Mitchell Hall's Crossroads is an exciting trip through American popular culture from the 1950s to the 1970s. It is all here - TV, movies, sports, rock and roll - all in living color from American Bandstand to Muhammad Ali to Woodstock to Teh godfather. An entertaining read, especially for those who did not live through that era.united states -- social life and customs -- 1945-1970, popular culture -- united states -- history -- 20th century

It was a fascinating, exhausting and sometimes dangerous trip that slowly revealed the true face of Vietnam and Cambodia.cambodia - description and travel - 1975, vietnam - description and travel - 1975

Ordered by Langwill Bros., & Davies Ltd Melbourne Used for saw milling, dam constructions and log haulingFoden Traction Engine This engine is a compound traction engine built by Foden Ltd of Sandbach England in 1914 – builders number 4525. This was ordered by Langwill Bros and Davies Ltd of Melbourne and was used by Mr F Orr on his farm at Bullarto South Victoria. On the farm it was used for many agricultural purposes and was used at times as a stationary engine to run a wooden thrashing machine. The unit was last used on the farm in 1947 and put aside on the farm with a “museum” of other old agricultural tractors and machinery. Mr Orr gave us the engine as an exhibit for the Menzies Creek Museum of Puffing Billy in the 1960s. At that stage he was an elderly gentleman of 97 years and maintained a great interest in his farm which had been in his family’s hands for three generations at that stage. His grandfather had cut the farm from the bush. The traction engine in its youth was used to go around other farms in the district and went as far away as the Wimmera and Mallee farms thrashing crops of wheat, barley and oats. It towed the wooden thrashing machine behind it on its trips to these farms on hire to the farmers. Foden Compound Traction Engine Built by Foden Ltd., Sandback, England in 1914 to the order of Langwill Bros., & Davies Ltd., Melbourne, it was used on a farm for sawmilling, dam constructions and log hauling. Donated by F. Orr of Bullarto South, Victoria. Foden Compound Traction Engine - made of Steel (Painted)Foden foden, traction engine, steam, puffing billy

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.west sydney; australia; mum: holiday; jenolan caves: 1940's; second worldwar

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Children's Library, Hiroshima, Japan, 1951-3. (Architect: Kenzo Tange.)17japan research trip, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka. The Sogetsu Art Center (1958) was also known as the Sogetsu Hall and Office. Boyd called it the Sogetsu Art Center in his book “Kenzo Tange”, where it is extensively illustrated (Plates 77-82).Colour slide in a mount. Sogetsu Art Center (1958), Tokyo, Japan. (Architect: Kenzo Tange.)Made in Australia / 14japan research trip, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Interior staircase of Kurashiki Town Hall (1960), Kurashiki, Japan. (Architect: Kenzo Tange.)Made in Australia / Inscribed 19 / Encircled 29 (Handwritten)japan research trip, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Hiroshima Peace Memorial Museum 1951-3, Hiroshima, Japan. (Architect: Kenzo Tange.)4japan research trip, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Hiroshima Peace Memorial Museum 1951-3, Hiroshima, Japan. (Architect: Kenzo Tange.)7japan research trip, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Hiroshima Peace Memorial Museum 1951-3, Hiroshima, Japan. (Architect: Kenzo Tange.)5japan research trip, slide

School - Stawell No. 502 - Pupils 1920s ready for atrip to the park.stawell education

7149: OUTSIDE GROUP PHOTO UNDER GUM TREES. 7149A OUTSIDE GROUP PHOTO UNDER GUM TREES. 7149B OUTSIDE GROUP PHOTO UNDER GUM TREES. 7149C GROUP OF PEOPLE STANDING NEAR BBQ. 7149D. THREE PEOPLE INSIDE TWO STANDING WITH BACKS TO CAMERA, ONE MALE SITTING HOLING A BROWN BOOK. 7149E . 4 PEOPLE TWO STANDING, TWO SITTING. THREE WOMEN ONE MALE SITTING ON RIGHT. 7149F. SIMILAR TO 7149E, BUT PORTRAIT. 7149G SIX PEOPLE SITTING ON A BENCH OUTSIDE WITH FOUR CARS IN BACKGROUND. Eight Colour photographs.biarri

"Father Julian Tenison Woods met Adam Lindsay Gordon in 1857 on one of his first trips out from Penola riding from station to station across his huge, scattered parish. At that time Gordon was a horse-breaker on a station near Guichen Bay. The two shared a love of poetry and the classics and often rode together reciting to each other. They seemed to find in each other a kindred spirit based on literary enjoyment and entertainment. Woods lent Gordon books from his collection." From this website:https://www.sosj.org.au/jtw-man-of-words-5/ pamela l. walker

