Ill, p.205.fictionSelections from the satirical publications Punchhumour - english, satire - english

These captivating pieces are part of a series called "FOOD / FLESH / FAME," a collaborative effort between Melbourne-based Thai artists Bundit Puangthong and Vipoo Srivilasa. Drawing from Buddhist teachings, the series explores the three elements of attachment: Food (consumption), Flesh (sex), and Fame (power). Although these elements are known to cause suffering, they remain persistently alluring, a paradox that the artists intend to explore further in the future. In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FOOD" depicts a durian, the king of fruits, painted by Bundit Puangthong. He notes, "Despite its pungent aroma, many people still love to eat it."Donated the by the artists

In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FLESH" features a golden umbrella, serving as a metaphor for sex.

fictionEnjoy the humour and relive the era of the "Sixties", as you follow him from recruit training to a battalion and then to the steamy massage parlours and jungle.vietnam war, 1961-1975 - fiction

xvii, 388 p.; 24 cmnon-fictionThis biography explores the remarkable life of Jessie Traill - artist, traveller, humanitarian and independent spirit. From the ten-year-old who first met Tom Roberts painting on the shores of Port Phillip Bay, to a student of Frederick McCubbin and etchers John Mather and Frank Brangwyn, Jessie developed her professional skills. She interrupted her career to work as a voluntary nurse in France during World War I, later raising funds for and revisiting war-torn Europe. She also became one of Australia's most outstanding etchers, working in a field uncommon for women of her time. Through diary extracts, descriptions of her world travels and personal letters we hear her voice and see through her eyes, beauty, humour and the joys of simple living. jessie traill, frederick mccubbin, tom roberts, artist

non-fictionThis book is about the life and times of Doug McLaggan starting with the vanished era of the 1920s and 1930s, which led up to the Second World War in which so many youngsters eagerly enlisted. McLaggan among them, saw action only briefly before becoming a POW after the fall of Singapore. It shows the young private soldier's viewpoint of the POW experience; of the mateship, humour and above all the courage and determination and willpower to live under circumstances ranking among the the most appalling of the 20th century. Even during the most trying periods, McLaggan risked his own security by keeping a meticulous diary. From these diaries emerges an extraordinary account of one man's will to survive when men unfit to work on the railway were so cruelly treated by the Japanese engineers in charge of its construction. The story of the POWs under the Japanese has been told before, but McLaggan's account, simply and honestly told, combined with his often forthright views makes this a fascinating and moving story of an ordinary man faced with an extraordinary test of body and mind. (Back cover)doug mclaggan, world war 1939-1945, prisoners of war

non-fictionFamily Life in Stoke Newington, 1923-1955 Gaslight on the Cobbles reveals the everyday life of Stoke Newington people as seen through the eyes of a young girl. The daily lives of the people that she knew - their tears and laughter, their courage and determination to survive all that life could throw at them, are recalled with love and humour. "The people were always busy! Scuttling around shopping, cleaning windows, putting out washing, laughing or fighting! Children running around with great big slices of bread and jam - with the jam mixing with nose drippings and all going down the same way."stoke newington, childhood, the blitz

non-fictionA Girl at Government House These reminiscences of an English girl 'in service' present a remarkably lively portrait of Australia in the eighteen eighties and nineties. The story is delightfully different, an evocation of a little-documented side of life in nineteenth century Australia. Brisbane during the Jubilee, Sydney Centennial celebrations, and the Melbourne Exhibition provide the background to the colourful, continuous whirl of dinners, balls and garden parties of colonial society. Juxtaposed with the social roundabout are the lives and loves of the ordinary people who were 'a free and easy lot, and homely too'. The charmingly naive Agnes has come from England 'knowing no more than a babe unborn how it came into the world'; her rustic vision quaintly interpreted Australia as 'beautiful flowers without any scent' and fostered the belief that snakes will never die till sunset, however early they are killed'. An adventurous spirit and insatiable curiosity lead Agnes from one great house to another. Governors and grooms, ladies and laundry-maids — all are described with enchanting directness and compelling humour. Great care has been take to illustrate Agnes's story with authentic photographs depicting the people and places mentioned in her narrative. Captivating in its freshness, this delightful story is faithfully recorded with sparkling spontaneity. (inside cover)agnes stokes, servant

