This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. This house is part of HO14 Caulfield North and Environs - Heritage Overlay as a contributing property.Page 42 of Photograph Album with one photograph of a double-storey house on Carnarvon Road.Handwritten: Carnarvon Road [top right hand corner] / 42 [bottom right]trevor hart, caulfield north, carnarvon road, houses, verandahs, balconies, gardens

The ship Carnarvon Bay bound from Liverpool to Sydney with a general cargo struck rocks off Stokes Point on the coast of King Island on Thursday 15 September 1910. On the day the crew used two lifeboats but were separated. One of them with Captain W. Griffith and 17 men was rescued by the SS Taracoola and brought back to Melbourne. Apprentice, R.J.N Filkin was amongst them (his name is listed on the Argus article relating the event (Monday 19 September 1910). In the article called "Welcome Shelter" it seems it was the first sea voyage for the young Filkin. The other boat with 15 men was lost for several hours. There was no casualties but the 3000 ton cargo was lost. The seamen were received at the Sailors Home then welcomed at the Mission by Reverend Haire as shown on a photograph publish in the Punch (22 September 1910). Reverend Gurney Goldsmith was in England at the time. The crew was invited to an evening of entertainment organised by artist Violet Teague at the Masonic Hall on the 19th of September. According to the article "Welcome Shelter" she was painting the "tableaux" at the Mission when the seamen were present, interviewed by the journalist. This evening organised by the Ladies Harbour Lights Guild was planned to raise funds for the Mission.Sepia photograph depicting the ship Carnarvon Bay at sea with a written inscription in black ink.Ship Carnarvon Bay wrecked King Island 15 September 1910 - R.J.N Filkin apprenticeshipwreck, apprentice, king island, carnarvon bay, captain griffith, violet teague, masonic hall, ss taracoola, crews and ships

'After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view.' (Margaret Picken, 2020)This property illustration is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c. 1983 and c. 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink property illustration on drafting film of 5 Carnarvon Street, Hawthorn East by Margaret Picken.5 Carnarvon St, Haw E, Marg Picken '88. Woodards - C'well - 'C'. artist - margaret picken 1950-

Street name Carnarvon Avenue on the subdivision plan became Selkirk Avenue at some stage during or subsequent to development of the Estate.Bi-folded advertisement for sale of residential allotments, including summary of subdivision features and local facilities.Subdivision includes Wantirna streets - Wantirna Road, Carnarvon Avenue, Inchcape Avenue, St Thomas Avenue, St Davids Drive, Dudley Avenue, Angus Avenue. Agents - A.W. Dickson, 136 Whitehorse Road, Ringwood, Telephone WU 6007, WU 7016, A.H. WU 6868. D. & J. Walker, 18 Junction Street, Ringwood, Telephone WU 6516 (all hours).

Small portrait of a lady standing beside a desk? She is wearing a long dress with a high frilled collar and has beads embroidered onto it. She has a small posy of flowers in her hands which are resting on the desk.Humphreys, Paternoster Buildings, Castle Square. Carnarvon.photograph, portrait, female, portrait of a lady

HMAS Sydney built by Swan Hunter and Wigham Richardson Ltd., Wallsend on Tyne, United Kingdom Launched 22 September 1934 Engaged and sunk Bartolmeo Colleom 19 July 1940. On 19 November 1941 South West of Carnarvon Western Australia she was lost at sea with all hands after engaging the German raider Kormoran. On 19 November 1941, HMAS Sydney, a light cruiser of the Royal Australian Navy with an impressive record of war service, was lost following a battle with the German raider HSK Kormoran in the Indian Ocean off the Western Australian coast. The loss of the Sydney with its full war complement of 645 remains Australia’s worst naval disaster. The Kormoran was also sunk, but 317 of its crew of 397 were rescued. The fate of the Sydney remains one of Australia’s greatest wartime mysteries; even the location of the wrecks was not established until 2008.Black plastic frame with moulded pattern with grey mount containing photograph of ship and Sydney Harbour BridgeBanner - HMAS Sydney HMAS Sydney built by Swan Hunter and Wigham Richardson Ltd., Wallsend on Tyne, United Kingdom Launched 22 September 1934 Engaged and sunk Bartolmeo Colleom 19 July 1940 Lost at sea with all hands 19 November 1941 South West of Carnarvon Western Australia after engaging the German raider Kormoran. hmas sydney, ww2

