Home is a collection of birdhouses on floating islands using the iconic form of the human house - a pitched roof, square walls, windows and doors. This minimal form is often drawn by children; a dolls house, a cubby house, a letter-box or a chook house. Home creates a safe refuge for birds with the plants acting as a water filtration system. The exposed roots draw out pollutants, such as nitrogen, phosphorous and toxic metals, which have entered the waterway through urban run-off. The result is a beautiful sculptural experience and a healthier water system for all to enjoy. The artwork was funded by The City of Ballarat and The Victorian State Government.The work is of aesthetic significance to the people of BallaratHome is a collection of birdhouses on floating islands home, chris mether, studio mether, public art, ballarat, delecombe, wetlands

A card given to Legatees by the Comradeship Committee in 1939. 'Dear Legatee, Another year of Legacy has passed, another year of Service has commenced. May it continue to bring you much happiness in the appreciation of a great Comradeship. Comradeship Committee, 1939. The poem on the reverse says: 'I shall pass through this world but once, Any good thing that I can do, or any kindness That I can show any human being, Let me do it now and not defer it, For I shall not pass this way again.' The notation H15 in red pen shows that it was part of the archive project that was trying to capture the history of Legacy. A record of the sentiment that Legatees felt towards their duty to Legacy.White card printed and given to Legatees with best wishes for 1939 and a poem.Handwritten H15 in red pen.comradeship, history

Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sansom who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which often inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. This work is one of a substantial body of limited edition prints donated by the artist to Federation University in 2022 covering work from Graeme Drendel's earliest years as a student, through to more recent etchings. A etching of a woman with hair braids.graeme drendel, printmaking

Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sanson who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which often inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. This work is one of a substantial body of limited edition prints donated by the artist to Federation University in 2022 covering work from Graeme Drendel's earliest years as a student, through to more recent etchings. A etching of two men carrying a mattress.graeme drendel, printmaking, mattress

Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sanson who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which often inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. This work is one of a substantial body of limited edition prints donated by the artist to Federation University in 2022 covering work from Graeme Drendel's earliest years as a student, through to more recent etchings. An etching of a pool and surrounding objects such as chairs and towels. This work was completed during Graeme Drendel's final year at Melbourne State College where he was studying Secondary Art and Craft Teaching and majoring in Printmaking.graeme drendel, printmaking

Rectangular medical chart made from printed and coated paper laid on white fabric (?cotton) and showing the upper part of the human body, with skeleton, organs and blood circulation. The chart is attached to two wooden batons with small metal tacks. The top baton is moulded while the lower baton is circular in cross-section. Both batons are stained black. There are two screwed metal eyelets attached to the upper baton used for hanging the chart. A short length of red cotton tape is attached to the mid point of the upper baton with a metal tack and is used for securing the chart when it is rolled up. There is the remnant of a printed paper label adhered on the reverse side of the chart at the top edge, but unable to read the writing.The artists name (J. Teck) is printed at the bottom LHS of the chart . The logo of the St John's Ambulance Association is printed on the RHS of the lower edge of the chart, along with the words 'St JOHN'S GATE, LONDON, E.C.1'medical chart, blood circulation

1. This story of 2 Australian Survey Company is not intended to be an official history or even a complete unofficial history, but it is a very warm human document that will be read with interest by all members of the Royal Australian Survey Corps. The history is written by Lieutenant Colonel H.P.G. Clews and the foreward was written by Colonel D. Macdonald Director of Military Survey 23 Sep 1966. Clews is renowned for his work surveying for the construction of the Snowy Mountains Hydro Scheme. A scan of the complete booklet is available on the RASvy website. 3. Photograph of Survey Corps officers in the early days for WWII. Left to right, TA Vance (Director of Survey Corps), TP Keig, OGF Ward and HPG Clews..1 Cream coloured A5 booklet with Australian Survey Corps colour patch, 48 pages black and white photos and diagrams, folded pages and stapled. .2 Synopsis, (Index) containing "The buildup and operation of the Company", "The break-up of the Company" and Appendices. 2 Australian Field Survey Company .3 A group of Australian Survey Corps Officers in the early days of WWII. Left to Right TA Vance (Director), TP Keig, OGF Ward and HPG Clewsroyal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr

Ganger's Trolly Turntable When a railway gangers trolly was working between railway stations, occasionally it was required for the line to be clear for trains to operate. Many trollys were too heavy to physically lift off the track, so a turntable was needed. These were provided at designated locations, and in some cases the trolly had a turntable on board. The turntable would be placed on the rails and the trolley driven onto it. The turntable would then be rotated 90 degrees by human power and the trolley pushed off on to a prepared set of rails on the side of the line. The turntable would then be removed from the track allowing trains to run through that section. The gang could then get on with the work required near that location. Historic - Railway Permanent Way and Works - track equipment - Ganger's Trolly TurntableGanger's Trolly Turntable made of wood with wrought iron fittings puffing billy, ganger's trolley turntable, trolley, trolly

Black and white photo of boys in an Annual Demonstration in 1947. The boys are in gymnastic outfits with dark belts. They are climbing on equipment and each other, making a human pyramid. It was published in the newsletter in December 1947. It was in an album of press photos taken during dress rehearsals from the 1940s and 1950s. Throughout the year Melbourne Legacy provided classes for Junior Legatees such as dancing, gymnastics and Eurythmics. The Demonstration was an annual event to showcase their skills. Melbourne Legacy conducted Annual Demonstrations / Parades from 1928 through to the 1980's, usually held at Melbourne Town Hall. The beautiful costumes were made by members of the Junior Legacy Mothers' Club and the Melbourne Legacy Wives' Association.A record of the displays at the Annual Demonstrations. Also that Legacy provided classes for junior legatees and the skills learned were displayed in the Annual Demonstration.Black and white photo in an album of boys performing gymnastics on stage during a Demonstration.junior legatees, demonstration, annual demonstration, boys classes

Iodine is an essential trace element for life, the heaviest element commonly needed by living organisms. In medicine, potassium iodide is usually used to treat acute thyrotoxicosis. Hyperthyroidism, an overactive thyroid, is a condition in which the thyroid gland produces and secretes excessive amounts of the free (not protein bound, and circulating in the blood) thyroid hormones, This is the opposite of hypothyroidism ('sluggish thyroid'), which is their reduced production and secretion. Graves' disease is the most common cause of hyperthyroidism. Iodine's main role in animal biology is as a constituent of the thyroid hormones thyroxine If there is a deficiency of dietary iodine, the thyroid will not be able to make thyroid hormone. The lack of thyroid hormone will lead to decreased negative feedback on the pituitary, leading to increased production of thyroid-stimulating hormone, which causes the thyroid to enlarge (the resulting medical condition is called endemic colloid goitre This has the effect of increasing the thyroid's ability to trap more iodide, compensating for the iodine deficiency and allowing it to produce adequate amounts of thyroid hormone. The thyroid hormones are essential to proper development and differentiation of all cells of the human body. These hormones also regulate protein, fat, and carbohydrate metabolism, affecting how human cells use energetic compounds. They also stimulate vitamin metabolism. Natural sources of iodine include sea life, such as kelp and certain seafood, as well as plants grown on iodine-rich soil. Iodized salt is fortified with iodine. Elemental iodine is used as a disinfectant in various forms. It is a wound cleaner and Iodine also acts as an expectorant of mucous from the common cold and other respiratory ailments. Iodine is a common aid for skin conditions, such as acne, ..A brown glass triangular shaped bottle with a plastic screw top lid that contained IodineFront Label : SANA / TINCTURE WEAK (2 1/2 % ) / IODINE / POISON / ANTISEPTIC COUNTER / IRRITANT ETC. / THE SANAX CO. / 5 BRUNSWICK STREET FITZROY / TEL. J 3208 MELBOURNE. on side : ANTIDOTE FOR IODINE / DIRECTIONS.........pharmacy, medicines, iodine, athritis, glassware, bottles, moorabbin, bentleigh, cheltenham, thyroxin, goitre, iodised salt, gravves' disease