non-fictionMore than a history. A vivid illustration of life in an Australian rural family pre and post the thirties depression and World War II. Spoken in their own words with humour and feeling, recorded thoughtfully and sensitively. This book is not only entertaining, it is real life! Days of big draught horses, when a man's word was his bond, and doors were left unlocked. Real, readable, challenging for the every day reader and serious student. (Back Cover)farmers, victoria, bruton family

A book of 224 pages including maps, illustrations and photographic images, both black and white and colour. It includes a bibliography.The lives of the mountain cattlemen of Victoria's alpine country revolve around the annual muster held before the first snowfall of autumn, when they bring their cattle down to lower pastures for winter feeding, or consign them for auction at the annual calf sales in Omeo or Myrtleford. The close-knit communities of cattlemen share the common hazards of this mountainous region, enduring the snow and freezing conditions of winter and the threat of ravaging bushfires in summer, finding shelter from the harshness of the environment in little huts which they built from the rough materials available. But the dangers of steep slopes and rocky terrain, in which more than one drover has lost his life, hold no terrors for them. These tough and resourceful cattlemen are self-sufficient and skilful in everything they do, whether it is bushmanship, horse-riding, or telling tall tales. In this book their yarns and reminiscences about their mates, their horses and Hereford cattle, and their indispensable dogs, reveal a characteristic courage and endurance, and an indomitable sense of humour. This book provides an enduring record of a vanishing breed of Australians, folk heroes in their own right, whose lives form the basis of verse and legend.mountain cattlemen, cattle breeders victoria, australian cattlemen, bogong high plains history

