Showing 1077 items
matching school life
-
Port Melbourne Historical & Preservation Society
Souvenir - Publication, Souvenir, Clear & Dim Memories of a Very Ordinary Sort of Life by Gerald Patrick Harper, St Joseph's Sacrificial Offering Programme, 2004
.02 - Twenty-three page copy of Clear & Dim Memories of a Very Ordinary Sort of Life by Gerald Patrick Harper. religion - roman catholic church (st josephs), domestic life, st josephs catholic primary school, gerald patrick harper -
Port Melbourne Historical & Preservation Society
Photograph - Bubs' class, Nott Street State School, Port Melbourne, 1919
... School, Port Melbourne Photograph Digital image copied from ...Digital image copied from Turners' original: Nott St State School Bubs' class 1919 (Ruby Alice Turner 5 1/2 years). Teacher Miss Boyle.domestic life, women, education - primary schools, nott street state school, miss boyle, ruby alice turner wilkins -
Women's Art Register
Book, Wakefield Press, Dear Marilyn, 2003
An illustrated autobiography of South Australian artist Barbara Leslie born 1940. Painter and illustrator Leslie charts her life through three sections. Book 1: letters to her best friend Marilyn; Book 2: written to her inner child; Book 3: a diary format after Merilyn's death.non-fictionAn illustrated autobiography of South Australian artist Barbara Leslie born 1940. Painter and illustrator Leslie charts her life through three sections. Book 1: letters to her best friend Marilyn; Book 2: written to her inner child; Book 3: a diary format after Merilyn's death.south australian bushfires, art school, drawing, family -
Victorian Interpretive Projects Inc.
Book, Theodore Jesse Hoover, The Economics of Mining, 1938
Theodore Jesse Hoover, brother of the 31st President of the United States, was born in West Branch, Iowa, on January 28, 1871. He attended Stanford and received the Bachelor of Arts degree in Geology and Mining in 1901. Following graduation his professional career started with the position of assayer for the Keystone Consolidated Mining Company. After one year, he became assistant manager for the Standard Consolidated Mine, and a year later he was promoted to manager of the operation. In 1907 Hoover went to London as general manager of Minerals Separation, Ltd. This company was developing the froth flotation process for recovering minerals from ores. Hoover took an active part in the development of the flotation concentration process and authored one of the first books on the concentration of ores by flotation. After four years with Minerals Separation, Ltd., Hoover entered private practice as a consulting mining and metallurgical engineer with offices in London and in San Francisco. He was very successful and held positions of consulting engineer, managing director, director, and president of many mining companies in America, Europe, Asia, Africa, and Australia. He returned to Stanford in 1919 as Professor of Mining and Metallurgy and Executive Head of the Department of Mining and Metallurgy. His experience and ability in organization made him a natural leader. He was influential in the formation of the School of Engineering at Stanford. The School was formed in 1925 and he was made dean, a position he held until his retirement in 1936. As dean of engineering, he promoted a broad fundamental training program for undergraduate engineering students. Under his guidance, emphasis was placed upon graduate work and he was responsible for developing strong graduate engineering curricula at Stanford. While dean he continued teaching and his course, "The Economics of Mining," developed into a book which was published in 1933. He became interested in the functions of engineers and, with Professor Fish, wrote a book entitled "The Engineering Profession" which was published in 1940 and revised in 1950. In addition to his academic activities he was generous in his hospitality. Faculty and students alike enjoyed the annual field day and barbecue at his Rancho del Oso, near Santa Cruz. He was widely read and had a lively interest in all the things he encountered. He speculated on the antiquity of man and man's early production processes. To verify an idea regarding flint tools, he studied their shapes and became proficient in making arrow heads. He was also interested in wild life, and was one of the founding members of the Cooper Ornithological Society. (http://engineering.stanford.edu/about/bio-hoover)Blue hard covered book of 547 pages including an index. Contents include mine valuation (sampling, ore deposits, ore reserves, financial provisions, sale of mineral product, metal prices, reports) and Mining Organization (Co-operative effort, Mining Companies, Promoting Mining Enterprises, fluctuations of share prices, valuation of mining shares, fakes and fallacies, the mining Engineer and the law) and Mine Management (Organization of staff, mine manager, efficiency, industrial relations, training and discipline, safety).inside cover 'Charles Bacon Mackay School of Mines'.mining, economics, hoover, stanford, mackay school of mines, mackay, bacon -
Victorian Interpretive Projects Inc.
