Geelong West Cycling Club have run track cycling competitions since its inception. This shield represents the importance to the club of track cycling winners.Provides history of track cycling winners at the Geelong West Cycling track and Velodrome between 1967 to 1884Wooden shield with nickel plated small shields attached to the wood. The shield represents the G.A.C.C. Senior Track Aggregate winners for the years 1966-1984. The top of the shield bears a banner in nickel with the name W. Pat Shaw 1967 and the middle of the shield contains another plaque with the words G.A.C.C. Senior Track Aggregate engraved in the plaque."W. Pat Shaw/1967/John Olsen 1966-67/Peter Wood 1967-1968/Brian Carnegy 1968-69/ Brian Carnegy 1969-1970/Rodney Perkins 1970-1971/ Stewart Hocking 1971-1972/John Hine 1972-1973/John Hine 1973-1974/Murray Heyers 1974-1975/ Peter McCaulay 1975-1976/Max Neagle 1976-1977/Noel White 1977-1978/Brett Shelly 1978-1979/John Hine 1979-1980/Doug Libbis 1980-1981/Paul Robertson 1981-1982/Paul Baulch 1982-1983/Wayne Drayton 1983-1984geelong cycling club; geelong west cycling club; w. pat shaw; john olsen; peter wood; brian carnegy; rodney perkins; stewart hocking; john hine; murray heyers; peter mccaulay; max neagle; noel white; brett shelly; doug libbis; paul robertson; paul baulch; wayne drayton; shield; senior track aggregate; 1967; 1984;

This trophy provides information on the handicap winners of the Geelong West Cycling Club Memorial Road RaceThis trophy provides information on the handicap winners of the Geelong West Cycling Club Memorial Road RaceWooden Trophy depicting winners of the Geelong West Cycling Club Road Race during the years 1971-1980. There are three uprights standing on a wooden base. The two outer uprights and wooden and the middle is a burnished/silver metal cylinder. "GEELONG WEST CYCLING CLUB/ALEX CROOKSHANKS/MEMORIAL/ROAD RACE/1971R. HAYWOOD Hcp 8 Minutes/1972 Geo. O'Dwyer Hcp 10min 30secs/1973 I. Hendry Hcp 9mins 30sec/1974 F. Hamers Scratch/1975 Jack Holt Hcp 12 mins/1976 D. Ferguson Hcp 15mins/1977 I. Hendry Hcp 11 mins/1978 P. Fry Hcp 4 mins/1979 D. Wilson Scratch/1980 D. Carson Hcp 11 mins/1981 Peter Evans Hcp 6mins 30secs/1982 David Long Hcp 9 mins/1983 Don Wilson Scratch/1984 Paul Robertson Scratch/1985 Jack Griffen Hcp 11.5mins/1986 Zbig Szalinski Hcp 3 mins/1987 Neil Freeman Hcp 16mins 30secs/Winner Paul Baulch/1989 W. Dempsey Hcp 2min"geelong cycling club; geelong west cycling club; alex crookshanks; geo. o'dwyer; i. hendry; f. hamers; jack holt; d. ferguson; p. fry; d. carson; peter evans; david long; don wilson; paul robertson; jack griffen; zbig szalinski; neil freeman; paul baulch; w. dempsey;

