Appears to have been taken mid 20th C. the trig point is similar to those found around Australia but location yet to be confirmed.Mariner Duncan had a particular regard for the Mission to Seafarers. A plate for display on a commissioned new table at the MTSV acknowledges his bequest and the material donated. Collectively the G W Duncan material includes: photographs, professional data memorabilia and written and commercially printed resources. The memorabilia relates to his career at sea and in particular the role of an engineer, including a handwritten manual of notes and references relating to the mechanical and engineering aspects and areas of responsibility for maintenance. small b & w photograph depicting male figure in casual shirt and trousers standing next to a Trig point on rocks near a coast. ID of figure tbc.trig points, navigation, george winfield duncan (1922-2017), ship engineer, s.s. athenic

The SS Athenic was one of 2 vessels of the Shaw Savill Line. One became a whale factory ship and the second a passenger ship built and launched by Harland and Wolff in1944 and had maiden voyage 1947 between London and New Zealand. Donor of this document Mr GW Duncan sailed on the maiden voyage and has also gifted sample menus from that trip.Mariner Duncan had a particular regard for the Mission to Seafarers. A plate for display on a commissioned new table at the MTSV acknowledges his bequest and the material donated. Collectively the G W Duncan material includes: photographs, professional data memorabilia and written and commercially printed resources. The memorabilia relates to his career at sea and in particular the role of an engineer, including a handwritten manual of notes and references relating to the mechanical and engineering aspects and areas of responsibility for maintenance. Double sided colour flyer with 'collaged' arrangement of various reproduced photographs of SS AthenicAt lower right edge on one side: " SS Athenic launching on November 6th, 1946 / From the Harland & Wolff Archive"shaw savill line, ss athenic, harland and wolff, george winfield duncan (1922-2017), ship engineer, 1946

Included in the G W Duncan collection this item of memorabilia from 1948 may have been acquired quite early in the donor's career as a ship's engineer. The menu provides a glimpse of shipboard diet and especially celebratory food.Mariner Duncan had a particular regard for the Mission to Seafarers. This plate for display on a commissioned new table at the MTSV chapel acknowledges his bequest and the material donated. Collectively the G W Duncan material includes: photographs, professional data memorabilia and written and commercially printed resources. The memorabilia relates to his career at sea and in particular the role of an engineer, including a handwritten manual of notes and references relating to the mechanical and engineering aspects and areas of responsibility for maintenance. Single fold heavy card menu with colour cover featuring birds of Australia: King parrot, Rifle bird, Leadbetter's cockatoo. Inside cover typed sheet of paper with menu listing adhered to card.see imagesmenu, birds, australian, christmas, ss athenic, shaw savill line, george winfield duncan (1922-2017), ship engineer

Gas lamps worked by heating something called a 'mantle' with a gas flame. The mantle then glowed brightly, lighting up the room. Lamps had either two chains, for a ceiling-mounted lamp or a tap for a wall-mounted burner to turn off the gas. These chains or taps could also adjust the flow of the gas and hence the brightness of the mantle. Before Carl Auer von Welsbach invented the gas mantle in the 1890s, all gas lights in homes and street lights had simple gas jets that pointed upwards. In the home, these lights were covered with glass globes and had an overall ornate look making the lamp ascetically pleasing and protecting the flame from being blown out. However, this arrangement was extremely inefficient: To get as much light as possible, the gas had to be turned fully up, resulting in large sheets of flame rising towards a ceiling. Also, because the lamp had to be point upwards, the illumination was directed upwards, i.e. at the ceiling rather than where it was needed. So the usable light for a given amount of gas was minimal but the invention of the gas mantle eventually changed this. It enabled gas lights to have a small flame and to direct their light downwards. The item is significant as it is part of a very ornate gas lamp wall bracket from the late 19th to early 20th century. Its provenance is currently unknown and at this time cannot be associated with a historical event, person or place and the item is assessed as a collective asset.Gas lamp wall bracket; part of a gas lamp. A single burner fancy wall mounted bracket, brass, ornate and decorative, featuring a Lamassu - figure with the body of a lion , wings of an eagle and human head. It was recovered from the wreck of the Loch ArdNoneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, gas lamp, brass lamp, gas burner bracket, domestic artifact, gas lighting, gas lamp bracket

