This publication explains an approach to manage the collection and develop a strategic plan for its exposure to the public through community participation and access, interpretations and exhibitions.This publication explains an approach to manage the collection and develop a strategic plan for its exposure to the public through community participation and access, interpretations and exhibitions.boroondara council - art collections, art ad state, cultural policy, boroondara history

b&w illustrationsantiquities, material culture, keeping places

Collections from the Museum of Victoria which show their holdings of arts and crafts by Victorian Aboriginal people. Includes tools, weapons, baskets, paintings and photos.b&w photographs, b&w illustrationssocial life and customs, material culture, catalogues, victorian history

"Drawing on both oral sources and the objects and spaces of the material culture of religion and belief, the authors provide a fascinating elucidation of past and present meanings of faith, in and around Bendigo, as a lived dimension of experience."Authors: Jennifer Jones, Timothy W Jones, Nadia RhooK and Charles Fahey. With Elizabeth Offer and Natasha Joyce. Published by ANU Press. Softcover book. Front cover has a brown, yellow and green coloured photograph of an Australian bush scene with the title and authors printed in white. The back cover has a description of the contents and biographical details of four authors. 260 pp. Black and white photographs, figures, maps and tables.bendigo, faith on the goldfields, religion on the goldfields, customs, rituals, easter fair, djaara people, traditional owners.

Wurundjeri territorial groupings; subsistence; recreation of daily life; recreation; tribal law; kinship; childhood; religion and mythology; material culture, includes description of bark canoe manufacture; map of significant sites; culture contact and historyPaperback; 40 p. : ill., maps ; 23 cm.ISBN 0947353003aborigines, wurundjeri, social customs, stories, bulleen

The discovery of gold in Australia was a pivotal moment in the nation's history, leading to a series of gold rushes that transformed the Australian colonies. The first discoveries of payable gold were at Ophir in New South Wales and then at Ballarat and Bendigo Creek in Victoria. The gold rush began in Victoria in 1851 and quickly spread to other parts of the state, drawing thousands of miners from around the world. The influx of free immigrants brought new skills and professions, contributing to a burgeoning economy and leading to the development of more progressive cities from the former convict colonies. The gold rushes not only brought wealth but also created challenges like lawlessness and disputes over claims, influencing political developments and leading to the establishment of laws recognizing miners’ rights. The gold rushes marked the beginning of Australia’s reputation as a land rich in natural resources, laying the foundation for the thriving gold industry we see today. "Gold. Forgotten histories and lost objects of Australia" edited by Iain McCalman, Alexander Cook and Andrew Reeves. Discusses different aspects of gold on the community - immigrants, development on the Australian colonies, indigenous population, domestic culture, and material culture. Hard cover. Published in Australia by Cambridge University Press in 2001. No dust jacket. Cover is all black with title, editor names and publisher in spine in gold text. Book includes both color and black and white images. Contains index. 344 pp. ISBN 0521805953.goldfields, miners, aboriginal, chinese miners

This petticoat was originally owned and worn by Annie Ziebell (née Robertson) (1872–1953) and remained within the Ziebell family. In 1967, descendant Janet Hubbard altered the waistband so that the garment could be worn as part of her wedding ensemble for her marriage to Terry Hubbard on 1 December 1967. The adaptation and continued use of the petticoat demonstrates the enduring significance of family clothing and the intergenerational transmission of material culture within the Ziebell family.

Newell Harry is an Australian-born artist of South African and Mauritian descent. Harry’s work often references the cultural agitation brought about by colonial migration and the associated complexity of identity, nomadism, dislocation and myths. Untitled (gift mat #XIX) (Cape Flat / Kape Shack) is part of a series of gift mats that Harry has created in collaboration with weavers from the Vanuatu island of Mataso since 2007. Untitled (gift mat #XIX) (Cape Flat / Kape Shack) is a contemporary work of art that takes the form of a woven ‘gift mat’ - an example of material culture of Vanuatu. Conceptually and visually significant to all of Harry’s gift mats is the use of text, which in the case of this work refers to Cape Flats - an area of Cape Town, South Africa, that was designated for settlement by ‘non-Whites’ in the late 1950s under the South African Apartheid system. Newell’s gift mats generally merge the material culture of Vanuatu and the Afrikaans language of South Africa and present it in a Western contemporary art forum. But ‘Untitled (gift mat #XIX) (Cape Flat / Kape Shack)’ also invites an interpretation of the words ‘flat’ and ‘shack’ with reference to an Australian usage. The object represents a mix of the artist’s familial and experiential influences that relate to his mother’s homeland, South Africa; the country of his birth and upbringing, Australia; and his place of creative retreat, Vanuatu.

