors.aboriginal, aboriignal education centre collection -
Federation University Art Collection
Painting - Artwork - Painting, ''future days" by leni, 2019
leni (1960s- ) Born Melbourne Wotjobaluk "leni is both a long story and a short life. A Wotjobaluk woman, born in Melbourne in the sixties, adopted into a non-Aboriginal family and raised by true destiny on country in the Wimmera. leni was reunited with her mother and extended family in her late teens. Simple swift sentences with complex challenging undertones. Thus began an ever evolving and endlessly deep cultural and personal exploration which has passionately consumed, confused, enticed and enriched her since. leni’s creativity is inspired strongly by her cross cultural heritage, learnings and loves, failures and fears, passions and dreamings. This artwork has its own determination and authenticity. leni’s work constantly explores concepts of the past and present. leni has exhibited in the Koorie Heritage Trust, The Convent Gallery, Kirret Barreet Gallery, Gallery on Sturt, Tussock Gallery and others. Her work has been commissioned by various organisations, public and private collectors.aboriginal, aboriginal education centre collection -
Federation University Art Collection
Painting - Artwork, ''calm and clear" by leni, 2019
leni (1960s- ) Born Melbourne Wotjobaluk "leni is both a long story and a short life. A Wotjobaluk woman, born in Melbourne in the sixties, adopted into a non-Aboriginal family and raised by true destiny on country in the Wimmera. leni was reunited with her mother and extended family in her late teens. Simple swift sentences with complex challenging undertones. Thus began an ever evolving and endlessly deep cultural and personal exploration which has passionately consumed, confused, enticed and enriched her since. leni’s creativity is inspired strongly by her cross cultural heritage, learnings and loves, failures and fears, passions and dreamings. This artwork has its own determination and authenticity. leni’s work constantly explores concepts of the past and present. leni has exhibited in the Koorie Heritage Trust, The Convent Gallery, Kirret Barreet Gallery, Gallery on Sturt, Tussock Gallery and others. Her work has been commissioned by various organisations, public and private collectors.aboriginal, aboriginal education centre collection -
Falls Creek Historical Society
Photograph - At Wallace' s Hut
Wallace's Hut is the oldest surviving cattlemen's hut on the High Plains, built in 1889 by the three Wallace brothers - Arthur, William and Stewart. Their father David bought land at Kergunyah as well as grazing land on the banks of the Kiewa River, North East Victoria. Once the boys were old enough, the family followed the local squatters’ custom of taking their cattle up to the mountains for the spring and summer to fatten the mob, at the same time resting their home pastures. They decided to build a hut where they could shelter from the extreme mountain weather. The timber was cut from the forest about four hundred metres east of the hut, and the hearth stone was dragged in from Pretty Valley. The chimney had a base of rubble and above this iron sheeting on a timber frame. The slab walls were lined with hessian and later with tar-paper, and inside there was a bush table, sleeping platform and a rustic fire-side settle. The hut nestled among snow gums sheltered by a rocky outcrop. The names of the Wallace brothers were burnt into the tie-beams of the roof and at the back of the mantelpiece. The Wallace family’s lease expired in the late 1930s and the hut was bought by the State Electricity Commission to house staff on the High Plains and it became the first home of Toni and Skippy St. Elmo. The SEC covered the old shingles with iron, and later on the walls and chimney as well, and they added a lean-to. Wallace’s Hut is now owned by the Crown and maintained by Parks Victoria. It is on the Historic Buildings Register and is classified by the National Trust.This image is significant because it depicts an important heritage-listed structure and refuge for cattlemen and other travellers in Victoria's High Country.A black and white photograph of a skier outside of Wallace's Hut. Several sets of skis and poles are standing around and other skiers are in the background.wallace's hut, toni and skippy st. elmo, high country huts -
City of Greater Bendigo - Civic Collection
Decorative object - Corporate Gift :: Pewter Tankard, The Bendigo Bicentennial Community Committee, 1988
