This Great Britain shilling is dated 1826. There were over 6 million of these coins minted during the reign of King George IV, 1820-1830 This coin’s denomination is not inscribed on the coin but it has been identified as a shilling from information about the King George III currency 1816-1820. - This Shilling is 24mm (the same size as this coin) British coins such as this one shilling were in circulation in the colony of Australia until 1910, when the Commonwealth of Australia began producing its own coinage. This coin was minted by the Royal Mint at Royal Mint Court, in Little Tower Hill, London, England. Coins for circulation in the Kingdom of England, Great Britain and most of the British Empire were produced here until the 1960’s when the Royal Mint shifted location to Wales. The obverse side of the coin’s inscription translation is “George IV by the Grace of God”. The engraver of the obverse image was William Wyon. The reverse side’s inscription on the coin is translated " King of The British territories, Defender of the Faith” The engraver of the reverse image was William Wyon. AUSTRALIAN CURRENCY The early settlers of Australia brought their own currency with them so a wide variety of coins, tokens and even ‘promissory’ notes (often called IOU’s) were used in the exchange of goods and services. In 1813 40,000 silver Spanish dollars, purchased by the English government, were delivered to Sydney to help resolve the currency problem reported by Governor Macquarie. The coins were converted for use by punching a hole in the centre of the coin. Both the outer ring, called the holey dollar, and the punched out ‘hole’, called the dump, were then used as the official currency. The holey dollars hold the place of being the first distinctively Australian coins. In 1825 the British Government passed the Sterling Silver Currency Act, making the British Pound the only legal form of currency in the Australian colonies. Not enough British currency was imported into the colony so other forms of currency were still used. In the mid 1800’s Australia entered the Gold Rush period when many made their fortunes. Gold was used for trading, often shaped into ingots, stamped with their weight and purity, and one pound tokens. In 1852 the Adelaide Assay Office, without British approval, made Australia’s first gold coin to meet the need for currency in South Australia after the Gold Rush began. In 1855 the official Australian Mint opened in Sydney, operating as a branch of the Royal Mint in London, and the gold was turned into coins called ‘sovereigns’. Other branches also opened in Melbourne and Perth. Up to the time of Australia becoming a federation in 1901 its currency included British copper and silver coins, Australian gold sovereigns, locally minted copper trade tokens, private banknotes, New South Wales and Queensland government treasury notes and Queensland government banknotes. After Federation the Australian government began to overwrite privately issued notes and prepared for the introduction of its own currency. In 1910 a National Australian Currency was formed, based on the British currency of ‘pounds, shillings and pence’ and the first Commonwealth coining was produced. In 1966, on February 14th, Australia changed over to the decimal currency system of dollars and cents. Australia did not have its own currency in the colonial times. Settlers brought money from other countries and they also traded goods such as grain when currency was scarce. For a long time there was no standardised value for the different currencies. In 1825 British currency became the only official currency in the colony of Australia and coins such as this silver shilling were imported into Australia to replace the mixture of foreign currency. Australia became a Federated nation on 1st January 1901. In 1910 National Australian Currency was formed and Australia produced its own currency, based on the British ‘pounds, shillings and pence’. The British currency was no longer valid. This silver shilling is of national significance as it represents the British currency used in Australia from 1825-1910. Coin, Great Britain shilling. 1826. Silver coin, round. Obverse; King George IV bare head, looking left. Reverse; crowned lion; below, a large crown; below are a shamrock, rose and thistle united. Inscriptions on both sides of coin (denomination not inscribed).Obverse “GEORGIUS IV DEI GRATIA” and “1826” Reverse “BRITANNIARUM REX FIDEI DEFENSOR” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, coin, currency, money, legal tender, australian currency history, royal mint, great britain shilling 1826, king george iv currency, colonial australia currency, william wyon, numismatics

A grey coloured booklet with black information on the cover. In the centre reads Australian Army. The Enemy 1970 DSN 7610-66-035-7506 is at the top right corner. There are two punch holes down the left hand side.australia - armed forces - service manuals, the enemy, army headquarters

Made by craftsman in Camp 3. Care had to be taken to curve the Australian Penny without damaging the face.Circular brooch. Australian penny with clip/pin soldered on backAustralia Penny 1936. Raised impression of a kangaroo in "flight"brooch, australian penny, beck h, camp 3, tatura, ww2 camp 3, costume, accessory, jewellery, 1936 penny

Australian Natives' Association was a mutual society founded in Melbourne in April 1871. The last branch closed in 2007 in Western Australia. The Australian - American Association of Victoria was formed in the 1940s for the betterment of relations between Australia and the USA including that in the area of education. The Bogong State School entered many competitions successfully. The Australian Natives' Association supported social well-being which, in this case, involved presenting a book to the Bogong State School in 1949 and 2. Australian-American Association of Victoria's letter is dated November 22nd 1950 to the Bogong School for first prize in the Project Book competition.A4 cream cardboard with Australian emblem at the top. The shield in the emblem is red. Below the title - Bogong school is the recipient of a book for most improved school garden and grounds. 2. The letter: 'Re-Project Book Competition, 1950" declaring that Bogong State School won first prize.Letter has the signature of the Executive Officer of the Australian-American Association.bogong state school, garden competition, school projects, education