These type of cigarette silks were included in WD & HO Wills cigarette packets to induce women in particular to take up smoking.|The Word 'Cartophilic?|It is believed that this unusual word was coined in the 1920s by Col. Bagnall, an Englishman, who was the father of the hobby of cigarette card and trade card collecting. It is thought to be a combination of a Latin word, 'carto' meaning 'card and the Greek word 'philic', meaning 'love'.- lover of cards. The term originally related to the collection of the two types mentioned, however, our Society has included postcards in the range of items collected by our members.|The Cigarette Card|The cigarette card began its evolution in the United States of America, in the early 1880s as a plain piece of cardboard used by tobacconists to protect the cigarettes which were sold in that era, not in packets, but loosely. A purchaser would buy his cigarettes then wrap them in paper around the small piece of cardboard, which acted as a stiffener. In fact, for many decades, cigarette cards were known as 'stiffeners' in the USA.|The card depicting 'The Marquis of Lome' is reputed to be the first known cigarette card issued. This is thought to have been in 1879. It did not take long for an enterprising entrepreneur to recognise the advertising potential of the cigarette card, and, very soon, the cards began displaying popular images, often in sets. This had the effect of youngsters, wishing to complete their sets, harassing their fathers to buy a specific brand of cigarettes. The kids who collected cards in the days when they were being issued in the cigarette packets, would hang around outside the local tobacconist's shop, pestering the men who had just bought a packet of cigarette, with the cry: 'can I have the cig can mister?'|It is a proven fact that, here in Australia during the 1930s, at least one set had one card deliberately withheld and issued very sparingly. This card is No. 86 (Mrs Jack Crawford) in the Carreras 'Turf Personality Series'. Thus, in a set of reasonably easy cards to get, this one card is a constant source of frustration for the collector, and as such, commands a premium when it comes to price. It is not hard to imagine the young collector nagging his to Dad to keep buying 'Turf' cigarettes to enable him to finish the set.|From small beginnings the cigarette card soon gave rise to a booming industry in itself. Artists and writers were|employed to produce the cards, which were miniature works of art and served as little encyclopaedia's for the children of the day. By the 1930s cards were being issued in the countless millions. It has been stated, in one book on the history of cards; that 450 million sets of a series produced and issued by the prolific issuer of cards in the United Kingdom, WD & HO Wills. As each set contained 50 cards you would need a calculator with a very long result window to see the answer to how many cards of that series were in circulation.|Australia's involvement would appear to have its beginnings with the English and American firms who shipped their tobacco products here and the cards of American Tobacco Company (ATC) are found in great numbers in early Australian collections; many featuring Australian subjects, e.g. 'Australian Parliament a 1901 issue. Earlier U.S. sets depicting Australians included Goodwin & Co's, so called. 'Australian Series' with cricketers and Australian Rules footballers who were on the sporting scene during the 1880s. The caption of one of theses cards reads:|'W.Hannysee. Captain Port Melbourne Football Club' which enables us to pinpoint the year of issue to either 1889 or 1890.|On the Australian scene the first local manufacturer who issued cards seems to have been The National Cigarette Company of Australia Proprietary Limited, whose 'Tally Ho' packets contained cards from a series of thirteen featuring the touring 'English Cricket Team 1897-8' Of the few Australian manufacturers who issued cards, only two companies issued more the two sets.|Undoubtedly the cards issued by the Melbourne firm Sniders & Abrahams (later Sniders & Abrahams Pty Ltd) are the 'jewels in the crown' of Australian card issues. They issued some thirty-three series, with numerous sub-series and allied issues such as metal badges, metal football shields, celluloid flags etc., which ensured that the hobbyist had a vast range from which to collect. Sporting themes – football, cricket, horse racing – dominate, indicating the Australians' love of sport and the outdoors was as strong in those earlier times as it is today. Military, animals and birds themes were also to the fore, with a touch of culture being provided by 'Shakespeare', 'Dickens', actresses and even classical 'Statuary'. Humour was not forgotten with 'Cartoons and Caricatures', 'Naval and Cricket (double meaning) Terms' and the 'Jokes' series. Art and history were covered by the artist, S.T. Gill's 'Views of Victoria in 1857' while the stereoscopic 'Views of the World' expanded the collectors' knowledge of the world as a whole.|The Sniders & Abrahams series began in 1904 and by 1919 the company was in decline and was eventually taken over by G.G. Goode & Co. Ltd. This company produced one set only, the highly collectable 'Prominent Cricketer Series' issued in 1924. During the early to mid-1920s, J.J. Schuh Tobacco Pty Ltd issued eight series, again containing the popular subjects of sport and war. At least two provincial tobacconists, Lentens of Bendigo and Baillies of Warrnambool, issued private football series. The last series of cards issued by a truly Australian firm was Dudgeon & Arnell's '1934 Australian Cricket Team'.|The Australian market was not neglected by the English companies with WD & HO Wills, Godfrey Phillips and Ogdens all making their contributions. By far the most active issuer was the long-established company Wills, whose 'Cricketers' of 1901 heralded the flood of Australian series, which continued into the mid-thirties.|The onset of the 1939-45 World War sounded the death knell of the cigarette card and very few post-war issues were made, certainly not here in Australia.|The Trade Card|The Trade Card is a non-tobacco item used by manufacturers to promote and advertise their products, in the same way that cigarette cards were. It is uncertain exactly when they were first produced, but in the USA, non-collectable cards were issued by firms in the early 1800s. These were more akin to a latter day 'business card'. It was not until the 1850s, when coloured and pictorial cards were issued to advertise and promote products that the Trade Card|became a collectable item. Many beautiful lithographic cards were produced in this early era and they are very mu sought after by collectors. By the 1870s the issues of Trade Cards became more prolific and it is from this era that more cards are seen.|Again, it is difficult to pinpoint the exact date of the first Australian Trade Card and it may be that the highly collectable and extremely rare 'American Candy Co's' - 'Pure Caramels' Australian Rules football card, issued i 1891, is the earliest series. This confectionery firm was located in Fitzroy, a Melbourne suburb. To date only two subjects have been seen.