A set of 18 colour postcards from the National Museum of Australia in Canberra showing various items and objects relating to Australia's history, manufacturing and culture. (see list under references)wool press, cobb & co, ben chifley, mutoscope, austral wash machine, herman house & co, australia 2, heidelberg unemployed bureau, sunlight soap, waterside worker's union, boomerang, spirit figures, dugout canoe, ayer's rock, bark painting, delaunay belville car, phar lap's heart

This certificate is one of a number held by the Warrnambool and District Historical society which relate to the occasion of Federation of Australia , January 01/1901. Some are for social functions at the time others like this are for more formal occasions. There was a strong local vote for Federation at the referendum in 1898 with district figures 957 voting for and 146 against . By 1899 the vote had increased to 1411 yes and 39 against.. The official federation celebrations were held in Sydney and Warrnambool like towns all over Australia held celebrations. The Mayor and five of Warrnambool's councillors travelled to Sydney for the celebrations. The first federal Member of Parliament for the Warrnambool district was John Chester Manifold of "Talindert," Camperdown. Some local well known people of the time who were contributed in various fields to the Federation spirit, include John Archibald, Willian Astley, Louis Bayer, Richard Kennedy, Walter Murdoch, and Con O'Mahony. This certificate has an added link to Warrnambool in that the son of Councillor W. Henry, Victor Henry, an art student had designed and illuminated the municipal Addresses presented to the Governor general and the Duke of York. This item has historical, artistic social and interpretive significance. It links the most important event of the Federation of Australia to our city. That the art work was completed by Victor Henry, a local person is a significant claim to fame for our city. It presents an opportunity for present generations to consider local aspects of the process of the Federation of our country.Framed Certificate. Inauguration of the Commonwealth of Australia, Municipal Association of Victoria 1901. Signed by councillorsWilliam Ferguson Mayor, Giffens Russell, John Ward, John Marfell, Chas Macknight, W J Hickford, W Simpson, G S Mackay, M Saltau, H C Lawson, E J Murray William Kucks Jnr, W Henry. Small card inserted in bottom right reads With compliments of W Ferguson, Mayor.warrnambool, warrnambool history, warrnambool at federation, federation of australia, victor henry

MEDIUM: Acrylic on DESCRIPTION: Painting with white figures on black base No frame Signed and titled on reverse of framedansie resident, spirit acrylic

Two Djumba figures, both male on black background. Ochres on Canvas.

