This series of 3 photographs were taken in 2007. They were taken to show the new protective case for the Burke Museum world globe, made by Kurt Wagner. The three photographs show different angles of the globe and case.This series of photographs is of social significance to the people of Beechworth and the surrounding shire. The case was made by local woodworker Kurt Wagner and therefore shows the bond between the Burke Museum and the community of Beechworth through their collaboration. Additionally, the photographs provide an interesting perspective on late 2000s museum interior design as it is possible to see how this part of the museum was set up in 2007.Coloured rectangular photograph printed on photographic paper.5567.1 / 5567.2 / 5567.3 globe, 2007, burke museum, beechworth, kurt wagner, protective case, world globe, woodworking, museum styling, 2000s, community involvement

Taken during the construction of the Bethanga Bridge (1927-1930), this sepia photograph shows a view of the incomplete bridge taken from inside the structure and looking down the span of the bridge from where the photographer stands. The photograph depicts an incomplete deck, with loose-looking wooden planks/panels lain along the centre in groups of three. Once complete, the original decking of the bridge was made of timber before being replaced by cement in 1961 (Victorian Heritage Database).Bethanga Bridge is of historical significance to the Indigo Shire for its associations with the construction of Hume Dam, its associations with the River Murray Waters Agreement and the River Murray Commission, and illustration of the needs and influence of the farming communities along the river in this area - particularly in relation to the building of the Weir. It also represents the collaboration between New South Wales and Victoria on a large infrastructure project, being the only built structure shared by both New South Wales and Victoria due to its location. also reflecting on the Shire's geographical closeness to this neighboring state. This photograph is part of a series that documents the construction of this well-known heritage site of significance to the Indigo Shire. It reflects upon a period of growth and change in the area.Sepia, rectangular photograph printed on matt photographic paper, unmountedReverse: 1997.3190 / Another snap of the bridge. taken on the bridge showing huge steel sides / 84-19-4 / V [in circle] 354 / KODAK PRINTbethanga bridge, hume dam, bridges album, construction, road construction, hume weir

co-produced publication serves as a record of 21st C. collaboration of the MTSV with associated organisations such as The Anglican Church and Australian Seafarers Welfare Centre.'Caring for the world's hardworking seafarers visiting our 28 ports' is printed in two rows along the bottom of the calendar with a Q logo in the left hand corner and the Mission to Seafarer's logo in the right hand corner.mts, aswc, anglican church, calendar, 2017

Frank Saunders was the foundation president of the Upper Kiewa Valley Ambulance Service. There was an Ambulance service in the Upper Kiewa Valley commencing in April 1940 when a four stretcher ambulance was made available on the Kiewa Hydro Electric Scheme. It was designed for comparatively long and rough trips, involving some departures from usual ambulance design. Companies involved were O/C Motor Vehicles (Mr Frank Stone), in collaboration with the builders, Messrs. Jas. Thompson & Co. of South Yarra. (Ref. SECV magazine. April 1940.)This brown wooden framed plaque is backed by masonite and surrounds a black metal sign with gold lettering beside which there is a photo of a Frank Saunders. The photo is also framed with wood.Metal plate with gold letters in capitals: "Upper Kiewa Valley Ambulance Service / This Plaque is Dedicated / to the Memory of our / Foundation President / Frank Saunders / whose Leadership / Foresight and Devotion / has Inspired all Members/ of the Service"frank saunders. ambulance. upper kiewa.

Trenchcoat belonging to the uniform designed by Irish-born Noeleen King based in Melbourne and used between 1972-1978Typical colour and design from the 1970s, this uniform demonstrates the collaboration with fashionable Melbourne-based designer Noeleen King.Long orange trenchcoat with gold belt bucklenoeleen king, stewardess, hostess, flight attendant

This dress was part of the 1972 - 1977 uniform period. It was designed by Irish-born Noeleen King, based in 45 Flinders Lane, Melbourne. The dress could be worn with the cropped jacket, long winter black coat or long raincoat.Typical colour and design from the 1970s, this uniform demonstrates the collaboration with fashionable Melbourne-based designer Noeleen King.Sleeveless orange dress with black belt, neck and shoulders detail.Noeleen Kingnoeleen king, hostess, stewardess, flight attendant, orange, 1972-1977

This jacket was part of the 1972 - 1977 uniform period. It was designed by Irish-born Noeleen King, based in 45 Flinders Lane, Melbourne. The jacket could be worn with the orange dress.Typical colour and design from the 1970s, this uniform demonstrates the collaboration with fashionable Melbourne-based designer Noeleen King.Orange cropped long sleeves jacket with black neck, black buttons.Noeleen Kingnoeleen king, stewardess, hostess, flight attendant, orange

