Sepia photograph mounted on backing card. Photograph is faded and depicts a street with vehicles parked along the sides. Foliage from a tree frames the shot and a power pole is in the foreground. On reverse card is addressed to Miss Dean Esmond Golden Square. Writing covers the left hand side and a one penny stamp is affixed and postmarked Bendigo.WSM Melbournepostcard

Index, bibliography, notes, ill, maps, p.548.non-fictionPearl Harbour. Kokoda. The fall of Singapore. Curtin's fight with Churchill. The bombing of Darwin. The Battle of Midway. POWs. Kamikaze. Hiroshima. These words alone are enough to convey the terror, courage and drama of the Pacific War, when the balance of power stood on a knife-edge and when the future of Australia herself was on the brink - threatened by Japanese aggression on one hand and British apathy on the other. Until now the history of the Pacific War has largely been written from the American perspective. Now, for the first time, Peter Thompson places Australian voices and action at the heart of a struggle that took an unimaginable number of lives and only ended with the unleashing of the most powerful weapon the world had ever seen. Pearl Harbor; The fall of Singapore; Curtin's fights with Churchill; The bombing of Darwin; POW camps; The battle of Midway; Kokoda; Buna; Kamikaze pilots; Hiroshima. These words alone are enough to convey the terror, courage and drama of the Pacific War, when the balance of power stood on a knife-edge and when the future of Australia was on the brink - threatened by Japanese aggression on the one hand and British deception on the other. After a conflict that took an unimaginable number of lives and ended with the unleashing of the most powerful weapon the world had ever seen, the Allies emerged victorious. Australia, however, was criticised by Churchill and his generals for showing cowardice in the face of the enemy and for not caring about the fate of other nations. The endorsement of these claims by several military historians today shows that the smear has not gone away. Until nowworld war 1939 – 1945 – campaigns – pacific, world war 1939 – 1945 – australia

Index, bibliography, ill, maps, p.335.non-fictionn 1900, Germany was one of modernity's great success stories: The most progressive and dynamic nation in Europe, it was the only country whose rapid economic growth and innovation rivaled that of the United States. Its political culture was far less authoritarian than Russia's and less anti-Semitic than France's. Representative institutions thrived, and competing political parties and elections were a central part of life. How, then, could it be that in little more than a generation this stable modern country would fall into the hands of Adolf Hitler and the violent, racist, extremist political movement he led, a movement that would lead Germany and then all of Europe into utter moral, physical, and cultural ruin?" "There is no story in twentieth-century history more important to understand, and Richard Evans has written the definitive account for our time. A masterful synthesis of a vast body of scholarly work integrated with important new research and interpretations, Evans's history restores drama and contingency to the rise to power of Hitler and the Nazis, even as he shows how ready Germany was by the early 1930s for such a takeover to occur. Its citizens were angry and embittered by military defeat and economic ruin, and its young democracy undermined by a civil service, an army, and a law enforcement system deeply alienated from the new order. The electorate was beset by growing extremism and panic about communism; and the small but successful Jewish community was subject to wide-spread suspicion and resentment. In the end, though nothing about what happened was preordained, Germany proved to be fertile ground for Nazism's ideology of hatred.germany - politics and government 1933-1939, germany - nazi party

The Ebenezer Mission Station is situated by the Wimmera River and was established by Moravian missionaries as the Lake Hindmarsh Aboriginal Reserve in 1859. At its peak more than 100 people lived and worked on the mission in more than 20 buildings. The Mission closed in 1900 and was returned to the Lands Department in 1904. The church was established in the 1870s and the cemetery includes hundreds of unmarked burials. In 1961 the National Trust (Victoria) received a letter from the Horsham Historical Society expressing concern for the future of the Mission buildings. By 1971 the National Trust was managing the site. It was fenced, connected to power and the church was restored. In the mid-1970s the gravestones were in a bad state of repair. Stonemason James McCauley worked on the stones for 2 weeks. In 1991 the church was handed over to the Goolum Goolum Aboriginal Co-operative to manage. On 05 December 2013 the National Trust handed over the freehold of the Mission site. Moravian missionary Revd Paul Bogisch and his wife Amalie are buried in the cemetery. A number of colour digital photographs showing buildings on the former Ebenezer Mission at Antwerp.ebenezer, bogisch, goolum goolum, goolum, national trust, national trust (victoria), lake hindmarsh, lake hindmarsh aboriginal reserve, moravian, mission, missionary

