No historical information available at present. Bronze pieces mounted on wood as a plaque. Pieces state 'Army Recruiting Victoria' and ' ILCHINKINJA' on the boomerang at the bottom of the piece. Plate on bottom of piece states "Mr Jim Austin, 2 March 1987 - 19 October 1987". army, recruitment, commemorative plaques, boomerangs, cultural identity, jim austin, aboriginal depictions

The Mount Beauty Chamber of Commerce Inc. presented the festival on the 12, 13 & 14 November 1993 at Falls Creek and Mt Beauty. The booklet consists of articles and events available over the weekend.Held in the Kiewa Valley in recognition of the aboriginal people who lived and gathered there.A4 pale yellow booklet with 8 pages printed in brown on both sides showing a moth and a mountain in aboriginal style depicted on the cover. bogong moth festival, mt beauty chamber of commerce

Original steel engraving by J.C Armytage after John SkinnerPROUT (1806 - 1876). Prout was born in Plymouth and was a member of the New Watercolour Society in London, he latter emigrated and lived for some time in Sydney and Hobart before returning to England. Published in "Australia... Illustrated with Drawings by Skinner Prout, N Chevalier, etc. by Edwin Carlton Booth F.R.C.I. (printed 1873-76) Virtue & Co., London, and as part work from about 1873. Steel Steel Engraved antique print some with marking to the margins. Image 12 x 18 cm. John Skinner Prout (1806 - 1876) was an architectural illustrator and painter. Born in Plymouth and nephew of Samuel Prout (Topographical illustrator, drawing master and colourist). John specialised in similar subjects to his uncle but was practically self-taught. He was elected a member of the New Watercolour Society on his return from Australia in 1849, where he visited Sydney and Hobart. He had already forfeited his membership of the NWS in 1838 by being overseas. John settled in Bristol after 1849 whewre he became a good friend of W.J. Muller (artist). He later moved to London where he died, at Camden Town on 29th August 1876Framed print of etching depicting four aboriginals one of which is climbing a treeprint, gwalior plains

Written history of the township of Numurkah, covering squatters, the aboriginals, churches, hospitals, railways etc.Black hard cover. Cover design by Anne Bossence. Dust jacket green, white and brown. Title and author in black print. Sketch on front is of an aboriginal drawing depicting a leaf with an animal on it in green. Back cover whitebossence w, numurkah, numurkah squatters, numurkah aboriginals, numurkah churches, numurkah hospitals

From a collection of photographs taken by Vera Bennett, who as Vera Hanlon taught at the Lake Tyers Aboriginal SchoolPhotograph of the art done by pupils of Lake Tyers, Aboriginal Station School, depicting horse, boxing, truck and scenery. Lake Tyres Victoriaaboriginals, schools

This book is a visitor's guide to the William Rickett's Sanctuary in Olinda and is also a detailing of Rickett's spiritual beliefs. Ricketts (1898-1993) was an artist who was profoundly distressed by environmental destruction and was an early advocate for Aboriginal rights. Notwithstanding Ricketts' strong sympathy for Aboriginal people, his depiction of them in the Sanctuary combined with aspects of his beliefs have some problematic elements. The Sanctuary has been closed since 2021 due to fallen trees.This booklet explains and illustrates the beliefs of William Ricketts, a significant Dandenongs-based artist, as depicted in the Sanctuary that he created.Booklet approximately A4 size. Color photographs throughout interspersed with text. 38 pages.On front of booklet: 'Australiandia: Land of the Holy Spirit' and at the bottom right of the cover: 'That is how I know you / Sacred - Secret - Silent / A Flowing of Life / In the Dreaming / The Divine Transcendence / Through all Eternity / William Ricketts'william ricketts, olinda, aboriginal people, sculptures

