House, Stone, weatherboard addition at back, corrugated iron roof, cyclone wire fence, 2 brick chimneys with terracotta pots, palm tree at left, creeper growing on fence. Central door, 1 window each side of doorAlan Doneybuilding, residential

Colour slide - red and white cardboard mount - reproduction of a photo looking east along Bourke St from Queen St with tram 1002, for City Spencer St route 88. Has Christmas decorations along Bourke St, late 1960's or early 1970's. Produced by Ess-vee-vee, No. 1079, Set No. 31, and then number "8600 - Looking east in Bourke St from Queen St hill"\. Stores in the view are McEwans, London Stores and Coles and Garrad.trams, tramways, bourke st, w7 class, route 88, tram 1002

Colour slide - red and white cardboard mount - reproduction of a photo of tram 255 looking east along Collins St from Swanston St with the Scots Church spire in the background. Tram has destination of City, Route 42 and has not been fitted with marker lights. It is a very quiet scene traffic wise. Produced by Ess-vee-vee, No. 1079, Set No. 31, and then number "8601 - Looking east in Collins St"trams, tramways, collins st, w2 class, swanston st, tram 255

These eight books that make up The Victorian Readers, one for each of the grades that then comprised the primary school, were first published by the Victorian Education Department between 1928 and 1930. Second editions of all but the First Book, with a few changes in content, appeared some ten years later. One-quarter of the content was required to be Australian with the remainder from Britain, the United States and Europe. Beginning in the 1950s new Departmental publications gradually replaced the old books with the exception of the Fifth and Sixth books which survived until the late 1960s, when commercially-produced reading material finally took over in schools. The Victorian Readers: Books 1 to 8. Facsimile reprint. Ministry of Education (Schools Division); Melbourne (Vic); 1986. Various p.; illus; maps. Soft cover. ISBN 0 7306 0859 Xvictoria; education department; readers; primary education;

Miss Olive Codling was a Foundation Member and a Life Member of the Wodonga Historical Society. Many of her prize-winning photos are held in the Society Collection. She also held a range of roles and committee positions in a wide range of Wodonga community organisations. These included the Horticultural Society, the Wodonga Arts Council, the Wodonga Camera Club and the Wodonga Lapidary Club. As the population of Wodonga grew in the late 1960s and 1970s, development focussed on the central section of High Street. The Wodonga Mall was built in 1969 on the corner of Stanley and High Streets in Wodonga and was the location of a variety of small businesses including a chemist and Sarroff's Dry Cleaners.This photo collection is significant as it documents how the businesses and buildings in Wodonga have evolved and contributed to the community throughout the 20th century. A series of 3 black and white photos showing the development of the Wodonga Mallwodonga businesses, high st wodonga, melba theatre

In the late 1960s the area in Wodonga between Hovell and Havelock Streets was zoned for civic purposes. By 1969 Melbourne architect Bruce Marshall had designed the civic centre which included a library, theatre and senior citizens' rooms. The main hall had a seating capacity of 1,000 people but could be divided by a sliding door. into smaller areas. It also included meeting rooms and kitchen facilities. The Civic Centre was officially opened by the Honorable Sir Henry Bolte, K.C.M.P., M.P., Premier of Victoria who was accompanied by the Honorable R. J. Hamer E.D., Minister for Local Government. The Shire President was Cr. James A. Terrill, J.P.This image records an important stage in the development of local government and civic buildings in Wodonga, Victoria.A black and white image of the Wodonga Civic Centre in a wooden frame.wodonga civic centre, wodonga history, wodonga local government

Roadside buildings, formerly Doney's General Store. Doney's operated from the 1880s through to the late 1960s. It was situated at the head of the present day Research shops on Main Road near the corner of Raglan Road. By the 1960s it was under new ownership. The Store had a residence at the back. Signs promote The Herald and Sun newspapers, four 'n twenty pies, coca cola and more. A public phone box is in the front of the store. Beside the store is possibly an old farm building with more signs advertising honey, Streets, Tarax and a local bottle dump. Lyn Dodkins used to work in the Store after school.Digital file onlygeneral store, research (vic.), milkbar, lyn dodkins

