Showing 4099 items
matching sea
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The Adam Lindsay Gordon Commemorative Committee Inc.
CD, Sea Pictures- Edward Elgar
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Castlemaine Art Museum
Painting, May Vale, Sea Jewels, 1894
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Moorabbin Air Museum
Manual (Item) - Sea Fury Aircraft Air Publication 4018 Volume II Part 2 & 3
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Moorabbin Air Museum
Manual (Item) - Firefly MK IV & V , Sea Fury MK X Airframe Notes
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Moorabbin Air Museum
Document (Item) - Sea Harrier - The First Of The New Wave
Reprinted From The Aeronautical Journal -
Moorabbin Air Museum
Manual (Item) - Hawker Sea Fury FB Mk. II Servicing and Descriptive Handbook, Hawker Sea Fury
Appears to be a poor-quality photocopy -
Moorabbin Air Museum
Book (Item) - Hughes' Tables For Sea And Air Navigation
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Moorabbin Air Museum
Manual (Item) - De Havilland Sea Hornet PR Mk22 Manual, Sea Hornet PR Mk 22
British Admiralty -
Moorabbin Air Museum
Manual (Item) - RAN De Havilland Sea Venom Pilot's Notes, Pilot's Notes Sea Venom F.A.W. 53
Royal Australian Navy -
Koorie Heritage Trust
Journal - Serials, Birdsell, Joseph B. et al, Records of the Queen Victoria Museum Launceston. Contents - The racial origins of the Extinct Tasmanians. A survey of possible sea routes available to the Tasmanian Aborigines. The Tasmanians - a summary, 1949
Some of the points raised seem rather dated, but an interesting set of theories historically.105-145P.; plates; refs. figs.Some of the points raised seem rather dated, but an interesting set of theories historically.tasmanians - racial origins., australian aboriginals - origins., migration theories - tasmanians., bass strait - geology. -
National Wool Museum
Sale notice, "Marathon" "The Mountains look on Marathon, and Marathon looks on the Sea"
Used in NWM Woolbrokers office displaysheep stations - history wool sales property sales, dennys, lascelles limited, sheep stations - history, wool sales, property sales -
Nillumbik Shire Council
Drawing: Chris MARKS, Imagine Becoming the Sea
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Peterborough History Group
Australian Sea Stories Book by Jack Loney, Australian Sea Stories, Published 1985, reprinted 1989
covers lesser known shipwrecks, mysteries and adventures of the Australian coast.149 page soft cover book by Jack Loney; with a list of Contents and index of ship names and surnames.loney, jack; -
Peterborough History Group
Book, J. M. MacKenzie, The Peacock From the Sea and The Mysteries of the Schomberg, c1970
Written by a Peterborough resident whose Grandfather salvaged the peacock from the Loch Ard wreck. Also includes information about the wreck of The Schomberg.Written by a Peterborough resident whose family were involved in the Loch Ard salvage, also whose family had memories of the wreck of The Schomberg.Paperback book including colour photosloch ard, loch ard peacock, schomberg, the schomberg, j m mckenzie, peterborough, schomberg rock, shipwrecks, shipwreck coast, great ocean road, bully forbes, the great circle route -
Port Fairy Historical Society Museum and Archives
Book, Bennett, Bruce, Sea Baths of Victoria, 2013
This is the story of the sea baths in Victoria from earliest settlement in 1837. Their development and growth followed the prosperity of Victorian society for nearly a hundred years.152 pages : illustrations (some colour), maps ; 22 x 31 cm. Includes bibliographical references (pages 146-150) and index.This is the story of the sea baths in Victoria from earliest settlement in 1837. Their development and growth followed the prosperity of Victorian society for nearly a hundred years.baths, sea -- history., bathing beaches -- australia -- victoria -- history., public baths -- australia -- victoria -- history., public baths., sea., bathing beaches -- australia., public baths -- victoria -- 19th century., public baths -- victoria -- 20th century., sea -- australia -- victoria -- history., book -
Victorian Aboriginal Corporation for Languages
Book, Tania Wanganeen, Ngayi nhagudja = I see (sea creatures), 2006
Reader with children's illustrations and bi-lingual text.Illustrationsnarungga, south australia -
Wangaratta Art Gallery
Textile, Mohsen Meysami, Between the Devil and the Deep Blue Sea, 2017