Stations of the Cross by Clifton Pugh is a contempooray art piece in four sections making up 11 stations of the cross. It was commissioned by the Catholic parish in Eltham (Our Lady Help of Christians) in 1961 Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p81 Art is an important means of nurturing faith at Our Lady Help of Christians Church, Henry Street, Eltham. The Stations of the Cross by Clifton Pugh and The Crucifix with the Ascending Jesus by sculptor Charles Rocco are two of the fine works that enhance the parishioners’ worship. These two inspiring works of art were added in 2001 – long after Roman Catholics began worshipping in Eltham around 1864. This beautiful worship centre was built following hardship and change – for parishioners have endured their church being destroyed by fire and have built four churches since they first worshipped together. Before 1864, according to local legend, a visiting priest administered sacraments in the parlour of former convict-turned-respected citizen Thomas Sweeney at Sweeneys Lane, Eltham.1 The first church was blessed in September, 1865, by the Archbishop of Melbourne, Dr Goold. It stood on an acre (0.4ha) of land in Little Eltham as that area was known then, near the present Fordhams and Main Roads and was part of the Heidelberg Church Parish. In 1912 the church was relocated to a new building on the present primary school site at 1 Henry Street. This was closer to the town centre, which had moved from Little Eltham after the railway line was extended to Eltham in 1902.2 In 1958 the church split from the Sacred Heart parish, Diamond Creek, to become a parish in its own right, with Father Tom Curran as inaugural priest. Not long after in 1961, a fire destroyed the church and huge working bees under the prominent Catholic builders, the Sibbel brothers, rebuilt and extended it, using the original altar from the first church. It was then that builder and parishioner Herman Sibbel asked his friend, artist Clifton Pugh, to paint the Stations of the Cross for the church. But the priest, Father Curran, neither approved of Pugh’s bohemian reputation nor liked the paintings, so they were hung in the corridor of Our Lady’s Primary School instead. The parishioners almost sold the paintings in 1989 to pay for major school renovations. However the paintings remained there for about 40 years, until 2001, when the church was extensively renovated by Father Barry Caldwell. Another change awaited the church, as it outgrew its building, later to be used as the school hall. So, in 1976, the present church was built across the road. Three beautiful stained-glass windows depicting the Passion, Death, Resurrection and the presence of Christ’s Spirit, link these with the church’s experiences. The first depicts a bushfire in Eltham, referring to their church damaged by fire. Another represents the Resurrection of Christ with new growth on a blackened stump and the Holy Spirit is represented by the Southern Cross. A window depicting Our Lady Help of Christians by parishioner Bill Peperkamp, was donated by parishioners to commemorate the Silver Jubilee of Father Desmond G Jenkins’ ordination to the priesthood on July 27, 1977. This, with the statue of Mary, creates a Marian shrine. In the 14 Stations of the Cross painted on four masonite panels Pugh captures the pathos of the suffering Christ and his disciples.3 The figures are stylised, except intriguingly, that of Pontias Pilate, who looks like Clifton Pugh. Charles Rocco’s sculpture is an extraordinary Jesus figure being raised from the Cross. The delicate stainless steel mesh of the figure creates a sense of the power of God over death. The organ, built in 1868 by George Fincham and Sons, was first installed in the All Saints’ Anglican Church, East St Kilda, then in the St Andrews Church, Clifton Hill. It was rebuilt into a modern instrument with a donation from parishioner Jim Murray, in memory of his wife Gwendolene Mary.4 Church members created their own work of art in front of the entrance, by painting designs and messages on 700 tiles. This work indicates the strong church family and faith expressed in art, that awaits the worshipper inside.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art, clifton pugh, stations of the cross, our lady help of christans, installation

Taken in 1920, depicted are four people in a rowing boat on Lake Sambell, Beechworth. From left to right, it is believed that the names of the people are Eric Beard, Mrs Doris Beard, and S/L to Bert Beard. The last two figures are unknown. Lake Sambell is a beautiful Victorian recreation lake and urban park with a unique history. It was created in the mid-1800s by the Rocky Mountain Mining company during the gold rush era and used as a mining site until the early 1900s, which brought Europeans into the area. It was turned into a reserve for residents in 1920 and is considered an icon of Beechworth as it represents the development of the community, human endeavour, and the spirit of the landscape.This photograph represents the community's social use of the lake in 1920.Black and white rectangular photograph print on paper.Reverse: LAKE SAMBELL/ c 1920/ from LTOR/ 1 ERIC? - BERT'S SON/ 2 MRS DORIS BEARD/ 3 S/L TO BERT BEARD/ 4 #beechworth, lake sambell, lake sambell boating, beechworth lake, social, 1920, victoria

