A series of documents including a receipt for a deposit paid for a park cabin at the Marysville Caravan & Holiday Park that was issued in 2008.A series of documents including a receipt for a deposit paid for a park cabin at the Marysville Caravan & Holiday Park that was issued in 2008.marysville, victoria, australia, marysville caravan park, accommodation, receipt, marysville caravan & holiday park, emergency procedures, camp fires, park policies

The virgin issue in our Vietnam policy is the moral one. The Lilliputian measures of public dissent have been counched in supremely practical terms. 1961-1975 - united states, vietnam war, 1961-1975 - public opinion

The Vietnam War provoked a major crisis in New Zealand attitudes to foreign policy, breaking for the first time the almost universal consensus about how the country should handle political and military issues beyond its shore.vietnam war, 1961-1975 - new zealand, indochina, geneva, tonkin gulf, president johnson

Article by Damon Johnston about Jeff Kennett and Melbourne's W class tram future including the development of a polity for their future. The reporter notes the lack of awareness for W class trams, compared to the general tram fleet, compares performance with Z class fleet. Quotes National Trust, PTUA and Charles Sowerwine of Melb. Uni urban historian. See item 7613 for the decision News Release.Yields information the formation of a policy regarding the W class in 1993 by Government.Newspaper clipping from Herald Sun 28/9/1993tramways, w class, national trust, tramcars

News Release from the Minister for Public Transport Alan Brown, dated 18/11/1993 - about the future of the W class tram, keeping at least 51, the delivery of the B class tram, and keeping a further 50 for supplementary service. The Herald Sun item by Damon Johnston quotes the release and Alan Brown, Michael Norbury, Paul Mees of the PTUA, Lou Di Gregorio of the Union. Notes the proposed expenditure of $200,000 on each of the trams to be kept. Also has an item of British tourist Will Bright about the use of W class trams and his thoughts along with a photo - written by Anita Quigley.Yields information the announcement of a policy regarding the W class in 1993 by Government.News Release - 2 A4 pages stapled and Newspaper clipping from Herald Sun 19/11/1993tramways, w class, national trust, tramcars, alan brown, b class trams, refurbishment

merri-bek public art collection

On 30 April 1975, as American diplomats and Mrines were being hastily lifted off the roof of the American embassy in Saigon into helicopters under heavy enemy fire, an era in American foreign policy was ignominiously coming to an end.vietnamese conflict, 1961-1975 - united states, united states - foreign relations - 1945 -, saigon, us marines, american diplomats

A terrific book, and brisk...and a must read for anyone who tries to understand the Vietnam War.generals - united states - biography, general westmoreland, u.s. foreign policy

So Much to Lose is a well-crafted, exceptionally researched, and most welcome contribution. Rust provides a wealth of otherwise unavailable material on a largely unexplored and misunderstood chapter of America's Southeast Asia history.united states - foreign relations - laos, united states - foreign relations - 1961-1963

Ramon (Ray) Francis Honisett (11.04.1931 - 30.08.2019), Fellow RMIT and medallist specialised in philatelic design, marine and military aircraft painting art and was active in the 1960s - 1990s. Ray Honisett used to live in Rye, in the Mornington Peninsula. According to Gavin Fry's book: The painting likely depicts the Lysaght Endeavour loading at Hastings. "The Lysaght Endeavour and its sister ship Lysaght Entreprise were built in Newcastle in 1973 specifically to serve the regional steel industry on the route Port Kembla - Westernport - Adelaide. Even after being lengthened by 17 metres, the two ships had remarkably short working lines, with both being broken up by 1988."Maritime artLarge framed unglazed landscape format painting predominantly green depicting in foreground a merchant vessel, a roll-on roll-off cargo ship moored at a single quayside on a river or river mouth. The middle ground shows a moderate solid jetty leading to large storage sheds at right. The background appears primarily rural with fields and hills in the distance. The location is probably Hastings Western Port in Victoria - notice the forklifts loading rolls of steel produced at the nearby steel rolling mill - the buildings in the distance. You can see the rolls of steel lined up on the hard stand to the right of the ship. The funnel colours suggest the Australian National Line. The frame incorporates a beige fabric slip with gilt edge the actual dark wood frame also with inset banded gilt edge. The back of the painting is covered with brown paper in places damaged. Hangs on a cotton cord threaded between two screw in eyelet hooks.at lower right corner single uc word in black paint : "HONISETT"tankers, marine painting, maritime art, ramon honisett, ray honisett, anl maritime art prize, acta maritime art prize, hastings, western port, victoria, steel, roll on roll off, forklift, mornington peninsula, artwork-paintings

A fresh and remarkably detailed portrayal of how a clever enemy force adaps to fight American soldiers.vietnam war, 1961-1975 -- campaigns, vietnam (democratic republic) -- military policy, american soldier, viet cong, van tuong, an ninh, la drang valley (vietnam)