The bicentenary was celebrated on the 26th of January 1988 by many Australians to mark the arrival of the 11 ships of the first fleet in Botany Bay and Sydney Cove on Bidjigal and Gadigal Country. The Australian Bicentennial Authority (ABA) was set up to plan, fund and coordinate projects that emphasized the nation's cultural heritage. State Councils were also created to ensure cooperation between the federal and state governments. Engraved pewter tankard with handle.Engraved on front; Image of tall ship with text The Australian Bicentenary / 1788 - 1988 Engraved on back; Presented to the / City of Bendigo / For it's Valued / assistance to / The Bendigo Bicentennial / Community Committee / 1988 - 89 Base; Kirra Pewter Australiacity of greater bendigo events -
Friends of Ballarat Botanical Gardens History Group
Work on paper - Victoria Park Precinct, City of Ballarat, Victorian Heritage Database place details -19/9/2017, 19/9/2017
Victoria Park is associated with gold mining in the 1860's, military manoevres in the late 19th century; as an army base during World War 2 and a recreation area.Victoria Park is a "landmark cultural landscape" in the city of Ballarat. This parkland established 1890-1910, was modelled on English country estates and London Parks. It demonstrates the civic pride of Ballarat citizens and is an important parkland for the local community. There is a collection of exotic and early planted native trees and areas of native grasslands.6 pages of print. p.1. is a front page with a map and Victoria Park marked in purple with a bibliography on p.4 and footnotes on p.6.None.john garner, victoria park, friends of ballarat botanical gardens, heritage overlay, gold mining, parkland, late nineteenth century, native grasslands, exotic and native trees, royal park, mullock heap, mount holled-smith, arbor day, messrs clegg&nicholls, william guilfoyle, w.o.allen, significant tree register, john garner collection, gardens, ballarat -
Beechworth RSL Sub-Branch
Award - Medallion
Medalian presented to Pte Terry CrossmanPresented to Pte Terry Crossman of BeechworthSmall round metal medallion featuring an image of the Rising Sun and text engravings. Displayed in a small lacquered square box in a mahogany hue on a green felt inlay. Awarded to Terry Crossman.Front - Embossed: The Australia Army / Interior - Embossed: I'm proud to share traditions built on the foundation of the Anzac legend / I'm proud to build on the heritage of service mateship and sacrifice of previous generations / I'm proud to serve the Australian people by securing their future / I'm proud to secure peace and safety for the people of other countries when they need help. Front of Medallion - Engraved around the edge: Courage / initiative / teamwork / I'm an Australian Solider / engraved - Terry Crossman / The Australian Army / Reverse - Engraved around the edge: Mentally Prepared every solider physically tough / A leader / an expert on close combat / In the body australian army solider's medallion, medallion -
Beechworth RSL Sub-Branch
Souvenir - Cartridge, Memorial, 3 April 1996
Australian munitions is the largest supplier of explosive munitions to the Australian Defence Force. Australian Munitions can trace its ammunition heritage back to the late 19th century, through the establishment of the Colonial Ammunition Company in Victoria. Manufacturing is based at two main regional sites – Benalla in Victoria and Mulwala in New South Wales. The Benalla site produces ammunition, explosive ordnance and other munitions.This cartridge represents the first ammunition delivery from the site upon its opening in 1996.Single 5.56mm cartridge, encased in resin. Text and images on resin."INERT ROUND" "First Ammunition Deliveries from" "ADI'S Benalla Facility" "3 April 1996"cartridge, ammunition, round, adi, australian munitions, bullet -
Parks Victoria - Wilsons Promontory Lightstation
Stretcher
Made of canvas and bamboo slats with hemp ropes, adjustable canvas straps and metal buckles and rings, the rescue stretcher was used for carrying an injured person. According to the Powerhouse Museum, the stretcher and was ‘designed to support and carry an injured person in circumstances where the person has to be lifted vertically’. Known as the ‘Neil Robertson stretcher’, it was developed in the early 1900s by John Neil Robertson as a lightweight rescue device and was modelled on Japanese bamboo litters. An identical stretcher is held in Sydney’s Powerhouse Museum and is thought to date between c.1967 and 1999. The museum’s statement of significance for the unique stretcher elaborates on its cultural values: The canvas is wrapped around the patient and secured with strong canvas straps. A lifting rope is attached to a ring above the patient's head, while a guideline is tied near the ankles and used to stop the stretcher swaying as it is hoisted up. This style of stretcher was specifically designed for use on ships, where casualties might have to be lifted from engine-room spaces, holds and other compartments with access hatches too small for ordinary stretchers. The original name of the Neil Robertson stretcher was 'Hammock for hoisting wounded men from stokeholds and for use in ships whose ash hoists are 2 ft. 6 in. diameter'. Since those times the Neil Robertson stretcher has also been used in factories and mines and for other emergency rescue situations. It is still possible to buy this type of stretcher although the slats are now more likely to be made of wood. The example in the Powerhouse collection was amongst several items of obsolete first aid and rescue equipment donated by the electricity generation company Delta Electricity. It would have been used - or at least been on stand-by - at the company's Munmorah Power Station or the associated coal mine on the Central Coast of New South Wales. Industrial sites and mines are extremely dangerous work places. Throughout the 20th century to the present there has been a drive, especially in developed countries like Australia, to improve workplace safety. Measures taken to reduce injuries and deaths have included safer industrial equipment, safer work practices, staff training, and the ready availability of accident and emergency equipment.It was also used throughout WWI and WWII. There are two other examples of the stretcher are known in Parks Victoria heritage collections. Canvas and bamboo stretcher with straps and buckles. Hemp ropes are attached to the stretcher. -
Canterbury History Group
Book, Bronwyn Hughes, Lights Everlasting: Australia’s commemorative stained glass from the Boer War to Vietnam, 2023
Almost hidden within religious buildings, hospitals, school chapels and civic buildings, stained-glass windows tell of Australians at war. Bronwyn Hughes focuses on commemorative stained glass—an overlooked art form—describing its rich artistic and architectural heritage and the artists and firms who created it. Memorial stained glass serves to depict and illuminate the men and women who fought and died for their faith and their country. It has a tragic beauty.255 pages with colour and black and white illustrations; notes, bibliography, indexnon-fictionAlmost hidden within religious buildings, hospitals, school chapels and civic buildings, stained-glass windows tell of Australians at war. Bronwyn Hughes focuses on commemorative stained glass—an overlooked art form—describing its rich artistic and architectural heritage and the artists and firms who created it. Memorial stained glass serves to depict and illuminate the men and women who fought and died for their faith and their country. It has a tragic beauty. world war 1914-1918, boer war, stained glass, monuments and memorials -
Parks Victoria - Mount Buffalo Chalet
Seat
Appears to be a Victorian Railways platform seat dated possibly from 1925 onwards when Victorian Railways assumed management of the Chalet. 4 other slatted bench seats are sited in the the games room which was built in 1925. '(Fig 43. Four bench seats like this example on the front verandah are in the Billiard Room. they resemble furnishings used by the Victorian Railways.' ( Pg56. Historica Cultural Heritage Project. Mount Buffalo Chalet Collection. Prepared for Parks victoria, 2011) Listed in Appendix A. Draft Inventory of significant Collection Items. (Pg 162 Historica.)Listed in Draft Inventory of Significant Collection ItemsLong green painted wooden seat. Made of slats with four leg supports (some are metal) at regular intervals. Slightly curved back. -
Parks Victoria - Mount Buffalo Chalet
Plans x 4, " Additions to Government Chalet Mt Buffalo
Original plans for the Mount Buffalo Chalet, framed architectural drawings for the Chalet, titled " Additions to Government Chalet Mt Buffalo. Dated 1909. Signed Jas G Spence & E F Leary. "Ground Plan, first floor plan, elevation, Section M5 and side elevation –beautiful coloured plan, hand price onit of £970, also called Drawing No. 1.Beautiful plan suitable for reproduction for graphic work." (Pg 45. Heritage Impact Assessment, September 2013. MGS Architects and McDougall & Vines, Conservation and Heritage Consultants) 'The Mount Buffalo Chalet opened in April 1910 as a remarkable Victorian State government venture into alpine tourism and recreation. Designed by Public works Department architect, George Austin (1860-1921)." (Pg 4 Historica, 2011). "The collection of ephemera builds on the Chalet's holding of archival material with a range of interesting, original items. Dinner menus., stationery., luggage labels, tickets, dockets and plans help to interpret the structured routine and social conventions of the Chalet that held sway for so many years." (pg 127 MBCC) These plans drawn were most likely to have been drawn upon recommendation by Government Tourist Officer, J.C.Boyce. John Newton (the Lessee) suggests the addition of 2 new wings (24 rooms) and creation of a billiards room. Treasury approved money for these extensions which were not completed until1914. Listed in Draft Inventory of Significant Collection Items. Four framed hand-drawn and coloured drawings / plans of the Chalet. Framed and mounted behind glass. 1: Dated 1911 -1912. 2: -dated 6th oct 1909 3: -Dated 25th Sept 1909. 4: -Dated 6th Oct 1909.Handwritten at the top of each drawing," Mount Buffalo / Wood Chalet" -