Index, bib, ill, maps, p.476.On 25 June 1950 the invasion of South Korea by the Communist North launched one of the bloodiest conflicts of the last century. The seemingly limitless power of the Chinese-backed North was thrown against the ferocious firepower of the UN-backed South in a war that can be seen today as the stark prelude to Vietnam. Max Hastings has drawn on first-hand accounts of those who fought on both sides to produce this vivid and incisive reassessment of the Korean War, bringing the military and human dimensions into sharp focus.korean war 1950-1953 - history, korea - history

Ill, map, p.316.non-fictionAs the clock struck twelve to signal the start of 1942, Australians did not give the New Year their traditional noisy welcome. Regular events were cancelled, nightclub bookings were down and most people stayed in their blacked out homes. Clocks were put forward an hour for the start of daylight saving, as part of a war-time scheme to save power. All around the Pacific, Japan was making gains. They already occupied most of China; bombed Pearl Harbour, Guam and Wake; sunk the stars of the British naval fleet, the Prince of Wales and Repulse. They had landed in British Borneo, Hong Kong and the Philippines. This is the story of 1942, as told in first-hand accounts by the men and women in Australia and around the world. world war 1939-1945 - personal narratives - australia, soldiers - australia - diaries

Leo Charles Roy Pallamountagne was born at Moyhu, Vic, Aus. and at the time of WW 1 was employed as a farm hand on the property of Mrs Ellen McCormack (nee Power) at Ovens Vale, Victoria, Australia. Ellen's husband, John McCormack, had deceased 1916. Leo was born at Moyhu, Vic. 1899. He enlisted for service abroad on 30/8/1916 and was posted to the 21st Battalion, Serial No. 6829. Leo's next of kin was nominated as Clara Pallamountagne of Benalla, Victoria. Leo's father was listed as "whereabouts unknown" at the time of Leo's enlistment. Leo was wounded in action in France, Oct 1917. Leo returned to Australia on 10th March 1919 and was discharged on 17th April the same year. Leo (or Leon) married Evelyn Mary Paxman in 1922, they had seven children. Leo died on 23rd April, 1941 at the Military Hospital, Caulfield. Address in 1931 was Pier Street, Dromana. Occupation, Civil Servant Address in 1936 was Tresco, Victoria, Occupation, OrchardistMemorabilia of Leo Pallamountagne War Service on Western Front, France, 1917. Postcard of card and light gauze cloth upon which is embroided six flags in national colours flanking a rising sun plus wording in red on a blue ribbon flourish "For Liberty and Justice 1917"Hand written in pencil Addressed to Mrs J McCormack, Ovens Vale, Victoria, Australia. "France Sept 1917 To the Company just a few lines hoping you are all well as it leaves me at present There is not news here at present but will write again, Your true Friend Leo, Pallamountagnepallamountagne. western front. postcard.

In 1940 doctors started experimenting with curare for use with electric shock therapy. Electric shock therapy regularly caused broken bones, including vertebrae, and all sorts of dislocations. The intensity of convulsions was high and couldn’t be controlled. During the 19th Century curare was unsuccessfully used to treat rabies, tetanus and epilepsy. By 1935, Harold King had isolated tubocurarine, curare’s active ingredient. In 1942, Harold Griffith successfully used standardised curare (Intocostrin) with cyclopropane. Within five years synthesised muscle relaxants were available. Intocostrin, combined with an anaesthetic agent, was a break-through for this treatment.Solid wooden box with three separate sections inside box. First section contains electrical lead for attaching unit to mains power. Second section contains ECT unit and controls. Third sections contains electrical lead ending in plugs for holding in hands. Sections cannot be separated out, they form one unit.Etched on to the face of the internal unit: PROPERTY OF / THE ROYAL WOMEN'S HOSPITAL Label tape affixed to top of the lid: E.C.T. UNIT OP. THEATRES R.W.H.anaesthesia, muscle relaxants, electroconvulsive shock therapy, women