Ice skates used to skate on Lake Catani. Ice skating was a popular activity for guest and visitors to Mt Buffalo. Ice skates were provided for hire by the the first Lessee of the Chalet, John Newton and also Norwegian born Hilda Samsing, who took over from him in 1919 and did much to pioneer and promote winter sports in the Victorian Alpine region . Ice cover on the Lake has not been sufficient for safe skating for many decades. 'After its initial popularity, skating at Mount Buffalo dwindled in the post-war years. According to Museum Victoria curator, Michelle Stevenson, few collections hold historic ice-skates, so any early examples identified in the Chalet collection will be important for their rarity." (Pg 94. Historica) 'Ice-skating was a popular recreational activity in the later nineteenth and early twentieth centuries...According to Michelle Stevenson, Australian Collections hold little material culture relating to its practice other than images and film. The few pairs of ice skates in the Chalet collection, which are in good condition, are important for their rarity as well as for illustrating the popularity of skating on Lake Catani prior to WW2.' Pair of black leather ice scates, mounted on wall. Skates feature white laces, metal blades and brown leather reinforcing area around laces and ankles.Boots are stffed with 1993 newsprint.On skate blade, "Made in Canada 11 1/3 CCM / Senior A" On boot sole , "Made by J Molony " plus worn name label.

Digital PDF Filenon-fictionThis story is about how the Maribyrnong River was, how it once ran wild, and how it has changed. You will glimpse the Indigenous connections to the river and the river’s passage through early settlement, industrialisation and modern times. All the while, reflecting on its worth, not through a commercial or residential lens, but through the eyes of recreational fishers who love the river for itself. From historical newspaper articles, through piscatorial societies and angling clubs, fishers have long stood up to protect the environmental values of the Maribyrnong River. By committing their licence fees to this project, anglers are again pressing for the recovery of this wonderful river.maribyrnong river, salt river, aborginal, aborigine, first nations

Sarah Contos is a multidisciplinary artist working across various modes of collage, sculpture and installation. Contos explores identity, eroticism, femininity, materiality, popular culture and history. She describes her life in relation to contradictions, saying: “I make quilts for art but never for warmth. I watch cooking shows but never cook. I want to cover my home in florals, but it ends up in wine stains.” Total Control is a quilted textile work notable for its screen-printed surface of imagery sourced from 1970s editions of the provocative Australasian Post magazine. Contos’ use of dangling fabric tubes, coils and pillows, and fabric patches draw allusions to the body; these elements are both familiar and confronting.

Old England Vol 1 Edited by Charles Knight Publisher: James Sangster & Co Date: 1864 Further Information: Red highly embossed hardcover with spine and lettering in gilt. Title to front cover in a egg shaped lozenge patterned in gilt. The spine has a Library label with an inscription.non-fictionThe full title of the work is ‘Old England: A Pictorial Museum of Regal, Ecclesiastical, Baronial, Municipal, and Popular Antiquities’. Edited by Charles Knight, this book serves as a massive, richly illustrated compendium of British social, architectural, and cultural history. It traces the development of England from prehistoric and Roman times, through the Middle Ages, and up to the 18th century.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, old england vol 1, chromolithographs

