Thousands of volunteers work tirelessly to conserve and protect the environment of Geelong and the Bellarine. Their work often goes unnoticed. In 'The Work of Nature' the National Wool Museum and the Environment Department at the City of Greater Geelong worked with photographer Nicole Marie to showcase the significant contribution of environment volunteers in our region. Each of the eight people showcased in these portraits were nominated by their peers and members of the community for their significant contribution to conserving and protecting the environment. Julie Riley and Jennie Turner - Friends of the Hooded Plover Breamlea The hooded plover is one of Australia’s most threatened birds. Although they spend their whole life on the beach, they have one of the lowest breeding success rates of all birds. Although severely threatened, in the last decade their numbers have slowly stabilised as volunteer groups and conservationists have stepped in to protect their breeding grounds. Julie and Jennie run the hooded plover volunteer program in Breamlea. To those who work with them they are, “a powerhouse of strength, resilience and determination to help these birds survive”. They put in hundreds of hours of works over a season for it to often eventuate to nothing. If a person crushes a nest or a chick is lost the day before it’s due to fledge, all their efforts are gone. But after each failure they continue to show up and slowly things are changing. Photo at Breamlea by Nicole Marie.Image showing an environmental portrait of a two women standing with sand dunes in the background.environment, conservation, portraits, geelong, nature, exhibition, work of nature, geelong nature forum, volunteers

Thousands of volunteers work tirelessly to conserve and protect the environment of Geelong and the Bellarine. Their work often goes unnoticed. In 'The Work of Nature' the National Wool Museum and the Environment Department at the City of Greater Geelong worked with photographer Nicole Marie to showcase the significant contribution of environment volunteers in our region. Each of the eight people showcased in these portraits were nominated by their peers and members of the community for their significant contribution to conserving and protecting the environment. Dr John Newman - Geelong Field Naturalists Club Over almost twenty years John Newman has organised large groups of volunteers to conduct surveys across Geelong and the Bellarine for shorebirds and waterbirds. Understanding and collecting important environmental data helps in the effort to preserve important sites, much of this data is collected by volunteers. The information collected in Geelong and the Bellarine also forms part of national and international datasets that helps in understanding global patterns of migratory birds, such as sharp-tailed sandpiper, red-necked stint and the critically endangered curlew sandpiper. The data collected at the Moolap Saltworks (since 1981) and co-ordinated by John since 2003 highlighted the importance of this site for these three species and played a crucial role in protecting the area as a conservation site. Photo at Taits Point, Lake Connewarre Wildlife Reserve by Nicole Marie.Image showing an environmental portrait of a man holding binoculars with a water landscape in the background.environment, conservation, portraits, geelong, nature, exhibition, work of nature, geelong nature forum, volunteers, lake connewarre

This book was compiled to mark a three day journey along the Snowy River in 2002. It was part of the International Year of the Mountain. Graeme Enders is Manager South West regional operations at N.S.W. Office of Environment & Heritage.A spiral bound book with a plastic cover. It is titled Spirit of the Snowy and is a collection of short stories written to mark a Snowy River journey from 1st to 3rd November in 2002. The book was edited by Graeme Enders of the Snowy River Recovery Project and published by the New South Wales Premier's Dept. It contains poetry, stories and recollections.2002 International Year of Mountainssnowy-river

This book recounts the story of the campaign by Dalgety and Orbost to restore water to the Snowy River. Claire Miller is a senior journalist for The Age newspaper with a special interest in the environment. She has covered this campaign since 1999.This book recounts the story of the campaign by Dalgety and Orbost to restore water to the Snowy River. It is significant to this collection as many of the current residents of Orbost were involved in the campaign.A 270pp paperback book titled Snowy River Story written by Claire Miller. On the front cover is a coloured photograph of the Snowy River at Bete Bolong. It documents the story of the campaign to save the Snowy River.snowy-river snowy-mountains-hydro-electric-scheme environmental

This archaeological survey of th Plenty Valley was conducted by Isabel Ellender in 1989 for the Ministry of Planning and Environment. The area studied is north of Greensborough to Whittlesea. A number of Aboriginal sites were identified and recommendations made for the future.103 p., illus., maps. Plastic spiral binding.plenty river, aboriginal heritage sites