Mother Earth was created by modernist era sculptor George Allen. It is located in the western median strip at the intersection of Sturt and Raglan Streets. Made from Hawksbury stone on a granite base, the sculptor has created a female figure as the centrepiece, with two reliefs figures at the front and rear depicting a miner and a farmer. The work was created in commemoration of Mr Frank Pinkerton, an esteemed local lawyer in Ballarat. George Allen won the commission to design and execute the Pinkerton Statue in open competition in 1949. The statue is a significant work of one of Victoria's leading sculptors of the mid twentieth century, and controversy at the time surrounding its installation reflects the general attitude of the period to progressive public sculpture.Mother Earth was classified as regionally significant by the National Trust in 2003. The statement of significance below ha been provided by the National Trust, Victoria: The Pinkerton Statue by George Allen is of a simplified female figure which symbolises 'Earth', with smaller figures representing Mining and Agriculture carved in bas-relief at its base. The statue is carved in Hawkesbury Freestone and mounted on a granite plinth. It is located in a prominent position in central Ballarat. The statue in commemoration of Mr. Frank Pinkerton, an esteemed local lawyer, erected in Ballarat in 1952 is significant for aesthetic and social reasons at a Regional level. The statue is a significant example of the work of one of Victoria's leading sculptors of the mid twentieth century, and the controversy at the time surrounding its installation reflects the general attitude of the period to progressive public sculptures. George Allen won the commission to design and execute the Pinkerton Statue in open competition in 1949 against a large group of his peers. Following this. Allen was again successful in another major competition to design the National War Memorial for the Forecourt of the Shrine of Remembrance in Melbourne in 1951. Allen chose to work in a 'symbolic' manner using simplified forms with little detail, and relying on the strength of composition, 'boldness of statement' and the consideration of material for impact. Because of its lack of realism the Pinkerton Statue engendered much controversy, particularly within the popular press at the time, although it was generally appreciated in artistic circles. Allen had travelled extensively in Europe in the late 1930's, but his work mainly reflected influences from early modem sculptors in the United Kingdom such as Frank Dobson and Eric Gill. The Pinkerton Statue was the first example of modem sculpture to be erected in Ballarat and is an excellent example Allen's own work and the changing artistic culture of the period. Allen himself said that it reflected the "spirit of the time". A large Hawkesbury Freestone statue of a female figure and smaller figures representing Mining and Agriculture carved in bas-relief at its base. The statue is mounted on a granite plinth.CENTRAL FIGURE EARTH EMERGING FROM RELIEF FIGURES REPRESENTING THE INDUSTRIES OF MINING AND AGRICULTURE.pinkerton, mother earth

Bonnie Fagan's County is Wadawurrung. Most of her early learning about her Aboriginality came from the father.Aboriginal dot painting telling the artist's learning journey. Bonnie Fagan wrote of this work: "Ochres reflect my connection with the land of my traditional Wadawurrung Country. Yellow ochre forms the background and white ochre defines my pathway, showing where I have traveled from my past and where I am heading in my future. I use reddish ochres for the larger dots along my pathway to show my footprint and for the smaller dots that ripple outwards to show how I've had some influence, either good or bad. The white lines show my pathway with an entry point from my past marking the start of my journey, a middle part showing were my life will continue. Through the middle part, my teenage years, the pathway is very windy. These years were sometime quite difficult and I struggled. The two circle areas symbolize two chapters in my life, first as a child and then as an adult, when I've felt mostly positive and safe. They are periods when I've been very open to learning, gathering knowledge from people and experiences that I trusted, and the circles within the circles symbolize the layers of support, of experience, of connection and of learning that I experienced. Strong visual symbols at the base of the painting under the first circle area represent the key figures in my learning through my childhood: my father (represented by the traditional symbol, of a man with a spear) and my mothers with me as a small child, The spirit of my paternal grandmother, my Nan, hovers above my childhood circle and near the pathway through to my teenage years, showing the strength of her influence and how she was always there guiding me." (Robyn Brandenburg and Jacqueline Z, Wilson [Eds] Pedagogies for the Future: Leading Quality Learning and Teaching in Higher Education, Sense Publishers, The Netherlands, 2013, pp40-41)bonnie fagan, bonnie chew, wadawurrung, artists, artwork, aboriginal