These coins belonged to Wilhelm Eckels who was a wool buyer in Sydney when war broke out. He was interned in Camp 1, aged 22 years.2 Australian pennies, 1938 and 1940. Kings head on one side has been erased and "Tatura Meister 1942" (Tatura Master 1942) has been stamped or etched on it. Australian Penny on other side.as abovewilhelm eckels, woolbuyers, australian penny 1940, australian penny 1938, tatura meister

Demonstrates aspects of the Tramway Union (ATMOEA) management systems that would conform with the Australian Industrial laws of the time and how the union was operated (in theory)Sixty four page book within blue light card covers, titled "Rules of the Australian Tramway and Motor Omnibus Employees Association", dated march 1939. Gives information regarding name, constitution, object, membership, contributions, arrears, exemptions, resignation of members, Australian Council, Australian Executive, Officers, General Secretary, Treasurer, elections, Auditor, Trustees, Branches, Funds, Disputes, Agreements, Mutual Support, Branch Management and branch officer details, standing orders, motions, has index and supplementary information regarding the Victorian Branch. Object 3656 was found with this item - possibly recording who donated it originally - C. H. Lancaster, 801 Urquhart St Ballarat. Full scan of document added as a pdf file 5/6/2019. See also Reg Item 8078,1 for another copy.trams, tramways, atmoea, unions, rules

The aim of this handbook is to lay down the basic staff duties to be used by officers al all arms and services. A grey coloured plastic cover with black writing on it. There is the Australian Coat Of Arms in the middle of the cover. Near the top right hand is the code for the item 7610-66-021-5644. Also the date for Notification in ARO's for 31st December, 1966australia - armed forces - service manuals, staff duties

The aim of this handbook is to lay down the basic staff duties to be used by officers al all arms and services. A grey coloured plastic cover with black writing on it. There is the Australian Coat Of Arms in the middle of the cover. Near the top right hand is the code for the item 7610-66-021-5644. Also the date for Notification in ARO's for 31st December, 1966australia - armed forces - service manuals, staff duties

A blue coloured cloth and cardboard cover with black information on the front. Above the RAAF insignia reads Royal Australian Air Force and below the insigna is the description of the manyal. There are three metal screws down the left hand side of the manual.royal australian airforce - manuals, british bomb carriers

A brown coloured cardboard cover with black information on the front. Top right reads DSN 7610-66-054-1713. Under the Australian Army Insigia are the details of the booklet. Down the left hand side there are two punch holes.australia - armed forces - service manuals, supervisor, training

An khaki green cardboad cover with black information on it. There is the Australian Army insignia with the details of the booklet under it. Top right hand side reads: 7610-66-128-2159. There are two punch holes down the left hand side.australia - armed forces - service manuals, military education, survival, land warfare

A brown coloured cardboard cover with black information on the front. Top right hand corner reads 7610-010-3675. Below the Australian Coat of Arms are the details of the bkklet. There are two metal staples down the left hand side.booklet, australian military forces, ceremonial

A blue coloured cardboard cover with black information on the front. Near the top right hand corner reads 7610-66-026-1765. Under the Australian Coat of Arms is the description of the booklet. There are two white stickers on the front of the booklet.australian military forces, booklet, infantry training, the platoon

A blue coloured cardboard cover with black information on the front. Top right hand corner written in black texta read Copy No 15. Under the Australian Coat of Arms are the details of the booklet.The booklet is held together with on metal screw.australian military forces, booklet, infantry training, the platoon

This Pewter Mug Collection is a set of 32 trophies won by Australian Alpine skiers Ross and Malcolm Milne between 1959 and 1964. Ross and Malcolm grew up on their family's tobacco property in Myrtleford, and began skiing at Falls Creek at an early age. They were both taught by Austrian Sigi Haberzettl, who was chief coach at Falls Creek for 17 years. Ross went on to win the North-Eastern District Ski Association (NEDSA) Junior Championships for three years in a row. In 1961 Ross was a member of the Australian team which competed against New Zealand in the Inter-Dominion Championships. In 1963, he won the Downhill and Alpine Combined title at the Australian Championships, while placing second in the Grand Slalom event. Ross Milne was selected in the Australian team that participated in the 1964 Olympic Winter Games at Innsbruck, Austria. A few days before the opening of the Games, on 25 January 1964, he tragically lost his life when he crashed into a tree during a training run for the Men's Downhill. He was only 19 years of age. Malcolm became a member of the Australian Junior Ski Team to Japan at the age of 14. He won all of the NEDSA children’s races and won the State Title in 1966. Malcolm continued to achieve great success, winning the Australian Championships for the next five years. At the end of 1969 he won Gold in the Val d'Isere FIS Alpine Ski World Cup Downhill, Australia's first Alpine Ski World Cup medal. He was on the Australian National Ski Team for eight years, representing his country at the 1968 and 1972 Olympic Games and the 1966 and 1970 World Championships before turning professional in 1972. Malcolm Milne was inducted into the Sport Australia Hall of Fame in 1985. In 2000 he received the Australian Sports Medal for his contribution to skiing. In 2004, Ski & Snowboard Australia granted Milne Life Membership for the contribution he made to the sport by becoming the first World Cup medal winner in Australian winter sports history, and the subsequent impact his performances have had on future athletes. Malcolm Milne was awarded the Medal of the Order of Australia (OAM) for services to skiing in 2016.This item is significant because it is part of a collection which documents the career of two outstanding Australian sportsmen.A pewter mug awarded as a trophy for the 1964 Australian Junior Slalom Championships. Engraved on side of mug: AUSTRALIAN JUNIOR CHAMPIONSHIPS SLALOM 1964ross milne, malcolm milne, milne brothers, australian alpine skiers

