260 p.; 23 cmnon-fictionAeneas Gunn achieved posthumous fame in 1908 as the Maluka, following the publication of Jeannie (Mrs Aeneas) Gunn's acclaimed novel, We of the Never-Never. The story of Aeneas James Gunn prior to and including his year managing a remote cattle station in the Northern Territory can now be told, thanks to the discovery of a large cache of his letters. Gunn's voice enriches the narrative with deeply personal, perceptive and often humorous glimpses into life in Australia during the last decades of colonisation. A proud and capable literary man, Gunn found his vulnerabilities exposed in unusual circumstances. His Anglocentric views would, in time, be tempered by the woman he loved and admired. aeneas gunn

Illustrated book with dustjacket. Book cover and dustjacket are identical in appearance. The front cover has a coloured photograph of the Honour Roll and domed ceiling in the Memorial Alcove adjacent to the Geelong Art Gallery. Under this is a black background, with the title printed in white and yellow, a red poppy, and the authors surnames printed in white. Title and authors names are printed in similar colours on a black background on the spine along with a red poppy and the publisher's mark. The back cover has a black background with four small coloured photographs: the Cenotaph, St Martin's Place Sydney; Australian War Memorial, Canberra; interior the Brisbane shrine of Remembrance; the War Memorial Adelaide. under this a summary of the book is printed in white.non-fictionThis is a rich mosaic of a book about the persistence of memory. In a distinctly original and captivating way, it brings together photographs, both old and new, ephemera and one hundred stories as it commemorates one hundred years since the outbreak of World War One. it shows how the terrible sacrifice of young Australians has reverberated across this country and through time, and how the memories still resonate in so many different ways, and in so many different stories. Selected for their unique design, their grandeur or their simplicity, the one hundred memorials have been arranged alphabetically and represent the diversity of memorials to the ANZAC spirit from each state and territory across the nation. world war 1914-1918-centennial celebrations, world war 1914-198-monuments-australia, world war 1914-1918-personal narratives, war memorials-australian, monuments-australia

Illustrated book with dust jacket. Book has a light brown cover with abbreviated title authors' and publisher's names embossed in silver on the spine. Dust jacket has background of shades of brown, off-white and grey. On the front is a photograph 'Australian infantrymen evacuate a wounded soldier on a stretcher to the beach during the landing at Balikpapan, Borneo, July 1945, along with the title printed in brown and navy, and the authors names printed in white. On the spine, the abbreviated title is printed in brown, authors names in black, and publishers name in white. On the back cover is a photograph of a soldier with arm in a sling (in an advanced dressing station on the Menin Road near Ypres, Belgium, 20 September 1917) Also on the back cover is a quote from Graham Edwards (Vietnam veteran, veteran's advocate and former MP) and a list of other contributors to the book. non-fictionWar has been an accelerator of the advances in medical treatment and surgery. As modern weaponry became more destructive, medicine developed techniques and procedures to deal with the volume and nature of battlefield casualties. This book is a collection of chapters by historians, medical practitioners and researchers, former and serving military medical officers, surgeons, nurses and veterans, who explore the impact of war, wounds and trauma through the historical record, reported narratives and personal experiences.war-medical aspects, medicine-military-history-australia, soldiers-wounds and injuries-treatment-australia, alfred nurses

Illustrated book, Fronts cover has a photograph of two women in operating theatre dress with a young child (Vietnamese anaesthetic technician Tran Thi Dung, theatre nurse Cathy Blackmore and a young patient in an operating theatre at Bien Hoa Hospital, in early 1972). Below this on a background photo of bandages title and authors names are printed in shades of brown. Abbreviated title (light brown ink) and authors names (dark brown ink) are also printed on the spine along with the publisher's mark. A summary of the book, along with information about the authors, is [rinted on the back cover. non-fictionFrom October 1964 until the end of 1972, over 450 surgeons, nurses and other medical specialists from Australian hospitals volunteered to work in South Vietnam. In the towns of Long Xuyen, Bien Hoa, Vung Tau and Ba Ria they brought expert medical and surgical care, comfort and support to a war-weary and traumatised civilian population. The extraordinary story of these Australian civilians at war is told here, based on interviews with many of those who served in the teams, The book includes two appendices: one lists the dates of service of the teams, the other lists the members of the teams.vietnam war 1961-1975-medical care, vietnam war 1961-1975-participation-australia, vietnam war 1961-1975-personal narratives-australian, volunteer workers in medical car-vietnam-history, alfred hospital