|Another early set was 'Flags', issued by F.H.Fauldings & Co. It featured testimonials of seven English cricketers who toured Australia with the 1894/5 Test team. Fauldings was an Adelaide based firm which manufactured medicinal toiletries, soaps and oils, using the distinctly Australian eucalyptus oil. During the 20th century a multitude of Australian businesses issued trade cards, with confectionery manufacturers such as Hoadleys, Allens, Sweetacres and Australian Licorice producing the majority of them. Again sporting themes dominated with the ever popular Aussie Rules football cards being the most numerous. Cricket issues ran a close second.|Apart from sporting cards, almost every subject imaginable was covered by the Trade Card, making it the most diverse and interesting branch of cartophilly. In contrast to the Cigarette Card, which had its demise prior to the Second World War, the Trade Card is still alive and well.|We all are aware of the long running 'Birds of Australasia' series put out by Tuck-fields Tea and 1 doubt if there is a kitchen drawer in Australia that has not got one or two of these informative and attractive cards floating about in it. These cards were first produced in the early 1960s and are still being inserted in that company's packets of tea. Such is also the case with Sanitarium Health Foods, manufacturers of the well known Weetbix, who began issuing cards, with a wide range of subjects, in the early 1940s and continue to do so.|The 1940s and 1950s saw the two breakfast food giants, Kornies and Weeties dominating the card scene. Kornies footballers were in production fora decade from 1948 to 1959. Four years later in 1963, we saw the start of four decades of Scanlens bubble-gum card issues, both football and cricket. In the mid 1990s, with the end of the Scanlens/Stimorol cards, the Trading Card came on the scene. These cards do not fit under the umbrella of the Trade Card, having been produced and marketed purely as a 'collectable' with no connection whatsoever to any product, which of course is necessary for an item to be classified as a Trade Card.|The earliest British postcard was issued in 1870 and was designed to send short messages; the stamp was printed on the card, therefore it did not require an envelope. It was considered by many to be lowering the postal standards because the texts were no longer private. However the cards were a great success as on the first day of issue in 1870, half a million passed through the London postal centre.|The first illustrated postcards are said to be those introduced by a French stationer in 1870. He realized that French troops fighting in the Franco-Prussian War needed to be able to send short messages to their families and designed a 'postcard' to suit the purpose. As many of the soldiers were illiterate they decorated their cards with sketches of their many activities at the front rather than writing; thus creating a picture postcard. Private enterprise soon saw the great financial possibilities of this new easy and attractive way of communication by post; also sending a postcard cost less than postage for letters. It was correctly assumed that postcards were likely to overtake letter writing in many instances.|Between 1875 and 1882 every state in Australia introduced official postcards, N.S.W. first and Tasmania last. Each state produced a simple type of postcard with a pre printed stamp allied to that state. The stamp side stated 'The Address Only To Be Written On This Side'; the reverse side sometimes carried a simple illustration or decoration with space fora short message, each state extolling their own state's virtues. In 1901, with the advent of Federation, the new Government became responsible for all postal services in Australia and produced postcards for sale in every state. With several mail deliveries each day in most towns, postcards were used for many purposes. One 1906 postcard, with an illustration of fruit, was sent from Mrs X in the morning to her greengrocer ordering her fruit and vegetables to be delivered that afternoon. Another lady asks her charlady to 'come this afternoon'.|Australian private enterprise also began selling pictorial postcards, most companies using the very experienced German printing works who were the worlds best in the field of lithography and fine detailed colour-printing. Many of these beautiful German cards still exist today, 100 years later. Australia did have a few fine printers but they were in the minority. Black and white postcards printed in Australia in the early 1900s were often of good quality e.g. postcards printed by 'The Bulletin', illustrating the works of 'The Bulletins' top artists.|Between c1903-09 The Melbourne company Osboldstone and Atkins etc. printed coloured reproductions of 46 J.A. Turner bush/rural life paintings, which were generally of good quality and became hugely popular and still sought after today. Like thousands of homes in Europe, Britain and U.S.A., many Australia homes had albums of cherished postcards, which were given pride of place for visitors to see and enjoy.|Postcard collecting remained popular but was changing with the times. About 1912 the Australian photographer George Rose of Melbourne began to produce topographical B/W real photographic postcards covering most of Australia and other photographers began to do likewise. These cards soon found their way into collections as well.|WWI and the horrors of war suddenly changed the world; postcards were still in great demand but the subject matter was far more serious. Thousands of postcards from the trenches in European war zones arrived in Australia to be included in family albums. Propaganda and recruitment messages were produced to encourage enlistment. Australian postcard producers began to create cards decorated with gum leaves, boomerangs, wattle etc., which were designed for sending to Australian troops serving overseas. Very few 'pretty' cards were available, as access to the Gentian printing works was no longer possible and exporting of postcards from Britain was very limited. By the end of WWI people had other more serious problems to contend with and the avid postcard collecting hobby declined, fold greetings took over and topographical photographic postcards became a small but steady income for the producers and newsagents etc. in every town.|Fortunately many of these old postcards still exist and are avidly collected by a new generation or postcard collectors. The Australian Cartophilic Society Inc. is one of four postcard/cigarette card organizations in Australia. They are, N.S.W. Post Card Collectors Society; Queensland Card Collectors' Society Inc. and West Australian Card Collectors|Society, and across the Tasman there is a New Zealand Postcard Society.|References:|Picture Postcards of the Golden Age A Collector's Guide by Toni & Valmai Holt. Picture Postcards in Australia 1898 - 1920 by David CookBox of Cigarette Silks ( 10 ) depicting animal motifs, which were placed in cigarette packets as an incentive for women in particular to smoke.|WD & HO Wills|Produced 1911 - 1917personal effects, smoking accessories, recreations, collections