Booknon-fictionA visual record of posters made at Megalomania Print Studio, a print collective in Canberra 1980-2013community, political art, artist unknown, gender, health, environment

Booknon-fictionCharts the intersection of the women's art movement with women's art, and the increased visibility of women artists from the 1960s into the 1970s in Australia.portraiture, feminist art practice, performance art, political art, art and craft, thancoupie, jill orr, vivienne binns, collective art, erica mcgilchrist, mickey allan, ann newmarch

BOOKnon-fictionDocuments every event in the volunteer-run Women's Gallery, which ran June 1988 until December 1995, in bohemian Brunswick Street Melbourne and showed 119 solo and group exhibitions, and hosted book launches, music and theatre performances, seminars and poetry readings.solo and group exhibitions, spiritual art, political art, portraiture, iwd exhibitions, collaborative prectice, collective practice

Index, bibliography, notes, ill, p.211.non-fictionA chance discovery made on a tour of Anzac Cove provided an immediate link between Gallipoli and Melbourne’s Eastern Suburbs. In the lead up to the Centenary of Anzac, ‘The Sweetland Project’ (named after a Box Hill man, Stephen Sweetland) became a broader search for the connections between Gallipoli and the former Shire of Nunawading, revealing 27 men from the former shire who died during the Gallipoli campaign. This book traces their stories and the reaction to the Great War of the local community, and shows how personal and collective memories of their experiences still resonate today.world war 1914-1918 - campaigns - gallipoli, gallipoli campaign - personal recollections

Index, bibliography, notes, ill, maps, p.691.non-fictionIn 1942 and early 1943 Papua New Guinea was 'a bastard of a place' to fight a war. This book gives us the final, all-encompassing story of the five battles that changed Australia forever. The compelling narrative resonates with the voices of both the well-trained AIF volunteer, and the young Militia conscript who triumphed together. The author interviewed hundreds of these soldiers and himself travelled the treacherous terrain and bloody battlegrounds where so many of their mates perished, and reveals the inside story of how Generals MacArthur and Blamey sacrificed many of the senior Australian field commanders as scapegoats to protect their own positions. A Bastard of a Place restores Milne Bay, Gona, Buna and Sanananda to their rightful place beside Kokoda to what they should collectively be for all Australians - sacred ground.world war 1939 – 1945 – campaigns – new guinea, world war 1939 – 1945 – campaigns – kokoda

The scarf was worn by Eileen Capocchi, a member of the Eureka Youth League Choir who sang at the Youth Carnival for Peace and Friendship and donated the item. The planned event had been targeted by Prime Minister Menzies as a Communist Party activity. The Commonwealth Government pressured local Sydney Councils to deny the organisers a venue. These attempts failed. The event combined sporting, athletic and musical events at a football stadium. In later years it was the subject of two documentary films. The scarf is of historic and social significance because of its association with the Peace Carnival for Peace and Friendship of 1952 and the Eureka Youth League. The scarves were worn by all participants and by Eureka Youth League members in subsequent years. The scarf records some of the musical and sporting events organised by the Eureka Youth League in most major Australian cities.Brown and yellow square rayon machine edged scarf made for the 1952 Youth Carnival for Peace and Friendship in Sydney. Central portion shows a peace dove, pink heath, flannel flower and wattle. Perimeter shows a saxophonist, ballet dancer, high jumper, hurdler, cyclist and volleyball net. "Youth Carnival for Peace and Friendship" white script on 3cm brown banner repeated 4 times around perimeter.eileen capocchi, eureka youth league choir, youth carnival for peace and friendship, eureka youth league, 1952