A chronicle of G.W.C.C. members who joined the Armed Forces for the 1914-1918 War (WW1) noting those who paid the ultimate sacrifice.This honour board signifies the high esteem in which the community held for those soldiers who joined the armed forces during WW1. The large list of names from this relatively small cycling club indicates the huge sacrifice all communities made during this time of war. It is a statement of patriotism, service and sacrifice.Large 3 piece hardwood dark stained timber Honour Board. Names of GWCC members who served in WW1 depicted in gold lettering. Those killed noted. Artwork includes national animal symbols of Emu and a Kangaroo and a Floral Emblem of Wattle Sprigs."Honor Roll/1914-1918 Geelong West Cycling Club/A Thomson/B Thomson/Kld GThomson/JA Smith/Joe Smith/K McCauley/F Cornish/P Lunnon/JW Grundell/H Foote/J McCann/H Toyne/Kld B Hargraves/Kld EA Simmons/Kld G Ross/J Clarke/L W Hansford/N Bowler/Kld J Love/B Lorimore/Kld J Black/C Smith/J Hobbs/Kld E Culliver/Kld G Brequet/Kld P Grundell/J Thomson/P Moir/T Pescud/H H Pescud/M Reynolds/M Foote/C Belperroud/E Cornish/F Fanning/H Mansell/F Hotchin/A Ives/C Grayland/Kld E Bartlett/Kld J Howlett/S Knight/W Shields"geelong cycling club; geelong west cycling club; g.w.c.c; ww1; honor roll; 1914-1918; a thomson; b thomson; g thomson; j a smith; joe smith; k mccauley; f cornish; p lunnon; jw grundell; h foote; j mccann; h toyne; b hargraves; e a simmons; g ross; j clarke; l w hansford; n bowler; j love; b lorimore; j black; c smith; j hobbs; e culliver; g brequet; p grundell; j thomson; p moir; t pescud; h h pescud; m reynolds; m foote; c belperroud; e cornish; f fanning; h mansell;; f hotchin; a ives; c grayland; e bartlett; j howlett; s knight; w shields;

Contains minutes of meetings of the Geelong West Cycling Club beginning 1968 through to 1978. W. Stephens was Club President in the years 1968-1976. Also includes a list of Life Members in the years 1929 to 1972.Record of the business enacted by the Club over that period.Geelong West Cycling Club Minute Book. A red coloured hard backed foolscap size record book containing handwritten minutes of meetings.geelong west cycling club; 1968-1978; w. stephens; life members; club president;

Shield prepared to recognise winners of a Geelong West Cycling Club road race in memory of Russell Wright.This perpetual trophy spans 3 decades on road racing with the GWCC.Wooden shield with small shield shapes in plated silver placed around the shield. These small plaques are inscribed with winners of this event. The shield also has a plated silver banner with inscriptions on it, plus the shape of a cyclist in a medallion at the bottom of the shield."Geelong West Cycling Club/Russell Wright Memorial Shield/ Donated by his Loving Wife/1967 R Dillon 68m59sec/1968 J Elsworthy 54mins 55secs/ 1969 T Ryan 70mins 3secs/ 1970 R Edwards 53mins26secs/1971 Geo O'Dwyer 82mins 17secs/1972 K Bunting 51min 50 secs/1973 W Mahoney 54min 20secs/ 1974 W Crookshanks 83min 28secs/ D Ferguson 83 mins 47 secs/ 1976 S Jennings/ 1977 R Bunting 51mins 50 secs/ 1978 - /1979 Don Wilson/1980 Rodney Baker/ 1981 David Carnegie/ 1982 -/ 1983 Neville Williams/ 1984 Tony Pickles/ 1988 Ian Hendry"geelong west cycling club; gwcc; russell wright memorial shield; 1967; r dillon; 1968; j elsworthy; 1969; t ryan; 1970; r edwards; 1971; george o'dwyer; 1972; k bunting; 1973; w mahoney; 1974; w crookshanks; d ferguson; 1976; s jennings; 1977; r bunting; 1978; 1979; don wilson; 1980; rodney baker; 1981; david carnegie; 1982; 1983; neville williams; 1984; tony pickles; 1988; ian hendry;

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.PhotographTo Jim with love from your big Sister PS501-18west sydney; australia; portrait: war correspondence; second world war; women

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.Smith 3 Dad, Mum, Jim HB732 36second world war; mcgrath photography; west sydney: australia

Sepia photograph, original. We also have a 200 mm x 152 mm enlargement.1947 Junior Football Team. Back row: B. Bricoe, R. Miller, A. Copeland, D. Henderson, D. Valentine, N. Trevan, R Wiffin, N. David, B. Thomas Middle row: C. West, G. East, N. O'Connor, F. Bron (C), Mr Walsh (Coach), J. Murray (V.C.), L. Govan, F. Brane, W. Gibson Front row: J. Whise, D. Rowan, A. Macerywilliamstown high school, 1947, football

Used by WJ Craven at Toolamba West School. Now closed.Red cover, black lettering. Victorian Education Department logo on front cover. First editionWilliam J Craven and Jean M Craven, 8th Grade, Toolamba West S S No. 1764victorian readers, seventh book, craven w, craven j, tatura, cravan road tatura, victorian school readers