Green plastic binder with a metal clip containing five plastic sheet folders, with notes for "Public Transport Challenge - Final - Friday 2 June 2006", commencing at the Town Hall. Produced by Environment Victoria and Metlink. Contains instructions, how the challenge works, rules, tips, safety, how to use the Metcard and First Aid. Has a map with checkpoint information and questions to be answered while participating.trams, tramways, metlink, public transport, events, competition

Ektachrome slide image. A compilation of Photograph of nurses (5), 6 nursing staff, pictured in various poses/occupations. Photographed by War Correspondent 1966-1970 Denis Gibbons & Rudi Everts.These nurses were compassionate in their attitudes towards solders after Vietnam, clearly able to see and understand the long-term effects of the horrors of war, compounded by the hostile and unsympathetic environment into which soldiers returned. (Estract from: "Stress wasn't a word" Australian nurses' recollections of ware related trauma.)1st australian field hospital, nurses - vietnam

The Leigh Garwood Mobility Training Centre in Kensington provides a safe and realistic environment for clients to train with their new Seeing Eye dogs. This sign was added to Welcome visitors to the centre and acknowledge sponsors involved with it's construction.seeing eye dogs australia, leigh garwood mobility training centre, signage

Windcheater which the midwives in old E1 had made and were sold to staff to fund raise. Some proceeds were to assist midwives attend state conferences. Other fundraising activities were also undertaken at that time to modify the stark hospital environment of E1 to a more homely environment. Graphic artist and seamstress, Geraldine Roberts of Wendouree, made the windcheaters as well as screen printed the logo which the staff designed. Geraldine also did the graphics for an educational booklet the staff produced for expectant parents. These activities were initiated by the enthusiastic staff of E1 during the early to mid 1980s."Midwifery Team, BBH, We Deliver"midwifery, 1980s, windcheater, logo, courier, new, director of nursing, broad, 1995

The Banyule Banner is published by Banyule City Council to advertise upcoming events in the City of Banyule and to report on past events. This edition contains reports on 2024 kinder options, graffiti management, Twilight Sounds 2023 and state of the environment.A record of events within the City of Banyule.24 pages, colour illustrations. banyule banner, banyule council

This electric kettle/Jug is shaped in the style of the Art Deco period 1930's to 1950's (in Australia). It was at the beginning of the wave of creative kitchen ware to stimulate and impress visitors and uplift what used to be a boring kitchen environment.This "art deco" electric kettle is very significant to the Kiewa Valley because it highlight that rural families and areas where in step (fashion wise) to their city "cousins". In the mid 1900's "the fashion" in Australia was (on the whole) always some years behind that of England and Europe. The years after World war II reduced the time lag between the "advanced fashion" of Europe and England and came in step with the emerging modern American fashion. American "film stars" started have their fashion projected onto the silver screens.This electric Fowler ware is a ceramic hot water jug. Its shape is in the "Art Deco" style of the early 1920's.On base "240V - 1650W" below this "AC ONLY" below this "MODEL No. EEJ" "APP. No. N550" below this "JUG BODY BY" under this and in script style "FOWLER WARE" below this "1583"kitchen appliances, tea/coffee preparation, light refreshments, hospitality offerings, art deco styles in appliances