A framed certificate given to Melbourne Legacy from the Returned and Services League of Australia (RSL) as a gesture of appreciation, for research into the Australian Spirit project in 1990. Both Legacy and the Returned and Services League (RSL) often combine together on projects of mutual interest.Glass surrounded by metal frame, colour gold. Grey background, changing from light grey at top to dark grey at bottom. Top left hand corner, globe featuring the Australian continent in yellow. Centre left, Legacy symbol. Centre right R.S.L badge. Bottom, in yellow, adults and children portrayed with arms upraised. One adult waving the Australian flag. Printing in white, black and yellow.Top:- in yellow print, The Australian Spirit. White globe, yellow continent of Australia. In white .Our Country . Our Achievments . Our Pride Centre :- Presented to Melbourne Legacy Club with appreciation for your generous support December 1990 Legacy symbol Signature of Chairman Legacy Co-Ordinating Council Signature National President, Returned Services League RSL symbol. In black type. Bottom:- Adult and child figures in yellow. One adult waving Australian Flag A Reseach Project into Australian Achievments, in white print. rsl, recognition

Established by George Guthrie in 1857 (about 5km north of its current site) and then again seven years later in 1864 after it initially closed, Bendigo Pottery remains one of the most influential and longest running Pottery’s in Australia. Over the years the Pottery has contributed to the growth and development of the district through both its products including building products, table ware and decorative and commemorative war as well as artistically, being responsible for training and supporting many potters locally. The City of Greater Bendigo has had a long history of partnering with Bendigo Pottery and the Civic Collection holds a number of important items within its collection. This Alfred Deakin 'reform' flask was one of a limited edition character bottles produced by the Pottery to commemorate important figures in Australian politics. The original reform flasks were English salt-glazed stoneware flasks produced in the early 19th century shaped into the form of figures connected with the Reform Bill of 1832. Much was made of puns like ‘the spirit of reform’ at the time. Artist John Frith has taken the reform flask form as inspiration for a series of political ceramics of some Australian Prime Ministers. The series includes Edmund Barton, Alfred Deakin and Chris Watson.Glazed ceramic flask in the shape Alfred Deakin. Square shaped with most of the detail on the front facing side other than head which is more detailed. Cork still in place in top of head.On reverse of flask; Alfred Deakin / Prime Minister / of Australia / 1903 - 1904 / 1905 - 1908 / 1909 - 1910 Bendigo Pottery / LMTED / Edition Series / 101/200 /Australia Signed lower left; 'Frith'australian politics, bendigo pottery

Established by George Guthrie in 1857 (about 5km north of its current site) and then again seven years later in 1864 after it initially closed, Bendigo Pottery remains one of the most influential and longest running Pottery’s in Australia. Over the years the Pottery has contributed to the growth and development of the district through both its products including building products, table ware and decorative and commemorative war as well as artistically, being responsible for training and supporting many potters locally. The City of Greater Bendigo has had a long history of partnering with Bendigo Pottery and the Civic Collection holds a number of important items within its collection. This John C Watson (Chris Watson) 'reform' flask was one of a limited edition character bottles produced by the Pottery to commemorate important figures in Australian politics. He was the first Labour Prime Minister elected forming a minority government in April 1904, aged 37, after the ALP withdrew its support from Deakin. He was one of the first socialists to head a government in a parliamentary system, attracting international attention, and remains Australia's youngest prime minister. After less than four months in office, the Watson government lost a confidence motion and Watson was succeeded as prime minister by anti-socialist George Reid. The original reform flasks were English salt-glazed stoneware flasks produced in the early 19th century shaped into the form of figures connected with the Reform Bill of 1832. Much was made of puns like ‘the spirit of reform’ at the time. Artist John Frith has taken the reform flask form as inspiration for a series of political ceramics of some Australian Prime Ministers. The series included Edmund Barton, Alfred Deakin and Watson.Glazed ceramic flask in the shape John Watson. Square shaped with most of the detail on the front facing side other than head which is more detailed. Cork still in place in top of head.On reverse of flask; John C Watson / Prime Minister / of Australia / 27.4.1904 / To / 18 .08. 1904 Bendigo Pottery / LMTED / Edition Series / 55/1200 /Australia Signed lower centre; 'Frith'australian politics, bendigo pottery