45 paged booklet - ''Bendigo - The City of Gold and Dragons'' (1988-89)- a Council services and community information directory. Contents : Mayor's message; City of Bendigo; Exciting current developments; Council meeting times; Your councillors; Corporate plan; Chief Executive Officer's message; Corporate Services Department; Rates and valuations; Revaluation; Tourism; Parking and traffic control; Dogs; By-laws; Community development; Library; Health and Human Services Department; Child Care centres; Home Care services; Leisure; Engineering and Technical Services Dept.; Town planning; Building; Parks and recreation; Shopping guide/car parking; Discount shopping vouchers; Operations Department; Street lighting; Garbage collection. Photographs of councillors and Departmental managers/directors.bendigo, council, community information directory, cr. r. adams, colin nankervis, michael currie, james douglass, phillip geri, rodney fyffe, jeffrey fyffe, peter morley, chris wilson. rates and valuations, parking, by laws, shopping. departmental managers and directors.

Rectangular chart made from printed and coated paper on a fabric base. The chart shows the upper torso of a human male. The chart is mounted at either end on timber batons using small metal tacks. Masking tape has been placed over the metal tacks in an attempt to repair the chart. The upper baton is moulded, while the lower baton is circular in cross-section. Both batons are stained black.Two screwed metal eyelets have been attached at either end of the upper baton for use in hanging the chart. A short length of brown/white cotton tape is attached to the mid-point of the upper baton with a metal tack. the tape is used to secure the chart after it has been rolled up.Printed on the RHS front face of the chart at bottom edge are the words 'All rights reserved'. Printed on the LHS front face of the chart at bottom edge are the words 'RUDDIMAN, JOHNSTON & CO., Ltd., LONDON'ruddiman johnston & co, medical chart

The invention of a hand drill is credited to Arthur James Arnot and William Blanch Brain of Melbourne, Australia who patented the electric drill in 1889. In 1895, the first portable handheld drill was created by brothers Wilhem & Carl Fein of Stuttgart, Germany. Hand-powered devices have been used for millennia. However, during the last quarter of the 19th century a radically improved generation of tools appeared. These tools took advantage of modern mass production machinery and processes (like interchangeable parts) and an increased availability in superior material (metal instead of wood). One of the outcomes included an array of new drilling machines. These human-powered tools were a vast improvement over earlier tools.This item is an example of a commonly used domestic tool - pre power tools.A Stanley hand drill with two wooden handles. The red wheel is painted metal. On red wheel - STANLEY ENGLANDwoodwork tool hand-drill

By 1966 when this poem and article were written by these state school students, the Phillip Island Penguin Parade had become famous and was a regular excursion destination for groups. The poem in rhyming couplets of 4 lines per stanza is typical of its time with human-centric description of the penguins in 'coat and tails', but both the poem and essay also indicate a growing interest in the evolution and behaviour at sea and on land of the Little Penguins. The Gould League of Bird Lovers, Victoria branch, which published these pieces in their 1966 edition of the Bird Lover magazine, was established for both children's 'nature studies' within school curricula, and for adults. The League published many booklets, posters and newsletters for schools and naturalists. The article demonstrates a growing interest in state schools in teaching students about Australian wildlife at the time. Little Penguins are very appealing to humans and given the accessiblity for viewing them at the Phillip Island Penguin Parade, provided teachers and students an ideal springboard for learning. Encouraging both poetry and essay form also indicated a broad approach to allowing students to express their knowledge and attitudes in various ways within the school setting.Also demonstrates the influence of the Gould League of Bird Lovers within the Victorian Education system.Photocopy of article. Black print on white paper with single greyscale image. Three-stanza poem "The Penguin" by Janice Ah Kee, followed by 4-paragraph description of life in the rookery by Diana Joseph. Both from Victorian state schools.litte penguin, fairy penguin, , bird lover, state school 3125 eagle point, state school 4655 morwell, janice ah kee, diana joseph, christine ryan photo, phillip island penguin parade, gould league of bird lovers, gould league of victoria, phillip island nature parks

