Burial form for the Clunes Public Cemetery. Mrs Mary Williams completed the form to purchase a plot in the Methodist Section, Plot 3634. Paper outlines in detail the conditions and responsibilities of heirs with regard to the area. The Trustees of the Cemetery, Frederick John Matthews, Joseph Preston, M O'Toole and s. Allen signed this before a witness.Foolscap size with appropriate information written in by hand Signatures of Trustees Date: 10 October 1899 Red sealmary williams, clunes public cemetery, right of burial, methodist section, trustees, frederick john matthews, m o'toole, s allen, joseph preston

Certificate showing that, upon payment of 10 pounds, Edith Jackson was granted a plot number 165a in the Baptist section of the St Kilda General Cemetery, on 14 February 1929.White paper, discoloured with age, printed and handwritten on both sides in black. Red wax seal attached.st kilda cemetery, edith jackson

James Jones was the son of Philip Jones, a Chairmaker, and Ann Jones who settled in East Brighton after the sale of land c1852 in the area of the Henry Dendy Special Survey of 1841. Mary Ann Moore was the daughter of Thomas Moore, a Gardener, and Sarah Harris who also settled in Brighton c1852. James and Mary Ann Jones settled and raised their family in East Brighton now Bentleigh. Mr John Herron resided at 4 Vickery St Bentleigh until 1989. Sadly Martha Jones born 1888 died in 1890 and James Jones had to purchase this plot at Brighton General Cemetery for her burial. A further 2 children were interred in 1893 and 1900 then Mary Ann in 1903 and James in 1940 James Jones and Mary Ann Moore were born in Brighton c1857 and c 1859 into pioneer market gardener families in the area of the Dendy Special Survey of 1841. They married in 1883 and raised their family in East Brighton, now Bentleigh. Sadly infectious diseases took the lives of many infants throughout the Colony of Victoria due to the poor state of water supply and sewerage disposal and locally the swamps of the Elster Creek were a constant breeding ground.An original paper Certificate of Right of Burial in The Brighton General Cemetery signed and dated by the Trustees of the Cemetery upon the application of James Jones of East Brighton, Victoria, 22nd April 1890. A plot , Register No. 2844, of 4 feet in width and 8 feet in depth in the Wesleyan Section, No. 199, compartment G in the Brighton General Cemetery. would be supplied upon payment of Two Pounds two shillings and receipt of same is acknowledged. Certificate of Right of Burial / IN THE / BRIGHTON GENERAL CEMETERY. Application of Mr James Jones of East Brighton for a plot to be supplied upon payment of Two Pounds and 2 Shillings and receipt of same acknowledged. Signed by the Trustees of the Cemetery, (4 signatures) in presence of S. Simmonds, dated twenty- second April 1890 Reverse side Dated 22nd April 1890 / Certificate of Right of Burial / IN THE / BRIGHTON GENERAL CEMETERY/ Mr James Jones ( hand written) / DENOMINATION Wesleyan / Compartment G / No. 199 Hand written on right side 3454 (signed) S Simmonds / 4797 (signed) S Simmonds / 36897 20/ 11 / 40 melbourne, brighton, moorabbin, water supply, pioneers, bentleigh, dendy henry, market gardeners, early settlers, jones mary ann, wesleyan church, jones james, vaccination, typhoid, dendys special survey 1841, infectious diseases, elster creek, jones martha, brighton general cemetery

Very light card cover, bound with two long cotton stitches and knotted in middle pages. Cover has foxing throughout. Surrounding pattern on front page repeating small and large loops. Black print on off white paper. Twelve pagesnon-fictionThis booklet sets out the rules and regulations of the Tower Hill cemetery in 1857.warrnambool, tower hill cemetery, towerhill cemetery rules 1857

