GEOFFREY RICARDO (1964- ) Born Melbourne, Australia 1984-86 Bachelor of Arts (Fine Art), Printmaking, Chisholm Institute of Technology, Melbourne 1987-89 Printing Assistant at Bill Young Studios, Editioning intaglio prints, King Valley, VIC 1988 Full-time Studio Technician at Printmaking Department, Chisholm Institute of Technology, Melbourne 1989-90 Graduate Diploma (Fine Art), Printmaking, Monash University, Melbourne 1991 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012 Framed limited edition coloured print showing two men in dinosaur masks, leaning over and heading butting each other. Edition is limited to 30, print is number four.On the left, between print and matting: 4/30 "Naturalists" On the right, between print and matting: signed Ricardo ' 92 On front upper right hand corner pale dark red stain on glass On back, left hand corner, red ink finger prints near where it appears that the backing board has been torn to remove the previous tape. On back, both vertical sides has a number of dents towards the outside of it near the tape. art, artwork, print, limited edition, geoffrey, ricardo, fantasy, colour, available, sport

Jan FEDER Born Barmera, South Australia Jan Feder was a student at the Gippsland Centre of Art and Design in the 1980s. She had started studying ceramics in Adelaide, deciding to continue here study at Churchill under Hedley Potts' tutelage after moving to Strezlecki. In her final year Jan was an on-campus weekday resident to save on the travel time. This work is part of the Jan Feder Memorial Ceramics Collection which was amassed with funds raised by Jan Feder's student peers at the Gippsland Centre for Art and Design in the mid 1980s after Jan Feder passed away. Although many of the works are donated the intention of the collection was to purchase from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught at the Churchill Campus. A group of ceramic vessels by Jan Feder, an alumna of the Gippsland Centre for Art and Design (GCAD). After her death in the mid 1980s her student peers amassed funds to create a memorial collection. jan feder, jan feder memorial ceramics collection, gippsland campus, alumni, ceramics

“My main aim is to develop a sense of understanding in the mystery of the human condition, both in the reality of life and the spirituality of death. My work uses figurative imagery, both painterly and sculptural in the ceramic medium.” (http://gallery.baag.com.au/?p=34)Giuseppe RANERI (1959- ) Born Italy Giuseppe Raneri completed a Bachelor of Arts in Ceramic Design in 1982, followed by a residency at the Meat Market Craft Centre before travelling extensively overseas. Upon his return to Australia he set up his own studio in Fitzroy from 1988-1997. His work includes colourful hand-painted tablewareCeramic candlestick with majolica decoration. ceramics, gippsland campus, giuseppi raneri, jan feder memorial ceramics collection

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. Two objects hang from a timber structure.graeme drendel, printmaking, silkscreen

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. Two objects hang from a timber structure.graeme drendel, printmaking, silkscreen

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. A etching of a man with a man size goose.graeme drendel, printmaking, goose, fauna

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. Three etchings showing aspects of a room.graeme drendel, printmaking

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An etching with pig. This work was completed during Graeme Drendel's final year at Melbourne State College where he was studying Secondary Art and Craft Teaching and majoring in Printmaking.graeme drendel, printmaking

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An etching with a man carrying a calf. graeme drendel, printmaking, calf, cow

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An etching with a man carrying two milk buckets.graeme drendel, printmaking, bucket, milk, farmer

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An etching of a male doctor or surgeon. graeme drendel, printmaking, doctor, surgeon

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. graeme drendel, printmaking

In 1961 the Falls Creek Tourist Area Management Committee determined that there should be only one approved Ski School in the Tourist Area. The franchise for 1961 was granted to Alpine Developments Pty. Ltd', which also had the franchise for Tow Bar operations. The Ski School headquarters were based at the canteen adjacent to the T-Bar drive station. The Management Committee also determined that "No person shall be permitted to give instruction in skiing for any money or material consideration without the prior approval of the Management Committee". The Alpine Developments franchise was extended for the 1963, 1964 & 1965 seasons. In August 1964, the Committee declared that it was satisfied with the present Ski School operated by Alpine Developments, and is most anxious to retain it at Fells Creek. They declared that they were particularly happy with the standard of teaching and control achieved by the School director, Mr. Siegfried Haberzettl, who was at the resort for his fifth year, and to whose leadership and direction the success of the School was largely due. The Committee therefore arranged to extend the franchise for a further three years after 1965, and thereafter the franchise was to be continuous on twelve months' notice of termination from either party. In the 1960s and 1970s, the majority of Ski Instructors were Austrian. Lorna Clarke was one of the first Australians to gain the highest Austrian qualification, the Staatlicher Bundessportheim. She was employed at the Falls Creek Ski School in 1964. In the 1980s there was a push for more Instructor training to take place in Australia to enable local instructors to gain higher qualifications without having to travel to Europe. During this period, George Pirmoser and later Brad Spalding were Ski School Directors and Bridgford was the still the owner of Alpine Developments (Holdings) Pty. Ltd. continued to push for training of Australian instructors. Brad Spalding took over as Ski School Director in 1986 and along with his partner, Melissa Landregger developed a wide range of programs including children’s and women’s programs, private lessons and multi-day clinics for which Falls Creek Ski School is renowned until the present.This image is significant because it depicts some of the early instructors at Falls Creek Ski School.A coloured photo of a group of instructors at Falls Creek Ski School. On left Siggy Haberzettl, on right Lorna Clark. Siggy (Sigi) Haberzettl was the Ski School Director in the 1960s and Lorna was the first Australian instructor to be employed by the Falls Creek Ski School in 1964.falls creek ski school, brad spalding, lorna clarke, siegfried haberzettl

