Windcheater which the midwives in old E1 had made and were sold to staff to fund raise. Some proceeds were to assist midwives attend state conferences. Other fundraising activities were also undertaken at that time to modify the stark hospital environment of E1 to a more homely environment. Graphic artist and seamstress, Geraldine Roberts of Wendouree, made the windcheaters as well as screen printed the logo which the staff designed. Geraldine also did the graphics for an educational booklet the staff produced for expectant parents. These activities were initiated by the enthusiastic staff of E1 during the early to mid 1980s."Midwifery Team, BBH, We Deliver"midwifery, 1980s, windcheater, logo, courier, new, director of nursing, broad, 1995

“Queenscliff (three black and white boat/ship themed set), is a depiction of a trio of sailing vessels, and a typical example of Tim Ryan’s process and style / It illustrates three images from separate editions of National Geographic – a much-loved and constantly revisited source of inspiration / Tim has reduced his subject matter to minimal line, managing to capture the form and character of the scene and the people within with delicacy and sensitivity / As is also a common trait, Tim has discarded the idea of a using a title describing the actual scenes in favour of one that holds much greater personal significance / Queenscliff is the site of his family holiday home, hence a place evoking decades of memories connected with water, horizon and water-based activity and interaction.Tim Ryan has worked within the Studio Art Program at Araluen for almost a decade / Araluen is based in the north eastern suburbs of Melbourne (Nillumbik region), that provides accommodation and day services for adults with an intellectual disability / Creating and sharing artwork is one way Araluen participants express their thoughts, personalities and abilities. The art program allows them to develop a sense of achievement and access society as equal and valued participants / Tim puts a great deal of effort into selecting his subject and arranging his page / He immerses himself in the image, studying it thoroughly and sometimes tracing over it with his finger before commencing / He focuses on the different elements and relationships that inspire, bringing out the lines, colours and shapes most fitted for translation into the picture / Favourite references are photo-laden books and magazines covering topics as broad as nature, history, archaeology, exotic foreign lands and all forms of transport.Three black and white drawings of boats/ships in Queenscliff made using watercolor, ink, fine liner, pencil and acrylic on paper. All drawings are black and white in colour with one drawing rendering a boat in warm red/orange and yellow colours. None shown, catalogue label on backdrawings / black & white / ink / boats / ships / queenscliff / araluen / ryan / disability

Imants Tillers has been identified as a quintessential postmodern artist in his use of appropriation and quotation. Since 1981 he has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora. Most recently, his paintings have been concerned with place, locality and evocations of the landscape. Imants Tillers and Baldessin met on their way to the Bienal de Sao Paulo in 1975 and in the following year worked on two collaborative etching plates in Paris that were printed by Pierre Giarudon. 'Unsaid + Nameless' harks back to his experiences with Baldessin in Paris forty years ago. It is a poignant image of absence that can be read in the tradition of the momento mori. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'Unsaid + Nameless' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. In 1976 Baldessin and Tillers embarked on the collaborative work 'According to des Esseintes'; a post modern Surrealist game of consequences and sequences. In homage to his friendship and work, Tillers completed an unfinished Baldessin plate from 1976 inspired from their 'des Esseintes' collaboration. The addition of Odilon Redon's 'smiling spider' is indicative of Tiller's broader post-modern approach. Solar plate etching of Odilon Redon's 'Laraignee souriante' (The Smiling Spider) on an incomplete plate etched by George Baldessin in 1976 on Somerset paper. Other images include skewed perspectives of a wooden window frame, 'wooden' floor or table(?) folded sheet of paper and unknown apparatus. In pencil (handwritten): low plate: left '14/25' (edition); centre: 'Unsaid + Nameless' (title); right 'Imants Tillers' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)solar plate etching, george baldessin, somerset paper, spider, line, ekphrasis2018, odilon redon, appropriation, post modern, surrealism, collaboration, paris, folio

