Register of Meteorological Observations at Warrnambool Lighthouse for the following months. mber 1905. 1902 - all months, 1903 - Jan, Feb, April, May, June, July, Aug, Oct, Nov, Dec, Mar, 1905 - Jan. Feb, Mar, Apr, May, Jun, Jul, Aug, Sept, Oct, Nov, Dec, 1906- Jan, Feb, Mar, May, Jun, July, Aug, Sep, Oct, Nov, Dec, 1907 - all months.Register, marble pattern cover on March and Septe. Warrnambool Lighthouse Register of Meteorological Observations, 1902 Apr Recorded information of meteorological events at the Warrnambool Lighthouse, giving details of Air Pressure, Temperature, Wind Velocity and Direction, Cloud, Rain and RemarksHandwritten entriesflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, warrnambool lighthouse register of meteorological observations 1902 apr, meteorological observations, book, warrnambool lighthouse, meteorological observation

gray plasticnon-fictionThe history of the New Guinea Air Warning Wireless Company. This reprinted version contains a map of the dispositions of Spotting Stations August 1943, additional MID awards listed and some additions to the nominal roll. The New Guinea Air Warning Wireless Company was formed in Port Moresby in late January 1942 and was granted “Separate Independent Establishment” status in October 1943. The company’s “founding father” was Major Don Small, who had witnessed Japanese air raids on Rabaul and realised that having lacked an effective early-warning system around New Britain meant that the defenders were taken by surprise. At the time, gaps had also appeared in the coast-watching communications network because the territory administration ordered the withdrawal of civilian wireless operators when Japan entered the war. The first influx of men into the company consisted largely of volunteers from the 39th Infantry Battalion, which was stationed at Port Moresby. Initial training was rudimentary, hasty, and was sometimes even carried out on en route to a new station. The first party of company personnel, or “spotters”, left Port Moresby as early as 1 February 1942, bound for the strategically important Samarai area, at the tip of Papua. In the first month of the company’s existence 16 spotter stations were established on the coast of Papua and in the mountains around Port Moresby. At the end of 1942 there were 61 operational stations being run by 180 men. The company’s high-water mark was in late 1944, by which time over 150 stations had been set up in Papua and New Guinea behind enemy lines. On 3 February 1942 the company issued its first air warning in Papua, when spotters at Tufi saw Japanese aircraft about to attack Port Moresby for the first time. The following month the company was responsible for the first Japanese killed in action in Papua by Australian ground forces, when spotters from Gona engaged the crew of a downed Japanese bomber. And in July 1942 the station at Buna signalled Port Moresby with news of the Japanese landings in Papua, marking the beginning of the Kokoda campaign. The dangers involved in the company’s work had also been made clear by this time. In July 1942 a party of spotters attempting to set up a station at Misima Island, off Milne Bay, was intercepted by a Japanese destroyer, resulting in the company’s first operational losses. Anticipating the direction of the campaign as a whole, the company’s focus moved north and north-west over the three years of its existence. In May 1942 a network was set up in the Wau area in association with the activities of Kanga Force. As part of the Wau network, spotter Ross Kirkwood audaciously constructed an observation post overlooking the Japanese airstrip at Salamaua. Kirkwood’s position was photographed by Damian Parer on the understanding that the pictures would not be published. They nevertheless appeared in a Sydney newspaper. The day after the publication of the photographs the observation post was attacked by the Japanese and Kirkwood was lucky to escape. In June 1944 the company’s headquarters were moved to Nadzab. By that time, spotter stations existed behind Japanese lines, as far north as Hollandia, and the company began to train Americans to perform similar work in the Philippines. In early 1945 the company moved to Balcombe, Victoria, where its members were posted to other units of the Australian Corps of Signals.world war ii, special operations, new guinea, new guinea air warning wireless company

ill (b/w), p.46.non-fictionA detailed description of the Panther (Type D, A, G), Panther command car, Panther observation car, pursuit Panther and recovery Panthertanks - germany, panther tanks - germany

Index, bib, ill, p.208.Lee Miller's work for Vogue from 1941-45 sets her apart as a photographer of extraordinary ability, and the quality of her work from the period has long been recognized as outstanding. Its full range is shown here, accompanied by her brilliant despatches." "Miller's words manage to combine immediacy with acute observation, and deep personal involvement with professional detachment. Complementing her natural talent in writing are over one hundred and fifty remarkable photographs from the Lee Miller Archives. With their own quality of surrealist irony, which at times verges on the horrific and at others on the hilarious, they show war-ravaged cities, buildings and landscapes, but above all war-resilient people - soldiers, leaders, medics, evacuees, prisoners of war, the wounded, the villains and the heroeswar correspondents - united states - biography, world war 1939 – 1945 – personal narratives – united states

Berliner Joyce OJ2. One of a collection of 25 model aircraft made by Brian Anthony DOWD The Berliner-Joyce OJ was an American biplane observation floatplane developed by the Berliner-Joyce Aircraft for the United States Navy during the early 1930s.Minature model plane with khaki body, yellow wings, cream tail & fin. Red, white & blue stars on wings.U.S Army 34model airplanes, berliner joyce oj2.