These items were donated by George Shirling, a long-term stakeholder in Falls Creek, first building and owning Koki Lodge and later owning and operating the Red Onion Lodge. The metal sledge was at Red Onion when George bought the lodge from Lauriston GIrls' School in 1974. Lauriston had owned the Red Onion for about three years. The sledge was most likely made or acquired by the Australian Alpine Club who had built there in 1963 and owned the Lodge until 1970. The suitcases belonged to George Shirling's parents who arrived in Australia from Austria in 1938. George then used this suitcase when he travelled to Falls Creek in the early 1960s.These items are significant because they were donated to the Falls Creek Historical Society by a long-standing and highly regarded member of the Falls Creek community.A sledge made from a metal frame and base plate with a rope lead attached. A leather suitcase with a silk lining and leather handles. A variety of travel stickers have been attached.george shirling, koki lodge, red onion

Travelling entertainment has been one popular way that charities have been able to raise revenue over the past 170 years. The Royal Victorian Institute for the Blind toured regional Victoria regularly to help raise awareness, showcase their talents and fundraise to provide care and education for vision impaired men, women and children. Double sided printed ticket for a concert in the Bendigo Town Hall featuring blind artists and dancers from the Royal Institute of the Blind.Obverse; Under the Patronage of the Mayor and Mayoress (Cr, and Mrs J. A. Michelson) and / Councillors of the City of Bendigo / 30 Blind Artists !! / FIRST APPEARANCE IN BENDIGO of The Famous Orchestra and / Concert Party of Blind Artsits and Blind Children Dancers from the / ROYAL VISTORIAN INSTITUTE for the BLIND, / (ST KILDA ROAD MELBOURNE) / WILL GIVE THEIR / FIRST BENDIGO ENTERTAINMENT / IN THE BENDIGO TOWN HALL, / on TUESDAY, MARCH 22nd, 1927, at 8PM / His worship the Mayor will Preside / Tickets 2/- box plan at the Premier Piano Company from March 14th. / PROCEEDS IN AID OF INSTITUTE S.W Hedger, Superintendent and Secretarymayor and mayoress michelson, vision australia, city of bendigo town hall, city of greater bendigo community partnerships, city of greater bendigo events

Ill, p.327.non-fictionFactual account of life in the Northern Territory in the late 19th century; - 1st section - Authors adventures as a shipwrecked mariner at Wark Aboriginal Settlement and Port Essington; 2nd section - Detailed narrative of the authors work & explorations as a customs official and as a patrol police officer, stationed at Port Darwin; Description of Malays and their trading ventures by proas; Relations between Malays and Aborigines employment of latter in collecting, trepangs, pearls, tortoise-shells - physical and cultural influences (e.g. intermixture, and language) feuds and murders; Notes on food gathering and hunting (use of wommera) - tracking - corroborrees settling of disputes by simulated fighting - group murder and guilt rites (Malays and Chinese), canoes decorated - Maria Is. sacred burial ground qualities of Aborigines; noted; Intertribal fighting - Woolna tribe against local Darwin Aborigines; Cannibalism at Limba Luchumbo - King River; Contact between Aborigines and settlers, ranging from extreme cruelty to great friendships; Aboriginal girls stolen for domestic work causing trouble; Further accounts of Chinese - opium & gold smuggling; Search for Dylompo - Groote Eylandt unsuccessful. northern australia - description and travel, northern australia - economic relations