This is an Aboriginal artwork that depicts a Goanna Totem. Designed by Ballarat-based, Gunditjmara artist Aunty Diana Nikkelson, the design is inspired by the artist’s totem and is a tribute to the first artists of the region, the Wadawurrung people. It acknowledges Aboriginal survival and the dynamic regeneration of the Aboriginal art and culture in the region. The artwork is in-set to the basalt paving along Police Lane by a series of etched footsteps, which evolve from human footprints to goanna prints as viewers approach the rear of the Art Gallery of Ballarat. The artwork was originally located only outdoors and half of it was brought into the Art Gallery of Ballarat in 2011, when the former Federation Plaza was enclosed to form the Art Gallery of Ballarat's McCain Annexe. The artwork was created in 2006 as part of the cultural festival of the Commonwealth Games. The artwork is of cultural and aesthetic significance to the people of BallaratSand blasted petroglyph forms into bluestone on laneway surface. The carved inlay of the Goanna Totem design into the bluestone of Police Lane (beside Art Gallery of Ballarat) continues inside the building.goanna totem ballarat, goanna totem, diana nikkelson, aboriginal, dreaming, nikkelson, gunditjmara

James Wigley (1917-1999) is an Australian painter known for his sensitive depictions of aboriginal camp scenes and desert landscapes. He served in the army in WW2. On his discharge he built himself a stone house at Warrandtye where he lived for some years before moving to Port Hedland in 1957, where he studied the "aboriginal and half-caste" life for which his work is perhaps best known. He returned to the Eltham and Warrandyte districts from time to time between making many tours into outback Australia.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital imagesepp, shire of eltham pioneers photograph collection, james wigley, aboriginal australians, painters, warrandyte, drawing, figures

Common wombats are short-legged, muscular, nocturnal marsupials that live in a wide variety of habitats throughout Australia. A common wombat can grow up to 1.2 metres in length and weigh up to 35 kilograms. The name “wombat” comes from the Darug language spoken by the Aboriginal Darug people, who originally inhabited the Sydney area. The wombat was first recorded in 1798 by explorer John Price on a visit to Bargo in New South Wales, however, wombats are depicted on Aboriginal rock-art that date back as far as 4,000 years ago. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. Medium sized stocky wombat with a broad head and two muscular forelegs and two weaker hind legs that are met with long sharp black claws. The hair is long, thick and coarse in brown/yellow shades. The head features two small black eyes that have been made from glass, two short pointed ears and a bare nose pad. On wooden mount: BMM 5901 /taxidermy mount, taxidermy, wombat, animalia, vombatidae, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, common wombat

This is a hard cover book with the pages unnumbered. The cover is brown with colour reproductions of two aboriginal paintings on the front and back cover. The printing on the front cover is in yellow and white lettering. The book contains written text and many reproductions of aboriginal paintings. The inscription on the first page is handwritten in black biro. non-fictionA collection of reproductions of aboriginal art work from the Hermannsburg area as collated by Rex Batterbee.rex battarbee, aboriginal art, albert namatjira

The South Australian Department of Education published books to educate adults in English Literacy. This one depicts Australian aborigines in the photos and may have been used in Aboriginal classes during the 1980's.Adult literacy in South Australia was targeted for varying groups including Aborigines. This book demonstrates the understanding of and attitude towards this group of people in 1980.Sepia coloured cover with cash register, coffee and woman serving a customer. The book is held together with 3 staples. Each page has a large black & white photo with large print at the top explaining the picture. Stamped on back and front cover: 'Myrtleford Adult Literacy Group'aborigines. adult education. literacy.