This work is by a local contemporary artist with a national and international reputation for figurative and portrait works. This lithograph comes from a series of still life by Wegner from the early 80's; a subject matter in which he has not returned to. Wegner is well known for his drawings and enjoys the immediate and directness of the process. He sees the drawn image as an experience of observation, with the content revealing the process of its making. Lithographic print - still life in black and white. Details several kitchen/household items: spoon, tea pot, egg holder, cup and saucer, bowl, chop sticks and mandarin.Lower far left: 'A/P'; Low centre: 'Mandarin on Kitchen Table'; Lower far right: 'PW 83'wegner, lithograph, still life, black and white, utensils, table, fruit, print

This work is by a local contemporary artist with a national and international reputation for figurative and portrait works. This drawing has a link to another of Wegner's work in the Collection, the lithograph 'Mandarin on a Kitchen Table'. This portrait is of Danny Moynihan, one time lecturer at Phillip Institute of Technology (now RMIT - Bundoora campus) who taught Wegner printmaking (lithography) when he was a student at the institute in the 80's. Wegner is well known for his drawings and enjoys the immediate and directness of the process. He sees the drawn image as an experience of observation, with the content revealing the process of its making. He is inspired by English artist Leon Kossoffs' drawings where the likeness of the subject is secondary and separate from the credibility of the drawing itself. Black and white charcoal portrait drawing on paper of artist/teacher Danny Moynihan.Hand written (signature) in charcoal - lower right - 'Peter Wegner'wegner, drawing, charcoal, black and white, moynihan, artist, teacher

information pertaining to Captain Cook and French sailor Baudin. Includes French names which he assigned to coastal features.Outlines early European observation of the coastline.Newspaper clipping, copies mapsbaudin, peterborough, peterborough history, le geographe

Dean Bowen is renowned for his charming, child-like aesthetic and unique thematic interplay between the urban and rural as well as humans and animals. Bowen has developed a distinctive and humorous symbolic language that filters through each work. His highly charismatic and whimsical renderings of animals, human characters and Australian environments celebrate the vicissitudes of life, evincing the simple pleasures of human habitation within the artificial and the natural world. The work and thoughts of Jean Dubuffet, particularly those which focus on the philosophy of 'Art Brut', give support to Dean's belief that untrained artists are more honest, that artists interested in emulating the art of children are trying to regain the pure expression they lost with childhood. 'The Offering' was a finalist in the Nillumbik Art Awards in 1997. The work refers to the act of giving back, rather than taking which Bowen sees as more prevalent in our Western society. While the image is childlike, the expression of the boy is a mixture of sadness and happiness, knowing and naivety, youth and age. The smile has a Mona Lisa quality and the earthy and sensuous colours suggest landscape. When realising the images he relies on memory rather than observation so that the struggle with drawing and representation sometimes doesn't work. The style of the drawing and the flat space relates to the graphic style of cartoons and caricature. The intuitive and the imaginative are essential elements in his work. lower right 'Dean Bowen '97'

George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. This work chosen for the folio is from an incomplete edition from 1966. It has been printed on Baldessin's original 1974 cast aluminium Enjay press (designed and made in collaboration with Neil Jeffreys) and restored specifically for this project by Dan Jones. In addition Deanna Hitti has used Baldessin's original Japanese Torinoko paper, stored safely in his studio for over forty years. ‘Portrait II’ is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print is a fine example of Baldessin's primary interest of the figure, which displays great sensitivity to and observation of the human condition. Distortion, exaggeration and fragmentation were employed by Baldessin as tools to animate and scrutinize the displaced, dispossessed and alienated figure, flattened against the picture plane. Black and white distorted and exaggerated figure (head and shoulders), with hands raised to the face and the figure's right eye. acquatint, etching, baldessin, ekphrasis2018, figure