Dear America is more than correspondence from homesick Gls. It is a collective letter to the nationand its governent, a plea that asks: Why did you do this to your children?vietnam war, 1961-1975 - personal narratives, american

This bowl is part of a series completed in 1994 on the subject of the sin of 'Vanity' / A smug looking woman flirts coquettishly with a manservant who helps her to put on her shoes / The people depicted on the bowl are dressed in 18th century costumes / The court of Marie Antoinette of France is evoked / The blue and white drawing is in the style of 18th century woodblock prints and was drawn freehand / The bowl is signed and dated on the base / The technique is traditional tin glaze (majolica, maiolica or delft) / Coloured oxides were painted onto a clear glaze which had been opacified with tin oxide, and then fired at 900 degrees / The bowl was exhibited at Christine Abrahams Gallery, Melbourne in 1994 / A bowl from the 'Vanity' series is held in the Collection of the Queen Victoria Museum and Art Gallery in Launceston, Tasmania. Copeland's parents are John and Betty Hipwell, one of the founding members of Potters Cottage (an influential ceramic collective that grew out of Nillumbik) / Copeland grew up surrounded by this artform. Reg Preston (another founding member of Potter's Cottage) introduced her to the Majolica technique which has influenced her ceramic work to this day / This bowl is characteristic of Copeland's speciality and mastery of the Majolica technique. This bowl is hand painted with an image of a couple flirting (man-left side and woman-centre) in 18th century French dress / Decorative circle and polka dot pattern along the rim and underside of the bowl / The bowl is predominantly painted in cobalt blue and orange colour using the Majolica (maiolica or delft) technique; a traditional tinglaze method of application. Coloured oxides are painted onto a clear glaze which has been opacified with tin oxide / The bowl is then fired at 900 degrees.Underside has in colbalt blue artist signature and date / 'A. Copeland . 1.9.1994'.copeland, earthenware, majolica, potters cottage, vanity, bowl, eighteen century, french, marie antoinette

Entry into the 2009 Nillumbik Prize. Angela holds a Masters of Fine Art and has worked with clay for over 20 years. Her work is held in collections around Australia.Angela Nagel's creative practice is informed by an interest in the human condition, universal symbols, mythology and Jung's theory on the 'collective unconscious'. Her hybrid part human/animal creatures reference introduced species and indigenous Australian animals as a way for her to explore a personal mythology, and narrative, of home and environment. Recent work is developing around the relationship of ceramics to other materials such as glass, printmaking and found objects. Angela holds a Masters of Fine Art and has worked with clay for over 20 years. Her work is held in collections around Australia.Human and animal like figure in the stance reminiscent of classical sculpture. Hand built ceramics with engobes, oxides, glaze and gold leaf Medium: Porcelain, oxide, underglazeangela nagel, nillumbik shire council collection, victoria, nillumbik prize, ceramic

Pugh was one of many artists who brought an Australian experience to attention. This work reveals the colour, textures, harshness and inhabitants of the natural bush, with the angular forms found on the ‘black birds’ dominating the composition with dramatic effect. Shanahan, Albert Tucker, Frank Werther and Fred Williams have at one time settled and or work there. Untitled (Black Birds) from the Bodford Terrace Suite 1978, created by Clifton Pugh - a celebrated Australian artist known for his landscapes and portraiture as well as (three-time) winner of Australia’s Archibald Prize. This piece plays a significant role within the Nillumbik Shire Collection due to Pugh’s strong connection to the local land where he settled in Cottle’s Bridge in 1951, purchasing 15 acres and named it Dunmoochin. Artists, potters and others settled at Dunmoochin and formed the Dunmoochin Artists Co-operative in order to collectively protect the land. Numerous renowned artists worked or resided at Dunmoochin including: Rick Amor, Fred Williams, Albert Tucker, Frank Hodgkinson, Mirka Mora, John Olsen, John Percival and John Howley amongst others. Upon his death in 1990 he left an art collection and extensive properties at Dunmoochin to be appreciated and utilised by artists for years to come lithographic print on French Arches paper. Dynamic and expressive depiction of black birds in flight on far left of composition, cropped elements of Australian landscape in blue and red in the background (trees, shrubs, rocks). Inscribed lower right 'Clifton'; 1:1; 179/300clifton pugh, bodford suite, dunmoochin