Selina Deravin (Born 1882, Serpentine Creek. Died 1968, Melbourne, age 85), father John White, mother Mary Ann Nicholls was married to Garnet Deravin, a medical doctor. In 1928, (Electoral Roll Bendigo) Garnet and Selina were living at 109 Queen Street, Bendigo; later at 13 Tuxon Street, North Balwyn, where Garnet died on 15th. April, 1954 (Argus, 17th April, 1954). Deravin family owned the Chateau Dore vineyard and winery. Selina published a book of her poetry. A poem ' Beside the Swamp' was written following her visit to the swamp at Boort: ' In silence by the graves I stood, of those who long had lain at rest/In lonely quiet, in the bush. Long gone are they who loved them best/The trees still whisper by the swamp; the night birds call, and vigil keep/As in those far-off yesterdays - where Campion and three children sleep........'Selina White Birth Date Abt 1882 Birth Place Serpentine Creek, Victoria Registration Year 1882 Registration Place Victoria, Australia Father John White Mother Aary Ann Nicholls Registration Number 25736 Hand written letter by Selina De Ravin, titled 'The graves beside the swamp at Boort.' dated November 1962. Two of the headstones lie broken on the grass covered graves. On the granite slab at the right is the inscription 'In memoriam. George F. Campion of Exeter Devon, England, who departed this life, May 31st 1851. Aged 19 years. The 2 month old baby boy of 'John and Jane', married couple on 'Boort', died the same day and was buried beside Campion. There is nothing to mark his grave. Both were buried by the Station men. Mr J. R. Godfrey read the burial services for both. On the marble slab at the left can be deciphered the inscription sacred to the memory of George Bertram, fourth son of Henry and Mary Godfrey, Born 18th November 1858. Died 11th April 1860. On the headstone still standing can be read the inscription Sacred to the memory of Samuel C. Sutlee, who died April 1st 1871, aged 2 years 4 months. He is not dead - but sleepeth. This child was the son of a married couple 'on Boort', after the Godfrey family had left 'Boort'. Note - My nephew Russell Coutts of 'Dunbar', Boort, (formerly 'Boort' Station) is erecting a fence around the graves. His son, Peter took these photographs. I wrote the verses 'Beside the Swamp' after my first visit to them in 1957. I always take flowers and place them on the graves whenever I visit 'Dunbar' Selina M. Deravin 1962Russell Coutts and his son Peter have restored the graves beside the Lake at 'Dunbar' and erected a graveyard. This photograph was taken by Peter and the flowers placed on the graves by his mother Wilma who helps to care for them. They also discovered a fifth unknown grave there when erecting the fence and re- erecting the broken and fallen headstones. S. M. Deravin. (Selina De Ravin) a. Typed poem on carbon copy flimsy paper: 'Beside the Swamp', signed in blue pen by Lina Deravin, January 1957'. Written on the bottom in blue pen: ' In February 1960 when on a visit to Boort I took some flowers and placed them on these graves beside the swamp'. Signed Lina Devarin.Selina M. Deravinmemorials, graveboards, boort cemetry, russell coutts, 'dunbar', peter coutts, george f. campion, boort cemetery, samuel c. sutlee?., poetry, poem, garnet deravin, selina deravin

Barque Metropolis was possibly that of the 1887 4 masted barque built by R & J Evans, Liverpool. Officers of the Barque Metropolis are also joined by crew of the Penryhn Castle in port at the time. The ladies on the far right of the funeral party may be relatives but more likely to be representatives from the Mission to Seamen offering sympathy to fellow crew members and honouring the burial of the apprentice, Ray Rattley name also reported in the LHLG newsletter as Rutley. The Apprentice was ill after arriving from S. America in August 1914 and was taken to a local hospital but died the following day. The Mission chaplain attended him.The image of the burial is significant in the depiction of a multi-cultural crew and the presence of local women representing and symbolising the concern and sympathy felt for the apprentice's family and the plight of young seafarers far from home ports. The inscription with identifying names provides a valuable chronological link with seafarers and clergy attending the burial and funeral. Black and white photographic print adhered to mount board with handwritten inscription identifying some of the people depicted photographed while attending an internment and funeral service.Inscriptions in black ink along the lower edge of the mount beneath Photograph: Left to right names of crew and chaplain see image.at Lwr left printed in cursive : 'The Swiss Studios' and at right corner: "Melbourne" on reverse: in Pencil handwritten cursive " To Rev A G Goldsmith / from Capt P Jones / Barque Metropolis " roy rutley, barque metropolis, funeral, burial