This uniform was designed by Irish-born Noeleen King, based in 45 Flinders Lane, Melbourne, for the 1972 - 1977 period. Typical colour and design from the 1970s, this uniform demonstrates the collaboration with fashionable Melbourne-based designer Noeleen King.noeleen king, hostess, stewardess, flight attendant, orange, dress, jacket

This coat was part of the 1972 - 1977 uniform designed by Irish-born Melbourne based Noeleen King. It was worn with the orange dress and orange hat made by Nyvek Headwear. Typical colour and design from the 1970s, this uniform demonstrates the collaboration with fashionable Melbourne-based designer Noeleen King.Long black coat with large gold buttons and orange stripe on sleeves.noeleen king, stewardess, hostess, flight attendant

Typical colour and design from the 1970s, this uniform demonstrates the collaboration with fashionable Melbourne-based designer Noeleen King.Long dark orange raincoat with belt and golden buttons.hostess, stewardess, noeleen king

In 1981, Ansett Australia introduced a new look for their uniforms. The designer was Adele Weiss, wife of Peter Weiss.The journal and the uniforms displayed at the museum, demonstrate the collaboration between Ansett and two Australian fashion designers.Colour printed journal with illustrations1981, uniform, stewardess, hostess, flight attendant, adele weiss

A colour photograph of a visit by the grand-daughter of Nicholas and Louisa Caire to "The Hermitage" at Narbethong in Victoria.A colour photograph of a visit by the grand-daughter of Nicholas and Louisa Caire to "The Hermitage" at Narbethong in Victoria. "The Hermitage" was built by photographer John William Lindt as a home and guesthouse in 1894. John Lindt had previously photographed the mountain scenery of the Black Spur and purchased 71 acres and subseqently built his home and guesthouse from where he continued his career. "The Hermitage had a garden designed by John Lindt's friend, Ferdinand von Mueller, who was at one stage the Director of the Melbourne Botanic Gardens. The garden featured New Guinea tree houses from which John Lindt made frequent panoramas of his property and the surrounding forest of towering mountain ash. Aged 81 Lindt died of heart failure during disastrous bushfires on 19 February 1926 at the Hermitage. He was survived by his wife Catherine who continued to run ‘The Hermitage’ guest house before she retired to the city. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.the hermitage, john william lindt, narbethong, victoria, black spur, ferdinand von mueller, melbourne botanic gardens, new guinea, catherine lindt, nicholas john caire

A black and white portrait of an unknown man taken by John William Lindt.A black and white portrait of an unknown man taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A black and white portrait of an unknown man taken by John William Lindt.A black and white portrait of an unknown man taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A black and white portrait of an unknown woman taken by John William Lindt.A black and white portrait of an unknown woman taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A black and white portrait of an unknown woman taken by John William Lindt.A black and white portrait of an unknown woman taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A letter written to Maurice Keppel by John William Lindt in 1903.A letter written to Maurice Keppel by John William Lindt in 1903. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913. Maurice Keppel, from Ireland, was one of the first landholders in the newly surveyed town of Marysville in 1864. He and his wife ran the successful Keppel’s Australian Hotel. Two of their sons, John and Jerry, established a farm and opened up the surrounding high country. The Keppel lease was one of the longest held in the high country and the Keppel Family were amongst Marysville's pioneering families.maurice keppel, keppel family, keppel's australian hotel, marysville, victoria, john william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

The scroll describes the concerns of the Churches of Richmond against the Street Icecream Vendors who are threatening the sanctity of the Holy Sunday. Each denomination organsied for each of their Sunday School Teachers to sign the petition and these where pasted together to form a Sroll. The Scroll provides an indication of the sizes of the Sunday Schools and the number of Churches in the area in 1908. The petition to the City of Richmond was intended to introduce a By-law to prevent Sunday Trading in the municipality of Richmond. A combined record demonstating the collaboration between Richmond Churches to form a residents action group to combat the threat of Sunday Vendor Trading. The scroll has a record of the names and addresses of the hundreds of School Teachers from each demonination in 1908. A petition to the Richmond City Council From local churches protesting about the Sunday Trading by Icecream Vendors and the impact on the Holy Day. The petition contains signatures of Sunday School Teachers from each particpating denomination. The petition is presented as a paper scroll fixed to a wooden rod. (July 1908)Signatures of Sunday School Teachers and Leaderschurches, scroll, petition, richmond council, sunday school, icecream vendors, congregational church, central methodist church, baptist church, north richmond church of christ, balmain church of christ, burnley methodist church, richmond congregational church, burnley congregational church, st stephens church of england richmond, richmond presbyterian church, burnley presbyterian church, local action groups