This sketch of a tree whose bark was cut, by aboriginal craftsmen, to produce a canoe for fishing in the rivers running through the Kiewa Valley either before or just after the 1800's. The tree trunk depicted in the sketch would have been used at the beginning of European settlement in the Kiewa Valley or just before contact was made.As this sketch was of a tree found along the Kiewa River it indicates that Aborigines lived by the river. This sketch depicts the usage of tree bark by the Aboriginal fisher person in crafting a canoe to cross rivers and to fish in the deeper sections of the river course.This freehand sketch detailing the outline of bark removed to provide a canoe is in ink portraying a tree trunk with one branch which has a plaque in front a gravel section to the right and open fields in the mid background and scattered trees on a hill slope in the far background. The sketch is on thick cardboard with a plastic protective cover over it (fastened on the flip side). It is a sketch of the tree now exhibited at the Kiewa Consolidated School.Written in black ink on the top section (heading) "ABORIGINES CUT CANOE FROM TREE. NOW AT KIEWA SCHOOL"crafted canoe, aboriginal craftsmanship, tree usage, early aboriginal craftsmen, kiewa river. kiewa consolidated school

Part of the collection of "William Anthony THEODORE DSM", PM 2981. REFER CAT NO.7926P FOR HIS SERVICE.Dark brown heavy metal plaque shield with image of Aboriginal man kneeling on ground with a Crown on top. Borders with rope shape.william anthony theodore dsm, shield, aboriginal depiction

This disc was a project supported by the Festival of the Dreaming, a festival leading up to the 2000 Sydney Olympic Games.This disc is a significant research tool as it contains contemporary film of the early indigenous people of Australia.A video disc titled, The Dreaming Reels. it is a compilation of scenes from the Hadden expedition to the Torres Strait in 1898, Lake Tyers settlement, Northwest Scientific Exploration in the Kimberleys, the aboriginal camp at Orbost in 1921, the Douglas Wylie Expedition in 1926, Princess Charlotte Bay 1926-1927 and McRobertson's Expedition. It also contains footage from several Australian films depicting Aborigines. aboriginal-history dreaming

In around 1924 a band of Gija people crossed fences onto their traditional land near Bedford Downs Station in the East Kimberley 2000 km northeast of Perth and killed nine head of cattle. This act precipitated one of the massacres to become known as the 'killing times'. Paddy Quilty, the station owner of Bedford Downs had his men collect wagon loads of firewood which was distributed around the camp. He then invited everyone to assemble for their rations. The food, laced with strychnine, was handed out. As the Gija people fell down dying in agony, they were shot. The firewood was used to burn the bodies. One boy escaped to the the story. Paddy Jamin Jaminji (c.1922-1997) painted The Hills of Bedford Downs Station as part of a series of painting about the Killing Times. It depicts the story and sites of the massacre. At least twelve killing sites are recorded within a radius of 150 km of Turkey Creek, WA. The painting was possibly discarded due to its damage in one corner and later collected from an old shelter at Warmun on a field trip by collector Neil McLeod in 1995.Large painting on board of symbolic landscape. Brown, yellow, cream and white. Framed.bedford downs station, massacre, killing, gija, paddy quilty, turkey creek, warmun

One of several drawings included in a collection of over 400 photographs in an album commenced in 1960 and presented to the Phillip Island & Westernport Historical Society by the Shire of Phillip IslandBlack & White Pen drawing depicting three views of the same Aboriginal Hand Axe. Drawn by Dr L Adam, University of Melbourne.local history, illustrations, pen & ink, aboriginal hand axe, aboriginal tools, john jenner, bryant west, dr l adam

One of several drawing included in a collection of over 400 photographs in an album commenced in 1960 and presented to the Phillip Island & Westernport Historical Society by the Shire of Phillip IslandBlack & White Pen drawing depicting three views of an Aboriginal Pebble Implement.local history, illustrations, pen & ink, aboriginal implement, aboriginal tools, dr l adam, john jenner, bryant west