School reader used by W Craven and J Craven at Toolamba West School. Now closed.Brown cover, black lettering, Black border. Victorian Education Department logo on front.Jean M Craven. Wm. J Cravenvictorian readers, eighth book, craven w, crawn j, tatura, craven road, books, history, local, education

Edixa Reflex camera's introduced in 1954 were West Germany's most popular own series of S.L.R. (single lens reflex) with focal plane shutter. Type "B" with aperture release mechanics. The lens is a.Schacht Ulm 112712, with manual focus. Focal length = 50mm. Maximum. aperture = f/2.8, minimum aperture = f/22. Minimum focus 0.5m. It is a standard lens for 35mm cameras in the M42 mount and built for the Wirgin-Edixa cameras during 1950-1970's by Albert Schact in Ulm, W. Germany. A brown case in included.Front: WIRGIN / EDIXA REFLEX - B. Lens: A.SCHACHT ULM. 112712 / EXIDA-TRAVENAR 1:2,8/50 Bottom: WIRGIN WIESBADEN WEST-GERMANYcamera, film, 35mm slr

Erected in the township of Miners Rest in 1920 in remembrance of fallen soldiers, this granite plinth cenotaph stands at the West end of an Avenue of Honour with 25 trees. The memorial is of Harcourt colonial granite, with bronze face plates, and contains the names of twenty-four soldiers of the district who sacrificed their lives at war. The monument was designed by the well-known sculptor, Mr F. W. Commons, and the work executed by returned soldiers employed at his studio on Creswick Road, Ballarat.The memorial is of historic and social significance to the people of BallaratGranite stone memorial including plaques on a bluestone base. 4 smaller granite posts and flag pole. In honour of our men of this district who gave their lives in the great war 1914-19. Duty Nobly Done. Erected by residents A.D.1920. Unveiled by Sir A. J. Peacock K.C.M.C., M.L.A. 23rd May 1920 Soldiers named; L.C. Blackman, D.G. Chisholm, J. Dowie, D. Dobson, H. Fisher, A.E. Gray, E.S. Holgate, H.S. Holgate, A. Kennedy, W.C. Kilfeder, G.A. Loader, H.R. Lonsdale, W. Miller, P. Morgan, C.A. Morrison, J. McDonald, N. McKenzie, L. Pollock, W.G. Pollock, A. Robertson, C.F. Shelton, P.J. Shelton, G.F. Smith, J.T. Swain.miners rest cenotaph, miners rest avenue of honour

At the time the Charter was issued in 1960 Barbara Brown was Victoria's State Chief Ray and Dorothy Ward the State Superintendent and Graeme Speedy the Chief Director. The Methodist Girls' Comradeship was formed in 1918 with the first Branch being in Bondi, NSW. There were three sections: Junior Rays, 8 - 11 years; Senior Rays, 11 - 15 years and Comrades, 15 years and over. The aims of the MGC was to "challenge young people with the saving power of Jesus Christ and provide avenues of christian service" and "to provide for the spiritual, social, physical and educational welfare of the members". The MGC's motto was "The Utmost for the Highest".Cream coloured Charter with blue and gold print and handwritten information. The Charter has been mounted on card.methodist girls' comradeship, methodist girls' comradeship rays' section, chrysanthemum rays' branch west newport no 325, barbara brown state chief ray, dorothy wood state supt., graeme w speedy chief director

