Mrs Fort has lived in the Greensborough area all her life and is a member of the Partington family and the Whatmough family, pioneer families of the district. She has written her memories of early families in the district.Contains information on many early families, both from Mrs Fort's memories and research into family history. The item will be transcribed into an electronic copy.Spiral bound notebook, bright blue cover. 128 handwritten pages.Inside cover: Faye (Partington) Fort's memories of the old Greensborough she remembers.mayger family, partington family, whatmough family, medhurst family, greensborough, pioneers

Photograph of workers camp at She Oak River circa 1930's she oak river camp site: workers' campsite, sheoak river, workers camp

Medium Sized book. Green Tones around front cover. Large tree. Book Title in red.First She Lived The Journey pf Elia Lipson Allan Rhonda Poholke Page 3: Hope you enjoy our "Eliza" - Rhonda Poholke.stawell, family history

This is a paper back book of 176 pages. The pages are bound together. The cover is blue card with silver-coloured wording and illustrations of whales. There are 829 photographs and illustrations. The historical material contained in the pages is handwritten and photocopied. non-fictionScrapbook style book history of early Port Fairy and Portlandwhaling, port fairy, portland, shipwrecks

348 p. : brown cover, embossed with highly decorative black design, title embossed in gold blocks on cover and spine, author's name embossed in gold on front cover, on a scroll which is outlined in black. Volume consists of two short novels: 'What She Could' p. 1-162, and 'Opportunities' p. 165-348.fictionNovels with religious themes. The protagonist strives to improve her life and educate herself despite financial and social constraints. 'Opportunities' is a sequel to 'What She Could', in which the characters navigate personal growth, Christian duties, and life choices.fiction, susan bogart warner

installation

Biographical article on Mary Elizabeth Cuthbertson (killed on Bangka Island) of Ballarat and the upcoming exhibition of her wartime & personal effects at Soverign Hills Gold Museum. Article mentions Vivian Bullwinkel and her dedication to the nurses she survived in the massacre.Photocopy of a large newspaper clipping. Small photo in top right hand corner of an Army Nurse. Larger photo in bottom left corner of an assistant curator preparing a cape for exhibition. Large underlined title. The remaining page is divided into two small and two large columns of text.wwii, ww2, world war two, banka island, army nurse, mary elizabeth cuthbertson, ss vyner brooke

Item titled "Out on the track and she looks a winner" reporting of the launch of PCC car 1041 (East Preston Route 88). Alongside is W7 1029 (City Route 96). Story by Richard Goodwin, photo by John Lamb of the tram Has comments from officials and passengers - Ken Hall MMTB, Mr Meagher (Minister for Transport), Jack Stranger (AETA) and Conductor Sam Armstrong. See item 9741 for the actual photograph. Yields information about the launch of tram PCC 1041.Newspaper clipping, from The Age 27/8/1973,trams, tramways, pcc class, new trams, bourke st, launch, route 88, tram 1041, tram 1029, w7 class, route 96

thelma Wieland went to live in Queensland with her daughter ,Pat , and son-in-law Don Talbot. They started a pig farm but there was some friction between the families and Thelma left and returned to live in Ballarat. Her son Ray lived with her in Queensland.3 lined pages of hand written poetry, by Thelma Wieland.

Digital file only - scanned by EDHS from item on loan aif, first world war, letters, lew howard collection, ww1

Originally contained in a 'magnetic' photo album believed to have been donated by Mr Eric Stephenson, Jingalong, 110 Ryans Road, Eltham, Vic. 3095; relocated to archival safe storage.Colour photographyan yean reservoir

Robin Boyd wrote this when he was a Trustee of the National Gallery of Victoria. This article is a critical assessment of Australia's and Australians attitude to art and artists and culture.australian culture, arts, artists, walsh st library

Softcoverwalsh st library

Donated through the Australian Government's Cultural Gifts Program by Greg Mallyon, 2024