Ill, maps, p.154.non-fictionRum Jungle at the time was a recently discovered uranium mine. The book's principle theme is the sudden appearance of modern science in a region which has not really been civilised by white man. Anecdotal accounts of the authors travels in northern Australia, mainly NT; includes comments and stories about Aborigines; including Albert Namatjira.northern territory - description and travel, rum jungle - northern territory

p.268non-fictionA record of a 1929-30 historical trip by a Baby Austin car from Adelaide to daly Waters in the Northern Territory, then the return journey to Melbourne in a Vauxhall.northern australia - description and travel, australia - social life and customs

Ill, charts, maps, plans, p.675.non-fictionA description of a world cruise taken by Prince Albert Victor and Prince George of Wales.australia - description and travel, voyages around the world

Ill, charts, maps, plans, p.803.non-fictionA description of a world cruise taken by Prince Albert Victor and Prince George of Wales.australia - description and travel, voyages around the world

Ill, p.87non-fictionHere in brief compass is the thrilling tale of air crew adventure told by its navigator, who was one of three Australian in a crew of six manning a Marauder aircraft operating from Africa over the Mediterranean. The aircraft becomes involved in combat, in which two enemy fighters are drive off, one emitting clouds of smoke; but the Marauder, too, is crippled, and comes down in the Mediterranean near the Italian Island of Ustica. Rescue from the sea is followed by the rigours of captivity in Fascist barracks and compounds, of travel through Italy, of sharing British air raids with their captors, assuming careless ease while their musical comedy soldier captors cannot conceal their unease. An ingeniously planned escape is successful; five prisoners break from the compound, and this party, with intrepidity and endurance, gain a liberty which is also a life of great hardship. Italian peasant life provides great interest, and friendly folk protect the adventurous band from the Fascists, while they meet at the coast a mysterious English Captain, who later proves to be a Commando officer on a mission; when this mission is accomplished, and not before, he helps the several groups of escapees to liberty. A motor torpedo boat calls at midnight and, within six months, home in Australiaworld war 1939-1945 - aerial operations - australia, world war 1939-1945 - prisoners of war

Ill, p.232non-fictionThe true story of Horrie the Wog-Dog who was adopted by the Australian Signal Platoon of the M/G Battalion, in spite of all rules against keeping pets, and how Horrie not only won his stripes as a valuable addition to the group but had the further distinction of being smuggled into Australia on their return. The Wog-Dog was sneaked into Greece, went through the evacuation, carried messages as well as proving a dependable warning against air attacks. He went to Syria and Palestine, never learning to tolerate Arabs - he suffered cold and sickness, he fell in love with Ishmi, he was bombed off his ship and he never once was found during all necessary cover-up travelling. A story for all dog lovers, in spite of heavy Australian slang and style, of a dinkum Aussie who was kept, protected and loved by dinkum Aussies. Sentimentality over canines seldom misses fire. australia - armed forces - mascots, world war 1939-1945 - campaigns - north africa

Ill, maps, p.203.non-fictionIncludes general statements on Aboriginal origins; population numbers; description; warfare; their future oceania - description and travel, australia - description and travel

A portrait in oils or acrylic of Mrs Susan St. Leon, Size 1380mm x 900mm. Janet Dawson trained at the National Gallery School, Melbourne, and won a NGV Travelling Scholarship to study painting, lithography and etching at the Slade School and the Central School in London. Since then she has had numerous exhibitions, and is represented in all major public collections of Australia. She won the Archibald Prize in 1973 for one of her portraits. This portrait is part of the Record Series 74. Permanent/Semi-Permanent Displayed Works.Oil Painting of Mrs Susan St. Leon Headmistress Mrs Susan St.Leon Headmistress 1973-1982

This is a typical situation confronted by RDNS Sisters when travelling to the home of a patient to give them nursing care. The Sister is driving an Australian built Holden vehicle made in the mid 1960s which was part of the RDNS fleet of cars.From its inception in 1885 the Trained nurses of the then named Melbourne District Nursing Society (MDNS), later named Royal District Nursing Service (RDNS) gave high quality nursing care to patients in their own homes. They nursed patients referred by Hospitals and General Practitioners giving treatments, such as injections, wound care and doing other procedures, as well as assisting them with general care when required. Royal District Nursing Service (RDNS) had its own full fleet of vehicles by the mid 1960s. In many areas there were unsealed roads, in various conditions, which the Sisters negotiated to reach their patients to give care. Seat-belts had been introduced to Victoria in 1959 and District fitted them to their cars from 1962, even though they did not become compulsory until 1970. The Melways Directory of maps was introduced in 1966 which was a boon to the Sisters, though it was a few years before it went beyond Seville, so those that gave nursing care in the Launching Place, Yarra Junction, Warburton and Powelltown area used a large paper map and once the particular house was found an 'x' was marked to denote the street and approximate site of the house to assist the visiting Sisters. On the right of the black and white photograph is a front-on view of Royal District Nursing Service, (RDNS), Sister driving her RDNS Holden car, with Registration number 'JPH 516' on the front number plate, on a dirt road approaching an intersection. Seen on the left hand side of the photograph is the cabin view of a truck as it is about to enter the intersection. A white house with a pitched roof can be seen on the left hand side of the photograph behind the truck. A lamp post is seen in the centre of the left hand side nature strip behind the bonnet of the truck. Trees line the road the RDNS car is traversing, and in the background behind the RDNS car, a hill with houses can be seen. photographers stamp. Quote No. GE 102rdns, royal district nursing service, rdns transport