The Methodist Girls' Comradeship was formed in 1918 with the first Branch being in Bondi, NSW. There were three sections: Junior Rays, 8 - 11 years; Senior Rays, 11 - 15 years and Comrades, 15 years and over. The aims of the MGC was to "challenge young people with the saving power of Jesus Christ and provide avenues of christian service" and "to provide for the spiritual, social, physical and educational welfare of the members". The MGC's motto was "The Utmost for the Highest".Six cream coloured charters with blue and gold print and handwritten information. E3094.19.1 Fawkner No 337; E3094.19.2 Snow Myrtle No 369; E3094.19.3 Traveller's Joy No 292; E3094.19.4 Box Hill No 391; E3094.19.5 Ivy Leaf No 396 and E3094.19.6 West Newport No 325.E3094.19.1 "Fawkner No. 337 Red Tulip 3-5-61 Barbara Brown State Chief Ray Dorothy Waod John W Goodluck" "E3094.19.2 ""SNOW MYRTLE" BRANCH NO 369 12th march 63 S.P.Arhur S.C.R. Margaret Nevitt John W Goodluck" E3094.19.3 "Traveller's Joy Branch No 292 6th May 58 J Green" E3094.19.4 "Box Hill no.391 "Sunflower" 26th March 65 Norma E Pearce STATE CHIEF RAY Beverley J. Lowe" E3094.19.5 "Ivy Leaf Branch No. 396 26-4-65 Beverley J. Lowe Bruce Rollins" E3094.19.6 "Chrysantemum Rays' Branch Wes Newport No.325 24-5-60 Barbara Brown State Chief Ray Dorothy Wood Graeme W Speedy"methodist girls' comradeship, methodist girls' comradeship rays' section, charters, methodist church of australasia, youth groups, barbara brown state chief ray, graeme w speedy chief director, beverley j lowe state supt., bruce rollins chief director, ivy leaf branch no 396, chrysanthemum west newport no 325, norma e pearce state chief ray, sunflower box hill no 391, traveller's joy no 292, j green state supt., snow myrtle no 369, s p arthur state chief ray, margaret nevitt state supt., john w goodluck chief director, dorothy wood state supt., red tulip fawkner no 337

The foundation stone for the Cairns Memorial Church in East Melbourne was laid on 20 November 1882, and construction began in 1883 to a design produced by architects Reed, Henderson and Smart of Melbourne. The church was named in memory of the Rev. Dr. Adam Cairns (1802-1881), late pastor of Chalmers Church on Eastern Hill. Cairns was born in Scotland and ministered there until coming to Melbourne in 1853, where he served as a minister until 1876. The church in East Melbourne was intended to accommodate those who had seceded from Chalmers Church and formed themselves into a new charge. The original design for 'a handsome and commodious edifice in the early English Gothic style capable of seating 750 persons' was described and illustrated in The Australasian Sketcher (January 1883). The interior was to be octagonal in form, with the organ and choir placed in the southern transept. The first portion of the church was opened in November 1883, but was soon found, under the popular ministry of the Rev. G.D. Buchanan, to be too small for the congregation. A new design by the architects Twentyman and Askew was developed, and the first part of the redesigned building was opened on 5 October 1884. The completed building was opened on 17 April 1887. Built from Barrabool Hills stone with Waurn Ponds freestone dressings, it consisted of a nave and transepts, with raking floor, a substantial undercroft and the base of an incomplete tower and spire to the north-west. The church was gutted by fire in August 1988 and was subsequently redeveloped as an apartment complex. The congregation of Cairns Memorial now worships at Richmond-Collingwood, or at St. Michael's Collins Street. B & W photograph showing the congregation of the Cairns Memorial Church attending a service held under the verandah of the East Melbourne Cellars (Cheers Bottle Shop) after fire had destroyed their church on 15 August 1988.cairns memorial, dr adam cairns, chalmers church, powlett st. east melbourne, australasian sketcher, reed henderson smart, gothic style, presbyterian, twentyman askew, fijians, east melbourne cellars, cheers bottle shop

Paul Blacker left school at 15 to start a printing apprenticeship, he then entered Otira obtained his HSC & Local Preachers Certificate was a lay preacher at Moonee Ponds in 1977, Ordained 1988, First ministry was Daylesford from 01/88 to 08/91, Eaglehawk 09/91 to 09/97, Presbytery Minister for the Loddon-Campaspe Presbytery, Synod of Victoria & Tasmania placement; Minister of Hoppers Crossing UC; Minister of Melton UC. Chairperson of Port Phillip West Presbytery.B & W waist length photograph of Rev. Paul C. Blacker wearing a dark jumper and glasses.rev paul c blacker, port phillip presbytery, loddon-campaspe presbytery

Ordained 1971, first Placement was at Horsham 1970-1971, then in 1972 moved to the NT and to Milingimbi 1972 to 1978; moved to Tas and the West Coast 1979-1983. Moved across to East Derwent 01.84 to 12.89, moved back to Victoria 01/90 and went to Northcote Thornbury was there until 03.96. In a Chaplaincy from 04.96 to 06/97, at Mill Park From 09/97 to 08/99, waiting for placement in 09/1999. B&W photo of Brad Harris standing outdoors with his wife and children.rev. e. bradley harris;, minister