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

A letter dated 8th May 1973 details how the letter from Florence Nightingale was forwarded to Mrs E.G. (Janet) Wilson in 1955 by Gwendolen, Florence Nightingale's niece. The explanatory letter was forwarded by Elsa Halenstein and given to Royal District Nursing Service and remains in its Archives. From 1948 Mrs. Wilson served on the Committee of Management of Melbourne District Nursing Society (later Service), serving as President from October 1964-1967. In 1949 Mrs. Hallenstein served on the MDNS Committee of Management, becoming President of the now Royal District Nursing Service from 1967-1974. Florence Nightingale was the founder of modern nursing. Melbourne District Nursing Society (MDNS) only employed Trained nurses from its inception in 1885. They followed Florence Nightingale's basic rules of good hygiene, cleanliness, good nutrition and fresh air, which they learned during their Nursing Training at a Hospital, and taught to their patients by instruction and demonstration. In those days Trained nurses were called 'Nurse'. In 1892 MDNS employed Lucy Smith who, through the Nightingale Fund, did her nursing training at the Nightingale Training School at St. Thomas's Hospital in London. She was the first nurse from this school to work at MDNS. Florence Nightingale, born on the 12th of May 1820, was named after the place of her birth in Italy. Born into a wealthy family she was schooled at home where she excelled in her studies; spoke several languages fluently, and was taught home management. She believed she was ‘called’ to reduce human suffering and tended to ill members of her family and tenants on the family estate. She worked as a nurse at Salisbury Infirmary where she learned about nursing sanitation and hospital practice. Florence then enrolled at the Institution of Protestant Deaconesses at Kaiserswerth, Germany where she learned basic nursing skills, the importance of patient observation, and hospital organization. In 1853 she became Superintendent of the Institution for Sick Gentlewomen in Distressed Circumstances in London, where she reformed health care, working conditions, and hospital efficiency. The Crimean War broke out in late 1853 and a newspaper reported the injured and sick soldiers were being cared for by an “incompetent and ineffective medical establishment and that most basic supplies were not available for care”. After an outcry from the public, Florence was asked to lead a group of 38 nurses, whom she had trained, to Scutari where the wounded soldiers were sent. After arriving at the Barrack Hospital in October 1854, she found the soldiers were being cared for in overcrowded and filthy conditions; contaminated water, faeces on the floors and rats running freely. There were few supplies and equipment. Florence bought supplies and equipment and found help to assist in the laundry. The wards were scrubbed from floor to ceiling. Florence set a high standard of care with fresh air, hygiene, clean clothing, sufficient food and regular dressing of wounds being carried out. She realized the importance of psychological needs, and soldiers were assisted to write letters to relatives, and took part in education and recreational activities. Of a night Florence walked through the wards, carrying a lamp to light her way, to check on ill and wounded soldiers and became known as “The Lady with the Lamp”. She gained the respect of the soldiers and the establishment, and later, the public through the soldier’s letters and reports in the newspaper. After visiting Crimea she contracted ‘Crimean Fever’ from which she never really recovered. When she returned to London she was regarded a heroine. The public had given freely to buy her a gift but Florence preferred this money be used to establish a fund, which became known as the Nightingale Fund. Florence had kept excellent records on the running of the Barrack Hospital, medical and nursing staff efficiency, and the causes of illness and death. Many nurses from the training school became Matrons in many countries throughout the world. Florence pushed the Government for legislation to improve drainage and sanitation in homes and in the building of hospitals with fresh air a priority. She wrote the book ‘Notes on Nursing’ and many writings on health reform. She died, aged 90 years, in her home at 10 South Street, Park Lane on the 13th of August 1910. A handwritten letter, written in lead pencil, by Florence Nightingale. It is written to her niece Gwendolen.. The letter is on buff coloured paper and has the date 'Oct 17 1900'/ written in the top right hand corner; below this is, in capital letters, the two line black printed address - '10, South Street,/ Park Lane, W'/ is stamped. The bulk of the letter reads over eight lines: "Dearest Gwendolen",/ "Thanks for your / dear note,/ I shall gladly look / forward to seeing you, / on Friday at 5 ,/ ever your loving, / Aunt Florence./ . rdns, royal district nursing service, miss florence nightingale, mrs e.g. (janet) wilson, mrs d. (elsa) hallenstein

A small faded green hardback novel, The Sketches of Boz by Charles Dickens. The front cover has no title but the spine has faded gold lettering of the title, author and publisher as well as decorative symbol. 558p.At the front is a page with an inscription in black ink handwriting and a date.fiction Charles Dickens' first published book, Sketches by Boz is a funny and touching observation, fancy and fiction showing the London he knew in all its complexity - its streets, theatres, inns, pawnshops law courts, prisons and of course the river Thames.books, fiction books, historical fiction

non-fictionLloyd Homes records 40 years of experience as an employee on the New South Wales and then Victorian Railways. His rich powers of description, keenness of observation and sense of humour result in a book that is very readable for anyone with a love of Australia. He captures the remote life of the railway, the warmth of human companionship and traces the transition from steam to diesel haulage.new south wales railways, victorian railways, railroads history