Headstone inscription: "In Affectionate Remembrance / EBENEZER JAMES / late Chaplain to the Naval Forces of Victoria / and / The Victorian Seamen's Mission/ This stone is erected / by Friends of all nationalities and creeds as a mark of esteem for his unselfish and consistent Christian efforts for the social and moral advancement of our sailors/ and / in recognition of.... his indefatigable and praiseworthy exertions the stamping out in Victoria of the cruel degrading maritime curse of crimping was mainly due. / Born 11th of March 1841 Died 14th of July 1901/ "A good deed is never lost. He who sows / courtesy reaps friendship and he who plants kindness gathers love." Basil. The Headstone was found at the Melbourne Cemetery, Carlton in 2016. Rev James worked at Port Melbourne and Williamstown Missions but was also a regular visit to Geelong and other coastal ports and beside encouraging fortnightly entertainments and Chapel services, actively shipvisiting to meet with Seamen.This image documents in full the inscription on this commissioned marble headstone marking the grave of a significant figure, the second Chaplain at Port Melbourne, and an important figure in the development and story of not only the Mission to Seafarers in Victoria but also in the life of the Naval Force of Victoria prior to Federation. Rev James was not only an influential figure in the stamping out of crimping, the exploitation of seamen, but also actively worked with government and community to improve the quality of life by active lobbying for the controlled licensing of hotels and liquor sources to limit the incidence of drunkeness rife in the Ports and Wharves of Victoria in the late 19th Century. See also MTSV 0030Large Sepia photograph on paper mount features an Inscribed marble Headstone and grave with a stone facing and surround supporting low decorative cast iron railing. There are flowers and ferns on the grave.Across edge of grave in White upper case: J ROBINSON CARLTON appears to be over printed, the Sepia image may be a copy of an original photograph. Inscription on the headstone can be read, see full wording below in History field. on the paper mount below lwr edge of Photograph: "T. TENNENT 'PHOTO-GOLD TS' COLLINGWOOD"ebenezer james, chaplains, seamen exploitation of, naval force, victoria, melbourne cemetery, carlton, maritime crimping, ebenezer james (1841 - 1901), carlton, mission to seamen, seamen's mission, mission to seafarers

Found objects including rubbish (thoroughly cleaned), floral and faunal debris collected whilst walking along the Birrarung and Diamond Creek in Eltham were scattered over light sensitive colour paper to create this photogram. The toxic haze hanging over 'Praiseworthy' in Alexis Wright’s award winning epic novel, informs this work and is used as the beginning point for composition: establishing a sensation of human suspension amongst virulent natural cycles that grow under, over and through human generated toxic effluvium. In both Wright’s and this work, untold colonial damage to place and culture are expressed as the result of racist and exploitive systems of domination. The work stems from years of research in the expansive Escarpment project in which I have been working alongside InPlace director Eugene Howard at Garambi Baanj to investigate the possibility of artists working as active caretakers of place and navigating ways creative practice can nurture natural spaces to derive art materials. I engage with the Diamond Creek and Garambi Baanj ecosystems by looking and actively removing rubbish that are transformed into artwork through creative endeavour and processes. Where previously I have framed landscapes from a distance using European compositional devices. In this work I am in with ‘touch’ place, that are also my materials, and look out from amongst it." Of Anglo descent Siri Hayes was born on Boonwurrung Country and has mostly practiced on Wurundjeri Woi wurrung Country in Eltham, where she lives with her artist husband and two children. Hayes works across photography, video and textiles as materials to investigate the photographic paradox in which illusion and the indexical or physical connections to the real, coexist. She is particularly interested with creatively interrogating the slippages between these but is also intrigued with how materials can embody engagement with place. Hayes has exhibited for over 20 years in solo and group exhibitions throughout Australia as well as in Japan, Canada, Finland, France and Poland. These include 'Photography: Real and Imagined,' 'Negotiating this World: Contemporary Australian Art,' 'Melbourne Now' and 'Stormy Weather: Contemporary Landscape Photography' all at the National Gallery of Victoria, 'Future Primitive' at Heide Museum of Modern Art, 'Boundary Line' at TarraWarra Museum of Art, and 'Contemporary Australian Portraiture' at the National Portrait Gallery. Hayes’s work also features in over 20 public Australian collections including the National Gallery of Australia, National Gallery of Victoria, Heide Museum of Modern Art and many reputable collections. She has received several photographic prizes including the National Photographic Purchase Award, an Australia-Korea Foundation travel grant and the Olive Cotton Award for Excellence in Photographic Portraiture. In 2008 she was a finalist in the inaugural Prix Pictet exhibited at the Palais de Tokyo, Paris, France an award for international photography that engages with environmental themes. In 2010 Hayes was artist-in-residence at the. Australia Council studio in Barcelona, Spain. Hayes completed a Bachelor of Fine Arts (photography), a Graduate Diploma of Visual Arts and a Master of Fine Art all at the Victorian College of the Arts. She also works in higher education as a lecturer in photography and visual art at the Victorian College of the Arts and has guest lectured at many other universities and institutions since the early 2000’s. Hayes is a member of the Paradoxa Collective who are four contemporary artists including Penelope Aitken, Anna Farago, Susan Wirth and Hayes that share an interest in peri-urban landscapes, connecting to the land through practical restoration and regeneration activities combined with site-informed art making who often use natural and found materials to create works that reflect on connections between places and people. She is also working onsite at Garambi Baanj alongside InPlace director Eugene Howard on the Escarpment - a multi-year project that investigates how artists might work as active caretakers of place and navigate innovative ways creative practice can nurture natural spaces to derive art materials. Unique state chromogenic photograph (photogram)praiseworthy, alexis wright, photogram, debris, photography, laughing waters, garambi baanj, ecosytem, environment, birrarung, diamond creek, eltham, caretaker, nurture, index

Black and white photo: Head and shoulders image of F. Liszt He is wearing a three piece suit, waistcoat buttoned up to neck, stiff white collar. Long white hair, profile image. Generic letter from F. Liszt is printed on rear of postcard. The letter reads; mason & Hamlin Co. Boston - Letter from Franz Liszt to Mason & Hamlin Co.. Highly esteemed Sirs; - What a magnificent organ for which I have to thank you! It is a marvel, and really praiseworthy! Even players of moderate ability will be able to create much admiration in its use. I shall have this summer, in all probability, a call from Dr. Naumann, of Jena, Walter Bache, of London, and St. Saens, who, in my opinion, is the most eminent and greatest master of the organ. I shall not fail to induce these artists to become acquainted with your instrument. There need not be any fear of its being misused; it will remain closed to the ordinary player. Accept, dear sirs, the sentiment of my deep esteem and gratitude. Weimer, June 12, 1883. F. Liszt.Mason & Hamlin Co., Bostonperson, individual, f. liszt, sandhurst, bendigo, pethard, f. liszt