Diaries of Tim Burstall November 1953 to December 1954. Tim Burstall lived in Eltham. Tim Burstall, the celebrated director of Stork, Alvin Purple and numerous other definitive 'ocker' comedies, is credited with shaking the moribund Australian film industry out of its torpor. But long before that, in the early 1950s, he began keeping a diary to record the world of the group of 'arties' and 'intellectuals' he was living among in Eltham, then a rural area outside Melbourne, where cheap land was available for mudbrick houses and studios, and where suburban rigidities could be mercilessly flouted. Burstall was in his mid-twenties, with two young sons and an open marriage with his wife, Betty. Eager to become a writer, to go against the grain, he kept a record almost daily-of the parties and the talk in pubs and studios, about art and politics and sex, of Communist Party branch meetings and film societies, of political rallies and the first Herald Outdoor Art Show. Somehow, while holding down a public relations job in the Antarctic Division and juggling his love affairs and obsession with the beautiful, brainy Fay, he wrote 500 words almost every day. Betty, according to the diaries, kept the show on the road, feeding friends after the pub, milking goats and working in her pottery making bowls and mugs, which Tim sometimes decorated at weekends. These Memoirs of a Young Bastard, as Burstall dubbed himself and them, are among the most evocative Australian diaries of modern times. Burstall can write. He has an eye for the telling detail, an unerring ear for cant and pomposity and, most endearingly, an ability to mock himself-always from the perspective of a bloke of his generation. Source: Publisherxxiv, 343 p., [18] p. of plates : ill., maps, ports., facsims. ; 27 cm.ISBN 9780522858143diary, motion picture director, film director, author

Local newspaper articles on the Reverend Hilary Roath, among the first women priests ordained by the Anglican Church, and the first female chaplain in the City of Ringwood

The first St. Hilary’s Church of England (Kew) was a timber building on the corner of John and Rowland Streets, designed in 1888 by Albert Purchas. This timber building was demolished in the 1940s to make way for a new church and tennis courts. The drawing was made to accompany a newsletter article by Dione McIntyre.Pen and ink drawing of the rear view of ‘old’ St Hilary’s, drawn by Dione McIntyre, 2013. "Rear view of 'old' St Hilary's"st hilary's church (kew), dione mcintyre, churches -- kew (vic)

St Hilary's Anglican Church in Kew was established in 1888 on land granted to the congregation by the Dumaresq family. The brick building shown here replaced an earlier wooden structure.Small black and white photographic positive, one of four, of a Christmas party for children at St Hilary's Church, 12 John Street, Kew. The children are formally dressed with most wearing hats. The photo was tentatively dated to 1932 by the donor. Inscribed verso: "1932 St Hilary's Christmas Party"churches -- kew (vic.), st hilary's church -- kew, anglican churches -- melbourne (vic.)

St Hilary's Anglican Church in Kew was established in 1888 on land granted to the congregation by the Dumaresq family. The brick building shown here replaced an earlier wooden structure.Small black and white photographic positive, one of four, of a Christmas party for children at St Hilary's Church, 12 John Street, Kew. The children, surrounding an adult Santa Claus, are dressed in festive costumes and a number carry balloons. The photo was tentatively dated to 1932 by the donor. Inscribed verso: "St Hilary's Christmas Party ?1932"churches -- kew (vic.), st hilary's church -- kew, anglican churches -- melbourne (vic.)

St Hilary's Anglican Church in Kew was established in 1888 on land granted to the congregation by the Dumaresq family. The brick building shown here replaced an earlier wooden structure.Small black and white photographic positive, one of four, of a Christmas party for children at St Hilary's Church, 12 John Street, Kew. The children, surrounding an adult Santa Claus, are dressed in festive costumes and a number carry balloons. The foundation plaque is on the wall to the children's left. The photo was tentatively dated to 1932 by the donor. Inscribed verso: "St Hilary's Christmas Party ?1932"churches -- kew (vic.), st hilary's church -- kew, anglican churches -- melbourne (vic.)