Long term loan from Neurological Society of Australasia Museum of Neurosurgical Instruments , South Australia Catalogue with Historical Commentaries Second Edition January 2006 Copy located at RACS MuseumSTUART MORSON'S MECHANICAL INJECTOR FOR ANGIOGRAPHY. Stuart Morson(1913 - 1980) of Sydney had this injector constructed in or before 1952. It is said that it was not used much. The injector embodies two 10 ml and two 20 ml Record syringes coupled to a single delivery system. Each is operated by a piston. The pistons are driven from cylinders drilled in a metal block within the casing of the injector; the motive power must have been hydraulic or pneumatic pressure delivered through a manifold with taps allowing each syringe to be worked in isolation. The casing also contains two linked micro switches operated from a distance; it is unclear what was the role of these switches, and it is possible that a component of the unit is lost. JB Curtisl stated that a mechanical injector was devised in 1949 for serial angiography by his collaborator Schuster, but was not felt to be safe enough for use. For many years, neurosurgeons and neuroradiologists preferred to inject by hand.

Long term loan from Neurological Society of Australasia Museum of Neurosurgical Instruments,South Australia. Catalogue with Historical Commentaries Second Edition January 2006 Copy located at RACS MuseumTrumble's Skull Plough or craniotome devised by Hugh Trumble (1864-1962 ) CRANIOTOME. This craniotome was designed by Hugh Trumble (1894-1962) of the Alfred Hospital, Melbourne, one of the eight founders of the Neurosurgical Society of Australasia. It was a modification of an earlier instrument, similar in principle but less versatile, designed by Sir Henry Souttar(l875 - 1964), a very inventive surgeon who worked in the London Hospital. Souttar also used a motor-powered circular saw when necessary. He cut very large circular bone flaps, exposing the occipital lobes and posterior fossa in a few minutes. Trumble reported the use of this craniotome as "an expeditious method of cutting bone flaps" and in the designer's hands this claim was certainly justified. To use the crauiotome, it was necessary to hold the skull rigidly, and this was done by embedding the head in a plaster mould. Three holes were drilled in the skull to fix the pin of the craniotome, and the flap was then cut in a series of three arcs, after which the flap was elevated with levers until its base fractured. The 'Trumbolian" instrumentation was used in the Alfred Hospital by a number of Trumble's pupils. The craniotome is made of steel, not plated and apparently not stainless. It is believed that Trumble made his craniotomes himself, in a backyard workshop.

Electric Clock - Smiths Setric Clock From 1937 the trademark "Sectric" appears on their synchronous models.Usually on the dial but sometimes also on the back cover. Early clocks had a prominent "T" in sectric. Smiths English Clocks 1931 Smiths, then called S. Smith and Sons (Motor Accessories) Ltd, entered the domestic clock market and formed a new company, Smiths English Clocks Ltd, as the Clock and Watch division with Cricklewood as the main factory. Smiths were one of the first companies to produce synchronous electric clocks. These were put on the market towards the end of 1931. Smiths formed a subsidiary company called Synchronous Electric Clocks to produce these clocks as the first models carry this name. 1932 Smiths purchased English Clock and Watch Manufacturers of Coventry, and acquired the trade names Astral and Empire. 1934 Smiths produced a synchronous alarm clock which they named the Callboy. 1934 They bought the Enfield Clock Co. The Smith's 8 day Calotte clock made its debut at the British Industries Fair in 1934. Prior to this date calottes had been exclusively of foreign manufacture. Also that year, Smiths introduced the Batriclock which was intended for areas where the synchronous clock could not be used. 1935 They introduced the Synfinity, which Smiths described as "the clock that never stops". They said it was "the remarkable combination of a synchronous electric movement with the essential elements of a fine precision lever escapement". If the electric supply failed the clock would run for up to six hours and rewind when the power returned. Apparently the synchronous motor also corrected the mechanical time train at intervals. Smiths produced a synchronous electric chiming clock. 1937 The trade name Sectric appears on Smiths electric clocks. Also the introduction by Smith's of a calotte clock with an alarm movement.Historic - Smiths English Setric Electric Clock Electric Clock - Smiths Setric Clock It is round with the numbers one to twelve, three hands with a white face. Smiths Sectricpuffing billy, clock, time, smiths sectric