Stapled booklet with black cover. Title and authors name are printed in white on the front cover along with phograph of a sculpture of two hands reaching towards each other ['hands' by Henry Moore]non-fictionAnnie Moriah Sage, CBE, RRC (1895-1969), also known as Matron A.M. Sage, was an Australian nursing administrator and Matron-in-Chief during the Second World War. She served in the Second Australian Imperial Force and saw service in the Middle East, Pacific Area, New Guinea, and Singapore. She is also known for arranging the repatriation of Australian nurses released from prinoners of war camps in Singaporeannie moriah sage, world war 1939-1945 prisoners of war, prisoners of war - biography, world war 1939-1945 - personal narratives-australian

Soft Cover Book; Cover - cardboard, white, blue and black print, front illustrated colour photograph of a soldier in profile with forest of trees in background. 254 pages, cut, plain, off white paper. No illustrations or maps. Title page - handwritten dedication.Handwritten details - black ink pen. "I thought you/ may find this interesting ...../ may be pass it around/ Warm Regards ???? Mewing x".publications, books, narratives, usa, vietnam

Entry into the 2009 Nillumbik Prize. Angela holds a Masters of Fine Art and has worked with clay for over 20 years. Her work is held in collections around Australia.Angela Nagel's creative practice is informed by an interest in the human condition, universal symbols, mythology and Jung's theory on the 'collective unconscious'. Her hybrid part human/animal creatures reference introduced species and indigenous Australian animals as a way for her to explore a personal mythology, and narrative, of home and environment. Recent work is developing around the relationship of ceramics to other materials such as glass, printmaking and found objects. Angela holds a Masters of Fine Art and has worked with clay for over 20 years. Her work is held in collections around Australia.Human and animal like figure in the stance reminiscent of classical sculpture. Hand built ceramics with engobes, oxides, glaze and gold leaf Medium: Porcelain, oxide, underglazeangela nagel, nillumbik shire council collection, victoria, nillumbik prize, ceramic

Sera Waters is an artist, arts writer and academic living on Kaurna land, South Australia. Since being awarded a Ruth Tuck Scholarship in 2006 to study hand embroidery at the Royal School of Needlework in the UK, Waters’ art practice has been characterised by a darkly stitched meticulousness. Her embroideries and hand-crafted sculptures dwell within the gaps of Australian histories to examine settler-colonial home-making patterns and practices, especially her own genealogical ghostscapes. More recently Waters has been exploring how textile traditions can help navigate a future affected by climate change. These two works by Sera Waters draw on myths, histories, and narratives of the Australian bush and interior, weaving together research into explorers, family stories, popular culture, and folklore. Teeth and wild mouths become portals into different times and experiences: our colonial past, fictional bush tales, and lived encounters with a harsh, unpredictable land. Hand-embroidered and embellished with time-intensive techniques once linked to domestic craft, the works embody both fragility and ferocity. Delicate yet unsettling, these works reflect on survival, risk, and endurance, transforming personal and collective histories into strange offerings that are humorous, dark, and deeply human.

Sera Waters is an artist, arts writer and academic living on Kaurna land, South Australia. Since being awarded a Ruth Tuck Scholarship in 2006 to study hand embroidery at the Royal School of Needlework in the UK, Waters’ art practice has been characterised by a darkly stitched meticulousness. Her embroideries and hand-crafted sculptures dwell within the gaps of Australian histories to examine settler-colonial home-making patterns and practices, especially her own genealogical ghostscapes. More recently Waters has been exploring how textile traditions can help navigate a future affected by climate change. These two works by Sera Waters draw on myths, histories, and narratives of the Australian bush and interior, weaving together research into explorers, family stories, popular culture, and folklore. Teeth and wild mouths become portals into different times and experiences: our colonial past, fictional bush tales, and lived encounters with a harsh, unpredictable land. Hand-embroidered and embellished with time-intensive techniques once linked to domestic craft, the works embody both fragility and ferocity. Delicate yet unsettling, these works reflect on survival, risk, and endurance, transforming personal and collective histories into strange offerings that are humorous, dark, and deeply human.

