286 p. :black cover, with image (probably cut from original dust jacket) of two men struggling to climb rocks, with waves below.fictionfiction, john garden

221 p.: plain red cover, section of original dust jacket pasted to front cover, image of man leering at a partially clothed woman.'Blurb' from original dust jacket pasted inside front cover.fictionTale of "moral adventurer" Lance Courtenay, who began life as Lancaster Higger-Piggott, a humble law clerk. Very loosely based on real events and people in the eighteenth century.frederick r. ewing, historical fiction

index, ill, p.144.non-fictionCompelling and often hilarious cavalcade of Australian life during a 20,000 km rail odyssey around Australia and whatever came along in between, from Sydney's Central Station and back again.railroad travel -- australia, australia -- description and travel -- 1976-1990

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

ill, p.48.non-fictionA photographic profile of the 57 class 4-8-2 3-cylinder locomotive of the New South Wales Railways.locomotives -- australia -- pictorial works, locomotives - new south wales - history

ill, p.48.non-fictionA pictorial profile of the 38 class 4-6-2 passenger locomotive of the New South Wales Railways.locomotives -- australia -- pictorial works, locomotives - new south wales - history

ill, p.48.non-fictionA photographic profile of the C36 class 4-6-0 passenger locomotive of the New South Wales Railways.locomotives -- australia -- pictorial works, locomotives - new south wales - history

ill, p.48.non-fictionA photographic profile of the D50 class 2-8-0 freight locomotive of the New South Wales Railways.locomotives -- australia -- pictorial works, locomotives - new south wales - history

ill, p.56.non-fictionA photographic profile of the Tuscan Red era of the railmotors of the New South Wales Railways from 1950s to 1980s.railmotors - new south wales - pictorial, railroad operations - new south wales - history

ill, p.48.non-fictionA photographic profile of the 40 class Canadian- Alco diesel electric locomotive of the New South Wales Railways.locomotives -- australia -- pictorial works, diesel locomotives - new south wales - history

ill, p.48.non-fictionA photographic profile of the 421 class Clyde-E.M.D. diesel electric locomotive of the New South Wales Railways.locomotives -- australia -- pictorial works, diesel locomotives - new south wales - history

ill, p.48.non-fictionA photographic profile of the 43 Goninan Co-Co diesel electric locomotive of the New South Wales Railways.locomotives -- australia -- pictorial works, diesel locomotives - new south wales - history

ill, p.48.non-fictionA photographic profile of the 44 Alco "World Series" diesel electric locomotive of the New South Wales Railways.locomotives -- australia -- pictorial works, diesel locomotives - new south wales - history

ill, p.56.non-fictionA photographic profile of the railmotors of the Victorian Railways from 1950s to 1980s.railmotors - victoria - history, railroad operations - victoria

Ill, p.48.non-fictionA photographic profile of the E & L class electric locomotives of the Victorian Railways from 1950 to 1985.electric locomotives - victoria - history, railroad operations - victoria

Ill, p.48.non-fictionA photographic profile of the 2nd series of X class Clyde-E.M.D. diesel electric locomotive of the Victorian Railways X45-X54.railroad operations - victoria, diesel locomotives - victoria - pictorial

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

Invasion places an imaginative eye in Australian colonial history and turns around the dominant view, taking alien creatures into iconic London-based cityscapes, with white urban residents their victims. Cook's images express the shock that enveloped the Australian continent when European people appeared on Aboriginal shores. Aboriginals as aliens, sci-fi scaled animals - featherless birds, super sized grubs, giant lizards, possums on ufo's, laser shooting fembots, and clouds of rainbow lorikeets - arrive into urban London, the 'mother' country, and wreak havoc. Within the broad narrative are mini narratives that speak to the past, historical references that tease out and reverse the racist practices imposed on Aboriginals. The drama of such an event heightened with the use of vintage-inspired B-grade horror movie aesthetic - an ironic 'spoofy' edge.australian first nations art, photography, colonialisation, sci-fi

Invasion places an imaginative eye in Australian colonial history and turns around the dominant view, taking alien creatures into iconic London-based cityscapes, with white urban residents their victims. Cook's images express the shock that enveloped the Australian continent when European people appeared on Aboriginal shores. Aboriginals as aliens, sci-fi scaled animals - featherless birds, super sized grubs, giant lizards, possums on ufo's, laser shooting fembots, and clouds of rainbow lorikeets - arrive into urban London, the 'mother' country, and wreak havoc. Within the broad narrative are mini narratives that speak to the past, historical references that tease out and reverse the racist practices imposed on Aboriginals. The drama of such an event heightened with the use of vintage-inspired B-grade horror movie aesthetic - an ironic 'spoofy' edge.australian first nations art, photography, colonialisation, sci-fi

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

904p., Illus., (some col.)non-fictionIncludes results of major golf championships, an outline of the 1994 season, a who's who of golf and a guide to clubs and courses in Great Britain and Europe.golf - rules, golf - handbooks

Time is an abstraction, a filing system used to arrange events and memories into a logical system of cause and effect. This new print was created with images arranged from drawings made while sitting by paths near nature, creeks and overlapping streets. I am a local artist and illustrator with a history of drawing, painting and printmaking.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

When the USNS Gordon sailed under the Golden Gate Bridge and steamed into the Pacific Ocean on June 25, 1965, few of the 4,000 American troops crowded onto its deck knew their destination, at least officially.vietnam war - 1961-1975, usns gordon, 1st infantry battalion, 173d airborne brigade, 25th infantry division, 199th light infantry brigade, 11th armoured cavalry regiment, 9th infantry division, 23d infantry division