Framed Ballarat School of Mines Vision Statement, including values, mission and corporate goals.ballarat school of mines, vision statement, mission statement, corporate goals, w.j. gribble, bill gribble, d. nicholson, ron wild

The Ballarat School of Mines was hthe first school of mines in Australasia and was established in 1870. It is now a predecessor institution of Federation University Australia. Three colour photograph of Founders Room, and an honour board in Founders Room at the SMB Campus Administration Building. It lists the Directors, and the School Council Presidents.ballarat school of mines, ballarat school of mines directors, ballarat school of mines council presidents, frederick martell, c.a. fenner, w. poole, h.h. smith, maurice copland, a.f. heseltine, r.w. richards, dick richards, richard w. richards, harold arblaster, e.j. barker, jack barker, graham beanland, peter shiells, ron wild, redmond barry, wiliam stawell, andrew anderson, richard maddern, w.h. middleton, e.j.t. tippett, m.b. john, john tippett, morgan b. john, w.j.c. north, rex holioake, ken flecknoe, kerry l. cross, william gribble, bill gribble

The tie pin was used to celebrate the amalgamation of the University of Ballarat with the Wimmera Institute of TAFE on 1 January 1998 and was attached to a small folder with this information. They were given away or sold for $1.90 each.A small card folder with printed information and a green and gold enamelled tie pin. Some folders have the pin attached and some pins are separate in packets.ballarat school of mines and industries, tie pin, wimmera tafe, amalgamation, ron wild

The train line from the city to Frankston was electrified which intensified the sale in the municipality of Moorabbin, particularly land which was in the vicinity of the railway stations.Example of the progress of the Municipality of MoorabbinAdvertising flyer for auction of real estate sales - plan of building blocks for sale with pictures of local housesHillcrest Estate, Ormond - Auction Saturday 11August 1928arker street, holloway street, wild cherry road, ormond, real estate

The train line from the city to Frankston was electrified in 1922 which intensified the sale in the municipality of Moorabbin, particularly land which was in the vicinity of the railway stations.Example of the progress of the Municipality of MoorabbinPhotocopy of advertising flyer for auction of real estate sales - plan of building blocks for saleHillcrest Estate, Ormond - 26 Home sites for auction Saturday 26 February 1927.parker street, holloway street, wild cherry road, wallen road, florence street, wimmera street, leila road, real estate, ormond, auction

At the end of World War One, there was a renewed interest in residential land and a number of estates opened up in the Municipality of Moorabbin.Example of the progress of the Municipality of MoorabbinPhoto copy of advertising flyer for auction of real estate sales - plan of building blocks for saleOrmond Grange Estateholloway street, wild cherry road, parker street, ormond, land sales, real estate

A box decorated with pictures of animals. Contains magazine articles on animals throughout the world. Sources include, ' Woman's Day,' 'Princess,' and 'Animals.' Dated 1960s.'ANIMALS (2)sciences, general, animals, lydia chancellor, collection, animals, wild animals, insects, birds, ephemera, sciences

sepia photograph of shop fronts, weatherboard buildings. Window sign, Hennesey births and deaths registrar, skinbuyer. Overhead sign .Massey Harris Cycles and motor agency. Seven adult men in foreground with five bicycles and one motorised rickshaw combination. Geo Tzauer on small overhead sign.organization, business, commercial, ian wild july 2000 : 'hennesy, woolbuyer/wool and rabbit skin merchant. note rickshaw bike on left'

Black and white photo: Rosalind Park taken from corner of fernery looking toward rear of Law Courts and Post Office, showing conservatory on left. Bendigo Creek running behind trellis fence. Winter time. New police station not yet built.cottage, miners, ian wild, july 2000 'rosalind park taken from corner of the fernery, towards rear of law courts. conservatory on left. prior to building of police station. '

p.224.non-fictionA memoir by a WWI fighter pilot, with the adventurous spirit of 'War horse' and the charm of 'The little prince'. A singular, lyrical book, 'Sagittarius rising' is at once an exuberant memoir from the Lost Generation and a riveting tale of the early days of flight during World War I. Cecil Lewis lied his way into the British Army's Royal Flying Corps at age sixteen and was ordered to a squadron on the Western Front only a year later. At the time, flying was so new that designers hadn't even decided on basic mechanics such as how many wings a plane should have. Despite this, Lewis mastered virtually every kind of single-engine plane in the RFC, going on to excel in active duty and even to dogfight the Red Baron--and live to tell the tale. Full of infectious charm and written with the prose and pacing of a novel, 'Sagittarius rising' beautifully recounts Lewis's harrowing exploits in the sky alongside his wild times of partying and chasing girls while on leave in London. His coming-of-age story is unlike any other WWI memoir you've read before. world war 1914-1918 - aerial operations - britain, cecil lewis - memoir

What manner of welcome is offered to man by the land of Viet Nam? I this territory friendly or hostile to the ageless, elemental striving for food and shelter, for safety from wild beasts, for a healthy life?vietnam - history, vietnam

Softcoveraustralian prose literature, 20th century , walsh st library

HardcoverPatricia Boyd's signaturewalsh st library

Paper program for Melbourne Theatre Company performing at the Athenaeum Theatre March to September 1977; coloured cover; 24 p. includes articles about the play and the actorsmelbourne theatre company, season 24, march to september 1977, athenaeum theatre, the school for scandal, juno and the paycock, the wild duck, the merchant of venice, the fall guy, the club, ashes, russell st theatre, rodney fisher, ray lawler, mick rodger, john sumner, university of melbourne