"The fist references the Black Lives Matter movement and also represents the strength of Indigenous peoples all over the world and symbolises solidarity and justice for everyone affected by systematic racism. Bunjil (wedge-tailed eagle) is flying high on the building. He is the creator spirit for Wurundjeri people who looks over us and protects us. Bunjil represents healing and power to our people. The blue circles and lines represent revival and waterways; in particular, they depict the Birrarung (Yarra River), which is very significant for the Wurundjeri people. Our people are known as the Manna Gum people. The leaves in the artwork highlight Wurundjeri people and their Country. These leaves also represent the cleansing of negative spirits. The Manna Gum leaf is also an important symbolic offering in our traditional Welcome to Country ceremony. Leaves are offered to visitors as they are granted safe passage through our land. They are made welcome to everything from the tops of the trees to the roots of the earth. We ask that they take care of the land, plants and animals and to respect the protocols and rules of the Traditional Owners whilst on our Country."In 2020 Council declared its support for the global Black Lives Matter (BLM) movement. In consultation with Yarra City Council's Yana Ngargna advisory group a motion was prepared and passed unanimously by all Councillors. A number of actions were generated from this decision; one of which was for Council to commission a large-scale mural that aligned with the movement. Emerging artist Ky-ya Nicholson-Ward, a proud Wurundjeri, Dja Dja Wurrung, Nguarai Illam-Wurrung, German and Irish woman, created the mural installed on a building in Peel Street Park, Collingwood. Selected by Council's Yana Ngargna, Black Lives Matter Working Group the artwork identifies the cultural importance of the local area to the Wurundjeri Woi Wurrung people as the Traditional Owners. With a strong focus on Aboriginal identity the mural outlines the local context of the Black Lives Matter movement, which is connected to racism, policing of Aboriginal and Torres Strait Islander peoples and associated deaths in custody. The artwork acknowledges the ongoing challenges faced by Aboriginal community members and their struggle to survive white systems, policies and institutions. Ky-ya's mural tells the story of Aboriginal resilience, strength and self-determination; and will support the process of healing. It is a celebration of the local Aboriginal and Torres Strait Islander community; the significant Aboriginal history of Fitzroy, Collingwood and surrounds; and community's continuing cultural connection to the area. Importantly, this artwork provides a platform to educate a broader audience about the local context of the Black Lives Matter movement and Aboriginal deaths in custody. The mural will activate this site, enliven the area, promote inclusion, incite conversation and contribute to the creative capital of this locale. A welcoming environment for Aboriginal and non-Aboriginal communities.Aboriginal Lives Matter Ky-ya Nicholson WardOn a black background a hand fist (strength, solidarity and justice) is placed at the centre of the building; Bunjil (wedge-tailed eagle) is depicted flying high on the building; blue circles and lines represent revival and waterways (Birrarung-Yarra River) and the leaves in the artwork highlight Wurundjeri people (cleansing of spirit and welcome to Country)The artist name 'Ky-ya Nicholson Ward' painted in white, low right of the wall facing into Peel Street Park. black lives matter (blm) movement, wurundjeri woi wurrung, bunjil, identity, birrarung, country

1970 NATIONAL BANK PAINTING REPRODUCTION The New Chums Arrival on a Gold Digging .Artist unknown c. 1855 Below the picture title the words - Reproduced by the National Bank in 1970 from the lithograph in the La Trobe Collection , State Library of Victoria , by permission of the Library Council of Victoria .Bottom left corner shows a rough sign nailed to an upright post saying The Star Concert Hall Gus Hatton To night.The painting is divided lengthways by a stream with a two plank crossing apparently to show the differences between the seasoned miners above the stream and the new chums below the stream .The above centre of the picture is a windlass surrounded by men - an Aboriginal sitting by a fire , two men with bottles in hand depicting the proliferation of drink .The New Chums below the stream show men and a woman all wearing smart hats and clothes , some carrying unneeded items such as Umbrellaspainting, watercolour, gold diggers