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Sensory Integration Invention A, by Cathy Smith public art sculpture, commissioned by Nillumbik Shire Council, in Fergusons Paddock,12 Arthurs Creek Road Hurstbridge was officially unveiled in 1999. Councillors Penny Mullinar and Margaret Jennings in attendance. "Smith's work has strong references to humans' sensory and practical relationship with the land through the built environment. Wind entering the structure's tubing operates like a flute, generating sounds such as bird calls that resonate into the surrounding wetland areas." Source: Highlights from the Nillumbik Public Art Collection, NSC, n.d. Part of a slide show presentation "A Trip Down the Diamond Creek" by Russell Yeoman to the Eltham District Historical Society meeting of 14 Nov. 200135mm colour positive transparency Mount - Black and Whiteart in public places, arthurs creek road, cathy smith, ferguson's paddock, hurstbridge, public art, sensory integration invention a

This is an Aboriginal artwork that depicts a Goanna Totem. Designed by Ballarat-based, Gunditjmara artist Aunty Diana Nikkelson, the design is inspired by the artist’s totem and is a tribute to the first artists of the region, the Wadawurrung people. It acknowledges Aboriginal survival and the dynamic regeneration of the Aboriginal art and culture in the region. The artwork is in-set to the basalt paving along Police Lane by a series of etched footsteps, which evolve from human footprints to goanna prints as viewers approach the rear of the Art Gallery of Ballarat. The artwork was originally located only outdoors and half of it was brought into the Art Gallery of Ballarat in 2011, when the former Federation Plaza was enclosed to form the Art Gallery of Ballarat's McCain Annexe. The artwork was created in 2006 as part of the cultural festival of the Commonwealth Games. The artwork is of cultural and aesthetic significance to the people of BallaratSand blasted petroglyph forms into bluestone on laneway surface. The carved inlay of the Goanna Totem design into the bluestone of Police Lane (beside Art Gallery of Ballarat) continues inside the building.goanna totem ballarat, goanna totem, diana nikkelson, aboriginal, dreaming, nikkelson, gunditjmara

Vivienne McDERMOTT Working primarily in printmaking, drawing, mixed media and found/recycled object sculpture Vivienne McDermott lecturerf in Printmaking and Drawing at Ballarat University in 2000-2010 and collaborated with arts group Ratartat on public and community arts projects has taken her to many places throughout Australia. Her subjects include the Australian landscape, local characters and wildlife, the human condition and landscape. Now based in the Western Kimberley region of Australia Vivienne McDermott was Artist in Residence at Wulungarra Community School in 2012 -2013, and exhibits annually in Australia and New York City. 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.Abstract FigurativeFramed drypoint etching on Fabriano paper.vivienne mcdermott, mcdermott, apple, fruit, alumni, printmaking, available, drypoint, etching

A copy of a speech at the Commemorative Service held during the National Conference in Townsville in October 2007. He mentions the battle of Fromelles in WW1. It looks at how lucky Australia was that Legacy was around to look after families of other conflicts. "While we send our young men and women into dangerous situations the chances are that someone will be killed. Then a family will be in darkness, but at least they will know that there is a torch, a Legacy torch, that will help them, via the Legatees, through their difficult times. That torch is not just a light in the darkness it is the light of the human spirit, of mateship. It is a light of hope that helps one go forward." Document was from a folder of documents donated to the archive by Legatee Bill Rogers that related to his time as President (March 2006 - March 2008).A record of a prominent serviceman being involved with the Legacy conferences.Three A4 page photocopy of a speech by Lieut Weekes at the Commemorative Service of the National Conference 7 October 2007.conferences, brigadier neil weekes