Established by George Guthrie in 1857 (about 5km north of its current site) and then again seven years later in 1864 after it initially closed, Bendigo Pottery remains one of the most influential and longest running Pottery’s in Australia. Over the years the Pottery has contributed to the growth and development of the district through both its products including building products, table ware and decorative and commemorative war as well as artistically, being responsible for training and supporting many potters locally. The City of Greater Bendigo has had a long history of partnering with Bendigo Pottery and the Civic Collection holds a number of important items within its collection. This Sir Edmund Barton 'reform' flask was one of a limited edition character bottles produced by the Pottery to commemorate his contribution to Australian politics. Edmund Barton became Australia’s first Prime Minister on New Year’s Day 1901, at a huge public ceremony in Centennial Park in Sydney. Reform flasks were English salt-glazed stoneware flasks produced in the early 19th century shaped into the form of figures connected with the Reform Bill of 1832. Much was made of puns like ‘the spirit of reform’ at the time. Artist John Frith has taken the reform flask form as inspiration for a series of political ceramics of some Australian Prime Ministers. The series includes Edmund Barton, Alfred Deakin and Chris Watson. Glazed ceramic flask in the shape of Sir Edmund Barton. Square shaped with most of the detail on the front facing side other than head which is more detailed. Cork still in place in top of head.On reverse of flask; Sir Edmund / Barton / Prime Minister / of Australia / 1901 to 1908 Bendigo Pottery / LMTED / Edition Series / 110/1200 /Australia Signed lower centre; 'Frith'australian politics, bendigo pottery

Thangkas are cloth scrolls unique to Tibetan Buddhism, depicting deities, venerated spiritual figures, or religious symbols. Intended for personal meditation or instruction of monastic students, they are invested with the spirit of a deity to whom they are consecrated. The design of a thangka allows it to be rolled up for easy transport, a feature that was essential for traveling monks and practitioners in nomadic regions. The Shakyamuni Buddha thangkas serve as potent aids for cultivating compassion and awareness, offering inspiration and spiritual guidance to practitioners. The Buddha's path to enlightenment and subsequent teachings form the foundation of Buddhist philosophy. This thangka features an image of the Buddha in a meditative pose, holding an alms bowl in his lap. Framed by rich red textiles and surrounded by vibrant floral and cloud motifs, it is mounted on wooden dowels and topped with a yellow cover cloth.buddhist art, tibetan buddhism, holy objects

Thangkas are cloth scrolls unique to Tibetan Buddhism, depicting deities, venerated spiritual figures, or common religious symbols. Intended for personal meditation or instruction of monastic students, they are invested with the spirit of a deity to whom they are consecrated. A thangka is a composite art form consisting of a picture panel which is painted or embroidered; a brocade mounting; and one or more of the following: a silk cover, leather corners, wooden dowels at the top and bottom and metal or wooden decorative knobs on the bottom dowel. This allows a thangka to be rolled up for portability, reflecting its origins in the nomadic lifestyle of Tibetan monks.The Medicine Buddha (also known as Bhaisajyaguru or Sangyé Menla) is revered as the embodiment of healing and associated with practices helping with mental and physical ailments, as well as purifying negative karma. His iconic imagery, including the medicine bowl and healing plant, represents the union of wisdom and compassion as forces of healing. His teachings, rooted in the "Four Medicine Tantras," emphasize that the root of all diseases lies in negative emotions of greed, hatred, and ignorance.The central figure in this old thangka is Medicine Buddha, seated on a lotus throne and surrounded by other deities and figures. He has a bowl in his left hand, and a flower in his right hand. An interesting feature is that his body is not painted blue, as is customary for the image Medicine Buddha. The paint colours were derived from natural ingredients – grinded coral, turquoise and other gemstones. The 'Om Ah Hum' mantra is printed in Tibetan in red ink on the verso of the thangka.buddhist art, tibetan buddhism, holy objects