RDNS Sister Marilyn Smith is visiting the little girl in her own home to apply sterilized dressings, as ordered by a Doctor, to the wounds on her body. Visiting the child at home provides her with a familiar environment to undergo the procedure. The Trained nurses (Nurses) of the Melbourne District Nursing Society (MDNS), from its inception in 1885, provided wound care to their patients who ranged in age from the very young to the elderly. The patients required their wounds to be dressed following various types of surgery, accidents, burns, cancer, leg ulcers etc. As research developed better products and dressing materials, the methods and medication applied to wounds changed. MDNS received Royal patronage in 1966 and as Royal District Nursing Service (RDNS), the Education department developed wound care programs, such as the Leg Ulcer Management Program to provide their Trained nurses (Sisters) with methods of best quality care. They ran a program for Wound Care Specialists who made assessments and provided advice and support to the District Sisters working in the field as needed. The Sisters liaised with the patient’s Doctors and Hospitals to provide information on the progress of patient’s wounds and to receive any change of wound care from the Doctors. On the left of this black and white photograph is Royal District Nursing Service (RDNS), Sister Marilyn Smith, who has short dark hair and is wearing a white gown over her RDNS uniform kneeling on the floor as she dresses the wound of a young girl. Sister Smith is kneeling on a white covering which is placed over the patterned carpet in the lounge room. Only the back of her head can be seen; her left arm is extended and bent over the head of a seated small girl; she has a forcep in her hand. The young girl, who has shoulder length dark hair, is seated on the white covering and has her right hand on Sister Smith's right arm. She is watching as Sister Smith is removing a dressing from a wound on her left side. The child's left arm and hand are held above the dressing. A wound can also be seen on the girls left thigh. In the left rear, part of a patterned couch can be seen and part of a white curtain to its right. Behind the little girl, part of a brick fireplace and gas fire can be seen.Photographer stamp. Quote No. DO 58 mdns, melbourne district nursing society, royal district nursing service, rdns, rdns patient care - wound dressing, sister marilyn smith

The harsh summer temperatures and the isolated rural environment(of the 1890's) provided the inventor of the "Coolgardie safe" (Arthur Patrick McCormick) with an idea to cool perishable foods by using water soaked "hessian" cloth to provide the "coolant" for the evaporation process to cool the inside temperature of the "safe". Items such as meat,cream/milk/butter and cool "drinks" are a few perishables that need cool environments , especially in isolated "ice free" locations. Cities during this time period had large "ice works" which delivered block ice to all areas that required a form of refrigeration. These ice blocks where held in early refrigerators to keep perishables cool to cold. This "Coolardie" safe was the next best thing for isolated rural households and travellers/campers/stockmen to provide a cooler environment for foodstuff affected by heat. Ice filled "esky" coolers and ice boxes are a modern day off shoot to the original Coogardie safe however they still rely on ice or frozen coolant bricks for cooling.This "Coogardie" safe is very significant to the Kiewa Valley and the Bogong High Plains because it represents not only the initiative thinking of the early settlers and communities but also the "primitive" solution to an everyday (1800s to 1930s) problem (before gas and electric run refrigerators) of keeping "perishables" at a low temperature and thereby prolonging their "shelf" life. This was before electricity and gas was available to the inhabitants of the Kiewa Valley and Bogong High Plains. Another cooling method for food was to have "water tight" containers dipped into the very cold streams running from the "cooler" alpine mountains and the Bogong High Plains. This however could not be carried out in all situations eg. fast flowing currents and locations away from streams. This "Coolgardie safe" is made from a medium grade steel enclosure and its appearance is of a perforated box with a wire handle and one side (long side) being a hinged "door" with a clasp securing "lock". There are air holes grouped into a small "boxed" pattern. Each "box" is divided by a crossed pattern, dividing the "holed" sections(4) into a diamond configuration of 49 small holes each. There are four sides (long) which have the perforations except for the base which does not. The base has an indentation with a loose "catch" tray to catch water spills. When in use the "box" is covered with a water "soaked" cloth. The wet cloth is used as "coolant" ie. fibers in the cloth hold the water droplets seep out evaporating the area and thereby (in mass) cooling the air inside the container.domestic refrigeration cabinets, coolgardie "safe", insect and vermin proof food containers, electric and gas free cold storage containers

This book was one of the many left on seating as a gift for guests at an Alcoa sponsored project at the Portland Botanical Gardens, 6/2/2004.Identifying numbers: 501.1 - 501.6 501.1: Silver balloon with black text printed on side. 501.2: Calico bag with blue text and logo printed on both sides. 501.3: Colour pamphlet on Alcoa Frog Watch. 501.4: Alcoa pamphlet: "Diversity - Valuing the Differences. 501.5: Booklet: "Portland Aluminium Environment Improvement Plan 2002 - 2003". 501.6: Booklet: "Points and Angles", Jan-Feb 2004.Front: - Back: -portland aluminium smelter

