Natural science collections are vast treasure troves of biological data which inform current research and conservation.

Alongside bird skins, nests, eggs and DNA samples sits a magnificent collection of rare books, illustrations and images which charts the history of amateur and professional ornithology in Victoria.

Whilst the big names such as John Gould (1804–1881), are represented, the very local, independent bird observers such as John Cotton (1801-1849) and Archibald James Campbell (1853–1929) made some of the most enduring contributions.

The collections also document the bird observers themselves; their work in the field, building collections, their efforts to publish and the growth of their ornithological networks. Captured within records are changes in ornithological methods, particularly the way data is captured and published.

However the data itself remains as relevant today as it did when first recorded, 160 years of collecting gives us a long-term picture of birdlife in Victoria through space and time.

The world is changing. Change is a natural part of the Earth’s cycle and of the things that live on it, but what we are seeing now is both like and unlike the shifts we have seen before.

Anthropogenic change, meaning change created by humans, is having an impact on a global scale. In particular, human activity has altered the composition of the Earth’s atmosphere, causing the world’s climate to change.

Already in the state of Victoria we are seeing evidence of this change around us. In the natural world, coastal waters are warming and bringing tropical marine species to our bays. Desert animals are migrating to Victoria. Alpine winters are changing, potentially putting plants and animals at risk of starvation and pushing species closer to the margins. In the world of humans, island and coastal dwellers deal with the tangible and intangible impacts of loss as sea levels rise, bush dwellers live with an increased risk of life-threatening fires, farmers cope with the new normal of longer droughts, and we all face extreme weather events and the impacts of social and economic change.

This Collections and Climate Change digital story explores how Victoria’s scientific and cultural collections help us understand climate change. It focuses on three Victorian institutions - Museums Victoria, the Royal Botanic Gardens Victoria and Parks Victoria. It looks at how the information gathered and maintained by a dedicated community of researchers, curators, scientists, specialists and volunteers can help us understand and prepare for a hotter, drier, more inundated world.

The story is made up of a short documentary film and twenty-one examples highlighting how botanical records, geological and biological specimens and living flora and fauna provide a crucial resource for scientists striving to map continuity, variability and change in the natural world. And it helps us rethink the significance of some of Victoria’s cultural collections in the face of a changing climate.

Victoria is privileged to have a robust GLAM (Galleries, Libraries, Archives and Museums) sector. The capacity of our sector is the result of work undertaken by many dedicated people. We would like to take a moment to acknowledge and celebrate a colleague who has played a particularly significant role in ensuring the strength of the Victorian scene.

In April 2016, Martin Hallett retired from his role as Senior Manager of Victorian Cultural Network, part of the Agencies and Infrastructure unit of Creative Victoria. Martin was subsequently awarded with a Victorian Public Service Medal and a Lifetime Achievement Award at the Victorian Museum Awards for his four decades of work in the Victorian collections sector.

Celebrations are underway for the remarkable landmark digitisation of 100,000 objects accessible through Victorian Collections.

We are taking this opportunity to reflect back on the early days of the program; reminiscing about how it began, the milestones along the way and all the incredible achievements of the Victorian Collections community.

We are thrilled with the success and interest in Victorian Collections and excited to see the next 100,000 objects.

Architect and Civil Engineer

John Harry Grainger was a creative figure, largely overlooked by history. He receives a brief mention in the much-examined life story of his famous son, the composer and pianist Percy Grainger, where he is depicted as a proud but ineffectual father. 

Grainger's prolific output as an architect and his extraordinary talents for bridge building have not yet received due recognition. 

The material presented here is sourced from the Grainger Museum Collection at the University of Melbourne. Additional material is held in the Public Record Office of Victoria and in the State Library of Victoria collections.

“...the voice, pure and limpid, with an adorable timbre and perfect accuracy, emerges with the greatest ease.” Arthur Pougin, in Le Ménestral (Paris), May 12, 1889.

Dame Nellie Melba (1861 – 1931), was Australia’s opera superstar, performing in the great opera houses of the world - the Paris Opera, La Scala, the Metropolitan Opera House, and the Royal Opera House, Covent Garden, where she became prima donna, returning season after season.

The extensive Melba Collection at the Victorian Arts Centre includes costumes, records, accessories, letters, programs, photographs, opera scores and other personal effects. Other holdings of interest include 78rpm disks at the State Library of Victoria.

It may come as a surprise to some that the oldest Imperial Dragon in the world, Loong, is to be found in Bendigo, Victoria.

In 1851 gold was found in the Bendigo region. News reached China and by 1853 Chinese miners started to arrive at Dai Gum San (Big Gold Mountain). By 1855 there were up to 4000 Chinese in the Bendigo goldfields, about one fifth of the population.

By the 1860s, Bendigo was becoming a wealthy and established town, and in 1869 The Bendigo Easter Fair and Procession was initiated to raise funds for the Bendigo Benevolent Asylum and Hospital. By 1871, the Chinese, keen to support the wider community, joined the procession, providing music, theatre and acrobatic displays. Their position as the main attraction at the Fair was confirmed by 1879.