“Between the devil and the deep blue sea!” is a special work to me for different reasons. It was my first experience ever working with textile, and it was my first major artwork that I made and exhibited in Australia. I moved to Australia in 2011 and lived in Perth for 5 years before I moved to Melbourne in 2016. I didn’t have a chance to make many artworks when I was living in Perth and it was mainly because I needed to work full time in order to afford the living costs. Melbourne was totally different though. I moved to Melbourne after I was awarded Australian Postgraduate Award (APA) to study my PhD at RMIT University. This was a fantastic opportunity for me, not only because it helped me financially, but also because it gave me the opportunity to develop my practice and research experience. Being new in Australia and Melbourne though, I needed to familiarise myself with the art community in Australia and find ways that I can introduce myself and present my art. I knew that exhibiting in Australia will be challenging and I thought I can start with looking for opportunities like group shows and awards. The Wangaratta Contemporary Textile Award was the very first one that I applied for and it was definitely a great starting point for me. It gave me the confidence to look for other opportunities and that my decision for working with the material and methods that I had no previous working experience with, was a right one. Between the devil and the deep blue sea! is about a dilemma. A dilemma where on one side there is all the memories of the past, home, family, and friends. Everything that was once a life and now is only a memory. There is the threat of death, terrorism and violence and there is no hope for a better future. On the other side, there is a better chance for staying alive, but there is nothing clear about the future. Where you go and what you will be called; A terrorist? Or someone that is there to take the jobs and money!? We are watching the news and seeing tragic accidents happening all over the world every day, but what makes us indifferent to the suffering of others was something that I became interested to learn more about it. From the beginning of my project, I was interested in discovering more about the notion of indifference and that came from my own position as an observer. I am an Iranian living in Australia. On the one hand, I am observing wars and conflicts in the Middle-East from a distance and on the other hand, from not much a distance! I am living in Australia with a great distance from the Middle-East in terms of the geographical distance and the differences in socio-political situations. On the other hand, and despite Iran’s current safe situation, there is no guarantee for a stable peace in the future. Being not here nor there, I am an observer who won’t be in peace in peaceful Australia, and can’t feel the depth of the pain for people living in war-torn countries such as Syria and Iraq. The indifference phenomena can be studied from different disciplines, however, there can not be a simple and unique explanation for its cause. Regardless of different explanations for the causes of the indifference, what I am most interested in is to explore the ways I can show the “indifference” itself. For this, I seek to focus on my simple interpretation of the phenomena, which in my mind is “seeing tragedy, not tragic.” In other words, whether the indifference is caused by information overload, or distance from the sufferer for example, people don’t feel the pain and can’t understand the conditions others in pain are experiencing. Based on this explanation, the focus of my artworks is to depict and highlight the contradiction between the pain and the indifference. In my art practice, I often use colourful and attractive materials in combination with a visual language that reference to the aftermath of tragic events of wars, to provide a symbolic representation of indifference in the form of an artwork. This is my artistic approach in explaining the notion of “indifference”, that can illustrate my ideas around “seeing tragedy, not tragic”. to give voice to my own concerns and position as an Iranian artist, I am interested in utilising visual elements from traditional arts of Persia and the Middle-East. In selecting rugs and fabrics that I use in my artworks, the weaving quality is not my concern. Moving beyond this, I am looking for features which express and underpin concepts such as antiquity, resistance, simplicity, and peace which sit in stark contrast to the terrorising and militant image of Middle Eastern people portrayed by the mainstream media. Nowruz (Persian New Year) 21 March marks the Persian New Year and the first day of spring in Iranian calendar. It’s the time of the year when all Iranians and many other Farsi speaking nationalities (Afghans, Tajiks, etc.) celebrate together. My wife and I are planning a trip to Iran for the new year holidays and it would be our first time to celebrate the new year with family and friends in Iran since 2011. It is believed that Nowruz has a long history of around 3,000 years and is rooted in Zoroastrianism, an ancient Persian religion that predates both Christianity and Islam. Every year Iranians celebrate this very special event at different times and it’s because the exact time of the new year depends on the exact calculation of when the length of the day and the night are equal. There are many things about the Persian new year to be excited about and sitting around the Haft-Seen table (7sin) with family is with no doubt the most exciting one. Haft-Seen is a set of seven symbolic elements beginning with ‘S’ in Farsi that Iranians arrange them together to decorate a table that family sit around and celebrate the beginning of the new year. The most common items found in Haft-seen decoration are: Sabzeh: Wheat, barley, mung bean or lentil sprouts growing in a dish, Samanu: Sweet pudding made from wheat germ, Senjed: Dried Persian olive. Seer: Garlic Seeb: Apple Somāq: Sumac Serkeh: Vinegar Sekkeh: Coin that symbolise health, wealth, abundance, etc.Wangaratta Art Gallery Collection, Acquired with the assistance of Robert Salzer Foundation.A used Persian Rug that has had a motif of two heads and an explosion hand-stitched onto it.mohsen meysami, textile, rug -