Group of seven postcards from various people addressed to Mrs. A Stephens (nee Palmer). Five of the cards are depicting Theatre Actresses. (a) Unknown Actress, (b) Caricature of a surprised face with the words ' I was very surprised ' hand written underneath, (c) Miss Delia Mason, (d) Miss Gabrielle Ray in ' The Lady Dandies ', (e) Billie Burke , (f) Hand tinted card depicting women at an Aboriginal Camp, entitled ' Lubras camp, Maloga ' , (g) Unknown Actress.postcard, actresses, actresses, delia mason, billie burke, gabrielle ray, lubras camp maloga

Exhibited by the artist at the Wood, Wine & Roses Festival, Heywood, 2004.Aunty Betty King was a Kerrup Jmara Elder from Portland. She was the great grand-daughter of King Billy of Yigar. Aunty Betty cared deeply about Nyamat Mirring and Country. A staunch activist and long-time advisor to the Friends of the Earth, Aunty Betty King and Sandra Onus worked together to fight against the logging of native forest in the Cobboboonnee taking part in protests and meetings.Acrylic paint on canvas depicting birds and fish, water lilies and other vegetation, and stylised designs associated with early settlement of Aboriginal people in the Portland/Glenelg wetland area. Black painted border with white dot pathways, a circle of white dots in each of the four corners. Centre area in blues and greens featuring two birds, painted in black with red and ochre bandings.Front: nilgunditjmara, first nations, nyamat mirring, glenelg shire cultural collection, portland, female artist, female artists, heywood

CEMA Art Collection Part of "A Community View" 150 years in Portland Screenprint Exhibition Part of Angela Gee Residency 1983 and 1984Three indigenous women stand before trees and grass trees. The fgiure on the far left is wearing traditional clothing, and the two figures on the right wear Victorian period dresses. The background depicts abstract patterning. At the top of the print are the words "Portland is for Everyone". The bottom of the image includes the words "Thanks to the Aboriginal Cultural Centre, Heywood, and the Portland Historical Society." Background is mauve and colours include green, blue, yellow, orange and tan. Mounted in dark cream matt in an ornate gold-detailed wooden frame.Front: 41/60 (lower left) Angela Gee '83 (lower right) (pencil) Back: (no inscriptions)

The Creation Serpent is the central image moving through the land. As well as being the creator of the land, it's whole image, coloured blocks and individual dots represent the Gunditjmara Nation, tribal groups and individual clans respectively. The four hands in the corners mark all peoples who at present form our community. They show the people that live on the land in the north, south, east and west of the Shire. The two shaded hands in the background represent the spirit of the old people living within the land. They not only point to the law which governs the country but also remind us of the spirits of those elders whose lives were lost both in battle and in life itself.This artwork was the cover art chosen for the Memorandum of Understanding between the Glenelg Shire Council and Indigenous Communities of 2005. Danny Lovett is a Gunditjmara artist.An image of a serpent in the centre of the work. The serpent is depicted in white dots. Its body has sections of yellow and blue. It's head is burgundy. Surrounding the serpent in each corner there are four handprints. The background of the work is painted blue, red and yellow areas which look sponged. Surrounding the artwork is a border of black and white also with a sponged effect. It is framed in dark brown plain wood.first nations, aboriginal art, serpent