This operating table belonged to the famous gynaecological surgeon Dr Victor Bonney and was given to Dr Frank Forster in 1953 by his widow Mrs Annie Bonnie, a distant relative of Forster's. Dr Victor Bonney (1872 - 1953) followed his father into medicine and trained at St Bartholomew's and the Middlesex Hospitals. Writing his obituary in 1953, FW Roques said of Bonney that he "'made three great gifts to surgery. First, he was the pioneer of myomectomy; second, with Berkeley, he extended and perfected Wertheim's operation for carcinoma of the cervix; and third, he devised a fine surgical technique emulated by so many of his pupils. To theatre sisters, labour-ward sisters and young house-surgeons he will always be remembered as the discoverer of 'Bonney's Blue' [antiseptic solution].'" Bonney's utilitarian, portable operating table has a round, worn scrubbed patch showing traces of his famous blue solution.This portable operating table was owned and used by pioneering gynaecological surgeon Sir Victor Bonney in London, U.K. c 1900. Dr Bonney employed two theatre sisters and had two sets of instruments and portable operating tables. This made it possible for Dr Bonney to 'complete three or more operations a day by rotating staff and equipment with a chauffeur driven Lanchester or Rolls Royce', delivering them from one house to the next. The donor of the operating table, the late Dr Frank Forster, was a distant relative of Sir Victor Bonney's widow, Annie Appleyard, formerly of Tasmania. When he visited her in the UK after Bonney's death, she offered the operating table to Dr Forster for the RANZCOG Museum. It was still in a canvas bag in the boot of one of Bonney's cars. Sir Victor Bonney was the pioneer of myomectomy, the surgical procedure for removing uterine fibroids. In collaboration with Berkeley, he extended and perfected Wertheim's operation for carcinoma of the cervix. Bonney was an influential teacher, developing and promoting conservatism of surgical technique (minimal intervention) that has had a lasting influence in modern surgical practice. To theatre-sisters, labour-ward sisters and young house-surgeons he will always be remembered as the discoverer of Bonney's Blue an antiseptic that was characteristically blue.Portable, laminated operating table. Plywood rectangular table with two laminated plywood extensions, a head board, and a foot board. At the foot board are insets of canvas straps to support a patient's ankles. Two detachable stirrup poles, each with a canvas strap attached, fit into two holes at the lower end of the table. The table is supported by two timber trellis cross braces with metal bars, and supported at the centre by a metal rod that allows the table to pivot up and down. Two metal arcs with a locking mechanism fix the table at the desired elevation, allowing a Trendelenburg tilt ( a 45 degree tilt, with the patient's head downwards.) The operating table is demountable for transportation and re-assembly.obstetric delivery

Index, notes, ill, p.368.non-fictionMany books have been written, and continue to be written, about the Second World War: military histories, histories of the Holocaust, the war in Asia, or collaboration and resistance in Europe. Few books have taken a close look at the immediate aftermath of the worldwide catastrophe.world war 1939-1945 - peace, 20th century - history

The story began in 1985, when award-winning journalist Monika Jenson-Stenevson came to investigate the case of Bobby Garwood, an ex-marine who escaped from Vietnam in 1979 and claimed to have seen countless Americans still in captivity there. Garwood claimed he had been a prisoner of war, but the American government disagreed - and promptly convicted him of collaboration with the enemy. Kiss the Boys Goodbye reveals a devasting scandal and provides startling evidence that the American government, right up to its highest echelons, knows - and has always known - that American POWs were left behind at the end of the war.vietnam war, 1961-1975 - prisoners and prisons, prisoners of war - united states, bobby garwood, american government

This was the first work de Clario painted during his Australia Council residency in Paretaio, Arthur Boyd's studio in Tuscany. It was painted in an old stable with a vaulted ceiling that reminded de Clario of a cenacolo or supper room. Domenico de Clario has an international reputation, gained particularly through his installation work and collaboration with composers and musicians. De Clario made many irregular shaped, un-stretched paintings during this period. He was involved with Arte Povera, a socialist based art movement where the 'poverty' was reflected in the choice and use of materials. This work was entered into the 1986 Shire of Eltham Art Awards. Painting: oil on canvas mounted on stretched canvas. Semi abstract painting containing out of focus objects within a room.de clario, painting, semi abstract, expressive, painterly, personal, arte povera, paretaio

Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'Life world of the Longicorn beetle' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media

Published to help the war effort and contribute to the defence of the country. Patterns selected in collaboration with the three services-colours and garments by active services in air,on land or at sea.Green-grey light card cover. 32 pages compiled by the Country Womens Association of Victoria sponsored by the Wool Board.J.Tatebooks, handcrafts