All of the costumes, flags and musical instruments were imported from China, with no expense spared. For the 1882 Fair, 100 cases of processional regalia were imported. In 1892 a further 200 cases arrived, along with Loong, the Imperial five-clawed dragon, who made his first appearance that year.

The traditions established in the 1860s by the Bendigo Chinese community continue to this day. As well as providing the main attraction in the Bendigo Easter Festival, ceremonies such as the Awakening of the Dragon are conducted. These traditions reflect uniquely preserved traditions, many of which were lost or discontinued in mainland China. They also reflect traditions, such as the main celebration taking place at Easter rather than Chinese New Year, that trace the history of the Chinese in Victoria.

The remarkable collection of 19th Century processional regalia that has been preserved by the Chinese community in Bendigo is held in the Golden Dragon Museum. It is not only a collection of world significance but, importantly, it contextualises and preserves the living heritage of both Victoria and China.

Stories of a time in history when holidaying was a grand pastime, and when special and unique places in Victoria began to be appreciated, celebrated and shared in that iconic mode of communication: the picture postcard.

Inspired by postcards in their collections, eight historical societies developed themes to explore the history of the Mornington Peninsula. 

This story is based on a touring exhibition which was initiated by the Mornington Peninsula Local History Network and the Mornington Peninsula Shire.

Several months ago we were contacted by Stacey Longstaff from Germany who wanted to donate his ancestor's sword to an appropriate museum in the Portland area.

We put Stacey in touch with the Glenelg Shire Cultural Collection team, who were excited to receive the offer of significant items to add to their collection. Glenelg Shire's Cultural Collection Officer Trevor Smith tells the story...

Koorie makers of art and artefacts draw upon rich and ancient cultural traditions. There are 38 Aboriginal Language Groups in Victoria, each with unique traditions and stories. These unique traditions include the use of geometric line or free flowing curving lines in designs.

This selection of artworks and objects has been chosen from artworks made across the range of pre-contact, mission era and contemporary times and reflects the richness and diverse voices of Koorie Communities. It showcases prehistoric stone tools, works by 19th century artists William Barak and Tommy McRae right through to artworks made in the last few years by leading and emerging Aboriginal artists in Victoria.

The majority of the items here have been selected from the extensive and significant collections at the Koorie Heritage Trust in Melbourne. The Trust’s collections are unique as they concentrate solely on the Aboriginal culture of south-eastern Australia (primarily Victoria). Over 100,000 items are held in trust for current and future generations of Koorie people and provide a tangible link, connecting Community to the past.

Within the vibrant Koorie Community, artists choose their own ways of expressing identity, cultural knowledge and inspiration. In a number of short films Uncle Wally Cooper, Aunty Linda Turner and Aunty Connie Hart practice a range of traditional techniques and skills. These short documentaries show the strength of Koorie culture today and the connection with past traditions experienced by contemporary Koorie artists.

Taungurung artist Mick Harding draws upon knowledge from his Country about deberer, the bogong moth: "The long zigzag lines represent the wind currents that deberer fly on and the gentle wavy lines inside deberer demonstrate their ability to use those winds to fly hundreds of kilometres to our country every year."

Koorie artists today also draw inspiration from the complex and changing society we are all part of. Commenting on his artwork End of Innocence, Wiradjuri/Ngarigo artist Peter Waples-Crowe explains: "I went on a trip to Asia early in the year and as I wandered around Thailand and Hong Kong I started to think about Aboriginality in a global perspective. This series of works are a response to feeling overwhelmed by globalisation, consumerism and celebrity."

Koorie culture is strong, alive and continues to grow.

CULTURAL WARNING: Aboriginal and Torres Strait Islander users are warned that this material may contain images and voices of deceased persons, and images of places that could cause sorrow.

Geelong Gallery was established in 1896 by twelve passionate citizens who believed Victoria's second largest and fastest growing city deserved an art institution befitting an aspiring metropolis. Since then, Geelong Gallery has established a collection of some 6,000 items – significant amongst these items are their holdings of paintings, porcelain and photography.

The gallery’s collection of Australian painting tells the history of the region from colonial times to the early twentieth century. Eugene von Guerard’s View of Geelong provides a sweeping panorama of Geelong seen from a vantage point near the village of Ceres in the nearby Barrabool Hills in 1856. While Arthur Streeton’s painting Ocean blue, Lorne, one of the gallery’s most recent acquisitions, depicts a shimmering summery sky, a view through slender young gum trees and down to the pristine sand and aquamarine ocean below in the 1920’s.

Geelong Gallery has a large and specialised collection of British painted porcelain spanning 1750 – 1850. It is one of the most significant holdings in Australia and is part of a bequest by well-known local citizen Dorothy McAllister. A fine example is the 'Buckingham Palace' card tray by renowned manufacturer Worcester dating to the 1840’s.