Photo 1. Kormoran Memorial, Camp 13. Photo 2. Kormoran Memorial, Carnarvon. Photo 3. Kormoran lifeboat restoration at Geraldton.Colour photograph of Kormoran life boat in front of Melbourne tram.photograph, people

Ship model 3 masted sailing ship painted black, white and grey and smaller two masted vessels. Flags on top of all masts, rear, mast ketch style and showing no sails. Masts made in three pieces. Moss P?in Carnarvon markedflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

The Beagle Press, 1999.. Lge. 4to; pp. 128; frontispiece, 50 plates, bibliography; stiff illustrated wrapper, a fine copy. With contributions by Roger Butler, Anita Callaway, Jeanette Hoorn, Jacqueline Macnaughtan, Richard Neville, Juliet Peers, Kay Vernon and Liz Ward.non-fictionCatalogue of artworks by Australian female painter, Violet Teague.violet teague, windjammers, jane clark, felicity druce, artist, female artist, c.b. pedersen, carnarvon

On the 19th and 20th September 1910, the Mission organised a fundraising evening at the Masonic Hall on Collins Street. The "Tableaux vivants", called "Tennison's Dream of Fair Women" were arranged by artist Violet Teague. She arranged and painted the decors for the "tableaux vivants" in the Siddeley Mission. It's likely she also created the cover of this programme. "Mother and Lover of Men the Sea" is a verse form the poem: The Triumph of Time by Algernon Charles Swinburne While she was working, seamen from the Carnarvon Bay shipwreck were welcomed to the institute and subsequently invited to the evening. "They went through a large room, where a lady was standing on a scaffolding pointing a scene for the enter" tainment which is to take place this evening in the Masonic-hall. The lady was Miss Violet Teague, but she took her mind and her brush off the effects in marine blue sufficiently long to learn the main outlines of the story. " (Argus 19 September 1910). "During the evening the Rev W F Haire, acting chaplain to the mission announced that among those present were the shipwrecked survivors of the Carnarvon Bay, which was wrecked at King Island on Thursday last The men, who bore no traces of the hardships they endured took their places on the platform, whilst the large audience cheered itself hoarse and sang "For They Are Jolly Good relics". (Argus 20 September 1910) In 1935, Violet Teague was on the passengers on the C.B. Pedersen, one of the last windjammers. She Drew and painted during her voyage and exhibited the artworks in 1938.This rare programme is the last remaining testimony of the relationship between the Mission and famous artists of the time who provided illustrations for quotation calendars (Daryl Lyndsay, John Shirlow).12 pages programme. The cover is light blue paper with the design of the Greek ship printed in black ink.violet teague, tableaux vivants, 1910, fundraising, theatre, play, algernon charles swinburne, sponsors, advertising, carnarvon bay, shipwreck, una le souef, masonic hall, lady gibson-carmichael, willsmere certified milk and co, fry's cocoa, remington typewriter, hypol, lhlg, ladies harbour lights guild

The Speke was an all steel ship of 310 feet, beam of 35 feet and weight of 2,712 tons and triple masted. She was built in 1891 at Carnarvon in Wales for a cost of 22,000 pounds. The wreck of the Speke was purchased for a mere 12 pounds after it went aground in 1906. The Speke had come from Peru to Sydney. She was then on her way to load wheat in Geelong when she ran aground on the 22 February 1906. Captain Tiltson confused a bushfire, near Cowes, for navigation lights. The ship drifted close to shore in Kitty Miller Bay and was eventually holed at 3 pm on the rocks. Life boats were immediately lowered and the ship’s crew all made it to shore except Seaman Frank Henderson, who lost his life.Black & White photograph of The Speke running aground on the south coast of Phillip Island.wreck of the speke, the speke, jack loney