Donated through the Australian Government's Cultural Gifts Program by Greg Mallyon, 2024

tullaree, lady of the swamp

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

'Does she know the Revolution is coming?' is a multi-channel digital video work where Groom performs an extended conversation between herself and the wife of a former Prime Minister in a stately Manhattan home. Based upon an actual conversation, the work seeks to expand upon the language of ownership and authority surrounding western perceptions of Aboriginal art and culture, unveiling the indistinct nuances of interpretation and the potentially shocking hidden truths that language can possess. Reimagining the conversation and the behaviours of both parties, Groom unpacks what was said, what was imagined to be said, and what it could have really meant. As a bookend to the conversation, the first solo exhibitions of this work featured paintings by the very subject of the conversation, Anmatyerre artist, Emily Kame Kngwarreye. Artist Bio Amala Groom is a Wiradyuri conceptual artist who employs a Wiradyuri based ontology and embodied research-based methodology that considers traditional cultural practice and academia with formal research as a whole of person approach as both inquiry and investigation in the actual and literal sense. Her practice, as a collaboration with her Ancestors is driven by the philosophies of Yindyamarra, Kanyini and Dadirri which lay the foundations for a feeling centred approach in the delicate balancing act that lies between the physical and spiritual worlds. Groom lives and works on Wiradyuri Country in Kelso, NSW. Her practice, as the performance of her cultural sovereignty, is informed and driven by First Nations epistemologies, ontologies and methodologies. Her work, a form of passionate activism, presents acute and incisive commentary on contemporary socio-political issues. Articulated across diverse media, Groom’s work often subverts and unsettles western iconographies to enunciate Aboriginal stories, experiences and histories, and to interrogate and undermine the legacy of colonialism. Informed by extensive archival, legislative and first-person research, Groom’s work is socially engaged, speaking truth to take a stand against hypocrisy, prejudice, violence and injustice. Across her practice, Groom proactively seeks to dismantle the Colonial Project by asserting the argument that colonialism is not just disadvantageous for First Peoples but is, in fact, antithetical to the human experience. On a deeper note, Groom intends to make work that speaks to the union of all peoples and to the indivisibility of the human experience that traverses identity, culture, race, class, gender and religious worship. Groom is a solo practitioner who works with her family, community and extensive economic, cultural, political, legal and social networks to both inform, lead and drive her practice. Groom works collaboratively with individuals and groups on a project by project basis.

She was like the lizard that fell into the water and became a crocodile works with land through photographs that are cut, reassembled, and sutured into collaged forms. The seams have been left open; the ruptures are central to each work. Observing the sutured landscapes becomes a meditation on responsibility and on the uneasy coexistence of care, complicity, and inherited harm. The collages return the act of looking back onto the viewer, presenting their scars. To engage with them is to confront one’s position within ongoing colonial systems and to acknowledge the violences that remain embedded in the land and in the systems that have fractured its sovereignty. To look to the land is to feel the weight of what has been done to it and to those who belong to it, while recognising how it continues to nourish, restore, and strengthen. Looking demands attentiveness and accountability, insisting on the ethical and relational dimensions of vision itself. The images collaged throughout She was like the lizard that fell into the water and became a crocodile combine photographs taken by the artist on unceded Country in south-western Victoria over the past decade —across the lands of the Wauthaurong, Bunurong, Wadawurrung, and Gunditjmara —with archival material sourced from the State Library of Victoria of the same areas. The archival images, produced exclusively by white colonial settler photographers, documented and mapped the land, creating visual records that both precede and actively participate in the colonial inscription of place. By bringing these materials into dialogue, the work creates a confrontation between lived Indigenous presence and the extractive logic of the colonial archive.A series of ten photographic collages 2O.5 X 15CM EACHfirst nations art, aboriginal australian art, gunditjmara culture, djabwurrung culture, indigenous knowledge systems, indigenous sovereignty, cultural reclamation, cultural memory, storytelling, contemporary indigenous identity, aboriginal women, womanhood, motherhood, indigenous feminism, spirituality, first nations, photography

Reply to a letter written by the Secretary of the She Oaks, State School, who had summitted a petition against the closing of the school, as they were down to 6 pupils. The Education Department claimed due to a shortage of teachers, the schhol would close.type written letter on paper, on a Education Department letterhead, dated 6th August 1951. Reply to a protest letter, regarding closing of the school.signed by D.H Wheeler, Secretary, Education Department. She Oaks underlined.victoria, education, school, department, , petition, she, oaks, 1286, 1951, closure 1951, section, 25, act, 1928

Digitised directly from 'Blackfellows of Australia' by Charles Barrett and A.S. Kenyon (Sun Books)Aboriginal woman named Truganini wearing a shell necklace. She was a native of Bruni Island, Tasmania. Title - Truganini (When She Died Her Race Became Extinct).aborigine, aboriginal, truganini, tasmania, bruni island, shell necklace

Heavy duty SHER dual speed electric drill with a 3/8 inch chuck, chuck key, electric lead and plug.SHER POWERMATIC Duel Speed Drill|220-250 Volts - Made in Australia 1.75 Amps. ( & other information)trades, carpentry, mechanics, tools