Pte Simmons was born in Kyneton. Died at the battle of Fromelles, July 1916.Fromelles. The battle of Fromelles on 19 July 1916 was a bloody initiation for Australian soldiers to warfare on the Western Front. Soldiers of the newly arrived 5th Australian Division, together with the British 61st Division, were ordered to attack strongly fortified German front line positions near the Aubers Ridge in French Flanders. The attack was intended as a feint to hold German reserves from moving south to the Somme where a large Allied offensive had begun on 1 July. The feint was a disastrous failure. Australian and British soldiers assaulted over open ground in broad daylight and under direct observation and heavy fire from the German lines. Over 5,500 Australians became casualties. Almost 2,000 of them were killed in action or died of wounds and some 400 were captured. This is believed to be the greatest loss by a single division in 24 hours during the entire First World War. Some consider Fromelles the most tragic event in Australia’s history. www.awm.gov.au/articles/encyclopedia/fromelles Two WW1 War service medals with ribbons in a white presentation case. With black clothe lining. On the rim of each medal is: 4899Pte N T Simmons 59 Bn AIF The medals are labelled British War Medal and Allied Victory Medal 1914- 1918. On the inside of the lid is card inscribed: Posthumus award to 4899 Pte N T Simmons 59 Bn AIF. ww1 medals, british war medal, allied victory medal 1914- 1918, n t simmons, fromelles

One of five group and individual portraits of the Noble family of Kew, two in the rear garden of what is presumed to be ‘Charnwood’, in Station Street, Coburg. The photographs date from the period c.1890-1914. One of the larger framed photographs is a portrait of the entire family group, while another is of two of the children, Frederick and Winifred. The father, Frederick William Noble was a businessman, and, at one period Secretary of the Victorian Creamery & Butter Company in South Melbourne. Later he was to manage J. Bartram & Co., Ice & Cold Storage Department in Flinders Lane. By 1906, the Noble family had moved to Kew, living for almost 20 years at 100 Walpole Street before relocating to 26 Molesworth Street in the mid 1920s. The five photographs in the collection reveal details of family life and social values as expressed through attire. The family is formally costumed in a manner indicative of their social status. Mrs Noble, in one of the large framed portraits, is dressed in a sombre manner in a long, dark-coloured long-sleeved, high-necked gown. It is difficult to know whether she is dressed in mourning wear in this black and white photograph. It was not uncommon for a woman to regularly wear mourning attire due to the high mortality rate in the Victorian era. This situation was compounded for women due to the size of extended families. A woman might rarely be out of mourning due to the death of a parent, a sibling, a husband, a child or a near relative. The portraits of the Noble family children, particularly Frederick and Winifred, show the elaborateness of formal attire worn by the children of wealthy families during the late Victorian era. Winifred is dressed in a long cotton dress and a broad-rimmed hat; both liberally covered in lace. Winifred and Frederick’s lace collars extend to their shoulders. Winifred’s diaries, covering the period 1908-50, are now in the collection of the State Library of Victoria. The most detailed of the diaries is from 1914, just before the outbreak of World War 1, and includes ‘Accounts of my Dancing Evenings - Season 1914’. The diaries were the inspiration for an art exhibition by Jim Pavlidis in 2014. One of the family’s two sons, Frederick, was to work at The Age newspaper for 50 years. His obituary records that “He was regarded as the epitome of accuracy and a fount of knowledge on many subjects, but especially cricket, the Royal Melbourne Show and Gilbert & Sullivan”. With Robert Morgan he compiled Speed the Plough, a history of the Royal Agricultural Society of Victoria and its role in developing agriculture in Victoria.Framed photographic half portrait of Winifred Noble in the original carved wooden frame. Winifred lived at 'Avalon' in Molesworth Street, Kew.Handwritten label on rear "Winifred Noble c 1910-12"noble family, winifred noble, photographic portrait, kew

