The author Henry John Webb (1846-1893) was an English botanist and agriculturalist who worked in scientific ways, described as thorough, to improve many aspects of farming, such as promoting a scientific system for making butter. He became a very successful Principal of Aspatria Agricultural College in northern England, which was set up for the training and education of farmers and farm labourers. He also held world records as a cyclist and tricyclist. This book is part of Flagstaff Hill's Pattison Collection. Longmans, Green & Co. published several of Webb's technical books. The publisher firm, Longmans, Green & Co, was originally founded in 1724 in London by Thomas Longman under the name Longman. In August of that year, he bought the two shops and goods of William Taylor and set up his publishing house there at 39 Paternoster Row. The shops were called Black Swan and Ship, and it is said that the 'ship' sign was the inspiration for Longman's Logo. After many changes of name and management, the firm was incorporated in 1926 as Longmans, Green & Co. Pty Ltd. The firm was acquired by Pearson in 1968 and was known as Pearson Longman or Pearson PLC. Interestingly, the logo in some books, such as “Steam Turbines 2nd edition, published in 1922” has the year “1724” but the logo in books such as “Advanced Agricultur, published in 1894” has the year “1726” in the logo.The book is significant for showing the technical advancement in agriculture att the end of the 19th century and can be used to trace the evolution of agricultural methods and machinery since that time. The book is significant for its connection to the publisher Longmans, Green and Co., of London, a firm that has been established for over two centuries, renowned for publishing encyclopedias, dictionaries, books on English grammar, textbooks, poetry, reference books, novels, magazines and more. The book has additional importance for its connection to the Pattison Collection, which, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institutes’ Collection. The Warrnambool Mechanics’ Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and its important role in people's intellectual, cultural and social development throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance.Advanced Agriculture Author: Henry J Webb Publisher: Longmans Green & Co Date: 1894 The green hardcover book includes tables, drawings and diagrams. There are inscriptions on the spine label, front endpaper sticker and stamp. The logo of Longmans, Green & Co. is on the fly page. It is a line drawing of a shield above a leafy wreath border surrounding a sailing ship at sea with a plaque below. Inscriptions are on the shield and plaque. It is part of the Pattison Collection.Label: "PAT 631 WEB" Sticker: "Corangamite Regional Library Service" Stamp: 'Warrnambool Public Museum" Logo shield: "L & Co" [Longman Green & Co.], Logo plaque: "1726" [in this book]flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, pattison collection, ralph eric pattison, warrnambool mechanics’ institute, mechanics’ institute library, warrnambool library, free library, corangamite regional library service, longmans green and co., l & co., 1724, thomas longman, paternoster row london, henry j webb, agriculture, farming, botanist, lecturer, english scholar, aspatria agricultural collage principal, technical farming, zoology, chemistry, physics, geology, 1984

"Art is the vehicule for communications far Beyond the confines of a space, while design is the aesthetic cradle in which messages are nurtured and processed." "A 586 rework of the iconic building that has withstood the redevelopment of the Melbourne Docklands and defied the odds. On display a large format print 700mm x 1400mm print. Also a limited run of smaller prints on archival paper also available to support Melbourne's first non-profit charitible organisation that is still self funded, ie. not government funded." During the Open House Melbourne 30-31 July 2011, the artist nicknamed "586" participated in one of the Norla Dome Project Space events sponsored by Bendigo Wealth. Made in Melbourne, 586 is an urban digital experimentalist who blends social narrative with found image creating messages that inspire social consciousness and free thought. Cast in a local foundry back in 1991, 586 was a number, amid hundreds of men working between the ladie and the furnace in a clock on - clock off automated industrious landscape. Legend tells of a time when correspondance to workers was addressed to their number, not their name. Disapproval spread rapidly and a revoit soon followed, eventually the power of the masses won out, but the demoralizing treatment of the worker would go on to shape 586's perception and became the catalyst for a personal protest against social imbalance. This print was on display and smaller prints were also sold to raised funds for the Mission.DigitalLarge digital print of a design that overlays various symbols ( 4 flying angels ), the sails of a sailing ship and contemporary cityscapes and seascapes. centrally features a full photograph of the Mission to seafarers building at 717 Flinders St. Melbourne. Mounted in a large black frame and glazed with perspex .mission to seafarers, flinders street, melbourne, windvane, dome, flying angel, sea, norla dome, bendigo wealth, artist 586, 2011, artwork-paintings, open house, norla dome project space

Newspaper clippings with photographs under heading "Some of Ringwood's War Workers" - The Weekly Times, November 29, 1944.