Pugh was one of many artists who brought an Australian experience to attention. His landscapes reveal the colour and textures of the natural bush, often with a dramatic emphasis. His reference to the harshness of the bush consistently arises, with angular forms dominating the composition. White Choughs in the Landscape is typical of his representations of the bush as a dynamic environment. White Choughs in the Landscape, 1958, created by Clifton Pugh - a celebrated Australian artist known for his landscapes and portraiture as well as (three-time) winner of Australia’s Archibald Prize. This piece plays a significant role within the Nillumbik Shire Collection due to Pugh’s strong connection to the local land where he settled in Cottle’s Bridge in 1951, purchasing 15 acres and named it Dunmoochin. Artists, potters and others settled at Dunmoochin and formed the Dunmoochin Artists Co-operative in order to collectively protect the land. Numerous renowned artists worked or resided at Dunmoochin including: Rick Amor, Fred Williams, Albert Tucker, Frank Hodgkinson, Mirka Mora, John Olsen, John Percival and John Howley amongst others. Upon his death in 1990 he left an art collection and extensive properties at Dunmoochin to be appreciated and utilised by artists for years to come White Choughs in the Landscape is typical of Pughs' representations of the bush as a dynamic environment. The brittleness and fragility of the landscape is recorded in the surface of the work, where paint is applied in thin layers.Signed 'Clifton Sept. 1958'clifton pugh, dunmoochin, white choughs

In October 2000, Council invited three artists from the region (Deborah Halpern, Matcham Skipper, Tony Trembath) to submit designs for a sculpture / public art work for the Eltham Town Square. The commission was paid for by supermarket giant Safeway (Woolies) as part of its supermarket permit, which required them to contribute to beautification work in the Town Square.This is the first of three parts. The 'Spirit of Nillumbik' is a celebration of the artistic spirit of Eltham and surrounding communities. Each area is identified through the flora and fauna represented in the panels. The work honours the many creative artists and architects, past and present, who have built homes and shaped lives and livelihoods with their unique creative spirit. Halpern describes her work as a public expression of their individual and collective visions. Halpern acknowledges these contributions to our hand-made history and the influence they have on the character and identity of Eltham and Nillumbik. Five picture and six woven balustrades each made out of welded steel / organic wrought iron and coated with wax. Imagery (flora - plants, landscapes and fauna - animals, birds, reptiles, insects) are all based on the local environment. There is also a relevant aboriginal presence amongst each of the panels. Each panel represents the different areas that make up the Shire. 'Water' for Warrandyte, 'Kangaroos' for Christmas Hills, 'Cockatoos and 'Valley Creek Flats' for Hurstbridge, 'Wombats', 'Bluetongues' and 'Possums' for St. Andrews/Kinglake, 'Orchids' for Panton Hill, 'Cows' and 'Grapevines' for the Kangaroo Gound Hill landmark. N/Apublic art, nillumbik, fauna, flora, wrought iron, balustrade, halpern, laurence, kangaroo, eltham town square, spirit, warrandyte, christmas hills, kangaroo ground, hurstbridge, kinglake, panton hill, water, valley creek flats, cockatoos