Victorian Institute of Occupational Safety and Health (VIOSH) Australia is the Asia-Pacific centre for teaching and research in occupational health and safety (OHS) and is known as one of Australia's leaders on the field. VIOSH has a global reputation for its innovative approach within the field of OHS management. VIOSH Australia enrolled its first PhD candidate in 1995 and during 1996 focused on attracting increasing numbers of students. In 1996, three candidates were enrolled through VIOSH Australia.They were John Culvenor, Geoffrey Dell and Thomas Mitchell. All had Prof Dennis Else as their supervisor. Previously, Geoffrey Dell was in Intake 7, 1985, Occupational Hazard Management. Geoffrey Dell's topic was "Airline Baggage Handler Back Injuries - Causes and Prevention." "The aim of this study is to investigate the work practises and operational systems used by baggage handlers in a range of airlines, worldwide. Where possible the investigation will include an epidemiological study of baggage handler back injury occurrence in those airlines. The information gathered will provide an understanding of back injury causation modes, and will focus attention on the specific tasks for which engineering solutions should be sought. Engineering solutions identified will be subject to controlled trial, to confirm their validity." This led to the construction of a full scale plywood baggage compartment model and a partnership with Ballarat University's School of Human Movement and Sports Science. Three different loading systems were tested. Qantas baggage handlers travelled to Ballarat University to fill the human frame of the investigation. The photographs show this aspect of the research. In 1997, Geoffrey Dell was awarded the Eric Wigglesworth Prize. The prize acknowledges publication of an article which constitutes a significant contribution to the body of occupational health and safety knowledge in an approved OH&S journal.32 co;our photographs showing procedure of baggage handlers.viosh, victorian institute of occupational safety and health, geoffrey dell, john culvenor, thomas mitchell, phd, airline baggage handler back injuries, work practises, operational systems, engineering solutions, causes of injury, qantas baggage handlers, prof dennis else, eric wiggles worth prize, oh&s journal, ballarate university, school of human movement and sports science, plywood compartment model, loading systems

Small booklet (32 pages) titled "A Guide to Youth" A reliable sex education book for boys 12-14 years. Foreword by Professor Harvey Sutton O.B.E. The booklet was published by Father and Son welfare movement of Australia in January, 1959. Contents - Part 1 - The wonder of the human body: the marvel of modern machines, the greatest of all machines, factories within. Part 2 - Up to young manhood: taking on a new look, shooting up, fitness is fine, thinking of habits, leaving childish things behind. Part 3 - The miracle of birth: we grow from an egg cell; fertilisation takes place, commencing to grow, from an egg cell to a baby, being born. Part 4 - Building our lives: adventure unlimited, building to a plan, God has a plan, too.books, school, sex education

When removed from the frame, in Sept 1999, for conservation work it was found that probably on three previous re-framings the work had been tacked as the tack heads are clearly visible around the edge and staple marks are also present. The conservator was able to remove some rust but not the staple marks. She feels the 'browning' of the material was caused by the wooden board which the sampler was mounted on.|The conservator stated that the material was cotton 'Tiffany' fabric.Framed sampler of cross stitch headed 'Prudence' 'Hear the Words of Prudence, give heed unto her councils and shore them in your heart. Her maxims are universal and all her virtues lean apon her. She is the guide and mistress of human life. Put a bridle on thy tongue , set a guard before thy lips lest the words of thine own mouth destroy thy peace. Let him that scoffed at the lame take care that he hurt not himself. Whosoever speaketh of anothers failings with pleasure shall hear of his own with bitterness of heart. of much speaking cometh repentance but in silence is safety'|Embroidered trees and buds, flowers, baskets all stylized. 'To labour and to be content with that a man hath. is a sweet life' Mary Baker 1803 18 M.A.G. 47handcrafts, needlework