The Celtic Club
Book, Michael Dames, Mythic Ireland, 1992
Ireland, more than any other country in Europe, has retained its mythological heritage, which lives today in the oral tradition of folk tales, in literature, in place-names and language, in ceremonies and monuments. Mountains and loughs are the homes of gods and goddesses, of saints and monsters, and pattern, beauty and cyclical logic are revealed in their stories. Michael Dames, whose previous works have won him a wide and enthusiastic following, has walked through each.Index, bib,notes, maps, plates, ill, p.258.non-fictionIreland, more than any other country in Europe, has retained its mythological heritage, which lives today in the oral tradition of folk tales, in literature, in place-names and language, in ceremonies and monuments. Mountains and loughs are the homes of gods and goddesses, of saints and monsters, and pattern, beauty and cyclical logic are revealed in their stories. Michael Dames, whose previous works have won him a wide and enthusiastic following, has walked through each.1. spirituality, 2. irish myths. -
Harcourt Valley Heritage & Tourist Centre
Photograph, 2008
Ferret racing has been an integral part of the Harcourt Applefest since 1992. The ferrets depicted had been kept to assist with rabbiting in the orchards and paddocks of the rocky country around Harcourt and Mount Alexander The photograph is significant as a reminder of the pets and hobbies of rural children and the typical entertainment of a country festivalColour Photo depicting two boys each holding their ferret. -
Wodonga & District Historical Society Inc
Booklet - Sharing Bonegilla Stories, Bruce J Pennay, 2012
A full-colour catalogue to support the Sharing Bonegilla Stories exhibition at the Albury LibraryMuseum which was curated by Bridget Guthrie in 2009. The exhibition drew from a successful earlier Belongings partnership with the Centre. The catalogue tries to make sense of people’s different memories of, and responses to, Bonegilla.non-fictionA full-colour catalogue to support the Sharing Bonegilla Stories exhibition at the Albury LibraryMuseum which was curated by Bridget Guthrie in 2009. The exhibition drew from a successful earlier Belongings partnership with the Centre. The catalogue tries to make sense of people’s different memories of, and responses to, Bonegilla.bonegilla, migrant experiences, immigration victoria -
Wodonga & District Historical Society Inc
Photograph - Cambourne House
Cambourne homestead was built by 1903 for Rebecca S. Carkeek, who purchased the property in Wodonga in 1899. Cambourne is situated on the original Wodonga Run which was established in 1836. In 1855 the pre-emptive right of 171 acres of the Wodonga Run was granted and sold the following year. The allotments on which the five-acre Cambourne property developed, were purchased in 1873 and 1876, coinciding with the opening of the Railway from Melbourne. The property was purchased by Rebecca Carkeek in June 1899, wife of William Carkeek, Publican of Wodonga and Shire Councillor. Local architects Gordon and Gordon have been credited with the design of Cambourne. The house at Cambourne was built at some stage between 1900 and 1903 as a large single storey homestead. It was constructed in red brick with corrugated iron roof and encircling verandah. Cambourne is a probable work of architects Gordon and Gordon, it is amongst their best preserved and one of their few surviving buildings in Victoria. Today Cambourne remains on a reduced allotment due to the acquisition of land in 1972 by the Country Roads Board and in 2006 by Vic Roads for road works adjacent to the property.Cambourne, Wodonga is of architectural and historical significance to the State of Victoria.A set of coloured photos depicting Cambourne in Wodonga. Part of a collection documented a heritage listed pioneer home.cambourne wodonga, cambourne homestead wodonga, historic buildings wodonga -
Wodonga & District Historical Society Inc
Memorabilia - Souvenir Plate Pollard Arch, Wodonga, Victoria, C. 1960s