St James Church, "Church of the Pioneers", was the first Church, first Anglican Church, and is the oldest building in Melbourne. The foundation stone was laid in 1839 by the Superintendent of the District of Bourke, Charles La Trobe, later Governor of the Colony of Victoria. The Church was opened in 1842 and the first Bishop Charles Perry was installed in the Cathedral in 1848 when its status changed to that of Cathedral. Its status changed back to that of a Parish church after 1891 when St Paul's Cathedral in Swanston Street was opened. St James is known as the "Church of the Pioneers" as it served as the place of worship, marriage, baptism and burial of many of the first families in the District of Bourke and the Colony of Victoria. St James Old Cathedral is of the most important historic value to the community of Victoria and to the Australian nation as the first Anglican Church founded within 4 years of the settlement of Melbourne. It represents and conserves the very earliest history of white settlement in Victoria and preserves the church associated history of the Pioneer families of Victoria in its collection of original records and artefacts. Late Neo-Georgian style stone church building with bluestone footings. Octagonal upper one storey bell tower housing eight bells supported by two storey square towers. Body of church has sloping roof and 4 stained glass ornamental windows on each of west and east sides with decorative sanctuary window to the north. Decorative Portico with columns on the north outside elevation. National Trust Commemorative plate on outside wall to right of east entry door.

Printed account from Thomas Oakley, Furnishing Undertaker, dated March 15 1872 for Coffin Hearse Grave & ?ester. For burial of late Brother Goeler, Signed Paid T. Oakley. Account has black border on sides and top. Account has dividers with set square and a hand with a heart in the centre on the left and a part moon with a face surrounded by seven stars and two hands shaking on the right.societies, aof, correspondence, ancient order of foresters no. 3770 collection - correspondence, court king of the forest, thomas oakley, br goeler

Circa 1918: Various Photos of the Cheltenham Methodist Youth Group. Row 1 and 2: "At Flinders". Row 3: 1st Left, "Holidaying at Cockatoo". in 1852 Stephen Charman, who had arrived in Melbourne 1842 aged 21 years as one of Henry Dendy's emigrants, purchased 160 acres in Spring Grove ( now Cheltenham). Stephen and his family lived in a wattle and daub hut and worked hard to establish a market garden, poultry and pig farm. The first Methodist Church Services were held at their home. In 1855 Stephen gave 1 acre of his land on Balcombe Road to the Methodist Church for a School, Burial ground and a Chapel which was built in 1857.The Methodist Church, Balcombe Road was the 2nd religious building to be erected in Spring Grove now known as Cheltenham c 18577 small black and white photographs of the Cheltenham Methodist Youth Group at Flinders, Cockatoo and unkown locations, c 1918 . First 3 photos are of male cyclists on a trip to Flinders, Victoria. Photo 4 shows 6 ladies and a man on holiday at Cockatoo in the Dandenong Ranges ,Victoria . Photos 5 to 7 show men, women and children in bushland surroundings of unrecorded locations.Photo 1 - 3 on back : Flinders 1918 Photo 4 left on back : Holiday at Cockatoo right on back : Whitehead Photo 5-7 nilcheltenham, cheltenham methodist youth group, 1914, 1918, charman stephen, gettens mary, spring grove, methodist church, charman road, balcombe road, dendy henry, henry dendy's special survey 1841, youth groups, social groups, market gardners, early settlers, pioneers, dairy farmers, poultry farmers, pig farmers,moorabbin, brighton,

Brown hardcover book with a brown dust jacket. Both the front cover and spine of the dust jacket show the title and a brown and white drawn image of lines of soldiers marching in uniform.non-fiction Gallipoli was the final resting place for thousands of young Australians. Death struck so fast there was no time for escape or burial. And when Gallipoli was over there was the misery of the European Campaign. Patsy Adam-Smith read over 8000 diaries and letters to write her acclaimed best-seller about the First World War. These are the extraordinary experiences of ordinary men – and they strike to the heart. The Anzacs remains unrivalled as the classic account of Australia's involvement in the First World War. [Penguin Books]world war 1, ww1, wwi, world war one, australian and new zealand army corps, anzac, military campaigns, anzac day

German POW funeral, Murchison Cemetery.Black and white photograph of burial of German comrade in Murchison cemetery. 2 placing laurel wreath on grave. An officer in centre of photo, 3 soldiers. Faint photo of officers peak cap on right.On the Italian tombstones EG + Ferrari Francesco.camp 13, german pow funerals, murchison cemetery