John Millington Synge's plays were produced by the Irish National Theatre Society in 1905. Program notes reveal that the first performances "were the focus of some of the bitterest scenes ever witnessed in a theatre. Audience unrest ... grew to full-scale riots, and Yeats claimed that by the end of the week's run 70 police were keeping order inside the theatre, while 500 patrolled the streets outside".Unruly gatherings have been witnessed in the Athenaeum Theatre and Collins Street, such as in 1843, a year after the building was completed: "The first election for the Melbourne seat in 1843 turned into a sectarian battle between a Catholic and a Presbyterian candidate." Supporters of the losing candidate "massed outside the Mechanics Institution where the official declaration of the poll was to occur, and tried to storm the building. The police arrived and did disperse them but only to send them on a rampage throughout the town, ...("Building a Free Australia : Places of Democracy" by John Hirst, 2009)Paper program; coloured cover; 16 p. includes articles about the play and the actors.melbourne theatre company, the playboy of the western world, john millington synge, athenaeum theatre, katy wild, riots

The play on which the musical Hello Dolly was basedPaper programthe matchmaker, athenaeum theatre, thornton wilder, melbourne theatre company

Piers Bateman was a local artist, held in very high esteem by his peers and community. He was born in Perth in 1947, moving to Eltham in 1955 as a young child with his family. In 1966 Bateman moved to London for eighteen months to develop his craft. In 1969 he settled in St Andrews, where he built a studio. The St Andrews locale is said to have been a strong influence on his work. Bateman’s talent was such that he was promoted and mentored by such ilk as Charles Blackman, Clifton Pugh and Arthur Boyd, among others. Bateman’s work is an intimate dialogue with the environment, renowned for his paintings of the outback, wilderness frontiers and the sea. He spent a year in the mid-seventies sailing the Greek Islands and the French canals to Amsterdam. In 1980 Bateman and Marcus Skipper embarked on a trans-Australian venture to the red centre and across northern Australia from Cairns to Broome. In the mid-eighties Bateman returned to the Mediterranean, before returning to the Australian outback in the late-eighties. His international career continued on an upwards trajectory between the Australian outback and European seas, providing a unique contrast throughout the course of his career. Bateman's work questions our relationship with the natural world, and in particular, reconciling our colonial heritage with our indigenous past. This line of questioning and his genuine response to place is the key to Piers Bateman’s work, for which he is lauded and celebrated. On September 4th 2015, Piers Bateman died in a boating accident on the NSW coast line. Piers Bateman was an instinctive painter whose inspiration came from nature. He reworked and scraped off the paint, moving it around until forms and colours of the landscape took shape. Although Bateman lived in Spain and Italy, his time in Europe made him aware of the contrast between the two continents and the bright clear light that defined the Australian landscape. At the time of this work, Bateman was living in St. Andrews, but travelled regularly to New South Wales and South Australia on painting trips. The ‘Grass Tree’ Xanthorrhoea johnsonii (commonly known as ‘blackboy’) is indigenous to these areas. It is a uniquely Australian, slow growing plant with twenty-eight species growing within Australia. Old examples of this tree are survivors of many wild fires, which can cause their blackened trunk, of one to two metres, branch into two or more heads. These heads consist of thick, rough corky bark, surrounded by long, wiry leaves and flowers that produce seed capsules with hard black seeds. The tree’s ability to be one of the first to flower after a wild fire ensures a food source for many insects and birds.Oil on canvas painting. Detail of three grass trees resting on the side of a mountain/hill. Green and gold palette throughout depicting the colours and light of the Australian landscape. Hand written, low right in capitals: 'BATEMAN'bateman, grass trees, xanthorrhoea johnsonii, landscape

Innes Cameron was a regular visitor to Peterborough.Significant due to he memories of Peterborough and names of holiday visitors.Small paperback booklet.innes cameron, peterborough, little wandocka, peterborough poems, loch ard, crazy kate beach, wild dog cove, betty cameron

The (logging) truck carries a representation of John Glover’s painted landscapes, which Cox has painted on a solid block of wood. John Glover is one of Australia’s most celebrated colonial landscape painters. Born in England, he was a highly successful water-colourist and painter of landscapes in the tradition of French artist Claude Lorrain. Arriving in Australia in 1831, Glover adapted his picturesque style and luminous technique to his new surrounds, creating naturalistic and atmospheric paintings of Australian nature, settler life, and Aboriginal culture. Working out of doors, Glover developed an understanding of the unfamiliar Australian landscape, especially the twisting forms of native eucalyptus trees. His direct experience of nature, as both pioneer settler and painter, resulted in a new approach using a subtle palette of olive greens, ochres, misty greys and intense blues, and layered glazes of mauve, grey and gold, to portray Australian light and atmosphere. Dale Cox continues the ongoing preoccupation and tradition of landscape painting in the Nillumbik area and our impact on the environment in a contemporary way. The truck creates a playful nexus between painting (representational landscape) and sculpture, purposely bluring boundaries across these traditionally distinct disciplines. ‘Ghost’ seeks to convey the idea that when we remove something significant from a location, like the landscape itself, the remaining ‘place’ changes to become a new ‘place’. This may seem self-evident until we think more deeply about location and landscape. The white truck is a ghost, an ethereal, transient being that spirits away an entire place, forever removed from itself, and forever changed. Logging wild trees can never be like harvesting a ‘crop’. Logging removes a landscape, and changes a place forever. The ‘packaging’ of this painted landscape highlights the anomaly between commodity and our environment. Dale Cox was a local artist and this work was highly commended at the 2012 Nillumbik Prize. White plastic toy (logging) truck with a landscape painting on a wooden block. The landscape painting is reminiscent of paintings by colonial artist John Glover. N/Alandscape, truck, sculpture, environment, john glover, colonial, painting, ghost, nillumbik prize