Found by the donor in 2017 in a thrift or Opportunity shop in Richmond, North Yorkshire, England. The names of the ships featured recalled some of the names and their crews known to have visited Melbourne and recorded in various records associated with the MTSV.Page from a children's book featuring full colour hand drawn illustrations of five ocean going ships.Ships names featured: MV Carnarvon Castle 20,000 tons Union Castle Line; S.S. Majestic, White Star Line 56,000 tons; M.V Chibu Maru, 16,500 tons, N.Y.K Line; S.S. Orontes, Orient Line 20,000 tons, S.S. Empress of Britain, 42,000 tons C.P.R. Line. Printed page of text on reverse starts mid sentence: "...going to Bombay, and then right away for Australia, this time next month she will be on the other side of the world. ..."children's book, ships, illustration, steamships, orontes, empress of britain, chichibu maru, majestic, carnarvon castle

1305.1 - book - 20 pages including cover, printed on semi gloss paper, centre stapled with two colour covers (light green and black) titled "Destination Subiaco", providing details of the Perth, Fremantle, Kalgoorlie and Leonora tramcars or rolling stock and the Collie, Broome, Carnarvon, Derby, Esperance, Onslow and Roebourne light tramway (non electric) systems, complete with maps. Published by Traction Publications, in 1957, edited by Jack Richardson with Associate Editors of A. Cooke and K.S. Kings. Provides details on the trams that operated in the four cities that had electric trams. Has a list of tramway and railway books on page 19. See image htd1305i1.pdf for a scan of this version. 1305.2 - Book - 48 pages + card coves, printed on gloss paper, centre stapled, with two colour covers (green and black) titled "Destination Subiaco", providing details of the Perth, Fremantle, Kalgoorlie and Leonora tramcars or rolling stock. Published by Traction Publications, in 1967, edited by Jack Richardson. Provides details on the trams that operated in the four cities. Has a list of tramway and railway books on the rear cover. See image htd1305i2.pdf for a scan of this version.trams, tramways, western australia, perth, fremantle, kalgoorlie, leonora, depot, tramcars