Always wanting to paint the bushfire. Seen heaps of things with burning of heath land for Alcoa and went running through it like we were in the fire. It was beautiful but we were crying as we didn’t want them to do it. We were right in the middle of it as it was all glowing everywhere. Always fascinated by that fire when I think about it as we tried to stop it but they bought the police out and we couldn’t get in there as they had security and we were surrounded. We camped out there for four years we had the camp and would come and go from the house in town. Zac Martin and heaps of people in and out and good times with Uncle Banjo and newspaper journalists. 30 years ago this was, late 70’s and took 6 years to get them to court. Flew a guy out from America (the equaliser) who interviewed us about why we were doing it. They burnt right along the cliff whilst we were camped there and we had seen the seasons and got into the spirit of the land with native blossom and it was beautiful – and they burnt it all, all the little animals, it was incredible as the heathland was absolutely beautiful, it was magic and they could not see that. They pegged it out to do it all and we would sneak out and move the pegs and we tried to fight them every which way. Amy was there with all her kids in a massive striped tent but she moved them out when the police came to move us out. They had us surrounded, police from everywhere. We had no water and people would bring us water and food. Another time a big bushfire came through and we had to get in the dam at Lake Condah Mission. I was aged around 10 or 11.” June 2014 As recorded by Anna Louise Sheba for the entry in the Victorian Indigenous Arts Award Ballarat. Ms. Christina Isabel Saunders Traditional Landowner Elder Gundij Mara Tribe (South Western Victoria, Australia) Descendant of Kilcarer – Cape Bridgewater Clan and Gilgar - Lake Condah Mission Clan A depiction of bushfire. Red, yellow, orange and black paint. Swirls and shapes to represent the flames.Tina Saunders (bottom right in orange paint)aboriginal art, first nations, bushfire, bush, landscape

The Australian Natives Association (ANA) was founded in Melbourne in 1871. Its membership was restricted to white men born in Australia and its aim was to benefit them.Certificate issued by the Australian Natives Association. Portland Branch's ex President's certificate. Issue to Mr W.A. Mills. Occupied the position from 16 May 1938 to 15 May 1939. Signed by the President and the Secretary (illegible, faded). The certificate has the Australian emblem at the top under which is an orange banner with the words ' Australian Natives Association' across. Under this is a woman in classical style dress holding an Australian flag in her right hand and a document in her left which reads, 'Constitution of the Australian Commonwealth'. A circular frame states the owner of the certificate and why it was issued. On the other side of the circle is a man. He wears leather riding boots, cream trousers and a blue shirt. He is holding something in his left hand. Under is a central star in which is an image of Australia. Either side is a picture of the sea with an Aboriginal man standing at the shore by some boats. The other side has an image of white buildings. Wattle is depicted around the entire certificate.certificate, ana, australian natives association

Depicts events and attitudes, primarily of students as they go through their adolescent years in the late 1960's. The word Kurnaji is thought to have been derived from the indigenous Aboriginal language with the meaning "Windy Hill" - refer 1971 Kurnaji Editorial page.Annual record of teaching staff, students and events that took place over the year by using both photos and reports. Includes Roll Call section with names of all students.Note: This was the 1st Year of Kurnaji's publication, the last being in 1989 (see Record Item 274).52 Pages, Blue cover, Title "Kurnaji" in Red ink. Cover drawing of students. Headmaster / Principal - Mr. C.K. (Ken) Canty. 2 copies.watsonia high school, yearbook, kurnaji, school magazines