The gallery’s photographic collection is very much of the twentieth century, but not without references to earlier times and other works in the collection. Polixeni Papapetrou’s photograph In the Wimmera 1864 #1 created in 2006 examines the narrative of the ‘lost child’ and refers to Frederick McCubbin’s late nineteenth century paintings of children ‘lost’ or at least wandering absent-mindedly through the Australian bush.

Stories of the Land is a collection produced as part of the Australian Centre for the Moving Image (ACMI) digital storytelling program.

These stories explore the land as a thread that connects people to their surroundings. The personal narratives provide a way for understanding place on its own terms and often those terms can be challenging; drought bushfires and isolation for those who live on the land.

People across Victoria have shared stories as part of this ACMI collection capturing the essence of the land as a setting to their lives inextricably linked to the experiences and events that have shaped them.

The Last Yarn, a digitisation project, has supported the photography of key nineteenth-century works in the NGV’s Australian fashion and textiles collection for access through our online collection database.

Giving the garments a life beyond the archive, the project acknowledged the appeal of recent exhibitions such as Australian Made (2010) and Fashion Detective (2014) which investigated aspects of historical dress. 

Now over 50 additional works have been catalogued, given new underpinnings, photographed and uploaded so that audiences elsewhere in the world can discover the local dressmakers, tailors and retailers who defined early Australian style. 

Wal Richards loved weddings. Given a box brownie camera as a young man in 1946, he started cycling on his blue and white bike to weddings in Maryborough and surrounding towns. Uninvited, he would position himself up close to the action and record events in his candid and unorthodox style. 

Wal’s physical and mental disabilities meant that he was an easy person to underestimate and many people assumed that he didn’t have film in his camera. But in 1996, when Wal passed away, his family found more than 20,000 unsorted wedding photographs stored in shoe boxes in his house. 

The collection was donated to the Maryborough-Midlands Historical Society. In 1998 the Central Goldfields Regional Art Gallery held an exhibition of Wal’s work. His striking photos and remarkable story generated broad interest and was written up in Time Magazine. 

Whilst only a small portion of the weddings in Wal’s photographs have been identified so far, the collection is a remarkable and unusual social history of Maryborough spanning almost half a century. 

The collection is housed at the Maryborough-Midlands Historical Society, which is located in the Worsley Cottage Complex.

The current Flinders Street Station building has been part of the lives of Melbournians for over 100 years.

Inspired by the launch of the latest competition to put forward proposals for its restoration and reinvigoration, and to highlight some of the amazing Flinders Street-related material in Victoria's cultural collections, I will be celebrating the past, present and future of my favorite station.

Over the next few months, I will be recording impressions and stories found whilst exploring the station as it exists today, trawling the internet for related sounds and images (such as this timelapse) and featuring some of the wonderful images of the station that are held in Victoria's cultural collections. As a taster for my future posts, here's a selection of images that I've found.

Migrants Enriching Australia was born of a project to assist ethnic community groups preserve and manage their material heritage.

This story consists of 21 story objects - including videos, audio recordings, images and text - and two educational resources available at the bottom of the page.

During the research a few people emerged who vividly carried a particular story about immigration and settlement to Victoria. These included Peter Yiannoudes who introduced Greek films to Melbourne in the 1950s. He carried his portable projector on a train and visited small country towns and even a farmhouse around Victoria, in order to share this dynamic Greek heritage with Greek expatriates.

Janina Archabuz (Pani Babscha) is a Polish grandmother who carefully designed and sewed multiple copies of intricate costumes for a Polish dance troupe in Ardeer, in Melbourne’s west. Janina is self-taught, however the costumes are exquisitely sewn and meticulously detailed. These costumes gave the Polish group visibility when performing traditional dances in the community, and contributed to their community’s transition from being Poles to being Australians of Polish origin.

The research for the Multicultural Communities’ Collection Project revealed incredibly rich collections – their photographs, documents, costumes and memorabilia from their countries of origin, their community members’ journeys to Australia and the process of settlement into this country and this state - held by community groups, each different and many reliant on individuals who valued their history and their community identity. The project was based on the idea that understanding of and control over community heritage strengthens community identity, which in turn contributes to an Australia which is enriched by diverse ethnic groups living side by side harmoniously.

The Multicultural Communities’ Collection Project began in 2011 - firstly as a project of the then Arts Victoria and later Museums Australia (Victoria). It involved visiting up to 40 ethno specific community groups and providing them with professional assistance to preserve and store their material heritage. There was also training in the documentation and digitisation of these collections, and including them in the web based cataloguing system, Victorian Collections.

Ethnic Communities Council of Victoria (ECCV) is the peak body for Victoria’s multicultural communities and have been advocating their needs and concerns to government for 40 years. It is the principle liaison point between multicultural communities, the government and the wider community. The ECCV welcomed the opportunity to facilitate these two films for Culture Victoria, to share more broadly these stories about immigrants and how they have enriched our community.