Showing 1572 items
matching western australia.
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Monbulk RSL Sub Branch
Book, Pan McMillan et al, In the line of fire : real stories of Australians at war, from Gallipoli to Vietnam, 2005
In the line of fire' explores the nature of combat from the perspective of the men doing the actual fighting. From the heights of Gallipoli to the trenches of the Western Front, from the deserts of North Africa to the jungle POW camps of the Thai-Burma Railway, from the savage cold of a Korean winter to the steamy heat of Vietnam this book details what it's really like to be in the line of fire. Also it reveals the experiences of Australian women at war and the combat photographers.Index, bibliography, ill, maps, p.358.non-fictionIn the line of fire' explores the nature of combat from the perspective of the men doing the actual fighting. From the heights of Gallipoli to the trenches of the Western Front, from the deserts of North Africa to the jungle POW camps of the Thai-Burma Railway, from the savage cold of a Korean winter to the steamy heat of Vietnam this book details what it's really like to be in the line of fire. Also it reveals the experiences of Australian women at war and the combat photographers.military participation - australia, sustralia - history - military -
Australian Multicultural Community Services
meeting minutes
... Australian Polish Community Services was established... of the Polish Australian community in western suburbs of Melbourne ...Australian Polish Community Services was established in 1983 as a community, non for profit and charitable organisation, with the main purpose of responding to the needs and aspirations and promoting the interests of the Polish Australian community in western suburbs of Melbourne. The first Committee of Management meeting was held on 10/05/1983 first official document in history of Australian Polish Community Services2 sheets of paper from exercise bookhandwritten documentminutes, australian polish community services, polish community -
Monbulk RSL Sub Branch
Book, Lucy Artymiuk, Destination Australia: Polish soldier immigrants (1947-48), 2019
... 1948 - Sydney 76 Asturias - November 1948 - Western Australia ...A Short History of Polish soldiers migration to Australia after WWII. Part I The Surplus Heroes 5 The Foundation of the Polish Republic operating in exile 7 Formation of military 10 Change in relations with the Allies 18 The Polish military in the closing stages of the war 21 The consequences of the Yalta Conference 22 1945 Elections in Britain 24 The Polish Resettlement Corps [in UK] 28 The notion of "Betrayal" 31 The Future 32 Part II Destination Australia 35 Background 37 Polish Armed Forces in the West 39 The "Polish Issue" 43 Polish Resettlement Corps (PRC) 49 Solution? 52 Portrayal of the Poles 54 Australian government decision-making 57 SS Asturias - September 1947 and December 1947 Tasmania: Hydro-Electric Commission 64 SS Strathnaver - August 1948 64 Hobart 69 Victoria 71 Queensland 71 Manus Island 71 South Australia 72 New South Wales 72 Asturias - August 1948 - Sydney 76 Asturias - November 1948 - Western Australia 78 Life at the Tasmanian Hydro-Electric Commission 79 Citizenship 85 Deportation 91 Australian veterans groups 93 Polish veterans groups in Australia 96 Establishing a life 100 Families 103 Polish communities 105 Annexes 109. Includes photographs, facsimiles and maps.ill (b/w), p.158., lists.non-fictionA Short History of Polish soldiers migration to Australia after WWII. Part I The Surplus Heroes 5 The Foundation of the Polish Republic operating in exile 7 Formation of military 10 Change in relations with the Allies 18 The Polish military in the closing stages of the war 21 The consequences of the Yalta Conference 22 1945 Elections in Britain 24 The Polish Resettlement Corps [in UK] 28 The notion of "Betrayal" 31 The Future 32 Part II Destination Australia 35 Background 37 Polish Armed Forces in the West 39 The "Polish Issue" 43 Polish Resettlement Corps (PRC) 49 Solution? 52 Portrayal of the Poles 54 Australian government decision-making 57 SS Asturias - September 1947 and December 1947 Tasmania: Hydro-Electric Commission 64 SS Strathnaver - August 1948 64 Hobart 69 Victoria 71 Queensland 71 Manus Island 71 South Australia 72 New South Wales 72 Asturias - August 1948 - Sydney 76 Asturias - November 1948 - Western Australia 78 Life at the Tasmanian Hydro-Electric Commission 79 Citizenship 85 Deportation 91 Australian veterans groups 93 Polish veterans groups in Australia 96 Establishing a life 100 Families 103 Polish communities 105 Annexes 109. Includes photographs, facsimiles and maps.immigration - australia - polish community, australia - displaced persons -