The Lister Auto-Truck was a small monowheel tractor built for moving light loads around factories, railway yards and similar sites. They were built by R A Lister and Company of Dursley, Gloucestershire, well known for their range of small stationary engines The Auto-Truck was one of several monowheel tractors to appear in the 1920s and '30s, with the availability of small, reliable petrol engines, as developed for motorcycles and the stationary engines for which Lister were already known. These were tricycle vehicles, with the single leading wheel used for both drive and steering. Their simple construction carried most of the mechanism on this wheel as a single unit, the chassis with the trailing wheels being little more than a trailer for balance. Simplicity was a key feature. The engines were single-cylinder and air-cooled. Ignition was by magneto, rather than requiring a battery and electrical system. One of these designs was produced in the 1920s by George Grist of the Auto Mower Co., Norton St Philip, Somerset. The engine was a JAP 600 cc four-stroke air-cooled sidevalve, a typical small engine of the time. The Auto Mower Co. were Lister agents and when Lister heard of this 'Auto-Truck' they bought one for use in their own factory. It was used to carry heavy engine castings from the foundry to the machine shop. Lister customers saw them and there was such interest in wanting to buy them that Lister negotiated with Auto Mower to build them under licence. Although Lister were already well known for their small petrol stationary engines, these were heavy cast-iron engines with water hopper cooling and unsuitable for vehicle use. Lister remained with the JAP engine for the Auto-Truck. The Auto-Truck was designed for use in factories or other places with smooth surfaces of concrete or tarmac. This allowed the use of small solid-tyred wheels with only simple suspension, making the vehicle simple, cheap and lightweight. They had little ability on soft surfaces though and could even topple over if driven carelessly across slopes. Their design was a compromise between the top-heavy nature of the tall engine grouping above its wheel and a well thought-out chassis for stability. The bearing between them was a large diameter ring roller bearing, mounted at the lowest part of the chassis. This gave rigidity and stability, even after long wear. A ring of rolled channel girder was attached to the engine group and rollers on the chassis carried the load upon this. On early Auto-Trucks this bearing is set very low, in line with the chassis members, and is covered by thin steel plates. The front panel of the engine cover is distinctive with large ventilation holes and a Lister signature cut through it. Strangely this panel is made of thick cast iron, providing substantial weight high on the engine and only adding to its top heaviness. To improve visibility of moving vehicles in noisy factories, this panel was often painted white, the rest of the vehicle being Lister's usual brunswick green. The driver was seated on a Brooks bicycle saddle, which in recognition of the lack of vehicle suspension, was carried on the end of a cantilevered bar that acted as a leaf spring. A wide handlebar on the engine group was used for steering. A squeeze bar the width of this handlebar engaged the clutch. Controls included a hand throttle, a gear lever with two forward and one reverse gears, and a large handbrake lever. The engine unit rotated freely for a full 360° rotation. When used in reverse, the Auto-Truck could either be driven from the saddle, looking backwards over the driver's shoulder; or they could dismount, swivel the engine unit around and control it as a pedestrian-controlled truck from behind. Under the engine cover were two equal diameter tanks, a fuel tank for petrol and a shorter oil tank. Engine and chain-drive lubrication used a total-loss oil system, controlled by a small pump and needle valve. Info Ref: Lister Auto-Truck - Wikipedia https://en.wikipedia.org/wiki/Lister_Auto-TruckHistoric - Industrial monowheel tractor for moving light loads around factories, railway yards and similar sites.The Lister Auto-Truck - small monowheel tractor Made of steel with three wheels. Powered by a J.A.P single cylinder petrol motor which is Hand Cranked to start.Lister puffing billy, lister, lister auto truck, monowheel tractor