Ill, bib, ports, p.107.non-fictionGaeilge Ghriandóite: A go Z a hAon/ Sunburnt Gaelic from A to Z, Edition One, records selected findings of four Australians about the neglected history of the Irish language and Gaelic culture in this country. Gaeilge Ghriandóite/ Sunburnt Gaelic means the Irish language as it is spoken and written in Australia, as it comes to grips with a new environment. It is written throughout in Irish and is the first, and only, such book about the topic. Readers will find that over the past two centuries there have been dramatic breaks in continuity but also common threads. Triggered by positive responses from both experts and general readers alike to talks and papers all four had given on the topic, at a meeting in August 2019 the authors decided that the time was ripe to present to the public some fruits of their collaboration. The book's 108 pages present historical and contemporary facts about Irish-language culture in Australia in short entries, arranged in alphabetical order, with over 60 illustrations. This format makes it easy to find information and suits the present stage of research and publication on the topic. Also the alphabetical listing provides a flexible format for future editions. The book includes two short overview pieces and the first detailed bibliography on the topic.australia - irish language, australia - irish culture

This photograph was taken on the 20th June 2004 as part of an event called "Successful Tree Planting!", organised by the Wooragee Landcare Group. It was addressed to all local residents and landholders in the area and involved practical demonstration of techniques suitable for successful planting of native trees and shrubs, as well as information about weed control. In the photograph are illustrated from left to right the following people: Chris Robinson; Tony Prowse; unknown child; Lesley Finedon; Ann Henderson, unknown. Revegetation can improve the condition of remnant vegetation in the area and provide habitat for local animals. Correct species selection, including all layers of vegetation, along with proper weather conditions and adequate site preparation, can maximise the successful outcome. Weed-free conditions and protection from rabbits and kangaroos are two more factors contributing to a quick plant growth. Wooragee Landcare, since its establishment in 1998, has organised a series of events and activities in order to promote weed and pest control, provide assistance and knowledge to landholders and ensure sustainability and protection of natural vegetation.The photograph is an example of the type of events and activities organised by Wooragee Landcare to educate and inform local residents and landholders on the most suitable techniques for successful planting of native trees and shrubs. Wooragee Landcare, abiding by its mission statement, promotes best land management strategies and ensures sustainability through collaboration with local community and council agencies.Landscape coloured photograph printed on gloss paper. Reverse: WAN NA 0ANA0N0 BN1+ 1 1636/ [PRINTED] (No.21)/935/successful tree planting, wooragee landcare group, 20th june 2004, successful planting, native trees and shrubs, weed control, revegetation, remnant vegetation, habitat, local animals, species selection, weather conditions, site preparation, weed-free, rabbits, kangaroos, plant growth, 1998, sustainability, natural vegetation

Wooragee Landcare, since its establishment in 1998, has organised a series of events and activities in order to promote weed and pest control, provide assistance and knowledge to landholders and ensure sustainability and protection of natural vegetation. This photograph was taken on the 3rd April 2004 as part of an event called "Spotlight on Fox", organised by the Wooragee Landcare Group. It was addressed to all landholders in the area and involved practical demonstration of techniques suitable for integrated fox control. Camille Velesky, who is illustrated in the photograph, was the presenter; he is a specialist in fox behaviour and has worked for 27 years on pest control. Under the Catchment and Land Protection Act 1994 (CaLP Act) foxes are declared as established pest animals and landowners have the responsibility to take reasonable steps to protect their land from established pest animals. The most commonly used management techniques are baiting, shooting, guard animals, fencing, trapping, canid pest ejectors, above-ground harbour removal, property hygiene and fumigation. Trapping, due to the significant suffering and distress that causes to foxes, has significant animal welfare implications and should be avoided if there is another suitable alternative. The photograph is an example of the type of events and activities organised by Wooragee Landcare to educate and inform local residents and landholders on the most suitable techniques for integrated fox control. Wooragee Landcare, abiding by its mission statement, promotes best land management strategies and ensures sustainability through collaboration with local community and council agencies.Portrait coloured photograph printed on gloss paper. Reverse: WAN NA 0ANA2N0 NNN+ 1 8743/ [PRINTED] (No.10)/256/spotlight on fox, wooragee landcare group, integrated fox control, camille velesky, fox behaviour, pest control, catchment and land protection act 1994, calp act, established pest animals, baiting, guard animals, fencing, trapping, trap setting demonstration, weed and pest control, sustainability, natural vegetation, fox dens, fumigation, animal welfare

These captivating pieces are part of a series called "FOOD / FLESH / FAME," a collaborative effort between Melbourne-based Thai artists Bundit Puangthong and Vipoo Srivilasa. Drawing from Buddhist teachings, the series explores the three elements of attachment: Food (consumption), Flesh (sex), and Fame (power). Although these elements are known to cause suffering, they remain persistently alluring, a paradox that the artists intend to explore further in the future. In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FOOD" depicts a durian, the king of fruits, painted by Bundit Puangthong. He notes, "Despite its pungent aroma, many people still love to eat it."Donated the by the artists

In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FLESH" features a golden umbrella, serving as a metaphor for sex.