Monbulk RSL Sub Branch
Book, Les Carlyon, The great war, 2006
Les Carlyon's The Great War is the epic story of the fighting men who wove themselves into legend as part of the largest tragedy in Australian history - 179,000 dead and wounded - leaving a nation to mourn its fallen heroes in 'one long national funeral' into the 1930s and, now again, a century later. As he did with the best-seller Gallipoli, Carlyon leads the reader behind the lines, across the western front and other theatres of battle, and deep into the minds of the men who are witnesses to war. Having walked the fields of France, Belgium and Turkey on his quest for a truth beyond the myth, Carlyon weaves us a mesmerising narrative that shifts seamlessly from the hatching of grand strategies in the political salons of London and St Petersburg to the muddy, bloody trenches of Pozieres and Passchendaele where ordinary soldiers descended into a maelstrom unimaginable.index, bib, ill (plates), maps, ports, p.863.non-fictionLes Carlyon's The Great War is the epic story of the fighting men who wove themselves into legend as part of the largest tragedy in Australian history - 179,000 dead and wounded - leaving a nation to mourn its fallen heroes in 'one long national funeral' into the 1930s and, now again, a century later. As he did with the best-seller Gallipoli, Carlyon leads the reader behind the lines, across the western front and other theatres of battle, and deep into the minds of the men who are witnesses to war. Having walked the fields of France, Belgium and Turkey on his quest for a truth beyond the myth, Carlyon weaves us a mesmerising narrative that shifts seamlessly from the hatching of grand strategies in the political salons of London and St Petersburg to the muddy, bloody trenches of Pozieres and Passchendaele where ordinary soldiers descended into a maelstrom unimaginable. australian army - history, world war 1914-1918 - campaigns - western front -
Monbulk RSL Sub Branch
Book, Brolga Publishing, Venturing into no man's land: The charmed life of Joseph Maxwell VC World War I hero, 2012
The the compelling story of Lieutenant Joseph "Darkie" Maxwell DCM, MC and Bar, VC – the second highest decorated Australian soldier of the First World War."A flash blinds me... We are lost in a chaos of flying mud... Smoke, filth,confusion, racket! I spit and splutter and swear... Oh Christ! I think I'm flamin' well dead." This is the compelling story of Lieutenant Joseph "Darkie" Maxwell DCM, MC and Bar, VC – the second highest decorated Australian soldier of the First World War. Meticulously researched by historian John Ramsland, Maxwell's colourful life is traced from his childhood on the Hunter coalfields until his death at age 71 in a soldier's settlement home in Matraville Sydney. Maxwell was a vivid storyteller who wrote Hells Bells and Mademoiselles, telling of his experiences in the war. In telling Maxwell's story, Ramsland has uncovered many forgotten documents to piece together an extraordinary life of an extraordinary man.index, ill, maps, p.343.non-fictionThe the compelling story of Lieutenant Joseph "Darkie" Maxwell DCM, MC and Bar, VC – the second highest decorated Australian soldier of the First World War."A flash blinds me... We are lost in a chaos of flying mud... Smoke, filth,confusion, racket! I spit and splutter and swear... Oh Christ! I think I'm flamin' well dead." This is the compelling story of Lieutenant Joseph "Darkie" Maxwell DCM, MC and Bar, VC – the second highest decorated Australian soldier of the First World War. Meticulously researched by historian John Ramsland, Maxwell's colourful life is traced from his childhood on the Hunter coalfields until his death at age 71 in a soldier's settlement home in Matraville Sydney. Maxwell was a vivid storyteller who wrote Hells Bells and Mademoiselles, telling of his experiences in the war. In telling Maxwell's story, Ramsland has uncovered many forgotten documents to piece together an extraordinary life of an extraordinary man.wold war 1914-1918 - campaigns - western front, joseph maxwell - biography -
Monbulk RSL Sub Branch
Book, Kangaroo Press, Diggers at Colditz, 1997