This is a map produced to attempt to bring order to the cemetery. Originally the layout was not well defined and it is difficult to use this plan to locate a particular grave, also the fact that not all graves are marked and foot paths are not defined has exacerbated this issue. Photocopy, White paper, black printing, black line work showing lot and compartment boundariesReferences Grid Survey points at 50 feet centres shown (as a cross with the reference mark number in brackets) Lot Number shown at left side of graves. Burial Number shown at right side of grave. Lots with unidentified burials show with dashed cross with in the lot. topographic survey, cadastral survey, carlyle cemetery, burials, graves, lot boundary, rotunda

This is a map produced to attempt to bring order to the cemetery. Originally the layout was not well defined and it is difficult to use this plan to locate a particular grave, also the fact that not all graves are marked and foot paths are not defined has exacerbated this issue. Photocopy, White paper, black printing, black line work showing lot and compartment boundariesReferences Grid Survey points at 50 feet centres shown (as a cross with the reference mark number in brackets) Lot Number shown at left side of graves. Burial Number shown at right side of grave. Lots with unidentified burials show with dashed cross with in the lot. topographic survey, cadastral survey, carlyle cemetery, burials, graves, lot boundary, rotunda

This is a map produced to attempt to bring order to the cemetery. Originally the layout was not well defined and it is difficult to use this plan to locate a particular grave, also the fact that not all graves are marked and foot paths are not defined has exacerbated this issue. Photocopy, White paper, black printing, black line work showing lot and compartment boundariesReferences Grid Survey points at 50 feet centres shown (as a cross with the reference mark number in brackets) Lot Number shown at left side of graves. Burial Number shown at right side of grave. Lots with unidentified burials show with dashed cross with in the lot. topographic survey, cadastral survey, carlyle cemetery, burials, graves, lot boundary, rotunda

This is a map produced to attempt to bring order to the cemetery. Originally the layout was not well defined and it is difficult to use this plan to locate a particular grave, also the fact that not all graves are marked and foot paths are not defined has exacerbated this issue. Photocopy, White paper, black printing, black line work showing lot and compartment boundariesReferences Grid Survey points at 50 feet centres shown (as a cross with the reference mark number in brackets) Lot Number shown at left side of graves. Burial Number shown at right side of grave. Lots with unidentified burials show with dashed cross with in the lot. topographic survey, cadastral survey, carlyle cemetery, burials, graves, lot boundary, rotunda

Nawurapu Wunungmurra is the eldest son of the late Yaggarriny Wunungmurra, the first Aboriginal artist to have his copyright recognised in an Australian court. From an early age he was trained by his father and assisted him with this painting. Later, as his own spiritual authority increased, he painted in his own right. This pole depicts the sea at Garraparra, a coastal headland and bay area within Mungurru, or Blue Mud Bay. Garraparra has been rendered by the wavy design for Yirritja (deep saltwater) that has many states and connects with the sacred waters coming from the land estates by currents and tidal flow. Garraparra marks the spot of a sacred burial area for the Dhalwangu clan to which Wunungmurra belongs. Sacred songs and dance narrate the heroic adventures of two ancestral hunters who left the shores of Garraparra hunting for turtle. On their journey they passed sacred places and ancestral totems before they came to grief when their canoe capsized. The hunters’ bodies washed back to the shores of Garraparra with the currents and the tides, as the Wangupini, cloud rising from the north, followed with its rain and wind. In the songs, the terns (Gitkit) reel in the breeze around these statuesque clouds on the horizon, and this stylised rendition of clouds seen at the top of this work is the latest motif in Wunungmurra’s ouvre.Ceremonial hollow log poles Arnhem Land, Northern Territory The people of Central and Eastern Arnhem Land refer to themselves collectively as Yolngu, meaning human beings. The Yolngu traditionally use logs naturally hollowed out by termites in a funerary and ceremonial functions, principally as an ossuary. In an Australian contemporary art context however hollow log sculptures are purely memorial in function and made explicitly for public display. In Arnhem Land hollow logs are known as larrakitj; hollow logs known by other names are used in burial practices by a number of Aboriginal peoples in the north of Australia. The logs can also represent the deceased person, as the designs applied are the same as those painted on the body during the burial rites. All Yolngu clans belong to a moiety, one of two complementary halves of society: Dhuwa and Yirritja. All such affiliations play a part in Aboriginal artists' inherited right to paint an established set of designs belonging to their social group; this inheritance is, in fact, the artist's copyright over imagery.stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, painting, nawurapu wunungmurra, garraparra, coastal, yirritja, saltwater, sacred burial, cultural heritage, cultural identity