Eighteen tin type photographs mounted in a card. The card has a dark red border and small oval windows with a photo behind each one. Each opening has decorative work in dark red. Photographer's name and address printed at the bottom. The photos consist of male and female adults, children and young people. Other addresses for the photographer are: 95 Swanston St., Melbourne; 23 King William St., Adelaide; 6 Sturt St., Ballarat; and Brisbane St., Launceston.Gove & Allen, 324 George St., Sydneyphotograph, portrait, male & female, tin type collage, gove & allen

A set of three Photograph depict a Helicopter catching fire whilst refuelling and a subsequent ammunition explosion.photograph, framed collage, helicopter, sgt a h young

In a gold frame, with camouflage print background. Four coloured photographs of Navy personnel in camouflage uniform in groups at the Museum. Two cloth badges in the centre and a gold medallion under bottom photograph. Two plaques: Technical Training Facility "Strive for Success" presented to National Vietnam Veterans Museum, Phillip island from HMAS Cerberus 2018photograph, hmas cerberus

The 'Cycles' series is an extension of two large scale provisional installations '150 Rotations', Melbourne Now, National Gallery of Victoria, and '356 Rotations', AC Institute in New York, which also re-purposed and aestheticised multiple paper units into hundreds of circular motifs.The immediate tactile connection with the material excesses and detritus of contemporary consumer culture informs the theoretical framework and conceptual understanding of Gower's practice, and associates her work with ideas of recovery and re-purpose, sustainable practice and thrift strategies that critique excesses of mass production and the notion of impermanence. This series was made ‘in transit’ during the artist’s recent studio residencies at Point[B], New York and Laughing Waters, Eltham, and at three temporary studios in Rome, Berlin and Collingwood.Kaleidoscope pattern of multiple segments (logos-Lipton tea) from commercial (food) catalogues on commercial packaging (cardboard - round lid). No inscriptions and markingscycles, gower, collage, pattern, logos, commercialism, consumerism, repurpose, recycle, riverbend, laughing waters

The 'Cycles' series is an extension of two large scale provisional installations '150 Rotations', Melbourne Now, National Gallery of Victoria, and '356 Rotations', AC Institute in New York, which also re-purposed and aestheticised multiple paper units into hundreds of circular motifs.The immediate tactile connection with the material excesses and detritus of contemporary consumer culture informs the theoretical framework and conceptual understanding of Gower's practice, and associates her work with ideas of recovery and re-purpose, sustainable practice and thrift strategies that critique excesses of mass production and the notion of impermanence. This series was made ‘in transit’ during the artist’s recent studio residencies at Point[B], New York and Laughing Waters, Eltham, and at three temporary studios in Rome, Berlin and Collingwood.Kaleidoscope pattern of multiple segments (logos-Purina 'fancy feast') from commercial (food) catalogues on commercial packaging (cardboard - round lid). No inscriptions and markingscycles, gower, collage, pattern, logos, commercialism, consumerism, repurpose, recycle, riverbend, laughing waters

The 'Cycles' series is an extension of two large scale provisional installations '150 Rotations', Melbourne Now, National Gallery of Victoria, and '356 Rotations', AC Institute in New York, which also re-purposed and aestheticised multiple paper units into hundreds of circular motifs.The immediate tactile connection with the material excesses and detritus of contemporary consumer culture informs the theoretical framework and conceptual understanding of Gower's practice, and associates her work with ideas of recovery and re-purpose, sustainable practice and thrift strategies that critique excesses of mass production and the notion of impermanence. This series was made ‘in transit’ during the artist’s recent studio residencies at Point[B], New York and Laughing Waters, Eltham, and at three temporary studios in Rome, Berlin and Collingwood.Kaleidoscope pattern of multiple segments (logos-Lipton 'Green Tea') from commercial (food) catalogues on commercial packaging (cardboard - round lid). No inscriptions and markingscycles, gower, collage, pattern, logos, commercialism, consumerism, repurpose, recycle, riverbend, laughing waters

