A book with a dust cover covered in plastic. On the cover is the title and coloured drawings of a butterfly, penguin, seahorses, magpie and dog. Kangaroos on the back cover. Written by J.A. Leach D.ScOn the fly leaf in pen - Sandra Holmes in pencil - 5.60 (cost)australian-nature-studies leach-dr-john-albert science ornithology

This magazine was part of the Bogong School's library and represents an important aspect of the school's curriculum.Bogong School was noted for having a great interest in nature and conservation. 48 page soft covered magazine. Cover with limited colour including orange, black, white and brown with green. Inside pages in black, brown and grey pictures with black print on off white pages. Page 41 is in cartoon form. 'Registered at G.P.O. Melbourne for transmission by post as a periodical'. written in black in tiny print across the top. 1st line: 'Wild Life' in orange with white outline. 2nd line: 'Australian Nature Magazine' in white underneath title. All across top. 3rd written line: 'January, 1949 Through Wildflower Land 1/-' underneath picture of Kangaroo Paw. in black Underneath this writing follows: 4th line: 'Vol.11 No. 1 The Truth About Borers : : Beautiful Bird Pictures' in black Underneath 1/- is 'Monthly' Background behind black writing is orange same as title.bogong primary school. bogong. wild life. nature.

Hardcover W/ Dust Jacketaustralian nature, natural history, australia, indigenous knowledge, environment, walsh st library

Hardcover W/ Dust Jacketaustralian nature, walsh st library

Hardcover W/ Dust Jacketaustralian nature, walsh st library

Softcoveraustralian nature, walsh st library

Hardcover w/ Dust Jacketbirds, australia, australian nature, walsh st library

Jessica PRICE (1996- ) Born Busselton, Western Australia In 2017 Jessica Price completed a Bachelor of Arts (Fine Arts) Printmaking at the Federation University Arts Academy. A general theme in her work is nature to reveal the beauty of God in nature. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Four limited edition screenprints with fineliner printed on Somerset Satin White paper. Artist's Statement: I am a practising printmaking artist and enjoy experimenting with various forms of print including chine colle, screenprinting and monoprint. I also enjoy drawing and painting, and hope to expand my practise to incorporate all these methods to create a unique style of artwork for myself. I am constantly in awe of the delicacy and grandeur of creation. I find that bringing this concept and theme thorughout my work using a botanical like approach not only expresses a part of who I am, but connects me with the creator of the universe. My hope is that by making these works I can create a similar experience for my viewers, as well as celebrate the master craftsmanship of the creator. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.1/1jessica price, screenprint, printmaking, flora, alumni, bee, australian nature

On the front of the dust cover is an illustration of an old man sitting on a bench outside an aviary smoking a pipe and there is a bird sitting on his shoulder. He is talking to two children. On the back of the dust cover is the blurbs of two other novels written by C. K. Thompson.fictionA book that is part of a series of Australian Nature Stories by C.K. Thompson.australia, nature, birds, c.k. thompson, fiction, old bob

YOUNG, John Alexander V82835 LieutenantAustralian Service Medal The medal features an effigy of King George VI on the obverse. The reverse has the Australian coat of arms, placed centrally, surrounded by the words "THE AUSTRALIAN SERVIE MEDAL 1939-1945". Ribbon The ribbon has a wide khaki central stripe, flanked by two narrow red stripes and edge stripes, one of dark blue and one of light blue. The khaki represents the Australian nature of the award and the red, dark blue and light blue represent the Army, Navy and Air ForceJ.A. Young V82835

The Australian Women's Weekly from July 19, 1961. On the cover a picture of the P&O liner Canberra berthing at the new terminal at Circular Quay after her maiden voyage from Southampton. Content: Woollen handbag to make - The Jacky Kennedy story - Tropical fish - Home dressmaking - You have a right to be unhappy - At home - Cookery - Cookery course - Bedjacket to knit - Collectors corner - Prize recipes - Home plans - Gardening - Television - Films - Learning about husbands - That fickle feeling - Edge of the sea - The case of the duplicate daughters - Dress sense - Fashion frocks - Fashion patterns - it seems to me - Worth reporting - Your bookshelf - Letter box - Australian nature - Crosswords - Stars.books, magazines, women's magazine

The Australian women's Weekly from July 5, 1961. Price 1 shilling. On the cover Henrietta Tiarks on a wedding dress. Contents: The little nothing dress - Princess Grace of Ireland - New look in hair - it was lovely, we dance twice - The case of the duplicate daughter - miss Friday's day - The way back - It seems to me - Australian nature - Worth reporting - Letter box - Your bookshelf - Stars - Jackys' diary - Dress sense - Fashion frocks - television parade - mills family - old Vic revisits Australia - The men in Audrey Hepburn's life - Woman doctor says: - At home - Home plans, prize recipes - Cookery, cooked on a skewer - Cookery course - Gardening. The magazine has 63 pages.books, magazines, women's magazine

The Australian women's weekly from July 12, 1961. Price 1 shilling, the magazine has 64 pages. On the cover a picture of Jackie Kennedy and the words: How Jackie Kennedy got to the White House, pages 24-28. Contents: Jacqueline Kennedy story - 2,000 pounds canned fruit recipe contest - the end of the beginning - Little boy lonely - The case of the duplicate daughter - The fifth candle - It seems to me - Australia nature - Worth reporting - Social - Letter box - Your bookshelf - Crosswords - Stars - Dress sense - Fashion frocks - Film - Television parade - TV colour - Cookery course - Cookery - At home - Home and family - Home plans, prize recipes - House that has everything - Gardening.books, magazines, women's magazine