Mawul Rom Project: Openness, obligation and reconciliation Morgan Brigg (Universtiy of Queensland) and Anke Tonnaer (University of Aarhus, Denmark) Aboriginal Australian initiatives to restore balanced relationships with White Australians have recently become part of reconciliation efforts. This paper provides a contextualised report on one such initiative, the Mawul Rom crosscultural mediation project. Viewing Mawul Rom as a diplomatic venture in the lineage of adjustment and earlier Rom rituals raises questions about receptiveness, individual responsibility and the role of Indigenous ceremony in reconciliation efforts. Yolngu ceremonial leaders successfully draw participants into relationship and personally commit them to the tasks of cross-cultural advocacy and reconciliation. But Mawul Rom must also negotiate a paradox because emphasis on the cultural difference of ceremony risks increasing the very social distance that the ritual attempts to confront. Managing this tension will be a key challenge if Mawul Rom is to become an effective diplomatic mechanism for cross-cultural conflict resolution and reconciliation. Living in two camps: the strategies Goldfields Aboriginal people use to manage in the customary economy and the mainstream economy at the same time Howard Sercombe (Strathclyde University, Glasgow) The economic sustainability of Aboriginal households has been a matter of public concern across a range of contexts. This research, conducted in the Eastern Goldfields of Western Australia, shows how economically successful Aboriginal persons manage ?dual economic engagement?, or involvement in the customary economy and the mainstream economy at the same time. The two economies sometimes reinforce each other but are more often in conflict, and management of conflicting obligations requires high degrees of skill and innovation. As well as creating financially sustainable households, the participants contributed significantly to the health of their extended families and communities. The research also shows that many Aboriginal people, no matter what their material and personal resources, are conscious of how fragile and unpredictable their economic lives can be, and that involvement in the customary economy is a kind of mutual insurance to guarantee survival if times get tough. Indigenous population data for evaluation and performance measurement: A cautionary note Gaminiratne Wijesekere (Dept. of Families, Housing, Community Services and Indigenous Affairs, Canberra) I outline the status of population census counts for Indigenous peoples, identifying information on Indigenous births and deaths, and internal migration estimates. I comment on the ?experimental? Indigenous population projections and question the rationale for having two sets of projections. Program managers and evaluators need to be mindful of limitations of the data when using these projections for monitoring, evaluating and measuring Indigenous programs. Reaching out to a younger generation using a 3D computer game for storytelling: Vincent Serico?s legacy Theodor G Wyeld (Flinders University, Adeliade) and Brett Leavy (CyberDreaming Australia) Sadly, Vincent Serico (1949?2008), artist, activist and humanist, recently passed away. Born in southern Queensland in Wakka Wakka/Kabi Kabi Country (Carnarvon Gorge region) in 1949, Vincent was a member of the Stolen Generations. He was separated from his family by White administration at four years of age. He grew up on the Cherbourg Aboriginal Reserve in the 1950s, when the policies of segregation and assimilation were at their peak. Only returning to his Country in his early forties, Vincent started painting his stories and the stories that had been passed on to him about the region. These paintings manifest Vincent?s sanctity for tradition, storytelling, language, spirit and beliefs. A team of researchers was honoured and fortunate to have worked closely with Vincent to develop a 3D simulation of his Country using a 3D computer game toolkit. Embedded in this simulation of his Country, in the locations that their stories speak to, are some of Vincent?s important contemporary art works. They are accompanied by a narration of Vincent?s oral history about the places, people and events depicted. Vincent was deeply concerned about members of the younger generation around him ?losing their way? in modern times. In a similar vein, Brett Leavy (Kooma) sees the 3D game engine as an opportunity to engage the younger generation in its own cultural heritage in an activity that capitalises on a common pastime. Vincent was an enthusiastic advocate of this approach. Working in consultation with Vincent and the research team, CyberDreaming developed a simulation of Vincent?s Country for young Aboriginal and non-Aboriginal persons from the Carnarvon Gorge region to explore Vincent?s life stories of the region. The use of Vincent?s contemporary paintings as storyboards provides a traditional medium for the local people to interactively re-engage with traditional values. Called Serico?s World, it represents a legacy to his life?s works, joys and regrets. Here we discuss the background to this project and Vincent?s contribution. A singular beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land RG Gunn (La Trobe University) and RL Whear (Jawoyn Association) Samples from a beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land were analysed for radiocarbon and dated to be about 150 years old. An underlying beeswax figure was found to be approximately 1100 years old. The Dreaming Being Namarrkon is well known throughout Arnhem Land, although his sphere of activity is concentrated around the northern half of the Arnhem Land plateau. Namarrkon is well represented in rock-paintings in this area and continues to be well represented in contemporary canvas-paintings by artists from the broader plateau region. We conclude that representations of Namarrkon in both painted and beeswax forms appear to be parallel manifestations of the late Holocene regionalisation of Arnhem Land. ?Missing the point? or ?what to believe ? the theory or the data?: Rationales for the production of Kimberley points Kim Akerman (Moonah) In a recent article, Rodney Harrison presented an interesting view on the role glass Kimberley points played in the lives of the Aborigines who made and used them. Harrison employed ethnographic and historical data to argue that glass Kimberley points were not part of the normal suite of post-contact artefacts used primarily for hunting and fighting or Indigenous exchange purposes, but primarily were created to service a non-Indigenous market for aesthetically pleasing artefacts. Harrison asserted that this market determined the form that these points took. A critical analysis of the data does not substantiate either of these claims. Here I do not deal with Harrison?s theoretical material or arguments; I focus on the ethnographic and historical material that he has either omitted or failed to appreciate in developing his thesis and which, in turn, renders it invalid. The intensity of raw material utilisation as an indication of occupational history in surface stone artefact assemblages from the Strathbogie Ranges, central Victoria Justin Ian Shiner (La Trobe University, Bundoora) Stone artefact assemblages are a major source of information on past human?landscape relationships throughout much of Australia. These relationships are not well understood in the Strathbogie Ranges of central Victoria, where few detailed analyses of stone artefact assemblages have been undertaken. The purpose of this paper is to redress this situation through the analysis of two surface stone artefact assemblages recorded in early 2000 during a wider investigation of the region?s potential for postgraduate archaeological fieldwork. Analysis of raw material utilisation is used to assess the characteristics of the occupational histories of two locations with similar landscape settings. The analysis indicates variability in the intensity of raw material use between the assemblages, which suggests subtle differences in the occupational history of each location. The results of this work provide a direction for future stone artefact studies within this poorly understood region.document reproductions, maps, b&w photographs, colour photographskimberley, mawul rom project, 3d computer game, storytelling, vincent serico, beeswax, namarrkon, artefact assemblages, strathbogie ranges, groote eylandt, budd billy ii