This mikiphone has an approximate manufacture date of circa 1926. It is stamped in the interior with the maker’s mark of Palliard Cie (St Croix), who partnered with the patent owners, Nicolas and Etienne Vadasz for the large scale production of the mikiphones. A Mikiphone – or Pocket Phonograph is one of the earliest versions of a portable music player. The Mikiphone was small enough to fit into a pocket for portability, and once unpacked had the ability to play 10” records. Power was supplied to the unit by a small hand crank, and sound was amplified by a small resonator. It is estimated that 100,000 to 180,000 of the units were made between 1924 and 1927. Luxury editions were also available with either a gold or silver casing. Le Corbusier is quoted as saying he could ‘see in the Mikiphone the essence of Esprit Nouveau’. The pocket gramophone is significant for historical and social reasons. It is primarily an enabler of leisure activities due to its portability and size. The design of the object is also significant as it showcases design advancements in the early part of the 20th century. The Swiss made "Mikiphone", the smallest talking machine ever placed on the market folded up to the size of a large pocket watch or small cheese case. Production stopped in 1927. A total of 180,000 were made. A few were made in a luxury version with gold or silver case for a "Pretentious clientele".Inside on dial: Mikiphone / Pocket Phonograph / Swiss made / System Vadasz. Outside: Pocket Phonograph / Mikiphone / System Vadosz / Patented in all countries.pocket phonograph, mikiphone, gramophone, pocket, music player, swiss made, switzerland

Thomas Stoddart, 1828 - 1905, bought 12 white marble statues during a visit to Italy. Stoddart arranged for them to be shipped to Victoria and placed on pedestals of Sicilian marble and on bases of Victorian granite. These statues were unveiled in the gardens on Queen Victoria's birthday, 24th May, 1884. His intention was for the statues to adorn and add interest to the gardens. The Greek goddess of eternal youth, Hebe, was famed for having the power to restore to age the vigour of youth and was cup-bearer to the gods.The artwork is of historic and aesthetic significance to the people of BallaratWhite marble figure of a woman holding a cup in one handHebe/ Presented by Thomas Stoddart 1884hebe, stoddart, botanic gardens

Australian Policy Activism in Language and Literacy presents the dynamics of language and literacy policy activism in Australia by capturing accounts of many of those most deeply engaged in Australia?s distinctive practice of Language and Literacy policy-making and its effects. This book describes how policy texts came about. 1. From policy to anti-policy: how fear of language rights took policy-making out of community hands /? Joseph Lo Bianco 2. Australia's language /? Paul Brock 3. Politics, activism and processes of policy production: adult literacy in Australia /? Rosie Wickert 4. Although it wasn't broken, it certainly was fixed: interventions in the Australian Adult Migrant English Program 1991-1996 /? Helen Moore 5. Advocating the sustainability of linguistic diversity /? Michael Singh 6. The cost of literacy for some /? Anthea Taylor 7. (E)merging discourses at work: bringing together new and old ways to account for workplace literacy policy /? Geraldine Castleton 8. The melody changes but the dance goes on - tracking adult literacy education in Western Australia from 'learning for life' to 'lifelong learning': policy impacts on practice 1973-1999 /? Margaret McHugh, Jennifer Nevard and Anthea Taylor 9. Sleight of hand: job myths, literacy and social capital /? Ian Falk 10. National literacy benchmarks and the outstreaming of ESL learners /? Penny McKay 11. Open for business: the market, the state and adult literacy in Australia up to and beyond 2000 /? Peter Kell 12. Inventiveness and regression: interpreting/?translating and the vicissitudes of Australian language policy /? Uldis Ozolins 13. Deafness and sign language in government policy documents 1983-1990 /? Des Power 14. Imprisoned by a landmark narrative? Student/?teacher ratios and the making of policy /? Merilyn Childs 15. Ideologies, languages, policies: Australia's ambivalent relationship with learning to communicate in 'other' languages /? Angela Scarino and Leo Papademetre 16. Reconciled to what? Reconciliation and the Norther Territory's bilingual education program, 1973-1998 /? Christine Nicholls 17. Sing out that song: the textual activities of social technologies in an Aboriginal community /? Jack Frawley.language activism, linguistic diversity, adult literacy, education, sign language, reconciliation, esl programs