Although the war in Vietnam has casued divisions amongst the people of Australia and has produced a number of anti-war books, this is the first non-official publication in Australia to set out the case for South Vietnam and to justify the policy of the U.S. Australian and other governments in intervening to prevent the Vietcong and the North Vietnamese taking over South Vietnam. 1961-1975 - australia, vietnam war, 1961 - south vietnam, u.s. government, viet cong, north vietnamese

Marine art, Maritime artLarge framed glazed landscape format painting depicting in foreground a rusty hull of a ship against a deep aqua blue sky. The hull appears to be in a dry dock with a stylized figure with a red top and blue pants looks down from the prow at the set of low buildings and yard in the foreground. Another ship appears to be moored behind the rusty hull but only the bridge of the ship is visible. At near right in foreground there appear to be two rounded graves or headstones.The frame is sharply beaded and with gilding. The painting has a window mount and is glazed with glass. Paint surface is thinly but intensley painted and seems to be gouache or watercolour on paper. Sealed at back with brown paper mostly intact and a corded hanging system.at lower right corner quadrant there seems to be a mainly rectangular ciphertankers, marine painting, artwork-paintings

Robert Thomas Miller Born in Melbourne in 1916 Studied commercial art at RMIT and for many years worked as graphic designer and design director at ACI Ltd. Member of the Victorian Artists's Society (Council member since 1965), Australian Guild of Realist Artists, Old Water Colour Society Club (past president), Australian Watercolour Institute, Hughesdale Arts Group (past president), Burnie (Tas.) Coastal Art Group. His watercolours have won over 40 major awards, including Victorian Artists' Society, 1973 Artist of the Year Award, and the Rotary Club of Camberwell Watercolour Prize (twice). Represented in many Australian collections both public and private.Maritime artRobert T. Miller, Mission to Seafarers Victoria CollectionA framed and glazed mat mounted watercolour painting by award winning artist Robert T Miller in ''landscape" format showing moored, masted ships; The modern frame is of moulded or carved wood with appearance of brushed gilt type gilding; image is mounted with pale grey window mount; Backing sealed with paper wire strand hanging system;Artist signed front lower right corner of painting in black ink; no date; sepia label adhered on top centre Verso with artist bio and brief CV ; Other exhibition labels adhered ; inscription describing acquisition and title of work; ( details TBA) M3 in black markerharbour, dockside, artwork, marine art, robert thomas miller, robert t. miller, watercolour, artwork-paintings

Robert Thomas Miller Born in Melbourne in 1916 Studied commercial art at RMIT and for many years worked as graphic designer and design director at ACI Ltd. Member of the Victorian Artists's Society (Council member since 1965), Australian Guild of Realist Artists, Old Water Colour Society Club (past president), Australian Watercolour Institute, Hughesdale Arts Group (past president), Burnie (Tas.) Coastal Art Group. His watercolours have won over 40 major awards, including Victorian Artists' Society, 1973 Artist of the Year Award, and the Rotary Club of Camberwell Watercolour Prize (twice). Represented in many Australian collections both public and private.Maritime ArtRobert T. Miller, Mission to Seafarers Victoria CollectionContemporary framed in limed wood, mounted and glazed watercolour painting by R.T. MILLER in portrait format. Mat mount is white. Image features freighter with black hull at mooring in dockland setting; wire hanging systemInterpretation label adhered to back, includes photographic portrait of the artist Value on label Signature M4 in black markermarine painting, port melbourne, artwork, docklands, tug boat, robert thomas miller, robert t. miller, r.t. miller, artwork-paintings, tugboat

The Vietnam War still haunts Americans. It colors perception of contemporary foreign policy, give rise to lawsuits, fills novels and films, and rages on in the nightmare of many of its veterans.vietnamese conflict, 1963-1975 - united states - addresses, essays, lectures.

Like much of American policy in Vietnam the decisions that established the relationships that commanded, controlled and supported the U.S. combat troops in Vietnam evolved as much from uppredictable events inside South Vietnam as from careful Pentagon planning.vietnam war, 1961 - 1975, u.s. troops, pentagon

War By Other Means tells the story of the creation and implementation of a communist policy in Vietnam during a crucial yet hitherto largely unexplored period - between the 1954 Geneva Conference and the establishment of the National Front for the Liberation of South Vietnam in December 1960.vietnam - history - 1945-1975, geneva conference 1954, national front fr the liberation of south vietnam, viet cong

These captivating pieces are part of a series called "FOOD / FLESH / FAME," a collaborative effort between Melbourne-based Thai artists Bundit Puangthong and Vipoo Srivilasa. Drawing from Buddhist teachings, the series explores the three elements of attachment: Food (consumption), Flesh (sex), and Fame (power). Although these elements are known to cause suffering, they remain persistently alluring, a paradox that the artists intend to explore further in the future. In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FOOD" depicts a durian, the king of fruits, painted by Bundit Puangthong. He notes, "Despite its pungent aroma, many people still love to eat it."Donated the by the artists

In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FLESH" features a golden umbrella, serving as a metaphor for sex.