Ordained 1964 at Rosebery Zeehan 1964-1967, New Town 1968-1972, then Broadmeadows 1973-1979; Ringwood 1980-12/1987, Ballarat Central 01/88 to 04/1994. Finally at Bendigo west 05/94 to 12/98. Retired 01/1999.B & W photograph of the Rev. G. Kerrie Graham, wearing a "UCAN for young people" sweatshirt with an unidentified small boy. g. kerrie graham; rosebery; uniting church minister; former methodist minister; zeehan; broadmeadows mission; ringwood; ballarat central; bendigo west

Ordained 1964 at Rosebery Zeehan 1964-1967, New Town 1968-1972, then Broadmeadows 1973-1979; Ringwood 1980-12/1987, Ballarat Central 01/88 to 04/1994, Bendigo West 05/94 to 12/98. Retired 01/1999.B & W photograph of Rev. G. Kerrie Graham kneeling behind two unidentified small children. The children wear hats; Graham a "UCAN for Young People sweatshirt.rev. g. kerrie graham; rosebery; zeehan; broadmeadows mission; ringwood; ballarat central; bendigo west; methodist minister; uniting church minister

Hardcover w/ Dust Jacketwalsh st library

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

The Wathaurong people of South Western Victoria said no to European invasion. Learn about this heroic resistance to the occupation of their lands. Can white and black live together or must we be always at war? The answer can only be given by young Australians. Includes a comprehensive historical timeline.maps, colour illustrations, b&w illustrations, colour photographs, word listswathaurong, wadtharung, port philllip bay, western port bay, lorne, south west victoria, battle creek, aire river, werribee, ballarat, wathaurong aboriginal cooperative, coast action, koori studies, john batman, william buckley, aboriginal studies policy, secondary school education, hissing swan, victorian history

An account of the origins and histories of local names from Robin Hood to Kilmany, and from Mirboo North to Mt. Howitt.Maps, b&w illustrations, b&w photographsgunnai, kurnai, braiakaulung, bunerong, wurundjeri, kulin, coranderrk, warragul, morwell, rosedale, governor la trobe, drouin, noojee, darnum, walhalla, strzelecki, heyfield, gormandale

A series of information sheets on the west Port Phillip region, divided into zones, giving a guide to the tree and shrub species that occurred in those areas and where in the landscape they occurred.maps, b&w photographs, colour photographs, illustrations, word lists, wall mapindigenous plants, vegetation, species guide, revegetation

Born 26/2/1924. Ordained 1956. Turiff Home Missionary 1948, Birchip (HM) 1948–49, Mt Isa (Methodist Inland Mission) 1949–51, Drysdale 1952–55, Goroke 1956–57, Sea Lake 1961–65, Avoca 196–67, Strathmore 1967–72, Ballarat West 1973–76, Joined the UCA 1977. Without settlement 1976 while transferred to Rochdale (UK), Boronia, Malvern (6 years), Peterborough (UK). Retired to Geelong in 1989, and died late 1997. Wife: Ruth (4 daughters).Head and shoulders B&W photo."The Rev. Ken Eddy"eddy, kendall w.

SISTER Gwen, of the Methodist Home Missions Department, visited Tallygaroopna West last Wednesday, and gave a most interesting illustrated talk. As well as showing some of the scenic beauties of Gippsland, the talk and lantern slides dealt with slum conditions in South Melbourne, and showed the Methodist home at Cheltenham. Sister Gwen is a sister of Rev. E. Lechte, a former minister in the Shepparton circuit. (Shepparton Advertiser, 1 June 1943).B & W head & shoulders studio portrait of Sister Gwen Lechte, mounted on buff card.lechte, gwen, sister, methodist home missionary

Reverend Alexander Palmer was ordained in 1961 and served at Ballarat West, Nyah West, Nhill, Wangaratta, Traralgon, and Maryborough. He entered permanent retirement in 1994.B&W head and shoulders photograph of Alexander and Edna Palmer."Rev Alex and Mrs Palmer C&N 9/4/1986 p 33"palmer, alexander, palmer, edna