Julie Montgarrett is an Australian artist, curator, and educator whose practice spans textiles, drawing, and installation. Over four decades she has developed a distinctive approach that combines narrative, memory, and materiality, using cloth and paper as carriers of stories that are both personal and collective. Her main interests are in the areas of drawing and textile to extend the conceptual and spatial possibilities of textile as narrative questioning dominant Australian histories. Montgarrett is known for employing textile traditions, such as stitching, dyeing, and assemblage, alongside drawing and installation to create works that are intimate yet expansive in meaning. Ephemeral materials and time-intensive processes become metaphors for endurance, vulnerability, and care, allowing her to weave together past and present in poetic, visually striking forms. In addition to her studio practice, Montgarrett has contributed significantly to the Australian arts community through teaching, mentoring, and curating.

Julie Montgarrett is an Australian artist, curator, and educator whose practice spans textiles, drawing, and installation. Over four decades she has developed a distinctive approach that combines narrative, memory, and materiality, using cloth and paper as carriers of stories that are both personal and collective. Her main interests are in the areas of drawing and textile to extend the conceptual and spatial possibilities of textile as narrative questioning dominant Australian histories. Montgarrett is known for employing textile traditions, such as stitching, dyeing, and assemblage, alongside drawing and installation to create works that are intimate yet expansive in meaning. Ephemeral materials and time-intensive processes become metaphors for endurance, vulnerability, and care, allowing her to weave together past and present in poetic, visually striking forms. In addition to her studio practice, Montgarrett has contributed significantly to the Australian arts community through teaching, mentoring, and curating.

Julie Montgarrett is an Australian artist, curator, and educator whose practice spans textiles, drawing, and installation. Over four decades she has developed a distinctive approach that combines narrative, memory, and materiality, using cloth and paper as carriers of stories that are both personal and collective. Her main interests are in the areas of drawing and textile to extend the conceptual and spatial possibilities of textile as narrative questioning dominant Australian histories. Montgarrett is known for employing textile traditions, such as stitching, dyeing, and assemblage, alongside drawing and installation to create works that are intimate yet expansive in meaning. Ephemeral materials and time-intensive processes become metaphors for endurance, vulnerability, and care, allowing her to weave together past and present in poetic, visually striking forms. In addition to her studio practice, Montgarrett has contributed significantly to the Australian arts community through teaching, mentoring, and curating.

Julie Montgarrett is an Australian artist, curator, and educator whose practice spans textiles, drawing, and installation. Over four decades she has developed a distinctive approach that combines narrative, memory, and materiality, using cloth and paper as carriers of stories that are both personal and collective. Her main interests are in the areas of drawing and textile to extend the conceptual and spatial possibilities of textile as narrative questioning dominant Australian histories. Montgarrett is known for employing textile traditions, such as stitching, dyeing, and assemblage, alongside drawing and installation to create works that are intimate yet expansive in meaning. Ephemeral materials and time-intensive processes become metaphors for endurance, vulnerability, and care, allowing her to weave together past and present in poetic, visually striking forms. In addition to her studio practice, Montgarrett has contributed significantly to the Australian arts community through teaching, mentoring, and curating.

Julie Montgarrett is an Australian artist, curator, and educator whose practice spans textiles, drawing, and installation. Over four decades she has developed a distinctive approach that combines narrative, memory, and materiality, using cloth and paper as carriers of stories that are both personal and collective. Her main interests are in the areas of drawing and textile to extend the conceptual and spatial possibilities of textile as narrative questioning dominant Australian histories. Montgarrett is known for employing textile traditions, such as stitching, dyeing, and assemblage, alongside drawing and installation to create works that are intimate yet expansive in meaning. Ephemeral materials and time-intensive processes become metaphors for endurance, vulnerability, and care, allowing her to weave together past and present in poetic, visually striking forms. In addition to her studio practice, Montgarrett has contributed significantly to the Australian arts community through teaching, mentoring, and curating.

Julie Montgarrett is an Australian artist, curator, and educator whose practice spans textiles, drawing, and installation. Over four decades she has developed a distinctive approach that combines narrative, memory, and materiality, using cloth and paper as carriers of stories that are both personal and collective. Her main interests are in the areas of drawing and textile to extend the conceptual and spatial possibilities of textile as narrative questioning dominant Australian histories. Montgarrett is known for employing textile traditions, such as stitching, dyeing, and assemblage, alongside drawing and installation to create works that are intimate yet expansive in meaning. Ephemeral materials and time-intensive processes become metaphors for endurance, vulnerability, and care, allowing her to weave together past and present in poetic, visually striking forms. In addition to her studio practice, Montgarrett has contributed significantly to the Australian arts community through teaching, mentoring, and curating.