The Cash Book was used by the Shire of Bulla Electric Light Department to record by hand writing costs associated with supplying electricity, employee wages and users of electricity between October 1909 and November 1926. The first two generators supplied the township of Sunbury and together with the erection of a Power House were officially opened in 1910. The State Electricity Commission took over the supply of electricity in Sunbury in 1926.Large green cloth covered hard cover with tan corners and spine. Tan and purple mottled pattern inside front and back cover."Arnall & Jackson/Engravers..."1900s, shire of bulla, sunbury, george evans collection

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Black and white lithograph on paper depicting the elaborate stone and wrought iron (open) gate/ entrance to Pugh's artist colony 'Dunmoochin' situated at Cottles Bridge. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gate, fire, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Black and white lithograph on paper depicting the elaborate stone and wrought iron (open) gate/ entrance to Pugh's artist colony 'Dunmoochin' situated at Cottles Bridge.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, sunlight, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (very dark image) detailing Clifton Pugh's garden at Dunmoochin.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, garden, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white depicting the Print Studio at Dunmoochin.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, studio, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white detailing the Artist's Gallery at Dunmoochin, located within bush surrounds at Cottles BridgeBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gallery, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her Mother took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin.Lithographic print in black and white depicting Gate # 1 at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gate 1, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white depicting bushland and a pond reflecting light.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, pond, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Print - lithographBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, garden, evening, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (dark image) detailing the interior of Clifton Pugh's house at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, interior, house, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (very dark image) depicting Chehovskis' cottage at Dunmoochin. Small cottage, bushland and shrubs.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, cottage, lithograph

Alma Shanahan (1924-2015) was a Victorian potter who came to live at Clifton Pugh's Dunmoochin art colony at Cottlesbridge, on Melbourne's outskirts in 1953. Unable to join the co-operative proper, as she was a potter, not a painter, she built her house at the top of the hill, 135 Barreenong Road, Cottles Bridge. The c.1953 house is historically, aesthetically and architecturally significant because it is a good example of the design and ethos of mud brick dwellings synonymous with Eltham and features the extensive use of recycled materials, which was characteristic of the 'Eltham style' of architecture. Like the others in the artist community, Alma Shanahan built her own residence in stages out of local materials. Shanahan was later joined by neighbours and Dunmoochin potters Peter and Helen Laycock. She trained for a term with Peter Laycock but was otherwise self-taught, basing her practice on the teachings of Bernard Leach. After Pugh's death in 1991 she became the longest standing Dunmoochin resident. Her works are incised with her full name. Alma Shanahan was a part of the Dunmoochin Artist's community whose (other) members (Kevin Nolan, John Howley, John Olsen, Mirka Mora, Peter Laycock, Helen Laycock, Peter Wiseman and Chris Wiseman) made an important contribution to Victoria's cultural history. From the mid 1950s Pugh persuaded a number of other painters, as well as potters and other artists, to come and live at Dunmoochin and they formed one of Victoria's most important artist communities. She started potting around 1961 (aged 37). "Horse Power" was made using Chullora clay, which indicates it was made during her first seven years of production. Horse Power is about man's search for "energy" and how the "energy" can turn around. Made from Chullora (Sydney) clay. Glazed stoneware plates (x2) with brush decorations resting on hand made ceramic stands. Plate one: 2006.64.1VA (Horse Power + stand) shows a figure on horse back with blue foliage in background. Plate two: 2006.64.2VA (Flip Side + stand) shows a horse with figure under it's hooves. Hand painted signature in brown/black on back of both plates; "Alma Shanahan"shanahan, stoneware, glaze, plates, horse, dunmoochin