Cartoons, World War One Cartoons by Edwin Cannon
Edwin (Ted) Cannon was born at Ballarat on 30 July 1895, the only son of Edwin and Florence Cannon. He studied art at the Ballarat School of Mines Technical Art School. Ted displayed a talent for industrial design but it was his black and white work that 'drew' most attention. His cartoons and caricatures, heavily influenced by Phil May, were of a particularly high standard. During the Ballarat Exhibition of 1913 Ted's work was singled out for notice and he was awarded First Prize. After completing his art course Ted was employed as an assistant teacher at the Ballarat Technical Art School, before taking a position as cartoonist with the Ballarat Star newspaper at the end of 1914. With the war raging in Europe Ted discovered a darker aspect for his artwork, but, still, he could not resist depicting Turkey as a full-feathered, fez-wearing bird. In 1915 Ted was awarded the prestigious Victorian Education Department Senior Technical School Scholarship. Only months into his scholarship, Ted volunteered for the AIF. A keen member of the local 71st "City of Ballarat" Regiment Ted was already primed for a life in the army. He embarked from Port Melbourne on 23 November 1915 with reinforcements to the 6th Infantry Battalion bound for Egypt. It was during the Battle of Pozieres on the Western Front that Ted Cannon came into his own. His work with the Scout Platoon (under the command of Lieutenant Jack Rogers) sketching the enemy's gun emplacements proved invaluable to the Brigade and brought Ted to the attention of the Australian High Command. On 13 September 1916 Ted was given a special assignment for General C.B.B. White. Ted was sent out forward of the Old Mill at Verbrandenmolen (in the Ypres Salient) to draw a panorama of the German lines in the area from Hill 60 to The Bluff. It was a hazardous task and Ted was warned to be careful. Tragically he was sniped by an enemy machine-gunner and sustained severe abdominal wounds. Stretcher-bearers rushed him to the 17th Casualty Clearing Station where he was operated on by the doctors at 8.30 that night. With little chance of success, but ever resilient, Ted remained conscious almost to the end. He died early in the morning of the 14 September 1916. His body was buried in the large Military Cemetery at Lijssenthoek. See http://www.ballarat.edu.au/about-ub/history/art-and-historical-collection/ub-honour-roll/c/edwin-joseph-ted-cannon-1895-1916 Digital images of a number of cartoons published in the Ballarat School of Mines Students' Magazine, 1916. Ted Cannon sent cartoons home to Ballarat from the World War One front.edwin cannon, ted cannon, cartoons, world war, world war 1 -
Churchill Island Heritage Farm
Photograph - Photograph of people on buggy
Churchill Island has a large photograph collection dating from the nineteenth century. This series shows snippets of life on the Island after its acquisition by the Victorian Government in the late 1970s.Photograph of three children wearing a yellow and blue school uniform being driven on a buggy by an employee of Churchill Island.catalogue number written on reverse in pencilchurchill island, photograph -
Deaf Children Australia
Book, R.H.Luff, Commemorative Album for the Victorian Deaf and Dumb Institution on its 80th birthday, 1939
commemorate the admittance of history the 1,000, th pupil 1st Lucy Lewis1860 & Bruce Missen 1939 This item is historically significant because it relates to the life of VDDI and celebrates the 1000th student and tells the story of VDDI.Commemorative book deaf history from 1860 and presents - presened to the deaf & dumb insituton on 80th Birthday and to COMMEMORATE the ADNITTANCE of the 1,000 thh pupil 1ST -- 1000th Lucy lewis Bruce missenblue stone school, the victorian deaf and dumb institution, commemorative, b.j. missen, 1860, 1939, lucy lewis, r.h.luff, student, deaf education -
NMIT (Northern Melbourne Institute of TAFE)
Booklet 'Camp Westlake Collingwood Technical School:...' written by Principal J.F. Barberis
Camp Westlake was built by Collingwood Technical School in 1967 and was officially opened on 22 September 1968. The camp was built by staff and students of the school with finance from various school sections and from materials donated by interested people and firms. It is named after Mr. F.R.Westlake and Mrs. Westlake who were staunch workers for the school. (From J.F.Barberis}Booklet of 15 pages with gold cover, A4 sized. Title: Camp Westlake Collingwood Technical School: an experience in country life at Buxton North East Victoria (62 miles)' written by Principal J.F. Barberis (undated but possibly around 1970-1971). Also 6 page booklets on Camp Westlake in English, Greek, Serbo-Croation, Spanish and Turkish. Also photographs of buildings and students at the camp. Also Programne for Official opening of Alex & Doris Cowmeadow wings Camp Westlake, 14/11/71.Two-sided white with black text. On cover the CTC logo and black and white photo and the words: 'COLLINGWOOD / TECHNICAL COLLEGE / OFFICIAL OPENING / of / ALEX & DORIS COWMEADOW WINGS / CAMP WESTLAKE / by / W.J.WHITE, Esq. / College President / 14/11/71'. On reverse is the Programme. Also folder of correspondence regarding Camp Westlake dated 12 May 1969 to 7 November 1971collingwood technical college, j.f.barberis, camp westlake, nmit -
NMIT (Northern Melbourne Institute of TAFE)
Notes: of Recollections of past students CTS 1940s
A4 pages, some written and some typed of Recollections of past students of Collingwood Technical School in the 1940s. Includes 8 page typewritten notes ‘This life was mine: Collingwood Technical School (1940 approx)’ by William Edgley Gray, completed 12 August 2008 5 pages typewritten notes by Keith Moulton who attended CTS 1942 and 1943 From Murray Williams 2 pages handwritten notes; Murray was at CTS 1942-1944. From Greg Alabaster 2 page typewritten notes, From Jack Bartlett 6 pages, 4 written, 2 of school report 1940 collingwood technical school, students, nmit -
NMIT (Northern Melbourne Institute of TAFE)
Account Book - CTS, Trade Scholarship Account 1915-1960, 1915-1960
Beazley Trade Scholarships. William Beazley was born in London in 1854 and arrived in Australia with his parents in 1855. Apprenticed as a saddlemaker he eventually became an estate agent and later local parliamentarian for Collingwood. Beazley lived all his life in Collingwood and following his death in 1912 part of his estate was bequeathed to Collingwood Technical School.Accounts from the early days of this trade scholarship. Includes names of early recipients.Black covered ledger book with dark red spine. Pasted inside cover is a printed explanation of the "W. D. Beazley Trade Scholarships for evening classes"Handwritten accounts throughout. No markings on cover.collingwood technical school, cts, accounts, w d beazley, beazley trade scholarships, account books, nmit, -
The Ed Muirhead Physics Museum
X-ray Tube, Machlett
This X-ray tube was designed to provide electrostatic protection for the filament (cathode) so as to permit long life to be achieved at operating voltages in the range 100-300kV. It is not certain whether the tube was in use within the School by Professor Laby’s X-ray group or whether it was presented to the School by a medical user. It would be somewhat surprising if it fitted into this School of Physics Research Program at a date as late as 1933 when tubes with demountable anodes were in use.Glass bulbous X-ray tube attached at either end to metal electrodes. Mounted for demonstration on a wooden base. Dated1937On glass bulb: “Machlett Patent 1954016” -
The Ed Muirhead Physics Museum
Rotating Anode X-ray Tube
The investigation of the x-ray appears early on to have been a priority research topic at the University of Melbourne’s School of Physics. This interest was sparked by the appointment in 1889 of Professor T.R. Lyle. Lyle, who was head of the school until 1915, is thought to have been the first person in Australia to have taken an x-ray photograph. A copy of this photograph can be found in the School of Physics Archive. For this particular experiment Lyle actually made his own x-ray tube. His successor, Professor Laby, continued to work with x-rays. During the 1920s Laby worked on the x-ray spectra of atoms and in 1930 he co-published with Dr. C.E. Eddy, Quantitative Analysis by X-Ray Spectroscopy. Also with Eddy, Laby produced the landmark paper Sensitivity of Atomic Analysis by X-rays. Laby went on to have an x-ray spectrograph of his own design manufactured by Adam Hilger Ltd. (see cat. No. 38). School of Physics, the University of Melbourne Cat. No. 22. Jacqueline Eager Student Projects Placement, Cultural Collections 2005 A modern X-ray tube differs little from the original Coolidge tube. A minor modification is the rotating anode type that extends the life and increases the available power of the tube by presenting a new portion of the anode when required. “P125/20/40/NrF038803 (?) SIEMENS-REINIGER-WERRE AG ERLANGEN Eigen filleung (?) mind. 0,7 mm AL” On rotating shaft: “FO/33803” On cathode: “23C” -
Ararat Gallery TAMA
Print, Nanette Bourke, Just a Gumtree, 2006
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, The Cult of the Car - Carefree Youth, 1990
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, The Cult of the Car - Obsolescence, 1989
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Scarlet Banksia, 1988
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, She-Oak in Spring, 2002
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Aftermath, 2005
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, The Growth of Tourism, 1988
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Nanette Bourke, Opening up the Land, 1995
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Nanette Bourke, Return of the Grasstrees, 2007
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, No, I don't want to live to 100, Thank you, 1992
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Watch Over All Living Things, 1996
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Starleaf Grevillea, 2008
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Blue Devils, 1992
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Casuarina Grove, 2003
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Grasstrees, a different perspective, 1992
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Burnt Wattle's Tracery, 2008
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Smooth Fruited Grevillea, 1996
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Wangaratta Urban Fire Brigade
Jean Brown
Jean Brown (Nee Vincent) joined because her husband -Les Brown(dec)- was a volunteer. They had 4 children - Stephen, Christine(Myrtle), Peter, Mark, (Stephen, Peter, Mark were juniors & seniors). Jean joined the ladies auxiliary in 1955 - 1/06/1975 and 1985 - current. Has been a member for over 20years and is a life member. As an auxiliary member was involved in Street stalls, presentation nights, social nights, RCH appeals. ... Was also a member of the west end mothers club and helped at the technical school. 2. Peter Brown - was in juniors 1971 - 1976, (in 1972 at Chelsea the team of R. Clarke, P.Brown, R.Wood and G.Canny won 4man) was in seniors 1984 - 1991 .3 Stephen Brown - juniors 1966, Seniors 1972-1985, 1987-1991 (approx. dates) .4 Mark Brown - Juniors 1981-1986, Seniors 1987-1992 competed in 3 state demonstrations whilst in seniors