This is an Invitation to attend the Inaugural Celebrations of the Commonwealth of Australia, to celebrate the Federation of Australia's united Colonies. It was created on behalf of the Government of New South Wales. January 1st, 1901, is the official date of Australia's Federation. There is no recipient's name on the invitation. The illustrations on the invitation represent the Federation of Australian States, with their historic symbols carried on the sailing ship, representing the colonisation of Australia. The 'rising sun' possibly represents the rising of the young Australia. The Sough Australian symbol appears to be the historic seal of South Australia, depicting Britania meeting an Australian Aboriginal seated on the beach. The symbol was replaced in 1904. The Victorian symbol of a crown above the Southern Cross appears on the flag at the back of the ship, with a crown and the Southern Cross beside each other. The invitation was originally framed by G.U. Petterd, a picture framer and plush worker in Warrnambool, Victoria.The invitation holds great significance, representing a point in Australia's history when the British Colony became an independent nation, with the states uniting under a Federal government. The symbols on the invitation represent those used by each state at the time, many of which have evolved and changed since that time. The decorative and careful creation of the certificate represents the importance placed on the celebrations.Invitation; rectangular page printed in colour with text and illustrations, and attached to cardboard. The document has a floral border with a symbol in each corner. The illustration includes a wooden sailing ship with six figures with long fair hair wearing white robes, and holding six flags or symbols. The mast holds a swallow-tailed banner showing a flag and text. The invitation is from the Government of New South Wales, for the recipient to attend the inaugural celebrations in Sydney on 1st January 1901, for the official date of the Federation of Australia. There is a purple oval stamp on the revers with inscriptions. The picture was originally framed by G.U. Petterd, WarrnamboolSTAMP: "G.U. PETTERD, WARRNAMBOOL / PICTURE FRAMER & PLUSH / WORKER" TEST: - "Commonwealth of Australia. / INAUGURAL CELEBRATIONS / AT SYDNEY / COMMENCING on the 1st JANUARY 1901" "The GOVERNMENT of NEW SOUTH WALES / requests the honour of / (blank line) / presence at the Celebrations to take place / in connection with the inauguration of the Commonwealth of Australia" Symbols: - [white flag, blue cross, Union Jack] (Australian Federation Flag) [blue Maltese cross with crown in centre] (Queensland symbol) [red St George cross with a lion in the centre] (New South Wales symbol) [white with a symbol on one side (crown?) with a blue flag with Southern Cross on the other] (Victoria's symbols of Crown above Southern Cross) [red lion on white] (Tasmanian symbol) [black swan on yellow] (Western Australia badge) [two figures, one standing and one seated] (South Australian seal) and image of (rising sun on the horizon)flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, invitation, commonwealth of australia, inaugural celebrations, sydney, 1st january 1901, 01-01-1901, federation of australia, australian states, government of new south wales, symbols, flags, australian colony, certificate, g.u. petturd, picture framer and plush worker, picture framer, plush worker, 1901

The University's mace was carried in procession for the first time during the Graduation ceremonies in May 1996. The mace was presented to the University by former Chief Commissioner of the Ballarat City Council, Vern Robson, at a ceremony on 02 February, following a national competition for its design, sponsored by the Council. (The Flag, Issue 2, July 1996) Nineteen artists responded to the competition which called for a design that would embody a distinctive Australian image reflecting the heritage of the city and in relationship with gold, an Aboriginal element and the history of the University. The winning entry, dominated by a poppet head, was submitted by Central Victorian artist/sculptor Trefor Prest, a sessional lecturer in sculpture at the University.(The Flag, Issue 2, July 1996) The Herald Sun of 03 February 1996 reported 'the new mace shows importance elements of Ballarat's heritage as well as the university's focus on the future. The artist emphasises the egalitarian nature of Australia as embodied in Ballarat's famous slice of history - the Eureka uprising. ... The mace has a poppet head at the top of the shaft - an unusual element for a mace - but it represents Ballarat's mining history and the University's evolution from the Ballarat School of Mines. An opening egg at the top stands for the nurturing of development and learning. The mace's straight shaft is depicted as the tree of knowledge and, incorporating a bark canoe scar, Ballarat's Aboriginal heritage. At the end of the shaft is a surveying device, which represents precision and accuracy ads embodied in the university's academic pursuits.' Bob Morrell of the University organised the national competition to design the mace and said 'It is in keeping with the university's logo, 'proudly flying the flag', which incorporates the Southern Cross.' Trefor Prest lectured in Sculpture at the University of Ballarat from 1995-1996.Black and white photograph showing three men holding the new University of Ballarat (now Federation University) mace. From left to right they are Vern Robson (Chief Executive Officer City of Ballarat), Trefor Prest (Sculptor) and Professor David James (Vice Chancellor).university of ballarat, mace, trefor prest, vern robson

Digitised directly from 'Blackfellows of Australia' by Charles Barrett and A.S. Kenyon (Sun Books)Black and white depiction of an Aboriginal ballarat from a painting by Mrs Albert Le Souef) aborigine, aboriginal, battle, le souef