Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Views of Victoria (General Series) No.24 / ‘Scene at Healesville’ / Albumen silver photograph mounted on cardOn Reverse: ‘After leaving the villages of Lilydale and S. Hubert the scenery commences to assume a very wild and romantic appearance. The country becomes exceedingly undulatory, and the belts of densely packed scrub, present altogether a very different appearance from the more settled and cultivated districts. Our illustration is taken from one of the many creeks which surround the rising township of Healesville.’nicholas caire (1837-1918), australia - landscape photography

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘View of the Township of Mt. Blackwood’ : Views of Victoria (General Series) No.42 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘The locality which this illustration represents was formerly known as the Blackwood Forest, and has been the scene of considerable mining activity. The shallow alluvial diggings of the early days have given place to the deep sinking in search of reefs. This scene is characteristic of the wild appearance which many of the inland townships of Victoria represent.’nicholas caire (1837-1918), blackwood (vic), mount blackwood, landscape photography - victoria

This collection of 23 photos of map production on the AUTOMAP 2 computer-based system in Air Survey and Cartographic Squadrons, was most likely taken in 1986. The AUTOMAP 2 system was an upgrade to the AUTOMAP 1 system, comprising Intergraph graphic edit workstation terminals networked to VAX 750/785 main frame computers. Unlike AUTOMAP 1, operators could display digital topographic features on monitors for editing. Successful adaptation of this system meant RASvy was at the forefront of digital mapping/cartographic systems in Australia and overseas. The system comprised Input (Wild B8 Aviograph feature extraction) Raster Scanning (digitising from compilation sheets, Graphic Edit (cartographic completion) and Plot Verification Sub Systems. The system was operational from 1984 to its ‘Newheart’ upgrade in 1993. Throughout its life, the system was progressively refined with productivity gains, achieved from award winning technical development in-house by talented and innovative Army Survey Regiment personnel.This is a set of 23 photograph of AUTOMAP 2 production at the Army Survey Regiment at Fortuna, Bendigo, c1986. The photographs were on 35mm colour slides and were scanned at 96 dpi. Photos .5P and .6P are also printed on photographic and scanned at 300 dpi. They are part of the Army Survey Regiment’s Collection. .1) - Photo, colour, c1986, AUTOMAP 2 Production - Army Survey Regiment, Fortuna, Bendigo. c1986. .2) - Photo, colour, c1986, AUTOMAP 2 Wild B8 Aviograph stereoplotter. .3) - Photo, colour, c1986, AUTOMAP 2 Wild B8 Aviograph stereoplotter feature extraction, unidentified technician. .4) - Photo, colour, c1986, Wild B8 Aviograph stereoplotter feature extraction, LCPL Raelene (Munting) Brodie. .5) - Photo, colour, c1986, AUTOMAP 2 computer tape maintenance, SPR Steve Linane. .6) - Photo, colour, c1986, AUTOMAP 2 Graphic Edit Workstation, SPR Steve Linane. .7) to .8) - Photo, colour, c1986, AUTOMAP 2 Graphic Edit Workstation, unidentified technician. .9 to .10) - Photo, colour, c1986, AUTOMAP 2 Graphic Edit Workstation. .11) - Photo, colour, c1986, AUTOMAP 2 Graphic Edit Workstation feature coding and command menu. .12) - Photo, colour, c1986, AUTOMAP 2 high resolution computer monitor. .13) to .16) - Photo, colour, c1986, AUTOMAP 2 production output comparison to AUTOMAP 1. .17) to .18) - Photo, colour, c1986, AUTOMAP 2 computer system components. .19) - Photo, colour, c1986, AUTOMAP 2 Intergraph 7596 verification plotter. .20) - Photo, colour, c1986, AUTOMAP 2 Benson verification plotter, SPR Steve Coulson. .21) - Photo, colour, c1986, AUTOMAP 2 drainage, contour, roads and cultural digital data verification plot. .22) - Photo, colour, c1986, AUTOMAP 2 drainage, contour, roads and cultural digital data on computer monitor. .23) - Photo, colour, c1986, AUTOMAP 2 3D digital terrain model on computer monitor. .1P to .23P - Some of the equipment is annotated on the frame of the 35mm slides. .5P & .6P prints annotated incorrectly ‘Steve Lenane’. Correct spelling is - ‘Steve Linane’ royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, automap 2