In October 2000, Council invited three artists from the region (Deborah Halpern, Matcham Skipper, Tony Trembath) to submit designs for a sculpture / public art work for the Eltham Town Square. The commission was paid for by supermarket giant Safeway (Woolies) as part of its supermarket permit, which required them to contribute to beautification work in the Town Square. This is the second of three parts. The 'Spirit of Nillumbik' is a celebration of the artistic spirit of Eltham and surrounding communities. Each area is identified through the flora and fauna represented in the panels. The work honours the many creative artists and architects, past and present, who have built homes and shaped lives and livelihoods with their unique creative spirit. Halpern describes her work as a public expression of their individual and collective visions. Halpern acknowledges these contributions to our hand-made history and the influence they have on the character and identity of Eltham and Nillumbik. Square floor mosaic. Black and white chequered border. Multicoloured coiled snake intercepted with six multicoloured peaks. Made up of small mosaic tiles and hand painted. Hand painted artist signature bottom right hand side. 'Deborah D. Halpern '01'eltham, halpern, mosaic, snake, square, laurence, painted, tiles, spirit, nillumbik

In October 2000, Council invited three artists from the region (Deborah Halpern, Matcham Skipper, Tony Trembath) to submit designs for a sculpture / public art work for the Eltham Town Square. The commission was paid for by supermarket giant Safeway (Woolies) as part of its supermarket permit, which required them to contribute to beautification work in the Town Square.This is the third of three parts. The 'Spirit of Nillumbik' is a celebration of the artistic spirit of Eltham and surrounding communities. Each area is identified through the flora and fauna represented in the panels. The work honours the many creative artists and architects, past and present, who have built homes and shaped lives and livelihoods with their unique creative spirit. Halpern describes her work as a public expression of their individual and collective visions. Halpern acknowledges these contributions to our hand-made history and the influence they have on the character and identity of Eltham and Nillumbik.Realistic depiction of 'chocolate lilies' in wrought iron (three flowers in bloom, four large buds and six small buds). Chocolate lilies are indigenous to Nillumbik.N/A

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Colourful painting of chromosome figures playing on a beach.merle parker, 69 smith street gallery, artist-run initiative, artist-run space, painting, chromosome, melbourne galleries

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Blurred vision of a tree against brown landscape and blue/grey sky.jenny gibson, 69 smith street gallery, artist-run initiative, artist-run space, photography, landscape, melbourne art galleries, colour photography, digital photography

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Textual rendering of artist's decision not to provide an image for 69 Smith Street Gallery's anniversary publication.julian di martino, 69 smith street, artist-run initiative, artist-run space, art gallery, biro, paper, melbourne art galleries, conceptual art

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Oil painting and gold leaf on a birch panelnikki d'emden, 69 smith street gallery, artist-run initiative, painting, artist-run space, melbourne art galleries, nikkidemden.com

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Bronze sculpture on a polished granite circular base. Female subject is wearing a long flowing dressclodagh holahan, 69 smith street gallery, artist-run space, artist-run initiative, sculpture, melbourne galleries, clodagh-holahan.com

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Image of two birds sitting on a tree branch with flowers. The background is light blue, the branch is dark blue and the birds and flowers are made from cut-out pieces of metal.e justine cromb, 69 smith street gallery, artist-run initiative, artist-run space, mixed media, birdlife in art, melbourne art galleries

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.This artwork shows a wooden type sculpture depicting an ant. A blue spotlight on the ant is casting a shadow on a floor.louis balis, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, maquette, shadow, sculpture, photograph, ant, [email protected]

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Colour digital print of a dead mouse. Image is a cropped detail of the animal's hind legs and tail.aneta bozic, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, photography, colour photography, animal photography, death in art, www.anetabozic.com

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Digital print. Series of panels featuring text. The text is printed over the image of radical Muslim cleric Abu Bakar Bashir.theo den brinker, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, painting, sculpture

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Painted using acrylics, ink and charcoal on canvas. This abstract image features what looks like two figures merged into one against a red background with sprays of black paint. liza posar, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, painting, graffiti

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Acrylic painting. Abstract image comprising twelve canvases. Colour scheme includes yellow, brown, aqua and green.julie harmsworth, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, painting, abstract art, abstract painting, www.incarastudio.com.au