St Hilary's Anglican Church in Kew was established in 1888 on land granted to the congregation by the Dumaresq family. The brick building shown here replaced an earlier wooden structure.Small black and white photographic positive, one of four, of a Christmas party for children at St Hilary's Church, 12 John Street, Kew. The children, surrounding an adult Santa Claus, are dressed in festive costumes and a number carry balloons. The foundation plaque is on the wall to the children's left. The photo was tentatively dated to 1932 by the donor. Inscribed verso: "St Hilary's Christmas Party ?1932"churches -- kew (vic.), st hilary's church -- kew, anglican churches -- melbourne (vic.)

Soft cover foolscap size book. 96 pages with b & w illustrations, images and maps (some folded). Part of Occasional reports series (Victoria Archaeological Survey) ; No. 27. Published by Department of Conservation and Environment, Melbourne, 1990. Author, Hilary Du Cros. BMDHS Loc. AR/SU5This study aimed to locate and document Aboriginal archaeological sites in the western region of Melbourne. This area was defined by the study as extending out from the western suburbs of Melbourne to the Brisbane Ranges and north beyond Bacchus Marsh. The specific aim of the study was to investigate the Aboriginal archaeology of the Western Plains area in the vicinity west of Melbourne. The Bacchus Marsh, Melton and Werribee shire boundaries of the time defined the areas of the study. The study contains extensive lists of the types of artifacts found the the locations where they were found. aboriginal australians victoria western plains, aboriginal artifacts, archaelogical sites victoria western plains, aboriginal artifacts bacchus marsh region

One of a group of slides taken by members of the Society of built heritage in Kew in 1979-80. The selection of subject matter reflects the priorities of the period. The colour of some slides has degraded.The slides represent a snapshot in time of built architecture in Kew, much of which has changed in the forty-plus period since they were created.Colour positive transparency (slide) of St Hilary's Anglican Church in John Street Kew, 1979."St Hilary's Church of Engand John Street"historic houses -- kew (vic.), churches -- kew (vic.), anglican churches -- kew (vic.), st hilary's church -- kew (vic.)

1996, 290

139 pagesnon-fictionDirectory which contains more than 600 organisations and individulas throughout Australia which have collections of pictorial material of Australian subjects. From fine art modes such as paintings or prints to photographic forms ranging from early glass negatives to video formats.directories, photographic collections

ill (b/w, col), p.49.non-fictionA descriptive and pictorial history of the PzKpfw 38 (t) light tankarmoured warfare - germany - history, pzkpfw 38 (t)

Ring bound paper manual with clear front cover.non-fictionThe Small Museums Cataloguing Manual is a guide to the hands-on process of documenting objects and visual material in heritage collections such as those in regional and community museums and historical societies.

"These prints are the first series of many that I intend to create documenting my travelling companions on the 86 tram as I come and go from my studio in Northcote. I see them as a continuation of the tradition of portraits that capture so much more than likeness." - Hilary Jackman Artist Bio Hilary Jackman studied Illustration at RMIT (1960-1963), assisted by the John Story Junior Memorial Scholarship. Scholarships enabled her to study and work in Europe on three occasions during her career. Hilary returned to RMIT (1997-2001), completing a degree in Printmaking followed by an Honours year in Sculpture. Influenced by the artistic community of Eltham, Hilary developed a creative practice focused on the natural environment, realised through direct observation. She began painting mostly landscapes in the seventies, switching to a studio practice focused on still life in the nineties. Hilary has exhibited consistently, presenting around eighteen solo exhibitions to date. Hilary’s practice is based at Artery Cooperative studios in Northcote since 2004. Hilary’s work has been acquired by Nillumbik, Banyule, Manningham and Darebin Municipal collections, the National Gallery of Victoria and the Ballarat Regional Gallery. She has been awarded the Centenary Medal for service to the community as an artist.86 tram