non-fictionNOT ONLY IN STONE is the story of Polly Thomas, a woman of strength, courage and compassion, whose life is intimately tied to the pioneering era of South Australia. Polly arrives in Adelaide from Cornwall in 1865 with her husband Nathan, a miner, Richard, her baby son, and Ellen, her young sister. The baby had been born on the long and arduous voyage to Australia. Polly and Nathan move to the copper mining towns on the Yorke Penjnsula. Tragedy and death haunt Polly's life. Her sister dies in childbirth; Polly has four children but only two survive; a son is drowned; her beloved daughter dies of croup; Nathan is crippled; and a crooked lawyer swindles Polly of her life savings. Although tragedy robs Polly's life of joy, her independent spirit is never quelled. After Nathan's death, she moves to Adelaide and for many years lives in North Adelaide close to her son, who succeeds in business, and his family. The sorrow in the life of Polly Thomas is overwhelming, but never is it mawkish. This is history with a human face. A family life chronicle full of the stuff of the pioneers... a closely woven tapestry of the humour and pathos of life. Shirley Stott Despoja, Adelaide Advertiser (book jacket notes)polly thomas, nathan thomas

Booklet with black and white print. Front cover divided diagonally. one half white and the other black. Title volume number and issue number printed on front. Back cover has a black and white advertisementMagazine, comprising factual and fictional articles, poems, quotations and advertisementsahnl, nurses, alfred hospital, hospital humour

Booklet with orange, white and black print. Front cover divided diagonally. one half white and the other orange. Title volume number and issue number printed on front. Back cover has two orange and white print advertisementsMagazine, comprising factual and fictional articles, poems, quotations and advertisementsahnl, nurses, alfred hospital, hospital humour

p.258.non-fictionSaigon,1967. Fresh-faced 25-year-old Hugh Lunn arrives in Vietnam at the height of the war to cover it for Reuters and quickly meets a fascinating cast of characters: journalists, Vietnamese, military and best of all, Dinh, the Vietnamese reporter and guide who spoke his own brand of English (Dinglish) and whose wisdom and humour become inextricably bound up with the young reporter's view of the war. Before long the author experiences the full horror and tragedy of war, and finds himself questioning not only the US/Australian role in Vietnam, but his own role in a war where images and words could be as powerful as bullets. vietnam conflict 1961-1975 - personal recollections, vietnam conflict 1961-1975 - history