ill, v.1.Volume one of a history of the Second World Warworld war 1939-1945 - history, world war 1939- 1945 - diplomacy

ill, v.1-6.Volumes one to six of a history of the Second World Warworld war 1939-1945 - history, world war 1939- 1945 - diplomacy

Ill, maps, p.414.non-fictionAn anthropological description of native life in New Guinescultural anthropology, papua new guinea - social life and customs

Ballarat historyballarat, ballaraat, whitfield, grundy, sea scouts, 1955

5 x painted boards

Ballarat Historyballarat, ballaraat, whitfield, grundy, sea scouts

Ballarat Historyballarat, ballaraat, whitfield, grundy, sea scouts

Art CollectionThis painting depicts a green hill below a cloudy sky, and a sandy landscape below the hills. Towards the left of the hill there are trees and shrubbery. The frame is white with gold on inside, beige mount and glass.Front: Rita M McLean (grey paint, lower right) Back: (no inscriptions)goose lagoon, female artist, female artists

508 p. ; Faded burgundy cloth and cardboard cover, gold embossing.fictionhistorical fiction, english interregnum, english restoration, james dodds, original collection

288 p.fictionjames grant, fiction

Alun LEACH-JONES (1937-24 December 2017) Born Maghull, Lancashire, United Kingdom Arrived Australia 1960 Alun Leach-Jones is recognised as one of Australia's leading abstract colour painters. He spent his childhood in the Welsh village of Glasfryn, Denbighshire. At the age of 14 he started a three year apprenticeship with the Solicitors Law Society, Liverpool illuminating manuscripts and hand copying legal documents. While working with the law society Leach-Jones studied painting and drawing in the evenings at the Liverpool College of Art between the years 1955-57. He immigrated to Australia in 1960, settling in Adelaide and attending the South Australian School of Art, after which he travelled and exhibited throughout Australia and abroad. In 1966 Leach-Jones celebrated Noumenon series was shown with Australian Galleries in Melbourne and he was immediately recognised as being part of what was then labelled as ‘the New Abstraction’ in Australian art. Later in 1968 his work was included in the influential exhibition "The Field" held at the National Gallery of Victoria. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Pastel drawing on Stonehenge paper. Donated through the Australian Government's Cultural Gifts Program by David Thomas and Brenda Martin, 2011Signed verso lower left 'A. Leach-Jones'art, artwork, leach-jones, alun leach-jones, cultural gifts program, new abstraction, the field

This is a four page booklet with a grey heavier weight cover. The cover has brown ink printing.non-fictionThis is a souvenir booklet containing a brief history of Warrnambool and District and given by the Warrnambool Agricultural Society to delegates at the Warrnambool Rural convention of the Victorian Chamber of Agriculture held in April 1950warrnambool agricultural society, warrnambool convention, warrnambool history, victorian chamber of agriculture, kaye & son

Although many books on the Veitnam War have been published, until now thre has not been a comphresensive, one-volume history of the U.S. Navy's roles in that conflict.united states. navy -- history -- vietnam war, united states. navy -- history -- vietnamese conflict, vietnam war, 1961-1975 -- naval operations, american., u.s. navy, viet cong, mekong delta, tonkin gulf, south vietnamese navy

index, ill, maps, p.63.non-fictionThe remarkable story of Kilcunda's railway history on the Nyora to Wonthaggi branch line in Victoria.railroad construction - victoria - history, railroad bridges - victoria - history

Penelope Davis was born and lives in Melbourne. Davis is primarily known as a post-photographic artist creating photographs without a camera. Using complicated sculptural techniques, Davis makes silicone moulds then resin casts of the now absent objects. Finally light is passed through the casts to expose photographic paper that is developed and printed. The result is an indexical trace of an object many steps removed from its origin. In doing so, the works record not only an image but a process - a chain of transformations and inversions - akin to the processes of photography itself but one that recasts photography in a new light. More recently Davis has been creating jellyfish forms from a collage of components in a similar way. Taking the detritus of contemporary technologies and combining these with organic source material such as leaves and seaweed, Davis makes casts in silicone, then uses these casts themselves as forms. The artist hand sews these ‘skins’ together to create delicate hybrid forms that resemble jellyfish. These works reflect on, and embody, a painstaking attempt to recuperate an appreciation for the natural world, our symbiotic relationship with it, and the necessity of our shared future. 9 x suspended silicone jellyfish sculpturesaustralian art, sculpture, female artist, climate art

sea shell