The photograph shows a section of remnant track at the intersection of Bourke and Spencer Sts that remained until it was removed on 25/8/1987 when connecting curves were installed at Bourke and Spencer Streets, forming a double track triangular junction, in preparation for the conversion of the St Kilda and Port Melbourne railway lines to 'light rail'. This necessitated the removal of the last few metres of cable car track in Melbourne, which had been left in situ at the former Bourke Street terminus as a reminder of bygone days. Shows two inspection pits in the short section of the cable slot. Photo late 1960s after the construction of the Spencer St railway station building. Photographer unknown.Yields information of last section of visible cable tram track in the city area.Black and white photograph on Ilford papertramways, cable trams, track work, bourke st, spencer st, cable track

The core memory of this calculator was a #D metal box. The pin must have been attached to a card reader or keyboard to enter the programme. According to Sharp’s serial numbering scheme, which encodes the month and year of manufacture of their electronic calculators at least through the mid-1970’s, this calculator was manufactured in September 1969. The technology used in the Memorizer 30/Memorizer 60 was very typical of that of the late 1960s, with small-scale integrated circuits containing a few gates or flip-flops, and a magnetic core memory array for storing the program steps that the user keyed in using the calculator attached to the device. (with thanks to Rick Bensene, Curator of the Old Calculator Museum, Beavercreek, Oregon, USA) ISharp Memorizer 60 (Model CSA-12). The Model CSA-12, called the "Memorizer 60", was an accessory that could be connected to a Sharp Compet 22 or Compet 32 electronic calculator to allow these machines to be "learn mode" programmed. Programs were "learned" from the keyboard of the calculator, and stored within a core memory array in the Memorizer 60. Programs of up to 60 steps could be stored. The Memorizer 60 could them "play back" the stored steps at high speed, to allow relatively complex math operations to be performed. (http://www.oldcalculatormuseum.com/m-sharpcsa12.html)Serial No. 910 106 09Bcalculator, memorizer 60, computers, programmable calculator, electronic calculators

This is a map of the Hopkins River Estuary prepared by Dr John Sherwood for the benefit of anglers. The information on the sheet includes the location of sand banks, the water depths, boat ramp facilities and public access facilities. Some of the information has been gathered from aerial photographs. The map has been produced by the Warrnambool Institute of Advanced Education which was developed in the late 1960s from the tertiary section of the Warrnambool Technical College and with all its departments established by 1984 at the Sherwood Campus five kilometres from Warrnambool on the Princes Highway. Today the site is occupied by Deakin University, Warrnambool campus. The Warrnambool Anglers’ Club has its headquarters on the banks of the Hopkins River near the mouth of the river and the Lyndoch Aged Care facility.This map is of interest as a specialist one, providing fishermen with detailed information on all aspects of the Hopkins river estuary. Fishing has been both a profession and a popular recreational pursuit for Warrnambool residents since the early days of the city’s settlement. The Hopkins River Estuary has been a focal point for fishermen throughout Warrnambool’s history. This is a sheet of paper folded three times to produce a folded map. The front cover has a black and white photograph of two fishermen with a large fish. The map of the Hopkins River Estuary is in yellow, blue and black and covers the side of one sheet and three quarters of the other side. There is an advertisement for the Hopkins River Boathouse with a black and white sketch of the boathouse and notes on the map written by Dr John Sherwood. There are several diagrams showing the water depths. The map has some silverfish damage and some tearing at the folds. warrnambool anglers’ club, history of warrnambool, hopkins river, hopkins river estuary, john sherwood