On June 23 1943 Lieutenant Jack Champ of the 2nd/6th Australian Infantry Battalion was marched into one of the most famous prisoner-of-war camps in Germany. Known then as Oflag IVC, it is now better know as Colditz. By the end of the war there were nineteen Australians in Colditz, and this is the first book to look at life there specifically from their point of view. It was a very special camp. It was designed to retain under escape-proof conditions, a select group of Allied prisoners who had already escaped from other camps and who had been recaptured whilst still in occupied territory. Having seen action in the Western Desert and in Greece, Jack Champ had been captured by the Germans in 1941. He was, however, a reluctant prisoner and took part in two escapes from different POW camps, one of which was a mass break-out of sixty officers through a tunnel that had taken weeks to make. Although the guards frequently outnumbered prisoners, there were more escapes from Colditz than from any other prison of comparable size during both World Wars. In this vivid book Jack Champ and Colin Burgess explain what it was like to be a prisoner in Nazi Germany. It is a curious blend of brutality and humanity, of routines and dreams, and occasional and dramatic excitement as men tried to turn those dreams into the reality of freedom.Index, ill, maps, p.224.non-fictionOn June 23 1943 Lieutenant Jack Champ of the 2nd/6th Australian Infantry Battalion was marched into one of the most famous prisoner-of-war camps in Germany. Known then as Oflag IVC, it is now better know as Colditz. By the end of the war there were nineteen Australians in Colditz, and this is the first book to look at life there specifically from their point of view. It was a very special camp. It was designed to retain under escape-proof conditions, a select group of Allied prisoners who had already escaped from other camps and who had been recaptured whilst still in occupied territory. Having seen action in the Western Desert and in Greece, Jack Champ had been captured by the Germans in 1941. He was, however, a reluctant prisoner and took part in two escapes from different POW camps, one of which was a mass break-out of sixty officers through a tunnel that had taken weeks to make. Although the guards frequently outnumbered prisoners, there were more escapes from Colditz than from any other prison of comparable size during both World Wars. In this vivid book Jack Champ and Colin Burgess explain what it was like to be a prisoner in Nazi Germany. It is a curious blend of brutality and humanity, of routines and dreams, and occasional and dramatic excitement as men tried to turn those dreams into the reality of freedom.world war 1939 – 1945 - prisons and prisoners – germany, world war 1939-1945 - personal narratives - australia -
Monbulk RSL Sub Branch
Book, The History Press, Fromelles 1916, 2010
... . world war 1914- 1918 - campaigns - western front western front ...This account explores this battle which for many epitomises the futility of the Great War. In the few hours in which it took place many heroic deeds were done but the battle caused a souring of Anglo-Australian relationships and truly was a baptism of fire for these British and Australian troops.Index, bib, ill, maps, p.329.non-fictionThis account explores this battle which for many epitomises the futility of the Great War. In the few hours in which it took place many heroic deeds were done but the battle caused a souring of Anglo-Australian relationships and truly was a baptism of fire for these British and Australian troops.world war 1914- 1918 - campaigns - western front, western front 1914-1918 - australian participation -
Monbulk RSL Sub Branch
Book, Ross McMullin, Will Dyson : Australia's radical genius, 2006
Will Dyson (1880-1938) was a brilliant and versatile artist, and much more besides. His prodigious talents struggled to find a niche in Australia, but he burst into prominence with cartoons of extraordinary vigour and resource on the London Daily Herald. These whole-page cartoons with wordy, witty captions were revered by workers and intellectuals alike. Dyson was also a talented writer, a scintillating humourist and an arresting speaker. A stunning overnight success, he was described as the most famous Australian in the world. In 1916 Dyson became Australia's first official war artist. His drawings of profound empathy and sympathy remain a unique record of the Western Front experience. Once again he complemented his art with exquisite writing. Returning to Australia in 1925, he took up etching to international acclaim, confirming that whatever he did he did well. Absorbing, illuminating, and lavishly illustrated, this is a fascinating story of the life and times of a remarkable and under-recognised Australian.Index, bib, ill, p.348.non-fictionWill Dyson (1880-1938) was a brilliant and versatile artist, and much more besides. His prodigious talents struggled to find a niche in Australia, but he burst into prominence with cartoons of extraordinary vigour and resource on the London Daily Herald. These whole-page cartoons with wordy, witty captions