The Wreck of Hope (Long-nosed Common Dolphin skeleton, Delphinus delphis) featured as part of the exhibition Anatomy Lessons, shown at the National Wool Museum in 2024. The exhibition featured meticulously-sculpted, life size skeletons, making visitors question their place in this web of the living and the dead. From a towering giraffe stretching 4.4 metres in height, to an army of over 50 delicately rendered frogs, this exhibition was enthralling in scale. Each sculpture is an accurate portrayal of a real animal and is carefully measured, drawn, and moulded from steel, wire, and foam. The frame is then intricately knitted over to create these thought-provoking pieces. Each sculpture tells a story, one of the collection of animals by museums and collectors, of Western safari hunters, of human encroachment, and of the often-sad role of the animals in our lives. These underlying concepts are explored and reflected by the materials used. Wool, that speaks of warmth, of comfort, of care, meets the size, grace, and sheer breathtaking beauty of the pieces, clashing with the hard and complex stories beneath. This knitted dolphin skeleton was the start of Beevor's interest in comparative anatomy. Beevors recalls viewing a dolphin, one of many skeletons alongside a mouse and a lion in the Australian Museum's collection during a school visit in the 1970s. At the time, school children watched TV reruns of 'Flipper', which portrayed dolphins as intelligent and noble animals. Elsewhere, the conservation movement was growing, and appeals to protect marine mammals were gaining momentum through the 'Save the Whales' campaign. The fascination with live dolphin shows had grown throughout the 1960s and 1970s and the ethics began to be questioned. Some believe they played an important role in raising public awareness of cetaceans and their welfare. Others argued the performances glorified the dominance of heroic trainers over the subordinate dolphin, and offered little education about the dolphins' natural characteristics nor prioritised their welfare. Many of these facilities are now closed and all dolphin species are protected by international accords aimed at conserving wild populations. Despite this dolphins are still at risk of swallowing plastic waste, mercury toxicity, toxoplasmosis, boat impacts and being bycatch in commercial fishing operations. Originally from Australia, Michele Beevors has been practicing in New Zealand for the last 20 years. She is Head of Sculpture at Dunedin School of Art, Otago Polytechnic, New Zealand’s oldest, and one of its most prestigious, art schools. Beevors has exhibited in galleries, museums, and exhibition spaces in across New Zealand, Australia and Vienna with art that is defiant, unconventional, and moving.Life sized knitted skeleton of a dolphin, with white wool and internal steel, foam and wire frame. The dolphin is mounted on a wooden base, made from a desk, with books placed under the desk lid. The books and desk are painted black.knitting, art, dolphin, conservation, sculpture, skeletons, anatomy lessons, michele beevors

The Whipstick was a gold mining area and is now a national park. Peter Ellis ( 1946 - 2015 ) died 27th March, 2015. Bendigo Advertiser personal notices re death and funeral; obituary and two page spread on Peter Ellis' life and contribution to the retention of Australian bush music. B. Peter Nicolaus Ellis' Service of Thanksgiving for his funeral held on 25th. May 2015 at Mulqueen Family Chapel, Bendigo.Part of the Peter Ellis Collection. Survey of Whipstick, Part 7. A detailed map of the Whipstick National Park Showing locations of wildflowers. Compiled by Peter Ellis. There is one paper copy and three Laminated paper copies which are probably preparations for the paper copy. map, whipstick, peter ellis collection, wild flowers

non-fictionArchibald Macleod, with flock, herds and some of his family, came down the Tambo Valley in 1844 and settled on the western side of the Mitchell River. The narrative commences as the family leaves for a journey to a better life, and crosses the oceans to Tasmania where babes are born and die. It follows them to Bathurst; to Norfolk Island where they endure many hardships; back to N.S.W. and education for the children; Colina's death; financial hardship, and, finally, to the Mitchell River, Gippsland. There life is still full of struggles - illness, floods, money problems, wild pigs, death - as it was for most families who carved a life for themselves out of a land where the original inhabitants were nomadic. (Foreword by Helen Clothier, Research Officer, East Gippsland Historical Society Inc.)archibald macleod, colina macleod, bairnsdale (vic.)