Murray Comrie Collection. Monochrome photograph depicting members of Tarnagulla Tennis Club posed as a group on the side of the Tarnagulla Tennis Club court, with the Club shelter behind. An accompanying note identifies some of the subjects: Boys at back: 1. ______ 2. _________ 3. Fred Radnell Back row: 1. __________ 2. Walker (chemist) 3. ________(F) 4. ________(F) 5. Mr. Harper 6. Alice Joyce 7. _______(F) 8. Mary Comrie 9. _________ (F) 10. Dan Duggan 11. _______(F) 12._______(F) 13._______(F) 14. Ruth Langan 15. Tom Page Seated/middle row: 1. Maud Renshaw 2. _______(F) 3. Emily Renshaw 4. Eliza Renshaw 5. Ruth Bool 6. Mrs Leonard (Emma Davies) with child Viva Hale in front 7. Jess Joyce. Seated on ground: 1. _______(M) 2. Emily Joyce 3. Annie Ison 4. Elsie Comrie 5. Florrie Bool 6. (M) possibly Dr. Donovan. This fair quality copy was made from an older original photograph, probably in the late 1960s. tarnagulla, tennis, sport, clubs, people, walker, radnell, harper, joyce, comrie, duggan, langan, renshaw, bool, leonard, davies, hale, ison, donovan

Situated at the top of the hill in Arthur Street, the former Jelbart residence and barn were part of a major change that transformed Eltham's character in the late 1960s. Built from the mid 1940s through mid 1950s when Eltham was a rural community, the Jelbrat residence and barn are all that remain of a family property of some 250 acres (100 ha). With growing population pressures, in the late 1960s, owners Ron and Yvonne Jelbart decided to subdivide their property creating the Woodridge Estate in the early 1970s, a major factor towards the transformation of Eltham to the suburb it is today. The Jelbarts had moved to Eltham in the early 1940s when they purchased a poultry farm in New Street, now Lavendar Park Road. (The local Black Friday bushire of January 13, 1939 had started at C.A. (Clarrie) Hurst’s Eltham Poultry Farm and Hatchery in New Street.) Jelbart was primarily a businessman importing office machinery but desired farm beef and dairy cattle so the couple purchased the virgin bushland at what was then at the end of a dirt road, Arthur Street. With post war shortages of most building materials, they followed the example of the Eltham Artists' Colony (later called Montsalvat) and built thier home from mud-bricks and recyclked materials. The barn was first to be completed in 1945 which they made their home whilst building the main residence. It took eight years to complete the two buildings. Both the main residence and the barn are now separate homes, and along with the remaining property being sub-divided further in 1998 are now part of the Kinloch Gardens Estate at 93 Arthur Street. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p139This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, arthur street, jelbart barn, jelbart home, kinloch gardens

This Japanese ceramic vase was recovered from the wreck of the S.S. Casino (1882 – 1932) between the late 1960s to early 1970s. It is one of the shipwreck artefacts in the John Chance Collection. The design is an example of vintage basket weave pottery. The base of the vase is stamped ‘MADE IN JAPAN’ , which dates its probable manufacture to circa 1921-1932. The vase has side seams indicating that it was made by joining two moulded sides of the vase together, then adding the round base. The coastal trader SS Casino (1882–1932) had a run of almost 50 years along the coast of Western Victoria. She traded goods and food as well as carrying passengers from port to port on her many voyages. This vase may have been included in her cargo or could have been amongst the personal luggage of the people on board. The ceramic vase is an example of ceramic pottery in Victoria the 1930s. The vase is also significant as it was recovered by John Chance, a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The vase is also significant as it is associated with the S.S. Casino, which played an historical role in Western Victoria, providing transport, communication and trade along the coast between Melbourne and Portland in the late 19th and the early 20th century, visiting the ports at Apollo Bay, Warrnambool and Belfast (Port Fairy). The S.S. Casino was the only regular trader with normal passenger accommodation along the West Coast and the only Western District steamship that was in service between 1854 and 1939, and to be represented in the Victorian Heritage Shipwreck register, and to have been wrecked in the Western District, and to have the wreck located, and to be accessible to divers. The wreck of the S.S. Casino, and its associated relics, is considered an important part of Victorian and Australian cultural heritage and is now protected as a Historic Shipwreck under State and Commonwealth Law in the Commonwealth Historic Shipwrecks Act (1976). Vase, round, cream coloured, unglazed ceramic, basket weave design. Wide mouth, short neck that tapers out to wide shoulders and straight down to round base. Seams on each side, mouth to base. Small handle on each side of vase between mouth and shoulder. Front and back of vase have a plain oval space bordered by a floral design. Inscription stamped onto base. Made in Japan. Stamped onto base in black ink "MADE IN / JAPAN"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, vase, japanese vase, s.s. casino, john chance, vintage pottery, newcastle and hunter river steam navigation company, belfast and koroit steam navigation company, west coast trader, apollo bay, captain middleton, basket weave, ceramic