Artillery shells were designed to be recycled and spent shells were returned to the munitions factory for re-filling, a mark engraved upon the head-stamp at each re-filling. Millions upon millions of shells were recycled and re-fired. Relationships with ‘objects’ were forged as recycled objects of conflict were welcomed into people’s homes. Such objects were embodied with personal experiences of war, later to become objects textured with memory, remembrance, and longing – attributes that clearly go beyond an object’s form and function. 18-Pounder Artillery Shells: The Great War Recycled and Re-Circulated Categories :Material Culture Machine Subscribe Share on facebook Share on twitter The intention of war is to kill, to maim and to destroy using, for example, the agency of 18-pounder artillery shells (so-called because they weighed 18 pounds). The shells were loaded in to the 18-pounder field guns used by the Royal Artillery and targeted to destroy German batteries and trenches as well as to shoot down aeroplanes. Horse-drawn field gun, Canal du Nord, France. Taken by First World War photographer David McLellan. Available via the National Library of Scotland as CC BY-NC-SA Horse-drawn field gun, Canal du Nord, France. Taken by First World War photographer David McLellan. Available via the National Library of Scotland as CC BY-NC-SA In Under Fire, Henri Barbusse recounts how the incessant and diabolical din of war constantly bombarded the soldier body with the unendurable noise of bursting shells that caused pain to the ears (Barbusse 2010 [1933]: 207). The noise was so ‘monstrously resounding’ that one felt ‘annihilated by the mere sound of the downpour of thunder’ (Barbusse 2010 [1933]: 206). Artillery shells were designed to be recycled and spent shells were returned to the munitions factory for re-filling, a mark engraved upon the head-stamp at each re-filling. Millions upon millions of shells were recycled and re-fired. A mound of spent shell cases, Nord, Nord-pas-de-Calais, France. Taken by war photographer, Tom Aitken, 1918. Available via the National Library of Scotland as CC BY-NC-SA. A mound of spent shell cases, Nord, Nord-pas-de-Calais, France. Taken by war photographer, Tom Aitken, 1918. Available via the National Library of Scotland as CC BY-NC-SA. People’s experience of the First World War did not end with the armistice. Whilst the noise of the artillery had ceased, the noise of war was remembered. Harry Patch on arriving home injured recalled being ‘jumpy for a while’ with the least noise prompting him to dive for cover (2009: 114). Something else materialised. Relationships with ‘objects’ were forged as recycled objects of conflict were welcomed into people’s homes. Such objects were embodied with personal experiences of war, later to become objects textured with memory, remembrance, and longing – attributes that clearly go beyond an object’s form and function. The head-stamp of these particular shells displays the British broad arrow and the initials ‘EOC’ indicates that they were made at the Elswick Ordnance Company, England; the initials ‘CF’ signal that the charge was loaded with cordite, a standard propellant. Spent shells were illicitly scavenged from massive mounds by both soldiers and civilians alike to become personal souvenirs or to swap or sell. Spent artillery shells were crafted, often using a hammer and a bent nail. The crafting of trench art reflects the construction of an identity that offers momentary relief from the hell experienced in the trenches. The lid of an 18Pounder shell which has been adapted for use as an ash tray.Lot 27 1927, 18Pr, III, EOC, C/F, Defence broad arrow,

'Worlingworth', Eltham, home of noted anthropologist the late Professor Donald Thomson and his wife Dorita Thomson. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p127 Dubbed as ‘Australia’s Lawrence of Arabia’ anthropologist Donald Thomson lived much of his life in Eltham, at Banoon Road. On his retirement as Professor of Anthropology in 1968, The University of Melbourne professorial board compared Thomson to Lawrence of Arabia because of his work for Aborigines and his controversial personality. Although Thomson is now recognised for his huge contribution, during his lifetime he suffered opposition and his life has been described as ‘tragic’.1 Thomson failed to gain the recognition as a scientist that he felt he deserved and he failed to alter government policy towards Aboriginal people. But towards the end of his life in 1970, anthropologists were moving towards the type of research he had done and the movement to grant land rights to Aborigines was strengthening. Thomson is best known for his anthropological fieldwork in Cape York, Arnhem Land and Central Australia, but he is also known for his scholarly contributions to ornithology and ecology. Thomson documented every aspect of the daily and ritual life of the Aboriginal world of Cape York and Arnhem Land in the 1930s and 1940s. The huge collection in Museum Victoria includes 11,000 photographs, 7500 items of material culture, 1000 botanical and zoological specimens and 4500 pages of field-notes.2 The film Ten Canoes used Thomson’s photographs as a source. Thomson bought the Eltham property known as Worlingworth in 1934. The single-storey 60-square house standing by the Yarra River was built in 1922-23. It is one of the last in Eltham to survive with its farm setting intact. It is also one of the few substantial residences built in the Eltham Shire from the late 19th century to the early 20th century, which signalled a major change in the area towards the residential municipality it is today.3 The original section, built in the mid 1860s, of rose pink hand-made bricks and stone quarried on the property, was incorporated in the new red-brick house built in 1922. An immense oak tree by the house grew from an acorn brought by Patrick Armstrong who first bought the land in March 14, 1862. Armstrong named Worlingworth after his forbears’ village in Suffolk, England. Worlingworth saw grand days when Commander Alan A Barlee (R.N.) bought it in 1922 after winning the Calcutta Sweep. The property then included a nine-hole golf course, a tennis court, a bowling green, a boathouse and a boat-ramp.4 For most of his career Thomson, who was born in 1901, was attached to The University of Melbourne. In 1935 he represented the Commonwealth Government at Caledon Bay in east Arnhem Land to investigate and mediate for four Aborigines accused of killing five Japanese and three Europeans. In 1938 Thomson was awarded a PhD in Anthropology at Cambridge University, and during his career, he received several medals from British Societies, who perhaps appreciated his work better than their Australian counterparts. From World War Two, Thomson suffered a string of hardships, beginning with severe wounding in Dutch New Guinea (for his military service in New Guinea he was awarded an OBE) and he was invalided from service in 1944. That year he was diagnosed with diabetes. A fire in 1946 destroyed what Thomson regarded as perhaps the best record he had made of Aboriginal life – the 20,000 feet, (6096m) of film he had shot in Arnhem Land. In 1954 he and wife, Gladys, divorced. The next year he married his technical assistant, Dorita McColl. Several times during his career Thomson had major disagreements. For instance Professor P Elkin constantly opposed his work. He also opposed Thomson when he campaigned vigorously in 1947 against the establishment of a rocket range at Woomera, South Australia, because of the threat it posed Aborigines. Thomson resigned in frustration from the Victorian Aborigines Welfare Board in 1967, after serving for ten years, because he found that his advice was disregarded. His ashes were scattered over Caledon Bay from the air.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, banoon road, donald thomson, dorita thomson, eltham, worlingworth