This item of military uniform was worn by Squadron Leader (SQNLDR) Bernard Farley during his period of Full Time service in the Royal Australian Air Force (RAAF) between 27 January 1976 and 02 March 1997. Bernard joined the RAAF as an Airmen was trained and employed as a Clerk Supply (CLKSPL) between 1996 - 1977. He undertook officer cadet training at the Army Officer Cadet School in 1978 and was commissioned into the Ground Defence Category on the 09 December 1978, where he served for 18 years and rose to the rank of SQNLDR. Royal Australian Air Force (RAAF) 1A Service Dress Uniform - Tie (Blue blue). This uniform tie was worn in the period 1966 - 2001 as the primary uniform. Service Dress was approved for wear as either ceremonial dress or working dress when employed in office or business type environments. The tie was dark blue of medium width and has a tetron lining inside the wide end and no lining at the narrow end. Maker: unknown

This item of military uniform was worn by Squadron Leader (SQNLDR) Bernard Farley during his period of Full Time service in the Royal Australian Air Force (RAAF) between 27 January 1976 and 02 March 1997. Bernard joined the RAAF as an Airmen was trained and employed as a Clerk Supply (CLKSPL) between 1996 - 1977. He undertook officer cadet training at the Army Officer Cadet School in 1978 and was commissioned into the Ground Defence Category on the 09 December 1978, where he served for 18 years and rose to the rank of SQNLDR. Royal Australian Air Force (RAAF) Service Dress Uniform - Shirt (Blue blue). This uniform tie was worn in the period 1966 - 2001 as the primary uniform. Service Dress was approved for wear as either ceremonial dress or working dress when employed in office or business type environments. The tie was dark blue of medium width and has a tetron lining inside the wide end and no lining at the narrow end. Maker: Australian Defence Industies

Land Use Strategy Plan for the Bendigo Sub-Region, 1990 - 2020. Bendigo 2020 Strategy. Prepared by three consulting firms for the Loddon-Campaspe Regional Planning Authority Inside front cover are: 1 Cover sheet, 3 stapled reports covering Bendigo 2020 land use strategy plan, Issues Report, Environment, also a 5 page booklet planning for the future with information and maps.Loddon-Campaspe Regional Planning Authoritybendigo, planning, 2020 strategy.

Report - 32 A4 pages centre stapled colour printed on gloss paper, titled "Melbourne's Docklands - A Strategic Planning Framework", dated August 1989. Has a foreword by Tom Roper Minster for Planning and Environment. The report with a table of contents looks at the development of the Victoria Docklands area to the west of the railway yards. Has a good colour photograph of the area. Includes public transportation links using trams.trams, tramways, docklands, planning, melbourne, new track, public transport

38cm x 25cm 1. Volume 1 Number 2, 16 pages 2. Volume 2 number 2, 18 pages 3. November 1981 - 12 pages1. Volume 1 Number 2 A.U.S - who is going to pay,- compulsive unionism 2. Volume 2 number 2 - the unemployment tragedy, environment Acts under threat, AUS Travel sold 3. November 1981 - Ballarat takes a stand, education cuts, the budget, A.U.S. explained

Three catalogues for the Dick Ovenden Memorial Art Competition 18th June 1974, 14th June 1977 and 4th June 1984. All held at Eastland Shopping Centre. Presented by Eastern Suburbs Lions Clubs. Proceeds to charity. The 1974 catalogue states, "We are grateful to the late Dick Ovenden for his inspiration to hold an annual Art Competition with emphasis on the local environment. Entries this year have exceeded our expectations to an extent that late entries could not be accepted. The late Dick Ovenden suggested a competition for the best painting of Local Environment. We have donated $200 as the prize and the picture becomes the property of the Zone, and several Honourable Mentions to be selected by Sir William Dargie. The Artists select their Competition entries. Zone Lions clubs of Bennettswood, Box Hill, Forest Hill, Nunawading, Ringwood and Vermont are appreciative of support from the artists and thank the public for its continued interest."

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment