John Bradley's compelling account of three decades living with the Yanyuwa people of the Gulf of Carpentaria and of how the elders revealed to him the ancient songlines of their Dreaming.maps, b&w illustrations, b&w photographsyanyuwa, carpentaria

Story in Language and Englishmaps, illustrations, photographs, CDstorytelling in language, magati ke rak yederr, marri ngarr rak thawurr

Black and White Photograph - reproductionInscription along the bottom of picture

Framed ink drawing by Neville Bunningneville bunning, available, saltwater creek, drawing

One of a collection of over 400 photographs in an album commenced in 1960 and presented to the Phillip Island & Westernport Historical Society by the Shire of Phillip IslandPhotograph of W. J. Kennon & D. Justice building the "Hollydene" at Saltwater River. 1930local history, photography, photographs, ship building, "hollydene" under construction, black & white photograph, fishing boats, hollydene, w j kennon, d justice, john jenner, bryant west

Photographic re-enactment of the Gallipoli Landings , staged at Saltwater River Anzac Day 1919inscription along bottom of picture

Photograph of re-enactment of the Australian landing at Gallipoli on Saltwater river. ANZAC day 1919Reproduction black and white photograph, 33 x 23 cm

Set of two drink Coasters, featuring a tramcar image printed onto a foam rubber backing. Tramcars featured are VR St Kilda Brighton tramcar VR41 and NMETL No. 13 at the Saltwater River terminus. Made by the Council of Tramway Museums of Australia for the Melbourne 2006 Conference.trams, tramways, cotma, vr trams, nmetl, souvenirs, tram 41, tram 13

The photograph is of a group of two trams and two trailers of The North Melbourne Electric Tramways and Lighting Co. (NMETL) at the Saltwater River terminus for a major event. The river is now the Maribyrnong. Possibly at the time of the opening or soon after as the road surface alongside the trams is unformed, just ballast.Yields information the NMETL trams possibly soon after opening in 1906.Black and white photograph with notes on the rear.In pencil "No 14, 064". tramcars, tramways, v class, u class, trailers, nmetl, saltwater river, maribyrnong river

The red-winged blackbird is native to North America. They live in a verity of places from southern Alaska at its northern most point, to the Yucatan peninsula in the south and covers the greater part of the continent reaching from the Pacific coast of California and Canada to the eastern seaboard. Populations that are most northerly migrate south after the mating season, but some of the populations in the central and western United States, Central America and the Gulf Coast are resident year-round. In the breeding season, Red-winged blackbirds are found in a range of fresh and saltwater environments, including in small trees and bushes along marshes and watercourses, in agricultural areas and dry meadows. During migration, they can be found in, pastures, prairies and cultivated fields. They are polygamous. The Red-winged blackbirds are known for their scarlet and yellow shoulder patches but on this specimen are rather dull and the feathers are not as glossy black as they are in other images. It is mounted accurately but the feathers appear to be ruffled. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Red-Winged Blackbird is one of the most common birds in North America and is the most boldly coloured one. The males are glossy-black with shoulder patches of scarlet and yellow which they are able to puff up or hide according to their level of confidence. Females look like a big, dark sparrow, being a subdued, streaky brown. The colouring of this particular specimen identifies it as male.[torn] page 58 / Tag: A. 4423taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, american birds, north america, red-winged blackbird, red-winged starling, migratory, alaska, canada, saltwater

RAILWAYS COLLECTION -6 x Unbound Photocopied double sided pages giving information on the construction of the Bendigo Railway Line including Black and white photos of Railway Bridges and Viaducts - which show the Saltwater River bridge , Jacksons Creek Viaduct, Riddell Creek Bridge, Campbell's Creek Road bridge, Forest creek viaduct and Malmsbury Viaduct the photos are grainy in appearance.photograph, landscape

The red-winged blackbird is native to North America. They live in a verity of places from southern Alaska at its northern most point, to the Yucatan peninsula in the south and covers the greater part of the continent reaching from the Pacific coast of California and Canada to the eastern seaboard. Populations that are most northerly migrate south after the mating season, but some of the populations in the central and western United States, Central America and the Gulf Coast are resident year-round. In the breeding season, Red-winged blackbirds are found in a range of fresh and saltwater environments, including in small trees and bushes along marshes and watercourses, in agricultural areas and dry meadows. During migration, they can be found in, pastures, prairies and cultivated fields. They are polygamous. In the north, the early arrival and tumbling song of these birds are welcome indications of spring's return. The Red-winged blackbirds are known for their scarlet and yellow shoulder patches on this specimen are rather dull and the feathers are not as glossy black as they are in other images. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This is one of the most common birds in North America and is the most boldly coloured one. The males are glossy-black with shoulder patches of scarlet and yellow which they are able to puff up or hide according to their level of confidence. Females look like a big, dark sparrow, being a subdued, streaky brown. This specimen has the colouring of the male Red-Winged Blackbird which helps to identify it as such.Swing-Tag: 137a. / Red-winged Starling / Catalogue page, 58 / Tag: A. 4429taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, american birds, north america, red-winged blackbird, red-winged starling, migratory, alaska, canada, saltwater

Engineering Challenges in 19th Century Victoria by Brian C S Harper, or Brian Harper, soft cover 256 pages with black and white photographs. Book includes information on the construction of the Bendigo Railway Line, Coliban Water Scheme, Lower Stony Creek Dam, the Saltwater Railway Bridge, and the Taradale Railway Viaduct. Transferred to Specimen Cottage for use June 2016 Missing from Specimen Cottage. Check sale items 8.12.22Brian C. S. Harperbooks, technical, engineering

Poster promoting a pictorial souvenir "The Coming of the Trams", for the opening of The North Melbourne Electric Tramways and Lighting Co. tram lines to Essendon & Maribyrnong, Saltwater River - with illustrations of a saloon tram towing a trailer. Has adverts for Robinson's Barley, Keen's Mustard, Symington's Coffee Essence, Fry's Cocoa, Bosisto's Eucalyptus oil, Hogan Mooney & Co, J Barwise and Commercial Union insurance. The original poster has names and an address written on it. Dated Oct. 11 1906 and priced at one shilling.Demonstrates a poster promoting a pictorial souvenir for the opening of NMETL tramways in Oct. 1906. Poster, full colour - consisting of three foolsap sheets, photocopies, composited together.nmetl, opening, essendon tram depot, advertising

The Freshwater Crocodile can measure up to 3 meters and is generally not considered to be a threat to humans. They reside in Northern Australia, Western Australia and the northern part of Cape York Peninsula in Queensland. They live in freshwater environments and make burrows among the roots of trees which fringe the waters they can be found in. This species of Crocodile mainly feed on invertebrate and vertebrate prey which includes insects, spiders, frogs, fish and small birds and mammals. They are also recognized as "cannibalistic" with the older Freshwater Crocodile occasionally preying on young hatchlings. These crocodiles are known for their "high walk" which they do to move on land. It is named "high walk" because the animal lifts their body off the ground using their long legs for height. They are able to walk considerable distances on land using this technique. In captivity, Freshwater Crocodiles are known to be hostile and aggressive to others of its species. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Freshwater Crocodile has a slender snout which is much smaller and thinner than its Saltwater counterpart. This specimen has dark grey and brown colouring with the darker colours concentrated around the face and upper torso of the Crocodile. There are darker stripes along the tail which features triangular scales and is long in length. The teeth are visible and bright yellow glass has been used to replace the eyes of this particular specimen. The crocodile has long but thin limbs which protrude from the sides of the body.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, crocodile, freshwater crocodile, johnstone's crocodile

These items were in the Ballarat School of Mines Museum, and when the museum was closed they were saved from the tip, and returned decades later. The Alafolo or afui are anthropomorphic clubs found across the island of Malaita. As war clubs, blows were struck with the edges of the club, which varied in length from under three to four feet. At least some of these clubs served a largely ceremonial function, particularly those rare examples with shell inlay. Malaitans war clubs are usually made of tooa, a reddish hardwood. Most finished clubs are submerged in mud (saltwater or fresh) for about a month, during which time they acquire a glossy black finish.Two native weapons, probably South Pacific in origin. .1) light coloured timber paddle with carving. Possibly Solomon Islands. .2) A dark coloured Alafolo made with heavy ironwood, with geometric designs from the Solomon Islands with stylized face, carved geometric design at top end; two carved rings with geometric design between them toward bottom end.ballarat school of mines, ballarat school of mines museum, ethnographic, paddle, club, ethnographic material, new number, solomon island, alafolo, malaita, weapons, new guinea

Vol. 5, No. 5 (4), Sep-Oct 2000 CONTENTS From Beach to Battleground 3 Talking art with Rick Amor The Poetry of Catharsis 7 New Work by Sandy Jeffs Saltwater 8 Paintings of Sea Country Snake Circle 10 Reviewed by Anna Barden Short Story 12 The Rainbow Shell Theatre Reviews 16 By Kathy Oliver Interview 18 David Moore and why he paints Art Now 21 City of Darebin Biennial Exhibition Australian Classical Music 22 Betty Scarlett William Barak Writing Competition 24 Stories by Emily Borg & Rhiannon Foster New Arts Contributors 26 Were Street Cafe & Studio19 Artin About 27 Wining & Dining 30 Poetry 32 By Shelton Lea Artist's Services 32 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, rick amor, willy wonka's ice cream gourmet food, bulleen art & garden centre, sandy jeffs, museum of modern art at heide, sea country, indigenous paintings, roberta sykes, kinglake gallery, sue yardley, alan marshall short story award, plenty ranges arts & convention centre, eltham little theartre, warrandyte theartre company, eltham wiregrass gallery, david moore, montsalvat, art now, at winter's end festival, artstreams publications, amberley, anthology of australian music on disc, plenty views golf park, wayne viney, william barak short story competition, emily borg, rhiannon foster, dynamic vegies, maria pellicano, steve pellicano, were street cafe, gemma lynch-memory, adriane strampp, nina christesen, stephanie holt, st andrews market, thompsons pharmacy

James Andrew Kangaroo Ground, 1870 "James Andrew, Whittlesea, born in East Palford, Devonshire, England, in 1827, arrived in Adelaide in February 1850 per ship Lady McCaughton and almost immediately sailed in a coasting vessel to Melbourne, where the first work he undertook was clearing earth from a stone quarry in Collingwood. He next carried stones for masons engaged in building the Bishop’s Palace, and then was employed in Cambellfield mowing hay. He was at Saltwater River on Black Thursday, and afterwards took a little farm at Darebin Creek, remaining there for four years. He went up to Kangaroo Ground in 1859 and lived there until he bought his present property at Whittlesea, a farm of between 300 and 400 acres. He has been twice married, and had a family of six children." "Andrew, W. B. Eltham, is a native of England, born in 1822. Coming out to Australia in 1842, he lived in Brighton, Victoria for fifteen years, when he re-visited England for a year. Returning to Victoria fourteen or fifteen years ago, he commenced storekeeping at Eltham, where he has carried on that business ever since. Mr Andrew has always taken a lively interest in the public affairs of town and district” from "Victoria and its Metropolis: Past and Present" written in 1888 by Alexander Sutherland. Chapter 19, "The Upper Yarra District" pages [402] - 415. Includes descriptions of some townships and short biographies of local residents. Page 405 Folder of information on James Andrew, Trustee Kangaroo Ground Cemetery, Kangaroo Ground 1870 William Bravery Andrew, Eltham, 1870s-1880s Ernest James Andrew, Eltham, Eltham Shire Councillor, 1920s-1950 and Ellen Matilda Brown Andrewjames andrew, pioneer, kangaroo ground, ernest james andrew, william bravery andrew, ellen andrew, eltham cemetery, biography, ellen harper andrew (nee clarke), ellen matilda andrew (nee brown), eltham war memorial gate, eltham war memorial trust

J D McHaffie, Phillip Island's first leaseholder, relate how McHaffie set up his headquarters (and later built his house) alongside what is now known as McHaffies lagoon. The McHaffie brothers – John David and William – occupied Phillip Island under a license from the Admiralty in 1842 and farmed it as a sheep run.Historical3 A4 photocopies showing application for lease in 1850, size and description of the land and instructions for the application.w.j.mchaffie, land grant, farming, saltwater creek, crown land

Double sided A4 sheet, on plain paper, printed in colour, titled "Essendon Depot Centenary", looking at the history of the Essendon tram depot, its opening, depot staff and wages, routes and the depot today - 2004. Has the Yarra Trams logotrams, tramways, essendon depot, centenary, yarra trams, saltwater river, 100 years of electric trams

.1 - Set of 8 foolscap pages, carbon copy of "MMTB - Data Regarding Essendon - Tramway Services", from 1.10.1887 to 1.12.1955, giving a list of events, extracts from government papers, concerning the development of the Essendon Tramways. Prepared by H. McComb, dated 8-8-1956. .2 - Set of approx. 80 plain note paper half quarto sheets, giving hand written events for the above notes - gives date, event etc. Some have initials AR by the date. Sorted in date order. Items 2027 to 2030 and 1309 copy 2 contained within box 72.3 in a brown folder marked "Historical Data regarding Essendon Tramways and their services to the City"trams, tramways, essendon, saltwater river, keilor rd, reports, essendon depot, nmetl, moonee ponds

Set of papers, handwritten concerning the history of Essendon electric system. .1 - two foolscap pages notes on the terminus of the electric tramway at Moonee Ponds creek and other notes - dated 31-7-59. .2 - five foolscap sheets - pinned in the top left hand corner - extract from the Victorian Government Gazette - 11.5.1905, p. 1425. .3 - four quarto sheets pinned in the top left hand corner - hand written extracts from: - Argus - 6/10/1960 - p20 - The Age - Friday Oct. 12, 1906 - p6 - Argus - 12/10/1906 - p4 - The Age 12/10/1906 - p6 Items 2027 to 2030 and 1309 copy 2 contained within box 72.3 in a brown folder marked "Historical Data regarding Essendon Tramways and their services to the City"trams, tramways, essendon, saltwater river, keilor rd, reports, essendon depot, nmetl, moonee ponds

Set of papers, handwritten concerning the history of Essendon electric system, track layouts, dimensions, field book notes, plans, sketches of Trackwork prepared by A H McC? - dated 28/8/1958. "Information searched at MMBW from 40' to 1 inch plans showing Essendon Tramways" Includes a copy of a newspaper cutting from The Age 11/10/1956, titled "A Women Drove the First Tram". Items 2027 to 2030 and 1309 copy 2 contained within box 72.3 in a brown folder marked "Historical Data regarding Essendon Tramways and their services to the City"trams, tramways, essendon, saltwater river, keilor rd, reports, essendon depot, nmetl, moonee ponds, mmbw, opening

Set of papers, handwritten concerning the history of the electric tramways in Essendon, some in response to a query from a Mr. H. W, Bryne of Buckley St Essendon, dated 21/5/1956. Prepared largely by H. S. McComb, with notes on the extract of Act 2333, notes to the Chief Engineer, letter from H. Bryne, track layout sketches, meeting notes etc. Dated 1956 - draft of letter to go from the Secretary. Items 2027 to 2030 and 1309 copy 2 contained within box 72.3 in a brown folder marked "Historical Data regarding Essendon Tramways and their services to the City"trams, tramways, essendon, saltwater river, keilor rd, reports, essendon depot, nmetl, moonee ponds, mmbw, opening

Manuscript - 3 foolscap typed - 1st page a title page, titled "North Melbourne electric Tramway and Lighting Company", written by Peter Duckett. Not dated, possibly late 1940's. Outlines the history of the formation of the company, the routes, track construction, depot, power house, car barn, rolling stock, tramcars, overhead and take over by the MMTB - "what is now one of the worlds finest electric tramway undertakings."trams, tramways, nmetl, essendon, keilor rd, saltwater river, track construction, essendon depot, power station

Jenna Lee dissects and reconstructs colonial 'Indigenous dictionaries' and embeds the works with new cultural meaning. Long obsessed with the duality of the destructive and healing properties that fire can yield, this element has been applied to the paper in the forms of burning and mark-making. In Without Us, Lee uses charcoal to conceal the text on the page, viewing this process as a ritualistic act of reclaiming and honouring Indigenous heritage while challenging the oppressive legacies of colonialism. Lee explains in Art Guide (2022), ‘These books in particular [used to create the proposed works] are Aboriginal language dictionaries—but there’s no such thing as “Aboriginal language”. There are hundreds of languages. The dictionary just presents words, with no reference to where they came from. It was specifically published by collating compendiums from the 1920s, 30s and 40s, with the purpose to give [non-Indigenous] people pleasant sounding Aboriginal words to name children, houses and boats. And yet the first things that were taken from us was our language, children, land and water. And the reason our words were so widely written down was because [white Australians] were trying to eradicate us. They thought we were going extinct. The deeper you get into it, the darker it gets. But the purpose of my work is to take those horrible things and cast them as something beautiful.’Framed artwork