Ill, p.373non-fictionPart of his numerous writings concerned his work on Venice in three volumes: The Stones of Venice. He visited Venice in November 1849 with his wife, Effie, and stayed at the water-fronted Hotel Danieli. Their six-year marriage was never consummated and for Effie, Venice provided an opportunity to socialise, while for Ruskin it was a venue to engage in more solitary studies. In particular, he made a point of drawing the Ca' d'Oro and the Doge's Palace, or Palazzo Ducale, fearing they would be destroyed by the occupying Austrian troops. Ruskin made extensive sketches and notes for the three-volume work, which soon developed from a technical history of Venetian architecture, from the Romanesque to the Renaissance, into a broad cultural history. Cleverly Ruskin managed to reflect his own view of contemporary England and to weave in a warning about the moral and spiritual health of society. Ruskin argued that Venice had slowly deteriorated. Its cultural achievements had been compromised, and its society corrupted, by the decline of true Christian faith. Instead of revering the divine, Renaissance artists honoured themselves, arrogantly celebrating human sensuousness. It is a work of immense worth both culturally and artistically. venice, venice - architecture

Ill, p.406.non-fictionPart of his numerous writings concerned his work on Venice in three volumes: The Stones of Venice. He visited Venice in November 1849 with his wife, Effie, and stayed at the water-fronted Hotel Danieli. Their six-year marriage was never consummated and for Effie, Venice provided an opportunity to socialise, while for Ruskin it was a venue to engage in more solitary studies. In particular, he made a point of drawing the Ca' d'Oro and the Doge's Palace, or Palazzo Ducale, fearing they would be destroyed by the occupying Austrian troops. Ruskin made extensive sketches and notes for the three-volume work, which soon developed from a technical history of Venetian architecture, from the Romanesque to the Renaissance, into a broad cultural history. Cleverly Ruskin managed to reflect his own view of contemporary England and to weave in a warning about the moral and spiritual health of society. Ruskin argued that Venice had slowly deteriorated. Its cultural achievements had been compromised, and its society corrupted, by the decline of true Christian faith. Instead of revering the divine, Renaissance artists honoured themselves, arrogantly celebrating human sensuousness. It is a work of immense worth both culturally and artistically. venice, venice - architecture

Cliff Beauglehole was an orchardist at Portland, Victoria, who throughout hislife took an intense interest in the plants of Victoria. Over his lifetime he collected 90,000 plant specimens as part of a comprehensive study of Victoria's plants and wrote thirteen books under the heading The Distribution and Conservation of Vascular Plants in Victoria, each written to cover the 13 study areas of the Victorian and Conservation Council.A mounted botanical specimen.beauglehole herbarium, herbarium specimen, botany, herbarium, plant science, plant specimen, field naturalists' club ballarat, federation university herbarium, eucalyptus dives, broad-leaved peppermint, myrtaceae

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

A ceramic pie funnel was a hollow ceramic tool that bakers and home cooks placed in the centre of pies to prevent the contents bubbling over. The hollow core allowed steam to escape during baking leaving the pie crust as light and flaky inside as on the surface. They came in a variety of shapes and sizes. This pie funnel was produced by Thomas M Nutbrown who started manufacturing kitchenware in 1927 from his factory on Walker Street, Blackpool. He registered the company in 1932 and over the following years his company was exporting goods all over the world. His company pioneered many unseen kitchen gadgets and utensils onto the market and had many products patented. The company closed in 1988.This item was typical of kitchenware used widely in the early twentieth century when a broader range of food items were home cooked.A ceramic pie funnel in the shape of an elephant. This is marked “NUTBROWN PIE FUNNEL Made in England” and was made by a company called Thomas M. Nutbrown Ltd of Blackpool. It also has a registered design number which is a little indistinct but is probably No 860928. It dates from the 1930’s and is in very good condition.On side of elephant in black ink "NUTBROWN/ PIE FUNNEL/ Made in England/ Reg. No 860928"domestic appliances, pie funnel, kitchenware early 20th century