"These prints are the first series of many that I intend to create documenting my travelling companions on the 86 tram as I come and go from my studio in Northcote. I see them as a continuation of the tradition of portraits that capture so much more than likeness." - Hilary Jackman Artist Bio Hilary Jackman studied Illustration at RMIT (1960-1963), assisted by the John Story Junior Memorial Scholarship. Scholarships enabled her to study and work in Europe on three occasions during her career. Hilary returned to RMIT (1997-2001), completing a degree in Printmaking followed by an Honours year in Sculpture. Influenced by the artistic community of Eltham, Hilary developed a creative practice focused on the natural environment, realised through direct observation. She began painting mostly landscapes in the seventies, switching to a studio practice focused on still life in the nineties. Hilary has exhibited consistently, presenting around eighteen solo exhibitions to date. Hilary’s practice is based at Artery Cooperative studios in Northcote since 2004. Hilary’s work has been acquired by Nillumbik, Banyule, Manningham and Darebin Municipal collections, the National Gallery of Victoria and the Ballarat Regional Gallery. She has been awarded the Centenary Medal for service to the community as an artist.86 tram

"These prints are the first series of many that I intend to create documenting my travelling companions on the 86 tram as I come and go from my studio in Northcote. I see them as a continuation of the tradition of portraits that capture so much more than likeness." - Hilary Jackman Artist Bio Hilary Jackman studied Illustration at RMIT (1960-1963), assisted by the John Story Junior Memorial Scholarship. Scholarships enabled her to study and work in Europe on three occasions during her career. Hilary returned to RMIT (1997-2001), completing a degree in Printmaking followed by an Honours year in Sculpture. Influenced by the artistic community of Eltham, Hilary developed a creative practice focused on the natural environment, realised through direct observation. She began painting mostly landscapes in the seventies, switching to a studio practice focused on still life in the nineties. Hilary has exhibited consistently, presenting around eighteen solo exhibitions to date. Hilary’s practice is based at Artery Cooperative studios in Northcote since 2004. Hilary’s work has been acquired by Nillumbik, Banyule, Manningham and Darebin Municipal collections, the National Gallery of Victoria and the Ballarat Regional Gallery. She has been awarded the Centenary Medal for service to the community as an artist.86 tram

Hilary Jackman studied Illustration at RMIT (1960-1963), assisted by the John Story Junior Memorial Scholarship. Scholarships enabled her to study and work in Europe on three occasions during her career. Hilary returned to RMIT (1997-2001), completing a degree in Printmaking followed by an Honours year in Sculpture. Influenced by the artistic community of Eltham, Hilary developed a creative practice focused on the natural environment, realised through direct observation. She began painting mostly landscapes in the seventies, switching to a studio practice focused on still life in the nineties. Hilary has exhibited consistently, presenting around eighteen solo exhibitions to date. Hilary’s practice is based at Artery Cooperative studios in Northcote since 2004. Hilary’s work has been acquired by Nillumbik, Banyule, Manningham and Darebin Municipal collections, the National Gallery of Victoria and the Ballarat Regional Gallery. She has been awarded the Centenary Medal for service to the community as an artist.painting

The Kew Historical Society’s collection includes a wide range of leisure objects. Many of the items are European-made, generally of British origin, however there are a number that were made for the Australian market by Australian manufacturers. There were clearly a huge range of toys produced for the Australian and International children’s market in the Nineteenth and Twentieth centuries. The examples of toys in the collection include examples of alphabet toys, arcade toys, baby toys, construction toys, dolls, doll accessories, educational toys, soft toys, tin toys, toy animals, toy blocks, toy machines, toy typewriters, etc. Boxed children's construction toy, suitable for children 2-2.5 yearstoys, games and puzzles, hilary page, kiddicraft

I am interested in the history and practice of weaving and textile production and the growing of cotton in different areas of the world, especially as it relates to my Lancashire, UK heritage. The cotton painting drop cloth has been dyed with Australian native plants and the warp threads exposed by removing the weft showing the simple robust structure of this fabric characteristic of the interlacing of warp and weft in plain weave. This work can be hung or can stand on a plinth or table.Wangaratta Art Gallery Collection. Donated by June Brown.A textile work that features a piece of cotton drop cloth that has has sections of the warp threads removed and other sections plant dyed brown to create a radial effect.hilary buckland, textile, plant dyed

Ill, p. 263.non-fictionLocal history and family origins in Co. Wexford, Irelandwexford - ireland, geneology - ireland