Crown Crystal Glass were an Australian glass manufacturer, who were the Australian vendors for Pyrex from 1926, importing from the UK. In 1961, Crown Crystal Glass began manufacturing their own Pyrex, under the name Agee Pyrex (until 1963), Crown Agee Pyrex (late 1960s), Crown Pyrex (1970s), Crown Ovenware (1970s) and Pyrex Ovenware (late 1970s until early 1980s). Source: That Retro Piece, 'PYREX | Australian', https://thatretropiece.com/collections/pyrex-australian "The use of pyrex bottles became more prevalent in Australia in the second half of the 20th century and baby’s bottles made of pyrex were popular as they were easily sterilised in the home environment." Source: Warrnambool and District Historical Society Inc., 'Bottle, The Perfect Agee Feeding Bottle, Mid 20th century', https://victoriancollections.net.au/items/592fe71ad0cdd520341b3954Octagonal glass bottle tapering to a narrow neck. Calibrations for ounces and mls imprinted on the sides of the bottle. Text inscribed on bottle reads " THE IDEAL AGEE/PYREX/FEEDER"."THE IDEAL AGEE/PYREX/FEEDER"infant feeding, infant care

Crown Crystal Glass were an Australian glass manufacturer, who were the Australian vendors for Pyrex from 1926, importing from the UK. In 1961, Crown Crystal Glass began manufacturing their own Pyrex, under the name Agee Pyrex (until 1963), Crown Agee Pyrex (late 1960s), Crown Pyrex (1970s), Crown Ovenware (1970s) and Pyrex Ovenware (late 1970s until early 1980s). Source: That Retro Piece, 'PYREX | Australian', https://thatretropiece.com/collections/pyrex-australian "The use of pyrex bottles became more prevalent in Australia in the second half of the 20th century and baby’s bottles made of pyrex were popular as they were easily sterilised in the home environment." Source: Warrnambool and District Historical Society Inc., 'Bottle, The Perfect Agee Feeding Bottle, Mid 20th century', https://victoriancollections.net.au/items/592fe71ad0cdd520341b3954 Clear glass bottle tapering to a short narrow neck. Calibrations embossed on the glass in ounces (0-8) and mls (0-240). Embossed on the side: "Agee/PYREX/Feeder"."Agee/PYREX/Feeder"infant feeding, infant care

NSWTD Railway Marker OIl lamp, No.1 RA Oil burning lamps have always been an important part of Australian railway signalling systems and have been used for communication, safety and lighting. It is called a marker lamp and was hung on rolling stock (carriages and wagons) such as the guard’s van to indicate the rear of the train at night. They were also used to indicate the rear of steam locomotive tenders for identification and safety purposes. This type of lamp was introduced to the railways around 1860 and continued to be used for over one hundred years. Oil lamps were phased out on the railways during the late 1960s and early 1970s, when they were replaced by battery lamps. Railway lighting included not only stations but yards, engines, rolling stock, signals, signal-boxes and crossings. There were a number of different types of lamps used for a variety of railway purposes. Historic - New South Wales Transport Department.- Railway Marker Oil Lamp NSWTD Railway Marker lamp, No.1 RA made of metal and Glass Railway lamp, paraffin, metal/glass/fabric, used for attaching to railway rolling stock to mark the end of the train, made by the New South Wales Transport Department, Sydney, New South Wales, Australia, 1870 - 1970 This lamp comprises a hollow cube of metal. One lens at the front transmits light from an interior light source. Fuel was either signal oil or kerosene. The burner inside the lamp used either cotton or felt wicks to create the light source. The lamp has a carry handle for carrying by hand and a bracket with a slot on the back for hanging onto the hook of a locomotive or item of rolling stock. It is marked "NSWTD" which stands for New South Wales Transport Department.NSWTD 1 RApuffing billy railway , pbr, nswtd railway marker oil lamp, no.1 ra

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.