Colour Photograph of Warren Doubleday oxy welding the advertising holes on No. 2 end of W4 671 at the depot on 5/1/1992 as part of its repainting. See page 8 of January 1992 Fares Please! On Fujichrome paper. See January 1992 Fares Please!w4 class, btm, modifications, tram 671

Full colour gloss finished postcard with a serrated edge of horse tram 256 in operation on the South Melbourne Football ground loop. On the rear of the card has the details of the tram type and the tramcar itself. Photographer (Ron Scholten). Produced by the TMSV in association with Nucolorvue. Has space for stamp and address details. NCV 1391 Two copies heldtrams, tramways, horse tram, zoo tram, tram 256

Magazine, published by the Metropolitan Transit Authority of Victoria "Met Lines" (Metlines) - A4, printed on white gloss paper, with the MTA logo or symbol. Issued under the name of Kevin Shea as Chairman. Continues from Reg Item 1086 "Met Lines" - printed in an A4 version. Major tram and bus items listed. Tramway names only listed, not railway. .1 - Vol 3 - No. 1 - April 1987 - 20 pages - (See also Reg item 981 for more detail) - -Tramway Bowls Association, Melbourne and Metropolitan Transit band, Transporting Art featuring trams 731, 816 and 721 along with a photo of David Larwill working on 722, and painted trams co-ordinator , Wendy Miller and "20 million Americans see Melbourne and its trams" - a story about the NBC USA, breakfast broadcast on 4/2/1987. (further items of this volume to be sourced - they may not have been any??) For next volume - see Reg Item 1142.trams, tramways, transporting art, decorated trams, the met, mta, sports, bowls, tramways band, tram 2001, tram 129, tram 234, tram 50, tram 504, tram 871, tram 967, tram 223, tram 758

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Land is mother, we live with the land – not off the land. This artwork comes from Millar-Baker’s Toongkateeyt (Tomorrow) series, which sees the mashing of Countries to create imagined landscapes that embody both birth country (Wathaurong) and ancestral country (Gunditjmara). Toongkateeyt takes an introspective exploration of contemporary Indigenous connection to land and identity post-colonisation. Using images she took herself and those taken by her grandfather, Millar-Baker focuses on places that have played an important part in her family’s intergenerational experiences. Each work in this series is built from hundreds of individual layers and photographs. Each rock, tree, animal etc. was photographed individually and cut out to create a new landscape depicting the ‘mashing’ of ‘countries’ and a personalised experience existing today as an Aboriginal person. photograph