The rock and attached plaque to Caroline Chisholm stand in front of the Royal District Nursing Service (RDNS) Essendon Centre. It was unveiled at the opening of the Centre on the 30 August 1967.The plaque has a deep silver colour background, light silver colour writing with gold coloured edging.Caroline Chisholm visited the goldfields of Victoria in 1854 and was horrified by the conditions en-route. The Memorial plaque to Caroline Chisholm, in front of the RDNS Essendon Centre which is situated on Crown Land, is in recognition for her work in establishing, with Government assistance, shelter sheds about a days walk apart, to enable the prospectors and their families heading for the goldfields shelter on their way. Caroline Chisholm, a Philanthropist, began her work in Madras in 1834 founding a Female School of Industry for the daughters of European soldiers. They were taught to read, write, cook, keep house and were given instructions in nursing. After coming to Sydney in 1838, she set up accommodation for poor young unemployed migrant women and families. This work was extended when she arranged employment for assisted immigrant women and families into the countryside, many times travelling with groups of young women to check their employment conditions. In seven years she placed 11,000 people in homes and employment. On her return to England she fought for, and won, free passage to Australia for wives and children of former convicts, and for children left behind in England by circumstances, when the family migrated. She established the Family Colonisation Loan Society in 1849, which set up a saving scheme for emigrants, and later loaned them half of their passage to Australia. The Society's Agents found them employment on arrival, and the loan was paid back within two years by a humane payment scheme. At first they used emigrant ships, but then the Society provided ships with much improved conditions, and this led to the upgrading of the passenger Act.. The Chisholm's lived in Kyneton for several years, returning to Sydney for health reasons, before going back to England where Caroline died, aged 68 years, on the 25th of March 1877.Black and white photograph of the Memorial plaque to Caroline Chisholm. The rectangular plaque sits on a rough light grey rock, and has light colour writing and edging, on a dark grey background. The inscription on the plaque is in five lines and reads: "On this site in the year 1855"/, "Mrs Caroline Chisholm"/, "Established a Shelter for"/, "Diggers and their families"/ "Travelling to the Goldfields"/.Photographers stamp. Quote No. GJ 56rdns, royal district nursing service, rdns centre, caroline chisholm, memorial plaque

Mrs. R. Gordon is the President of the Victorian branch of the National Council of Women. The Memorial plaque to Caroline Chisholm stands on a rock in front of the Royal District Nursing Service (RDNS) Essendon Centre, and was unveiled at the time of the opening of the Centre on the 30th of August 1967.Caroline Chisholm visited the goldfields of Victoria in 1854 and was horrified by the conditions en-route. The Memorial plaque to Caroline Chisholm, in front of the RDNS Essendon Centre, is in recognition for her work in establishing, with Government assistance, shelter sheds about a days walk apart, to enable the prospectors and their families shelter whilst heading to the goldfields. Caroline Chisholm, a Philanthropist, began her work in Madras in 1834, founding a Female School of Industry for the daughters of European soldiers. They were taught to read, write, cook, keep house and were given instructions in nursing. After coming to Sydney in 1838, she set up accommodation for poor young unemployed migrant women and families. This work was extended when she arranged employment in the countryside for assisted immigrant women and families, many times travelling with groups of young women to check their employment conditions. In seven years she placed 11,000 people in homes and employment. On her return to England she fought for, and won, free passage to Australia for wives and children of former convicts, and for children left behind in England by circumstances, when the family migrated. She established the Family Colonisation Loan Society in 1849, which set up a saving scheme for emigrants, and later loaned them half of their passage to Australia. The Society's Agents found them employment on arrival, and the loan was paid back within two years by a humane payment scheme. At first they used emigrant ships for passage, but then the Society provided ships with much improved conditions, and this led to the upgrading of the passenger Act.. The Chisholm's lived in Kyneton for several years, returning to Sydney for health reasons, before going back to England where Caroline died, aged 68 years, on the 25th of March 1877.Black and white photograph of Mrs. R, Gordon, wearing a dark coloured coat, black shoes, and a beret style white and black hat, pointing with her left hand to the unveiled Memorial plaque to Caroline Chisholm. The dark oblong plaque is adhered to a large rock.The British Flag can be seen in the foreground. Part of a building can be seen in the background; short glass windows can be seen above the brickwork on the left, with dark fascia above, and part of a large glass window to the right.Photographers stamp. Quote No. GJ 58rdns, royal district nursing service, rdns centre, essendon centre, memorial plaque, mrs r. gordon, caroline chisholm