Piers Bateman was a local artist, held in very high esteem by his peers and community. He was born in Perth in 1947, moving to Eltham in 1955 as a young child with his family. In 1966 Bateman moved to London for eighteen months to develop his craft. In 1969 he settled in St Andrews, where he built a studio. The St Andrews locale is said to have been a strong influence on his work. Bateman’s talent was such that he was promoted and mentored by such ilk as Charles Blackman, Clifton Pugh and Arthur Boyd, among others. Bateman’s work is an intimate dialogue with the environment, renowned for his paintings of the outback, wilderness frontiers and the sea. He spent a year in the mid-seventies sailing the Greek Islands and the French canals to Amsterdam. In 1980 Bateman and Marcus Skipper embarked on a trans-Australian venture to the red centre and across northern Australia from Cairns to Broome. In the mid-eighties Bateman returned to the Mediterranean, before returning to the Australian outback in the late-eighties. His international career continued on an upwards trajectory between the Australian outback and European seas, providing a unique contrast throughout the course of his career. Bateman's work questions our relationship with the natural world, and in particular, reconciling our colonial heritage with our indigenous past. This line of questioning and his genuine response to place is the key to Piers Bateman’s work, for which he is lauded and celebrated. On September 4th 2015, Piers Bateman died in a boating accident on the NSW coast line. Piers Bateman was an instinctive painter whose inspiration came from nature. He reworked and scraped off the paint, moving it around until forms and colours of the landscape took shape. Although Bateman lived in Spain and Italy, his time in Europe made him aware of the contrast between the two continents and the bright clear light that defined the Australian landscape. At the time of this work, Bateman was living in St. Andrews, but travelled regularly to New South Wales and South Australia on painting trips. The ‘Grass Tree’ Xanthorrhoea johnsonii (commonly known as ‘blackboy’) is indigenous to these areas. It is a uniquely Australian, slow growing plant with twenty-eight species growing within Australia. Old examples of this tree are survivors of many wild fires, which can cause their blackened trunk, of one to two metres, branch into two or more heads. These heads consist of thick, rough corky bark, surrounded by long, wiry leaves and flowers that produce seed capsules with hard black seeds. The tree’s ability to be one of the first to flower after a wild fire ensures a food source for many insects and birds.Oil on canvas painting. Detail of three grass trees resting on the side of a mountain/hill. Green and gold palette throughout depicting the colours and light of the Australian landscape. Hand written, low right in capitals: 'BATEMAN'bateman, grass trees, xanthorrhoea johnsonii, landscape

Painter, printmaker and sculptor Rick Amor is one of Australia's most distinguished senior artists. He was a good friend of the late George Baldessin and three times Archibald Prize winner Clifton Pugh, having lived and worked at Pugh's property, Dunmoochin in Cottles Bridge, Nillumbik during the 1980s and 90s. 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. 'The Ruin' 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 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. 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. Rick Amor has been an ardent supporter of the Baldessin Press & Studio and a great patron of living artists. In 2014 the Press partnered with Amor and the State Library of Victoria to create The Amor Residency at The Baldessin Press & Studio, which is part of the Library's annual fellowship program. 'The Ruin' was based on a plein air painting done by Rick Amor on a trip to Broken Hill in 2001 and reflects on death and the passing of time so eloquently portrayed by the industrial ruins of NSW. In the tradition of a Piranesi, the work emphasises the transience of life and the triumph of time. Black and white drypoint etching in which a small figure, a traveller; located bottom left, points to a large crumbling edifice (building), a stage like space in the background. Ed.14/25baldessin, print, drypoint, amor, 2018 ekphrasis, ruin, etching, ekphrasis2018

Colour Photograph: Three people Standing in front of doors. L to R Unknown, John Wynd, Elenor Musumeci.

This book at one time belonged to the Pleasant Creek Library and Mechanic Insititute, Quartz Reefs. The Adventures of a cavalcade of British Naval Officers in the Holy Land. Dedicated by permission to: Captain George Lethbridge R.N. and the Officers of H.M.S. TrafalgarBrown Spine and Cornors, front and back patterned paper cover, part missing, clear tape on spine top and bottom. Top Right Inside Cover J.W. Evans & Co. Binders 11A Flinders Way. Notice pasted on inside of front Cover. No. 1313. Pleasant Creek Library and Mechanics Institute Quartz Reef. Members will be held responsible for any damage done to books in their possession.stawell education