The New South Wales Railway Institute affectionately known as “the Institute”, was initially established to provide a higher standard of educational learning for NSW railway employees. As well as employment related training, the Institute was tasked with stimulating growth and intellectual development of employees in the arts, social, leisure, and physical recreations. The NSW Railway Institute was formally opened on the 14th of March 1891 and at the time was the only institution of its kind in the Commonwealth. The Albury branch of the Railways Institute was formed on March 1, 1921. This included the building of a Railway Institute building as part of the Railway precinct in 1921. On Tuesday 7 October 1952, the Daily Advertiser, Wagga reported that a move had started at Albury for the establishment of a third bowling club. The new club formed would be the Railway Institute Bowling Club and the suggested site was on Albury City Council land at the corner of Young and Smollett streets. The Albury Railway Institute opened its bowling greens in February 1956. It later became known as Windsor Park Bowling Club. In 2003, the Bowling Club was liquidated and was amalgamated with the Albury Soldiers Sailors & Airmen’s Club. After changes to their operating model, the club building was demolished in 2013. This badge is representative of the role played by the NSW Railway Institute for its members and its involvement in the broader community.Member's badge for the Railway Institute Bowling Club Albury. A small metal badge with enamel finish depicting the logo of the club in green, red, gold and white.Around the central logo "RAILWAY INSTITUTE BOWLING CLUB ALBURY/ 78-79"railway institute, bowling clubs, social activities albury

non-fictionIntroductory Abstract - "On its instigation in 1973, the Albury-Wodonga Growth Centre experiment was hailed as a novel and imaginative project. It was a "pilot scheme" that was expected to influence the urban settlement pattern in Australia. It was a "bold venture", a "brave attempt" to solve a longstanding problem. It involved three governments embarking on an "exciting adventure". This short book length catalogue essay (51 pages) provides an illustrated guide to the social history and visual arts exhibitions mounted for the 40th anniversary in 2013 of the inauguration of the Albury-Wodonga National Growth Centre experiment. The essay served as rationale and support for two council exhibitions at the Albury Library Museum and the Arts Space Wodonga in October and November 2013. The background story and the exhibitions are about place-making. They ask about the kind of place that has been made at Albury-Wodonga. How was it imagined, promoted, grown? They examine the experiment of developing Albury and Wodonga jointly and rapidly, and ask how that experiment relates to the place now and in the future. It assesses and gives a broad contextual account of the National Growth Centre experiment at Albury-Wodonga and traces important aspects of the story with emphasis on a local point of view. " Bruce Pennayalbury-wodonga, decentralisation, urban settlement australoa

non-fictionDuring 1997 and 1998, the Hume and Dartmouth Dams Operations Review Reference Panel has undertaken a broadly based review of the way in which these two major water storages were operated. The Panel’s terms of reference were essentially to consider how the operating rules might be amended to better address the competing objectives of water supply, environmental enhancement and flood mitigation. This report includes summaries of feedback considered by the reference panel as well as its final recommendations.hume reservoir nsw, dartmouth dam victoria, water management

Joynt was the seventh member of the newly formed Legacy in 1923 and became a member of the Board of Management in 1924 and worked closely with Stan Savige. He was also instrumental in gaining the support of both General Sir John Monash and the R.S.L. to build the Shrine of Remembrance, as well as ensuring media backing and thus public support for the project. He worked tirelessly for Legacy for 38 years until he retired at the age of 84, and entered fully into comradeship activities throughout his involvement. He won his VC in 1917 at Chuignes during one of the last battles on the Somme. The Victoria Cross is the highest award for acts of bravery in wartime and was instituted in 1856 by Queen Victoria. See also Cat.Nos. 01303, 01350. This obituary adds further information about the life of L/- W.D. Joynt and includes a typed copy of an extract from 'They dared mightily' by Laurence Wigmore (Canberra: Australian War Memorial, 1963) pages 141, 142 & 143 which detail the action which won him the V.C.Provides more military information than in other obituaries of Joynt, as well as further information on his activities in the broader community.White A4 paper x 6 pages with black type.Box 16 L1.14 in black ballpen Confusingly it is dated 20/6/78, handwritten in black biro, although Joynt did not die until 1986.donovan joynt, obituary