A wide range of souvenirs have been produced to commemorate Wodonga and its landmarks over time. These items document key changes in Wodonga and its heritage. The arch is named in honour of Cr Charles Pollard, a foundation member of the Wodonga Show Society and former Wodonga Shire councillor and president. The arch is 29 metres wide and 15 metres high and consists of two boomerangs coming together to form an archway. Originally spanning across a single carriageway of the Lincoln Causeway, the arch was opened by Princess Alexandra of Kent in 1959 and was built for £1230. When the Country Roads Board said the causeway would have to be duplicated in 1973, a new home was required for the arch. At the request of the Wodonga Show Society, the arch was moved to the entrance of the showgrounds in 1982. After development of the precinct in 2015, the Pollard Arch was erected on Hamilton Smith Drive Wodonga.Small china pieces carrying scenic views of holiday destinations were a popular kind of souvenir during much of the 20th century. These items have local and social significance as they reflect the landmarks or local features valued by the community over time.Fine china round plate, white with image of the Pollard Archway in Wodonga, Victoria in the bottom third of the plate. Inscription below the image.On bottom of image "Pollard Archway, Wodonga, Vic". Manufacturer's mark on back "St Kilda/ Fine China/ Australia / Hand Painted"souvenir, wodonga, victoria, pollard archway, landmarks wodonga -
Victorian Harness Racing Heritage Collection at Lord's Raceway Bendigo
Badge - Membership, Metropolitan & Country Trotting Association (M&CTA), Season 1990/91
Season 1990/91 Metropolitan & Country Trotting Association Membership BadgeEnamelled Yellow and Black Badge Front: Imprint of horse, sulky, driver / Metropolitan & Country Trotting Association/ 90/91. Back: Not Transferable / 4101.harness racing, trotting, badge, membership, 1990/91, metropolitan & country trotting association, m&cta -
Victorian Harness Racing Heritage Collection at Lord's Raceway Bendigo
Badge - Membership, Association of Victorian Country Harness Racing Clubs, Season 1994/95
Season 1994/95 Association of Victorian Country Harness Racing Clubs Member TagPlastic Orange Tag attached to length of Black CordFront: Association of Victorian Country Harness Racing Clubs / Admit One / 1994-95. Back: Admit Bearer to All Victorian Country Harness Racing Tracks / Not Transferable / 0027.harness racing, trotting, badge, membership, tag, harness racing victoria, association of victorian country harness racing clubs, 1994/95 -
Victorian Harness Racing Heritage Collection at Lord's Raceway Bendigo
Card - Membership, Harness Racing Victoria Licence Season 1994/95
Harness Racing Victoria Licence Season 1994/95Paper Card in Plastic HolderFront: Harness Racing Victoria Licence / Name: J.D. Randles / Address: Harness Racing Training C / PO Box 170 Bendigo 3550 / No: 32989 / Class: Strt Mobl / Expires ; 30 Jun 1995. Back: Top: Harness Racing Victoria Licence. Middle Left: Drivers: Class Codes / mern Metropolitan / cyrn Country / pbrn Probationary / trrn Trials. Middle Right: Trainers: Class Codes / pmtr Permit / ortr Owner - Trainer. Bottom: Starter strt / Mobile mobl / Judge jdge.harness racing, trotting, card, hrv, harness racing victoria, licence, 1995 -
Victorian Harness Racing Heritage Collection at Lord's Raceway Bendigo
Print - Framed print, Tom Beecham (1926-2000), Flora Temple, A Brush on a Country Lane
Tom Beecham (1926-2000) was an American painter and illustrator known for his scenes of wildlife. Large gilt framed monochrome print of trotting horses.Flora Temple, A Brush on a Country Lanetrotting, flora temple, historic print, tom beecham -
Victorian Harness Racing Heritage Collection at Lord's Raceway Bendigo
Clothing - Race colours, Bill McKenzie
W. A. (Bill) McKenzie Bill McKenzie was a Moulamein (NSW) district wheat, sheep and cattle farmer with a property of some 6000 acres. His well-known colours of green with yellow braces greeted the judge over a period of 40 years with the horses Laurie Pronto, Pedro Nell, Little June, Prancing Nell, Little Duchess and the Melbourne Showgrounds, Bendigo and Mildura Cup winner Wongala Glen. Bill travelled far and wide with his horses and was a regular competitor at country agricultural shows.Bill Mckenzie won the 1966 Bendigo Cup driving Wongala Glen.Green race colours with yellow braces and armbandsbendigo harness racing club, bhrc, bendigo, horses, bill mckenzie, bendigo cup, wongala glen, race colours, wa mckenzie -
Melbourne Legacy
Document, Business Leadership: first Luncheon Address delivered to Legacy Club (H45), 1923