Angel featured as part of the exhibition Anatomy Lessons, shown at the National Wool Museum in 2024. The exhibition featured meticulously-sculpted, life size skeletons, making visitors question their place in this web of the living and the dead. From a towering giraffe stretching 4.4 metres in height, to an army of over 50 delicately rendered frogs, this exhibition was enthralling in scale. Each sculpture is an accurate portrayal of a real animal and is carefully measured, drawn, and moulded from steel, wire, and foam. The frame is then intricately knitted over to create these thought-provoking pieces. Each sculpture tells a story, one of the collection of animals by museums and collectors, of Western safari hunters, of human encroachment, and of the often-sad role of the animals in our lives. These underlying concepts are explored and reflected by the materials used. Wool, that speaks of warmth, of comfort, of care, meets the size, grace, and sheer breathtaking beauty of the pieces, clashing with the hard and complex stories beneath. The smallest of Beevors’ knitted pieces was made while reflecting on the global tropical fish trade. At the time, press reports predicted that the imminent release of the film ‘Finding Dory’ would increase demand for pet tropical fish. People enjoy a good fish story, but studies have revealed that widespread reports of the ‘Nemo Effect’ following the debut of the film’s predecessor, ‘Finding Nemo’, were exaggerated. Data collected to assess people’s interest in blue tang, the species of the title character in ‘Finding Dory’, revealed an increase in online searches for “blue tang”, but no evidence of an increase in their trade or visits to public aquariums to observe them. When discussing the action and attitude effects of pop culture depictions of animals, it is necessary to investigate evidence-based material. Pop culture, wildlife documentaries, web videos, blogs, and news stories: there is a great ocean of content to consume, but the mechanisms by which witnessing these representations of animals and nature leads to tangible behaviour change, positive or bad, individual and social, remains poorly understood. In a world inundated with messaging and content, could a simple phrase like “fish are friends, not food” influence attitudes? Originally from Australia, Michele Beevors has been practicing in New Zealand for the last 20 years. She is Head of Sculpture at Dunedin School of Art, Otago Polytechnic, New Zealand’s oldest, and one of its most prestigious, art schools. Beevors has exhibited in galleries, museums, and exhibition spaces in across New Zealand, Australia and Vienna with art that is defiant, unconventional, and moving.Knitted white woollen fish skeleton, with black pupil.knitting, art, conservation, sculpture, skeletons, anatomy lessons, michele beevors, fish, angel fish

This is a book of 428 pages. The cover has brown composite material with a leather spine and corners. The spine has gold lettering and gold ridged lines. The corners are somewhat tattered. The title page and some other pages are torn. The pages contain printed text, black and white diagrams and sketches and colour illustrations.non-fictionEncyclopedia of Technical Education.Two volumes with technical information on a wide range of subjects. technical education, technical school text book, warrnambool

This book by Richard Broome gives details on the history of aborigines in Victoria from 1800 to the present day. The sections on this book on the aborigines in the Warrnambool area, particularly those at the Framlingham Aboriginal Reserve, are of great local interest. The Framlingham settlement dates from the 1860s and is today an important centre for aboriginal culture and lifestyle. This book is of interest because it gives an overview of the history of Victorian aboriginals and the information it contains gives us a greater understanding of aboriginal culture. It is of interest also because of its sections on the Framlingham Aboriginal Reserve and this information will be useful to local researchers. This is a soft cover book of 467 pages. It has a brown cover with a photograph of two aboriginal boys on the front cover and yellow and white printing on the spine and back cover. The pages contain a preface, acknowledgements, four sections of printed material, recommended reading, endnotes and an index. The text contains many black and white photographs and sketches. framlingham aboriginal reserve, history of warrnambool