This plan was for the sale of parcels of land from the Lerderderg Park Estate property in 1911. Advertising for the sale appeared in the Bacchus Marsh Express newspaper through July of 1911. The property was situated only a few kilometers from the township of Bacchus Marsh. The agents for the sale were L. A. Fairbairn & Co.Lerderderg Park Estate was a significant and early colonial property in the Bacchus Marsh area. This plan provides details about the first time the property was subdivided for sale. It is therefore documents an important moment in the history of this property and the broader trend of the subdivision of older and larger properties in the district.A single page paper plan showing allotments of land for sale from the Lerderderg Park property owned by John Wills. The parcels of land for sale are coloured in red.The Lerderderg River and Pyke's Creek Irigation Channel shown on the plan are in blue ink. The rest of the plan is a dark cream or beige colur with the text in black ink. The plan has been extensively annotated with hand-written notes indicating the names of people who purchased the various parcels of lands and the prices paid for those lands. Part of the top of the plan containing some text appears to be missing. The plan is pasted into a bound volume containing 76 maps or plans in total. Top: Have received instructions to Sell, account Mr John Wills, his renowned LERDERDERG PARK LANDS, so well and favourably known throughout the Commonwealth. In areas from 3 acres to 1276 acres. Every lot is either rich lucerne land (or portion now under lucerne) with some higher land adjoining Railway Station, and 2 Milk factories within 2 miles, absolutely the finest land in Victoria. Bottom: THIS IS THE FIRST SUBDIVISIONAL SALE of Rich Flats in Bacchus Marsh since the Pyke's Creek Scheme, and every lot is commanded by it. Only 32 miles from Melbourne.bacchus marsh victoria maps, land sales, lerderderg park estate, land subdivision

ill, maps, p.48non-fictionA history of the broad gauge railway to Port Pirie in South Australia to meet the Commonwealth Railways standard gauge and 3'6" narrow gauge S.A.R. line.railroad construction - south australia - history, railroad operations - south australia - history

ill, p.14non-fictionA history of early broad gauge railway out of Adelaide in South Australia.railroad construction - south australia - history, railroad operations - south australia - history

ill, p.15non-fictionA history of early broad gauge railway from Adelaide to Port in South Australia to celebrate the centenary in 21-04-56.railroad construction - south australia - history, railroad operations - south australia - history

ill, p56.non-fictionA pictorial history of broad gauge 5'3" steam locomotives in South Australia in the 1930s.railroads -- australia -- south australia., steam locomotives - south australia - history

ill, p80.non-fictionA pictorial history of broad gauge 5'3" steam locomotives in Victoria in the 1930s in the area of North Melbourne, Newport, Flinders St & Spencer St stations. From the collection of H.G. Forsythe.steam locomotives - victoria- history, railroad operations - victoria

ill, p103.non-fictionA pictorial history of broad gauge 5'3" steam locomotives in the North Central region of Victoria from the collection of Lindsay Crowsteam locomotives - victoria- history, railroad operations - victoria

ill, p104.non-fictionA pictorial history of broad gauge 5'3" steam locomotives in the Gippsland region of Victoria from the collection of Lindsay Crowsteam locomotives - victoria- history, railroad operations - victoria

ill, p103.non-fictionA pictorial history of broad gauge 5'3" steam locomotives in the Western region of Victoria from the collection of Lindsay Crowsteam locomotives - victoria- history, railroad operations - victoria

ill, p.146.non-fictionA history of the first 17 years of 'Broad Gauge' 5'3" railways in Tasmania plus a section on tall masted ships involved in transporting those locomotives to Australia.steam locomotives - tasmania - history, broad gauge railways - tasmania - history