Gippsland Art Gallery
Print, Simpson, William (after), Fortress of Yenikale Looking Towards the Sea of Azoff, 1855
Donated by Charles Nodrum, 2018Lithograph on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Turner, J.M.W. (after), A Fire at Sea, c.1859-78
Purchased, 2013Engraving on papergippsland, artwork, permanent collection -
Inverloch Historical Society
004355 - Document - Lets Celebrate 101 years - Our Lady of the Sea, Inverloch - 1906 to 2007 - from Nina Banks
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Inverloch Historical Society
000078 - Photograph - Inverloch Sea Baths at the end of Abbott St - R Young
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Inverloch Historical Society
004350 Postcard Photograph - The Troubled Sea, Inverloch - from Nina Banks - Digital Copy only
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Inverloch Historical Society
000671 - Photograph - Spring 1930 - Inverloch - Screw Creek flowing into Sea - from J Fincher
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Inverloch Historical Society
001287 - Photograph - 1906 - Inverloch sea baths - The Bathing Place - from Jill Harrop (same as 000804)
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Inverloch Historical Society
004406 - Photograph - Jetty and Boat Ramp All at Sea - Weekly Times 29 June 2004 - from Bob Young
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Tramways/East Melbourne RSL Sub Branch - RSL Victoria Listing id: 27511
Book, RICHARD HOUGH et al, THE LONGEST BATTLE (The War at Sea 1939-45), 1986
isbn: 0 297 789 83 x -
Federation University Art Collection
Drawing, Alun Leach-Junes, 'Sea Wall at Night (The Mumbles)' by Alun Leach-Jones, 1994
Alun LEACH-JONES (1937-24 December 2017) Born Maghull, Lancashire, United Kingdom Arrived Australia 1960 Alun Leach-Jones is recognised as one of Australia's leading abstract colour painters. He spent his childhood in the Welsh village of Glasfryn, Denbighshire. At the age of 14 he started a three year apprenticeship with the Solicitors Law Society, Liverpool illuminating manuscripts and hand copying legal documents. While working with the law society Leach-Jones studied painting and drawing in the evenings at the Liverpool College of Art between the years 1955-57. He immigrated to Australia in 1960, settling in Adelaide and attending the South Australian School of Art, after which he travelled and exhibited throughout Australia and abroad. In 1966 Leach-Jones celebrated Noumenon series was shown with Australian Galleries in Melbourne and he was immediately recognised as being part of what was then labelled as ‘the New Abstraction’ in Australian art. Later in 1968 his work was included in the influential exhibition "The Field" held at the National Gallery of Victoria. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Pastel drawing on Stonehenge paper. Donated through the Australian Government's Cultural Gifts Program by David Thomas and Brenda Martin, 2011Signed verso lower left 'A. Leach-Jones'art, artwork, leach-jones, alun leach-jones, cultural gifts program, new abstraction, the field -
Federation University Art Collection
Sculpture - Steel, 'Echos from the Sea' by Peter Blizzard, 2007
Peter BLIZZARD (1940 — 2010) Sculptor Peter Blizzard completed a certificate of art at the Prahran College of Advanced Education and a Diploma of Art at RMIT in 1967. His sculptural career start in 1970 after a career as a graphic designer, creating large steel abstract works. He exhibited at several International Trade Fairs including New York and San Francisco in 1970, as well as Isogaya Gallery in Tokyo in 1997. Between 1972 and 1995 was Lecturer, Senior Lecturer, and Head of Sculpture at the University of Ballarat (now Federation University). From 1995 he worked full time as a sculptor. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Steel sculptureart, artwork, peter blizzard, sculpture -
Phillip Island and District Historical Society Inc.
Book, Twenty thousand leagues under the sea
Translated from the French of Jules Verne. iv, 302 + 32 p., : ill. Labelled: Ex Libris Rudolf Himmer Labelled: Himmer Bequest Stamped: Cowes Public Library -
Queenscliffe Maritime Museum
Photograph - Black & white photograph of the wreck MERLAN, The wreck MERLAN at beach near Cottage by the Sea, unknown
Wrecked fishing boatWrecked fishing boat MERLANB & W photo of the wrecked MERLAN on the beachReverse - " NIL ".historical references