1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

This is an instruction manual describing in detail the construction of the templates used for producing map compilation sheets from aerial photographs, and how the system works.Foolscap size, soft carboard covers, 9 x numbered pages, 3 x fold out pages containing two photos on each. Australian Survey Corps Badge on cover. Stapled and re-stapled on Left hand edge.Front Cover, "15" Top Left and Bottom Left corner, "COOPER" and stamped "58" in Top Right, "AHQ/Misc/0015" Bottom Left Corner, Stamped "Eastern Command Survey Service copy 5"royal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr

A brown colour cover with black details. Top right corner reads 7610-66-018-6712. In the middle is the insignia of the Australian Military Forces. There are four punch holes down the left hand side. (note the pages in this manual are loose)australia - armed forces - service manuals, drill manual, australian military forces

The manual is cover with yellow plastic with a window at the front. On the cover under the RAAf insigia reads Royal Australian Air Force. Through the wind reads the details of the manual. The manual is held together with a large metal slide which in on the inside of the coverroyal australian airforce - manuals, resetting fire detectors

The manual is cover with yellow plastic with a window at the front. On the cover under the RAAf insigia reads Royal Australian Air Force. Through the wind reads the details of the manual. The manual is held together with a large metal slide which in on the inside of the coverroyal australian airforce - manuals, engineering publication, fatigue meters

A yellow plastic cover with a window. Under the RAAF insignia reads Royal Australian Air Force and Engineering Publication. Through the window on ellow paper is the information of the manual. The manual is held together by a large metal slide which is inside the cover.royal australian airforce - manuals, engineering publication, aircraft clocks

A speckled blue coloured cardboard cover with black information on the front. Under the Australian Coat of Arms reads Infantry Training. The booklet is held togeher with two metal screws on the inside. The booklet is cover with a plastic cover and stored in a plastic bag.australian army, infantry training, the battalion

A cream coloured cardboard cover with black information. Top right hand corner reads 7610-66-027-1609. There is the Australian Coat of Arms Insignia with the title of the booklet under this. There are two metal staples down the left hand sideaustralia - armed forces - service manuals, raasc, expenses, fuel/light and forage

A khaki green coloured cardboard cover with black information on the front. Top right hand corner reads 7610-66-104-8356. Unde the Australian Army Insignai is the information of the booklet. The booklet is held toether by a rusty metal slide.australia - armed forces - service manuals, land warfare, ordnance training, field supply company

A green plastic coloured cover with black information. Top right corner reads 7610-66-024-4121. The Australian Coat of Arms and under this is the title of the booklet. the booklet is held together with two metal screws and this is done on the inside cover.australia - armed forces - service manuals, administration support

A green plastic coloured cover with black information. Top right corner reads 7610-66-024-4121. The Australian Coat of Arms and under this is the title of the booklet. the booklet is held together with two metal screws and this is done on the inside cover.australia - armed forces - service manuals, administration support

A green plastic coloured cover with black information. Top right corner reads 7610-66-024-4121. The Australian Coat of Arms and under this is the title of the booklet. the booklet is held together with two metal screws and this is done on the inside cover.australia - armed forces - service manuals, administration support

A green plastic coloured cover with black information. Top right corner reads 7610-66-024-4121. The Australian Coat of Arms and under this is the title of the booklet. the booklet is held together with two metal screws and this is done on the inside cover.australia - armed forces - service manuals, administration support

A light blue cardboard caver with black information on the front. top right hand corner reads 610-66-023-7108. Under the Australian Coat of Arms is the details of the booklet. There are two metal staples down the left hand side.booklet, division in battle, artillery

A blue coloured cardboard cover with black information on the front. Top right hand corner reads DSN7610-66-034-9289. Under the Australian Army insignia are the details of the booklet. There are two punch holes down the left hand side.booklet, australian army, infantry training, infantry platoon weapons, grenades and pyrotechnics