were revered by workers and intellectuals alike. Dyson was also a talented writer, a scintillating humourist and an arresting speaker. A stunning overnight success, he was described as the most famous Australian in the world. In 1916 Dyson became Australia's first official war artist. His drawings of profound empathy and sympathy remain a unique record of the Western Front experience. Once again he complemented his art with exquisite writing. Returning to Australia in 1925, he took up etching to international acclaim, confirming that whatever he did he did well. Absorbing, illuminating, and lavishly illustrated, this is a fascinating story of the life and times of a remarkable and under-recognised Australian.will dyson 1880-1938, cartoonists - australia -
Monbulk RSL Sub Branch
Book, John Laffin, Western front 1916-191: The price of honour, 1987
Australian troops fighting in France between 1916 and 1917Index, bib, ill, maps, p.163.non-fictionAustralian troops fighting in France between 1916 and 1917world war 1914-1918 - australian involvement, world war 1914-1918 - campaigns - france -
Monbulk RSL Sub Branch
Book, John Laffin, Western front 1917-1918: The cost of victory, 1988
Australian troops fighting in France between 1917 and 1918Index, bib, ill, maps, p.163.non-fictionAustralian troops fighting in France between 1917 and 1918world war 1914-1918 - australian involvement, world war 1914-1918 - campaigns - france -
Victorian Interpretive Projects Inc.
Photograph, Remembrance Cross for Member of the Australian Mining Corps, 21/03/2015
... of the Australian Mining Corps Coloured photograph of a wooden cross being ...Coloured photograph of a wooden cross being held on the Western Front in France.RIP In remembrance 1st 2nd 3rd Australian Tunnellersaustralian mining corps, 1st australian tunnellers, 2nd australian tunnellers, 3rd australian tunnellers, western front, world war one -
Kyneton RSL Sub Branch
WW1 Medals
Pte Simmons was born in Kyneton. Died at the battle of Fromelles, July 1916.Fromelles. The battle of Fromelles on 19 July 1916 was a bloody initiation for Australian soldiers to warfare on the Western Front. Soldiers of the newly arrived 5th Australian Division, together with the British 61st Division, were ordered to attack strongly fortified German front line positions near the Aubers Ridge in French Flanders. The attack was intended as a feint to hold German reserves from moving south to the Somme where a large Allied offensive had begun on 1 July. The feint was a disastrous failure. Australian and British soldiers assaulted over open ground in broad daylight and under direct observation and heavy fire from the German lines. Over 5,500 Australians became casualties. Almost 2,000 of them were killed in action or died of wounds and some 400 were captured. This is believed to be the greatest loss by a single division in 24 hours during the entire First World War. Some consider Fromelles the most tragic event in Australia’s history. www.awm.gov.au/articles/encyclopedia/fromelles Two WW1 War service medals with ribbons in a white presentation case. With black clothe lining. On the rim of each medal is: 4899Pte N T Simmons 59 Bn AIF The medals are labelled British War Medal and Allied Victory Medal 1914- 1918. On the inside of the lid is card inscribed: Posthumus award to 4899 Pte N T Simmons 59 Bn AIF. ww1 medals, british war medal, allied victory medal 1914- 1918, n t simmons, fromelles -
Moorabbin Air Museum
Book (Item) - Aviation Issues: A Historical Perspective
Subject No. B1430G. University Of Western Sydney -
Geoffrey Kaye Museum of Anaesthetic History
Bottle, Blood transfusion
Dr Alan Holmes á Court enlisted in the Australian Army in 1916 as a medical officer with the rank of Captain. In 1918, Holmes á Court was promoted to Major and attached to the 4th Australian Field Ambulance on the Western Front. As the front advanced, the Casualty Clearing Stations became further removed from the battlefield, creating an urgent need for immediate resuscitation prior to transfer back to the CCS. In June 1918, Holmes a Court and his colleagues established a forward resuscitation team. The team consisted of one doctor trained in surgery, blood transfusion and resuscitation, another doctor trained in anaesthesia, resuscitation and blood classification, and four other assisting staff. This team moved out to the wounded, rather than waiting for them to be stretchered back. They provided on-the-spot, life-saving resuscitation. The wounded were then transported back to the Casualty Clearing Station or Regimental Aid Post for further treatment. Among the assorted surgical and resuscitation equipment carried by the forward