.1 SEPIA PHOTOGRAPH OF YANKEE MINING CO., CLUNES. .2 SMALL BLACK AND WHITE PHOTOGRAPH OF YANKEE QUARTZ MINING COYANKEE QUARTZ MINING CO. REGISTERED, CLUNESphotographs, mining, yankee quartz mining

.1 SEPIA PHOTOGRAPH OF SOUTH CLUNES QUARTZ MINING CO., CLUNES. 1865. .2 BLACK AND WHITE PHOTO PRINT .3 BLACK AND WHITE PHOTO PRINT OF POPPET HEADSOUTH CLUNES QUARTZ MINING COMPANY, REGISTERED, CLUNES.photographs, mining., south clunes quartz mining company

VIEW IN TOWNSHIP CLUNES, SOUTH EAST. PERIOD 1865. TAKEN FROM HILLSIDE BELOW CAMP PARADE, VICINITY MR. SWANTON'S HOUSE PHOTOGRAPH OF TOWNSHIP OF CLUNES, SOUTH EAST .1 SEPIA PHOTOGRAPH MOUNTED ON CARDBOARD. .2 BLACK AND WHITE PRINT .3 SEPIA PHOTO PRINT .4 BLACK AND WHITE PHOTO PRINT .5 BLACK AND WHITE PHOTO PRINT HOUSES SURROUNDED BY PICKET FENCES, POPPET LEGS AND CHIMNEY STACK.VIEW IN TOWNSHIP CLUNES. SOUTH EAST.local history, photography, photographs, clunes township

PHOTOGRAPH OF PORT PHILLIP MINE ABOUT 186 OR 1867. NOTE COVERED FLUE TO BRICK CHIMNEY TO RIGHT. IN 1966 THERE WERE A FEW BRICKS AT THE SIGHT OF THE CHIMNEY AND A SHALLOW TRENCH ALONG THE LINE OF THE FLUE. SITE OF PRESENT GOLD MONUMENT IS JUST TO RIGHT OF POPPET HEAD SHOWN ON HILL. WOOD PILE OUTSIDE BUILDING TROLLEY LINES ETC.SEPIA PHOTOGRAPH OF PORT PHILLIP AND COLONIAL GOLD MINING COMPANY, CLUNES. PHOTOGRAPH TAKEN FROM CAMP PARADE, LOOKING NORTH. GENERAL VIEW OF MINE AND WORKS IN 1866 OR 1867.photographs, mining, port phillip and colonial gold mining company

THIS MINE WAS SITUATED ABOUT 100 YARDS SOUTH WEST OF ALBERT STREET AND ANGUS STREET CORNER. RED CLAY FROM THIS MINE WAS USED FOR BRICK MAKING..1 SEPIA PHOTOGRAPH OF CLUNES ALLUVIAL GOLD MINING CO. .2 SEPIA PHOTOGRAPH OF POPPET HEAD-MINERS ON PLATFORM-THATCHED ROOF BUILDINGS, SCATTERING OF LARGE LOGS IN FOREGROUND, USED FOR FIRES. .3 COPY OF ABOVE PHOTOGRAPH IN BLACK AND WHITE (POSTCARD SIZE).1 PRINTED: CLUNES ALLUVIAL GOLD MINING COMPANY REGISTERED CLUNES .2 PRINTED ON FRONT : ALLUVIAL GOLD MINING COMPANY REGISTERED CLUNES HANDWRITTEN: PERIOD 1865. SITUATED ABOUT 100 YDS SW OF ALBERT AND ANGUS STREET CORNER. RED CLAY FROM THIS MINE WAS USED FOR BRICK MAKINGphotographs, mining, clunes alluvial mining company

PHOTOGRAPH TAKEN AT BACK TO CLUNES..1 ORIGINAL BLACK AND WHITE PHOTOGRAPH. GREY MOUNTING. BACK TO CLUNES. PEOPLE WEARING FANCY DRESS COSTUME. 1920. .2 ORIGINAL BLACK AND WHITE PHOTOGRAPH. GREY MOUNTING. BACK TO CLUNES. PEOPLE WEARING FANCY DRESS COSTUME. 1920..1 On Front BACK TO CLUNES 1920. .2 On Front; BACK TO CLUNES 1920 On Reverse; Handwritten in pencil Back to Clunes 1920photographs, events and celebrations, back to clunes, back to clunes 1920

SEPIA PHOTOGRAPH OF CLUNES SHOW NOV. 28 1913 - SECTION OF CROWD WATCHING PARADE OF HORSES.CLUNES SHOW NOV. 28 1913local history, photographs, events and celebrations, clunes show, 1913

Wayne Alfred is a member of the Namgis Tribe of the Kwakwaka'wakw people. As a master carver he has an extremely high level of carving skill and knowledge about his peoples cultural objects, customs, tribal stories and legends. The Totem Poles of the North Pacific Coast in British Columbia and Alaska are traditionally carved out of red or yellow cedar, which has a spiritual and practical purpose. The wood was known for its durability, its resistance to rotting and the inner bark was utilised in ropemaking, clothing, hats, baskets and so forth. The Kwakitul People consider the cedar tree to be among the most sacred of all things provided by the Creator. They believed the Cedar tree to be the axis of the world and a pathway to the upper world. The wood is shaped using implements such as adzes, axes, chisels, carving knives, and chainsaws. Misinterpreted as Gods and idols to be worshipped, totems usually serve six purposes, such as a house pillar for support, a memorial or mortuary pole to commemorate (and house) the deceased, a potlatch pole (used for important traditional indigenous celebrations), a ridicule pole used to shame and a heraldic or family crest pole. Characters and symbols on these totem poles usually display family crests, history, wealth, social rank, inheritance, and privilege, as well as animalistic imagery derived from native animals and mythological creatures. Their sequence are indicative of past family events, ancestors, myths, and heraldic crests, with the bottom figure usually being the most prominent. In this work the 'thunderbird' is symbolic of power, strength and of ancestory. The Commonwealth Games Totem Pole was presented to the people of Nillumbik on behalf of the Canadian Government in recognition of Melbourne as the hosts of the Melbourne Commonwealth Games Team in 2006. Carved in cedar wood, this totem pole incorporates bold cuts and colours (such as red and green) offset by strong black. A relative degree of realism is used to depict the alligator located on the bottom of the pole, a man and a 'thunderbird'/eagle located on the top. With protuding element. No inscriptions. Bold cuts used to outline the characters and symbols as well as decorative and stylised features all over the pole. public art, kwakwaka'wakw, namgis, alfred, north pacific coast, british columbia, canada, totem pole, carved, commonwealth games, melbourne festival, cedar