Thangkas are cloth scrolls unique to Tibetan Buddhism, depicting deities, venerated spiritual figures, or common religious symbols. Intended for personal meditation or instruction of monastic students, they are invested with the spirit of a deity to whom they are consecrated. A thangka is a composite three-dimensional object consisting of a picture panel which is painted or embroidered; a brocade mounting; and one or more of the following: a silk cover, leather corners, wooden dowels at the top and bottom and metal or wooden decorative knobs on the bottom dowel. Guru Padmasambhava (meaning 'Lotus-born', signifying his mythical origin as a being emerging from a lotus flower), also known as Guru Rinpoche, is seen as a manifestation of Buddha Shakyamuni. His teachings and legacy are deeply ingrained in Tibetan culture as he was responsible for bringing advanced Buddhist Tantric teachings to Tibet in the 8th century.A Tibetan thangka depicting Guru Padmasambhava. Framed in a traditional silk brocade border; a wooden dowel is inserted in a sleeve along the bottom edge of the fabric frame. buddhist art, tibetan buddhism, holy objects

Thangkas are cloth scrolls unique to Tibetan Buddhism, depicting deities, venerated spiritual figures, or religious symbols. Intended for personal meditation or instruction of monastic students, they are invested with the spirit of a deity to whom they are consecrated. The design of a thangka allows it to be rolled up for easy transport, a feature that was essential for traveling monks and practitioners in nomadic regions. Padmasambhava thangkas are used to invoke protection, dispel obstacles, and deepen tantric practice. His image serves as a powerful reminder of transformation, spiritual resilience, and the integration of wisdom and compassion.This thangka portrays Padmasambhava seated on a lotus with a red cap, the legs crossed, the right hand holding a dorje (vajra) and the left resting in his lap. Smaller deities or lineage masters appear above and below him, each enclosed in circular frames, signifying the transmission of teachings. The thangka is framed with layers of silk brocade in yellow, red, orange and blue, with floral and cloud motifs that evoke the celestial realm. A decorative fringe at the bottom adds ceremonial richness, while the yellow fabric-covered rod at the top allows the thangka to be hung for ritual or meditative use.buddhist art, tibetan buddhism, holy objects

Thangkas are cloth scrolls unique to Tibetan Buddhism, depicting deities, venerated spiritual figures, or religious symbols. Intended for personal meditation or instruction of monastic students, they are invested with the spirit of a deity to whom they are consecrated. The design of a thangka allows it to be rolled up for easy transport, a feature that was essential for traveling monks and practitioners in nomadic regions. In Tibetan Buddhism, White Tara represents maternal compassion, healing, longevity, and purity. She is a female Buddha who offers swift help to those in need, providing protection, removing obstacles, and granting long life to practitioners for the purpose of spiritual practice and enlightenment. White Tara is worshipped for her ability to heal physical and mental illnesses.This thangka depicts White Tara seated in a meditative posture, radiating serenity and benevolence. Her white body symbolises purity and transcendent wisdom, and she is adorned with rich ornaments and flowing silks, reflecting her enlightened status.buddhist art, tibetan buddhism, holy objects

Thangkas are cloth scrolls unique to Tibetan Buddhism, depicting deities, venerated spiritual figures, or religious symbols. Intended for personal meditation or instruction of monastic students, they are invested with the spirit of a deity to whom they are consecrated. The design of a thangka allows it to be rolled up for easy transport, a feature that was essential for traveling monks and practitioners in nomadic regions. The Shakyamuni Buddha thangkas serve as potent aids for cultivating compassion and awareness, offering inspiration and spiritual guidance to practitioners. The Buddha's path to enlightenment and subsequent teachings form the foundation of Buddhist philosophy.Embroided thangka with outer cover, fringing and embroided Shakyamuni Buddha deity. Surrounded by three borders with floral motifs in gold.buddhist art, tibetan buddhism, holy objects