Julie Montgarrett is an Australian artist, curator, and educator whose practice spans textiles, drawing, and installation. Over four decades she has developed a distinctive approach that combines narrative, memory, and materiality, using cloth and paper as carriers of stories that are both personal and collective. Her main interests are in the areas of drawing and textile to extend the conceptual and spatial possibilities of textile as narrative questioning dominant Australian histories. Montgarrett is known for employing textile traditions, such as stitching, dyeing, and assemblage, alongside drawing and installation to create works that are intimate yet expansive in meaning. Ephemeral materials and time-intensive processes become metaphors for endurance, vulnerability, and care, allowing her to weave together past and present in poetic, visually striking forms. In addition to her studio practice, Montgarrett has contributed significantly to the Australian arts community through teaching, mentoring, and curating.

Julie Montgarrett is an Australian artist, curator, and educator whose practice spans textiles, drawing, and installation. Over four decades she has developed a distinctive approach that combines narrative, memory, and materiality, using cloth and paper as carriers of stories that are both personal and collective. Her main interests are in the areas of drawing and textile to extend the conceptual and spatial possibilities of textile as narrative questioning dominant Australian histories. Montgarrett is known for employing textile traditions, such as stitching, dyeing, and assemblage, alongside drawing and installation to create works that are intimate yet expansive in meaning. Ephemeral materials and time-intensive processes become metaphors for endurance, vulnerability, and care, allowing her to weave together past and present in poetic, visually striking forms. In addition to her studio practice, Montgarrett has contributed significantly to the Australian arts community through teaching, mentoring, and curating.

ill. p. 174.non-fictionA personal narrative of the exploits of Martin Cash in the bush of Tasmania and on Norfolk Island.bushrangers - australia, bushranger - personal narratives

Booknon-fictionPrisoners and Prisons - Japanese - Prisoners of war - Personal Narratives

The cross design in refinding tomorrow represents a converging of pathways – pathways of connection that are coming together to ultimately form a whole. The crossroads is a powerful symbol of a moment in time, a positive reminder of the past and a chance to ponder the future. There is movement through time in these designs and a chance that something lost will be found again. I trust that I will always carry with me in my heart, body and spirit, the wisdom of knowledge from my ancestors.Lisa Waup is a mixed-cultural First Nations artist and curator who was born in Narrm (Melbourne). Her multidisciplinary practice encompasses a diverse range of media including weaving, printmaking, sculpture, fashion, and digital art. With a deep connection to the symbolic power of materials, Lisa’s work reflects her personal experiences, family history, Country, and broader historical narratives. Through her practice, Lisa weaves together threads of lost history, ancestral relationships, motherhood, and the passage of time – which culminates in contemporary expressions that speak to her past, present and future. Lisa Waup holds a Master of Contemporary Art from the University of Melbourne and her work is held in both public and private collections in Australia and internationally. australian first nations art, indigenous art, identity, cultural story, women in art

The cross design in refinding tomorrow represents a converging of pathways – pathways of connection that are coming together to ultimately form a whole. The crossroads is a powerful symbol of a moment in time, a positive reminder of the past and a chance to ponder the future. There is movement through time in these designs and a chance that something lost will be found again. I trust that I will always carry with me in my heart, body and spirit, the wisdom of knowledge from my ancestors.Lisa Waup is a mixed-cultural First Nations artist and curator who was born in Narrm (Melbourne). Her multidisciplinary practice encompasses a diverse range of media including weaving, printmaking, sculpture, fashion, and digital art. With a deep connection to the symbolic power of materials, Lisa’s work reflects her personal experiences, family history, Country, and broader historical narratives. Through her practice, Lisa weaves together threads of lost history, ancestral relationships, motherhood, and the passage of time – which culminates in contemporary expressions that speak to her past, present and future. Lisa Waup holds a Master of Contemporary Art from the University of Melbourne and her work is held in both public and private collections in Australia and internationally. australian first nations art, indigenous art, identity, cultural story, women in art

Index, ill, maps, p.328.non-fictionAn account of the Gallipoli campaignworld war 1914-1918 -campaigns - gallipoli, world war 1914-1918 - personal recollections

Ill, p.100.non-fictionAn account of the escape from Crete of Australian soldiersprisoners of war - crete, world war 1939-1945 - personal narratives - australia