resuscitation team, were a number of Kimpton-Brown flasks. Blood was collected from patients with minor injuries using the flask. It was then administered to those in need, after establishing their blood type. Citrated blood was introduced by the Americans in 1917. This allowed blood administration to be delayed for up to two hours but there were many problems with transport, storage and infection in these early experimental days.Round, clear glass bottle with white [discoloured] paper label, with red printed, and metal screw-top lid.Handwritten on white [discoloured] paper label: Phillip HARRIS Moulded into the top of the screw-top lid in red ink: RED CROSS BLOOD TRANSFUSION SERVICEblood transfusion, red cross, world war one -
Geoffrey Kaye Museum of Anaesthetic History
Inhaler, Probyn Williams, Mayer & Meltzer, c. 1900
Hurley, Sir Thomas Ernest Victor (1888-1958) was gifted this Probyn Williams inhaler in 1914. After studying at Melbourne University, Victorian-born Hurley was a Medical Officer at the Royal Melbourne Hospital until he commenced private practice in Collins Street. He was appointed Captain Australian Army Medical Corps, AIF and served in Gallipoli with the 2nd Field Ambulance. He served in Enypt, London, and the Western Front during World War 1. He gained a Companion of the Order of St George and St Michael in 1917. Upon return to Melbourne he held positions such as surgeon to Victoria Police (1928-1956), elected to Council of the Victorian branch of the British Medical Association, member of the Charities Board of Victoria and foundation member of the Royal Australasian College of Surgeons and chaired the Flying Personnel Research Committee m a consulting surgeon at the Royal Melbourne Hospital. This apparatus is transitional between Clover's and Hewitt's having Clover's narrow "ways" and compact size, but using Hewitt's ether-control lever.Black round topped box with brass hooks [missing] at front and brass hinges at rear. The initials T.E.V.H. are printed in gold leaf on the front. There is a black fabric handle on the top. Inside the box is black padding with the manufacturer's logo printed in gold leaf. There is a square section in the base of the box for holding the square clear glass bottle for ether. The pear-shaped mask is made of metal. There is also a metal ether measure for pouring the ether. The metal inhaler is ovoid shaped. The rotating gauge has a series of numbers engraved onto the inhaler for measurement. There is an elbow joint attaching a re-breather bag, with a small amount of waxy paper remaining attached with a thin ribbon. There is a small glass bulb encased in a metal housing. Printed in gold leaf on front of box: T.E.V.H. •Printed in gold leaf on inside lid of box: MAYER & MELTZER / LONDON / MELBOURNE & CAPE TOWN •Engraved on side of inhaler: PRESENTED / TO / T.E.V. Hurley Esq.,M.D.M.S. / by / THE M.S.S. / 15.6.14. •Engraved on reverse side of inhaler: PROBYN WILLIAMS / ETHER INHALER •Moulded into connector on elbow joint: MAYER & MELTZER •Stamped into base of metal pourer: MAYER & MELTZER / LONDON •Blue sticker with white printed text on front of inhaler: O.2.21.hurley, thomas ernest victor, probyn williams, university of melbourne, world war 1, wwi, gallipoli, australian army medical corps, medical student society, mayer & meltzer, clover, joseph, hewitt, fredrick william -
Ararat Gallery TAMA
Print, Nanette Bourke, Just a Gumtree, 2006
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, The Cult of the Car - Carefree Youth, 1990
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, The Cult of the Car - Obsolescence, 1989
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Scarlet Banksia, 1988
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, She-Oak in Spring, 2002
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Aftermath, 2005
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, The Growth of Tourism, 1988
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Nanette Bourke, Opening up the Land, 1995
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Nanette Bourke, Return of the Grasstrees, 2007
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, No, I don't want to live to 100, Thank you, 1992
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Watch Over All Living Things, 1996
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Starleaf Grevillea, 2008
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Blue Devils, 1992
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Casuarina Grove, 2003
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Grasstrees, a different perspective, 1992
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.