An address delivered by P.W. Powell (the first Secretary of the Club) in October 1923 to the newly formed Legacy Club. In it he notes that "The most important thing in the development of this Club is to formulate a sound constructive policy that will draw in the best type of member and make the Club a live force in the advancement of this country." The comradeship and cooperation developed by the troops during wartime should be applied in civilian life to the development of Australia. He finishes by calling for the Club to be named the Legacy Club "in token of the heritage that has been bequeathed to us by those who so nobly commended the work that is left to us to carry on."An insight into corporate and political thinking of the 1920s as the country transitioned from wartime to peacetime, and an insight into the thinking of one of the founder members of Melbourne Legacy.4 sheets of white copy paper, black typing.'H45' (see Item 00937)in blue ink on first pagehistory, founding legatee -
Merri-bek City Council
Photograph, Peta Clancy, Undercurrent, 2018-19
Peta Clancy is a descendent of the Bangerang people from South-Eastern Australia. She explores hidden histories of colonisation in Australia. Through manipulating photographic prints, she reconstructs these hidden histories in a contemporary setting. In 2018, Clancy was awarded the inaugural Fostering Koorie Art and Culture grant from the Koorie Heritage Trust. The grant enabled her to collaborate with the Dja Dja Wurrung community to create a body of work investigating massacre sites on Dja Dja Wurrung country. The exhibition Undercurrent at the Koorie Heritage Trust focussed on a massacre site submerged under water. Clancy says of the exhibition and this work: ‘I explored this site as a metaphor for the hidden history of many massacres throughout Australia and the denial of this aspect of our history and the trauma these sites evoke’. -
Merri-bek City Council
Work on paper - Charcoal and pages from Aboriginal Words and Place Names, Jenna Lee, Without us, 2022
Jenna Lee dissects and reconstructs colonial 'Indigenous dictionaries' and embeds the works with new cultural meaning. Long obsessed with the duality of the destructive and healing properties that fire can yield, this element has been applied to the paper in the forms of burning and mark-making. In Without Us, Lee uses charcoal to conceal the text on the page, viewing this process as a ritualistic act of reclaiming and honouring Indigenous heritage while challenging the oppressive legacies of colonialism. Lee explains in Art Guide (2022), ‘These books in particular [used to create the proposed works] are Aboriginal language dictionaries—but there’s no such thing as “Aboriginal language”. There are hundreds of languages. The dictionary just presents words, with no reference to where they came from. It was specifically published by collating compendiums from the 1920s, 30s and 40s, with the purpose to give [non-Indigenous] people pleasant sounding Aboriginal words to name children, houses and boats. And yet the first things that were taken from us was our language, children, land and water. And the reason our words were so widely written down was because [white Australians] were trying to eradicate us. They thought we were going extinct. The deeper you get into it, the darker it gets. But the purpose of my work is to take those horrible things and cast them as something beautiful.’Framed artwork -
Melbourne Tram Museum
Newspaper, The Sun, The Age, “It’s Squizzy country”, 20/07/1981 12:00:00 AM
... of Flinders St station and heritage vehicles. “It’s Squizzy country ...Newspaper clipping titled: “It’s Squizzy country” Double page centre spread of filming for movie from the Sun, Monday July 20, 1981 Contains photo with tram "4 brown and gold trams" Flinders St station at Swanston St Story by Kim Trengove, photos Peter Cox. .1 - ditto from The Age 27/7/1981 - written by Alan Attwood with a photo of Flinders St station and heritage vehicles.trams, tramways, films, history, flinders st station -
Mont De Lancey
Book, Frank Mutsaers, Australia's Heritage - a third book of Australian landscapes and country cottages, 1993
Frank's love for Australia is reflected in his paintings which capture the moods of the Australian landscape.A brown hardcover landscape format book with a red dust jacket which has a large coloured painting of a country cottage set amongst gum trees, by the author and artist Frank Mutsaers. It has 42 coloured plates with many accompanying black and white sketches. The title page is signed by Frank in blue biro.non-fictionFrank's love for Australia is reflected in his paintings which capture the moods of the Australian landscape.art books, australian landscape, australian art, australian heritage