Heritage Study Vol 10 SL139B/W Photo. Weatherboard home 3/4 Verandah with awnings. Bay window to left. Low brick fence in front.14 Ligar Street in red ink on back.ladies collage

Contempory record of shipwreck 1891Collection of copies of newspaper photographs (labelled ) concerning the wreck of the Scammel and the aftermarthshipwrecks great ocean road victoria

photo/pictures, ballarat rsl, ballarat

Limited edition reproduction: 'Don Budge, Kooyong 1938'. Print 5/30 from the 'Kooyong Collection'. Image accompanied by small text panel, outlining Budges career and records. Adhered to backing is the reproduction's Certificate of Authenticity as an official Australian Open licensed product. Materials: Ink, Paper, Wood, Cardboard, Metaltennis

Michael KRATOFIL Between 1987 and 1989 Michael Kratofil undertook a Bachelor of Arts (Design and Visual Communications) at the Ballarat Institute of Advanced Education (later Federation University) 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.Framed University Graphic Design Project. If you can provide information on this artist or arwork please use the comment link below. art, artwork, michael kratifil, available, graphic design, graphic communication

Carole WILSON (1960- ) Born Canberra, Australia Carole Wilson undertook undergraduate studies at the Canberra School of Arts and Phillip Institute of Technology. She completed a Graduate Diploma in Education at the University of Ballarat in 1987, and a Doctor of Philosophy in 2000. She has chosen central motifs in her work, which she incorporates throughout a series. The urn has been a unifying motif in Wilson's map work and testifies to the way in which function drives form across cultures. Carole's work is held in many public collections including the National Gallery of Australia, the Powerhouse Museum, State Library of Victoria and a number of regional Victorian galleries. Her posters are in museum collections in Finland, Moscow and Poland. In 2001 Dr Wilson was awarded a Doctor of Philosophy (Visual Art) from the University of Ballarat (Now Federation University). She graduated with a Graduate Diploma in Education from University of Ballarat in 1987, and a Diploma of Art from the Phillip Institute of Technology (RMIT) in 1984. Carole Wilson lectures at Federation University Australia: 2010- Senior Lecturer in Visual Arts, Honours and Research Degrees Co-ordinator 2009-2011 Lecturer in Studio Practice and Postgraduate Co-ordinator 1999-2008 Lecturer in Visual Arts (Sessional) 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. Donated through the Australian Government's Cultural Gifts Program by Anne M. Drum, 2011art, artwork, carole wilson, maps, urn, alumni, available, staffmember

non-fictionThis is one of many publications by Bruce Pennay which focus on and analyse the policies and experiences of migrants at the Bonegilla Reception and Training Centre. In this latest item, he arranged picture collages (40 in all) and invited readers to see and consider how Bonegilla, Australia’s largest and longest-lasting postwar migrant accommodation centre, was perceived and represented by government, by the contemporary press, and by resident staff, migrants and refugees.bonegilla reception and training centre, bonegilla, postwar migration, migration australia

Various photos taken during training in and around Puckapunyal around mid 1950's.Series of 8 small photos in black and white, of tanks and related equipment and ammunition. Photos include Centurion Tanks, Grant Tank, Artillery, Stag Hound Tank, Armoured jeeps, Parachute Motor, grenades and flares. Photos are all labelled and stuck to an A.4 piece of paper.Each photo is labelled.photographs, tanks, puckapunyal

In 1954 National Services Trainees trained at Puckapunyal.Series of 8 small black and white photos of Tanks parked or in trainings at Army base Puckapunyal in 1954. All are labelled and attached to a piece of A.4 paper.All labelled Army Tanks or Centurion Tank, Puckapunyal 1954.photographs, puckapunyal, tanks

Series of small photos of a group of soldiers in training at an unidentified base, possibly Puckapunyal.Series of 8 photos stuck onto on A4 piece of paper circa 1954-55. Photos show various Australian soldiers in training or at the training base in casual poses. Includes a brief type description identifying soldiers with each photo.A description/ identification on each photo.photograph, army, training, puckapunyal

Various photos of Australian soldiers in the mid 1950's at training on tourist locations in Central Victoria and Puckapunyal.Series of 7 small black and white photos stuck on an A4. piece of paper, showing various Australian soldiers at various locations in Central Victoria with typed captions underneath each.Each photo has an identifying caption.photographic collage, training, army, puckapunyal