Mrs. R. Gordon is the President of the Victorian branch of the National Council of Women and is unveiling the Memorial plaque to Caroline Chisholm. The plaque stands on a rock in front of the Royal District Nursing Service (RDNS) Essendon Centre, and was unveiled on the same day the Centre opened on the 30th of August 1967. Mrs. E.G. Wilson is President of the Royal District Nursing Service. Miss Mary Evans is the Director of Nursing of the Royal District Nursing Service and is wearing her dark grey Director's uniform.Caroline Chisholm visited the goldfields of Victoria in 1854 and was horrified by the conditions en-route. The Memorial plaque to Caroline Chisholm, in front of the RDNS Essendon Centre, is in recognition for her work in establishing, with Government assistance, shelter sheds about a days walk apart, to enable the prospectors and their families shelter whilst heading for the goldfields. Caroline Chisholm, a Philanthropist, began her work in Madras in 1834 founding a Female School of Industry for the daughters of European soldiers. They were taught to read, write, cook, keep house and were given instructions in nursing. After coming to Sydney in 1838, she set up accommodation for poor young unemployed migrant women and families. This work was extended when she arranged employment in the countryside for assisted immigrant women and families, many times travelling with groups of young women to check their employment conditions. In seven years she placed 11,000 people in homes and employment. On her return to England she fought for, and won, free passage to Australia for wives and children of former convicts, and for children left behind in England by circumstances, when the family migrated. She established the Family Colonisation Loan Society in 1849, which set up a saving scheme for emigrants, and later loaned them half of their passage to Australia. The Society's Agents found them employment on arrival, and the loan was paid back within two years by a humane payment scheme. At first they used emigrant ships for passage, but then the Society provided ships with much improved conditions, and this led to the upgrading of the passenger Act.. The Chisholm's lived in Kyneton for several years, returning to Sydney for health reasons, before going back to England where Caroline died, aged 68 years, on the 25th of March 1877.Black and white photograph showing Mrs. R. Gordon, wearing a black coat and black and white beret style hat, with her left hand on a rock and her right hand on the British Flag, whilst unveiling the Memorial plaque to Caroline Chisholm. Mrs. R. Gordon stands between Mrs. E.G. Wilson, who is to her left, and is wearing glasses and a black coat, hat and shoes. Miss Mary Evans, who is wearing her RDNS uniform of a dark grey skirt and jacket and brimmed hat, and with a handbag looped over her left arm, is to the right.. Part of a building is seen in the background; short glass windows can be seen above the brickwork to the left and a large glass window to the right.Photographers stamp and 'Quote No. GJ 60'rdns, royal district nursing service, essendon centre, caroline chisholm, memorial plaque, mrs r. gordon, miss mary evans, mrs e.g. (hazel janet) wilson

The Huey (Iraquois) helicopter was the major travel mode for Australian troops during the Vietnam War.Troops in the Vietnam War relied heavily upon the Huey helicopters and their crews for transport, resupply, medivacs of the wounded or killed and fire support.Framed picture of Huey helicopter flying over South VietnamPlate describing donor; signatures of crew.vietnam, vietnam war, helicopter, diamond valley vietnam veterans sub branch

"Donald Mackintosh was born in Rockbank on 21 September 1866. He quickly proved himself as an expert shot, joining the Bacchus Marsh Shooting Club at the age of ten and the Melbourne Gun Club at 23. In 1890 he won the Melbourne Gun Club £1000 Cup Handicap.Donald represented Australia at the 1900 Paris Olympic Games. However, due to confusion at the time over whether this competition was an official Olympic event, Donald was not recognised as an Olympic medallist during his lifetime. In 1987 the IOC issued Donald’s gold and bronze medals. Donald continued to travel around Europe and won many other competitions, including the London Gun Club Challenge Cup three times in a row and the Grand Prix at Monte Carlo twice. As well as being an expert shot, Donald was also well educated and wrote poetry. Most astonishingly, he was also completely blind in his left eye".Document with a list of achievements by Olympian Donald Mackintoshlocal identities