Formed in 1951, this register contain the minutes of the Executive Committee. The meetings were held in the premises of various blindness agencies around Australia. The Australian National Council for the Blind (ANCB) was formed in 1951. 11/11/1953 The Secretary reported that the ANCB had been admitted to full membership of the World Council for the welfare of the Blind and welcomed to being a body whereby matters appertaining to Blind welfare work throughout the world may be referred to the various organisations in Australia through this source. 1 volume of glued pagesroyal victorian institute for the blind, sydney industrial blind institution, queensland industrial institute for the blind

Decorator, Paperhanger and Picture Framer. Plate 281 Chuck Photo Series.h. peake, sturt street, building, persons, costume

Mr Catterall, Joe & Mr L.J. Romey were partners in a cyaniding operation to obtain gold from the Southern Consuls Mine after second world war.Booklet printed in black on paper. Cover has some areas highlighted in blue. Back cover missing.Some pages have penciled mathematical calculationsgold mining, mining, mining industry, mining equipment

A speech by Legatee Dono Joynt at a Legacy luncheon on 28 October 1952. His talk mentions that 'Harelands' the Club's fourth residence about to be opened. The Club was in need of funds for the next year. He says; 'I am convinced that this Club can FACE anything, and DO ANYTHING and OVERCOME anything, if the members of the Club are STRONG enough in their desire for whatever it is they want to achieve.' which is the theme of his speech. The notation H21 in red pen shows that it was part of the archive project that was trying to capture the history of Legacy. A record of Legatees making recommendations about loyalty and behaviours to install in junior legatees.White A4 paper with black type x 6 pages of a speech by L/ WD Joynt VC.Handwritten H21 in red pen.history, speech

Book bound in tan coloured cloth, gold lettering on the spine stating volume number and alpha codes to denote contentsnon-fictionREFERENCE/ENCYCLOPEDIA BOOK FOR EDUCATIONAL PURPOSESencyclopedia, 1833

Edo PeriodColoured woodblock print

Edo PeriodColoured woodblock printsilk, manufacturing

stawell

Series of ten photographs of Pleasant Creek Court House prior to Restoration mid 1970sstawell historical society

Ten Telford Family Miniature Portraits. Telford family had business Hay Provisions and General Grocer main Street Stawellstawell

Telford Family Small Portraits. Telford family had business Hay Provisions and General Grocer main Street Stawellstawell

Part of the NWM Woolbroker's Office exhibit until late 1990's.wool sales wool brokering, dennys, lascelles, austin & co elders limited, wool sales, wool brokering

Forest Commission Office Opening 1972. Series of ten photographs.stawell

Ten photographs of Davies Familystawell

Penelope Aitken lives and works in Melbourne, Australia. She makes paintings and installations about relationships: between people, between things and between people and things. Recurring subjects include friendship, genealogy, romantic liaisons, and cross-cultural exchange as well as gardening, craft and landscape design. 'I am interested in the social, psychological and aesthetic motives behind organisation, belonging and displacement and I often make work that investigates such arrangements.' She has held regular solo exhibitions since 1995 and has been represented in group exhibitions since 1989. These have included shows in public and commercial galleries, artist run spaces, outdoor projects and festivals in Melbourne, Sydney, Perth, Brisbane, Bundaberg, Kuala Lumpur, Taipei, Tokyo and Famagusta, Northern Cyprus. Aitken has previously worked at the Australian Centre for Contemporary Art and at Asialink at the University of Melbourne. From 2006 - 2009 she was a board member of the Melbourne artist run gallery, West Space and she has also curated and coordinated numerous exhibitions and written and edited catalogues, articles and essays. She holds a Bachelor of Arts and a Bachelor of Education (Visual Arts) both from The University of Melbourne and completed her Masters of Fine Art at the Victorian College of the Arts in 2004. In 1997 Aitken was selected to be a studio artist for two years at Gertrude Contemporary Art Spaces, Melbourne and in 2000 she undertook an Australia Council Studio at the Taipei National University of the Arts, Taiwan. More recently she spent two months in 2007 at the Laughing Waters Residency, Birrarung, in Eltham, Victoria. There she began her current interest in the rocks used in the landscape designs of Gordon Ford. Paintings of Ford's rocks made since 2007 as well as glacial erratics, meteors, and other natural and displaced rocks were exhibited in March 2011 at the Light Factory Gallery in Eltham in a show called My History of here, and Second Nature, one work from this exhibition, was awarded first prize at Eltham Masterworks 2011. Other work made about rocks in nature and culture include: the project, A dark archive, as well as in two installations: You seem so settled for one that doesn't belong held at West Space in 2009 and Gathering these things to remind me of home shown in 2010 at the Bundaberg Regional Art Gallery, Queensland. In July and August 2007 Aitken undertook an arts recidency at Birrarung, a house and garden designed by Gordon Ford and managed as the Laughing Waters Artist in Residence Program by the Shire of Nillumbik Victoria. The rocks depicted in the painting 'Mapping Mass & Void 10' are all taken from the garden at Birrarung. Aitken has made reference to those rocks and the way in which Ford thought of the rocks as individuals that need to be handled and placed with consideration to show off their best aspects.oil and acrylic on linen ek prac 2015

The 'Cycles' series is an extension of two large scale provisional installations '150 Rotations', Melbourne Now, National Gallery of Victoria, and '356 Rotations', AC Institute in New York, which also re-purposed and aestheticised multiple paper units into hundreds of circular motifs.The immediate tactile connection with the material excesses and detritus of contemporary consumer culture informs the theoretical framework and conceptual understanding of Gower's practice, and associates her work with ideas of recovery and re-purpose, sustainable practice and thrift strategies that critique excesses of mass production and the notion of impermanence. This series was made ‘in transit’ during the artist’s recent studio residencies at Point[B], New York and Laughing Waters, Eltham, and at three temporary studios in Rome, Berlin and Collingwood.Kaleidoscope pattern of multiple segments (logos-Lipton 'Green Tea') from commercial (food) catalogues on commercial packaging (cardboard - round lid). No inscriptions and markingscycles, gower, collage, pattern, logos, commercialism, consumerism, repurpose, recycle, riverbend, laughing waters