Gunybi Ganambarr has built a reputation for his innovative techniques, incising and shaping barks and adding materials to traditional art forms. He attributes his confidence in using new materials to his twelve year stint as a part of a building team in remote homelands. Ganambarr primarily lives in his mother’s community at Gangan, which lies north-west of Blue Mud Bay in eastern Arnhem Land, Northern Territory. Ganambarr has absorbed the minutiae and spirituality of place; his paintings can be read as meditations on the specific tracts of land for which he is entitled to speak; in this case, a sacred expanse of water behind the Gangan outstation where this work was produced, referred to as Gulutji. Ganambarr’s designs recount the ancestral formation of the land, the beings that reside within its borders and
the seasonal events that nourish its ecosystem. His work exemplifies the confidence and cultural assertion of a new, experimental Yolngu art, while remaining firmly influenced by elders and senior artists. Ceremonial hollow log poles Arnhem Land, Northern Territory The people of Central and Eastern Arnhem Land refer to themselves collectively as Yolngu, meaning human beings. The Yolngu traditionally use logs naturally hollowed out by termites in a funerary and ceremonial functions, principally as an ossuary. In an Australian contemporary art context however hollow log sculptures are purely memorial in function and made explicitly for public display. In Arnhem Land hollow logs are known as larrakitj; hollow logs known by other names are used in burial practices by a number of Aboriginal peoples in the north of Australia. The logs can also represent the deceased person, as the designs applied are the same as those painted on the body during the burial rites. All Yolngu clans belong to a moiety, one of two complementary halves of society: Dhuwa and Yirritja. All such affiliations play a part in Aboriginal artists' inherited right to paint an established set of designs belonging to their social group; this inheritance is, in fact, the artist's copyright over imagery. stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, painting, gunybi ganambarr, natural environment, cultural heritage, cultural identity, cultural knowledge, landscape

Malaluba Gumana dedicates most of her artworks to portraying her mother Marratj Gurruwiwi’s Gälpu clan designs of dhatam (waterlilly), djari (rainbow), djaykun (filesnake) and wititj (olive python or rainbow serpent). Gumana demonstrates a very fine ‘marwat’, a cross hatching technique that utilises a fine brush of human hair, applied to bark and memorial poles. The title 'Garrimala' refers to a billabong close to Malaluba’s homeland of Gängan. Dominating this work are realistic representations of dhatam, the waterlily plant. The Gälpu clan miny’tji – the sacred clan design behind the lillies – represents djari (rainbows) and the power of the lightning within them. It also refers to the force of the storm created by the python Wititj, living amongst the waterlilies causing ripples and rainbows on the surface of the water. The dynamic diagonal lines symbolise trees that have been knocked down as Wititj moves from place to place. Ceremonial hollow log poles Arnhem Land, Northern Territory The people of Central and Eastern Arnhem Land refer to themselves collectively as Yolngu, meaning human beings. The Yolngu traditionally use logs naturally hollowed out by termites in a funerary and ceremonial functions, principally as an ossuary. In an Australian contemporary art context however hollow log sculptures are purely memorial in function and made explicitly for public display. In Arnhem Land hollow logs are known as larrakitj; hollow logs known by other names are used in burial practices by a number of Aboriginal peoples in the north of Australia. The logs can also represent the deceased person, as the designs applied are the same as those painted on the body during the burial rites. All Yolngu clans belong to a moiety, one of two complementary halves of society: Dhuwa and Yirritja. All such affiliations play a part in Aboriginal artists' inherited right to paint an established set of designs belonging to their social group; this inheritance is, in fact, the artist's copyright over imagery. stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, painting, malaluba gumana, waterlily, rainbow, filesnake, olive python, rainbow serpent, natural environment, cultural heritage