Nature In Australia Author: Keith C McKeown, Assistant Curator of Insects, The Australian Museum, Sydney Publisher: Angus & Robertson Date: 1949 Label on spine with typed text R.A.574.994 McKE warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, warrnambool children’s library, nature in australia

Part 1 National Statement for Languages Education in Australian Schools - purpose and nature of languages education, Part 2, National Plan for Languages Education in Australian Schools 2005-2008.languages in education, curriculum development, language education frameworks, language policy

The (logging) truck carries a representation of John Glover’s painted landscapes, which Cox has painted on a solid block of wood. John Glover is one of Australia’s most celebrated colonial landscape painters. Born in England, he was a highly successful water-colourist and painter of landscapes in the tradition of French artist Claude Lorrain. Arriving in Australia in 1831, Glover adapted his picturesque style and luminous technique to his new surrounds, creating naturalistic and atmospheric paintings of Australian nature, settler life, and Aboriginal culture. Working out of doors, Glover developed an understanding of the unfamiliar Australian landscape, especially the twisting forms of native eucalyptus trees. His direct experience of nature, as both pioneer settler and painter, resulted in a new approach using a subtle palette of olive greens, ochres, misty greys and intense blues, and layered glazes of mauve, grey and gold, to portray Australian light and atmosphere. Dale Cox continues the ongoing preoccupation and tradition of landscape painting in the Nillumbik area and our impact on the environment in a contemporary way. The truck creates a playful nexus between painting (representational landscape) and sculpture, purposely bluring boundaries across these traditionally distinct disciplines. ‘Ghost’ seeks to convey the idea that when we remove something significant from a location, like the landscape itself, the remaining ‘place’ changes to become a new ‘place’. This may seem self-evident until we think more deeply about location and landscape. The white truck is a ghost, an ethereal, transient being that spirits away an entire place, forever removed from itself, and forever changed. Logging wild trees can never be like harvesting a ‘crop’. Logging removes a landscape, and changes a place forever. The ‘packaging’ of this painted landscape highlights the anomaly between commodity and our environment. Dale Cox was a local artist and this work was highly commended at the 2012 Nillumbik Prize. White plastic toy (logging) truck with a landscape painting on a wooden block. The landscape painting is reminiscent of paintings by colonial artist John Glover. N/Alandscape, truck, sculpture, environment, john glover, colonial, painting, ghost, nillumbik prize

Barry Farnsworth in his room at Elanora. A large sign attached to his bed reads 'BARRY'. Around him, three people are gathered, one is holding the book 'Australian Visions: nature, heritage, creation, life' by A.G. Simmons, illustrated by James Egan. James Egan looks to be holding the book and possibly reading poetry to Barry Farnsworth. Another man sits on the bed and a woman stands next to James Egan in the other photograph.2 b/w photographs of man in bed and three visitorsassociation for the blind, elanora home (brighton), barry farnsworth, james egan

According to the Australian War Memorial, "The Red Cross maintained a policy of ensuring that comfort and entertainment for the wounded in hospital was onging and stated in its Gazette of December 1917 'Wherever they are, our boys will have a reminder on Christmas Day that the thoughts and sympathy of their people in far-off Australia are with them.' The boxes were usually packed in Australia and contained 'a pipe, tobacco, cigarettes, chocolate, playing cards, match-box, handkerchief and an attractive card, Australian in nature, conveying greetings from the Society.' (Gazette no 7, January 1918)." This particular example dates to 1921, after the war had ended. It is apparent that the efforts of the Red Cross extended beyond wartime years, possibly to those still stationed overseas or returned servicemen and women.This box is an example of charitable gift boxes which were delivered to Australian troops during the war by the Australian Red Cross Society.Wood imitation printed card box in two parts, rectangular in shape fashioned from two pieces of card folded and stapled on shorter sides. Larger box (lid) fits on top of smaller box (base). Top of box has adhesive label with printed inscriptions, gold on light coloured label."GREETINGS/from/The/Australian/Red Cross/Society" a map of Australia with the states identified and capital cities "Perth", "Darwin", "Brisbane", "Sydney", "Melbourne", "Hobart", "Adelaide". To right of the map "Xmas/1921"christmas, holiday, gift giving, red cross, red cross society, returned servicemen, veterans, post war, world war i, first world war, the great war

Three copies of the Australian Tradition, two copies of June 1996 and one copy of March 1997. Contains club news, an article on the Thirtieth National Folk Festival, regular Functions at Other Venues, Membership Forms and Contacts. March issue has a postscript on the Nariel Creek Folk Festival 1996/7Festival Guide, the Multicultural Nature of Australian Traditional Social Dance, Festival Guide, Regular Functions at Other Venues, Application Form, Newsletter Contributors and Contacts.clubs, music, victorian folk music club, peter ellis collection, australian tradition, victorian folk music club incorporated, harry gardner, betty davis, rick garrick, wongawilli colonial dance club, jo cresswell, wliza carthy, nancy kerr, ted egan, martin pearson, james fagan, alistair hulett, dave swarbrick, danny spooner, bernard bolan, simon nicol, ric sanders, roy bailey, nina simone, kristina olsen, phil wilson, elma gardner, bill buttler, maree buttler, jane bullock, melbourne folk club, bush dance and music club bendigo, the peninsula folk club, comhaltas ceoltoiri eirann, danswyr cumreig melbourne, melbourne scottish fiddle club, aussie music workshop and session, scottish box and fiddle group, fiddlers' workshop, colonial dancers, geelong folk music club, tsdav, modern american square dance workshops, shirley andrews

The University's mace was carried in procession for the first time during the Graduation ceremonies in May 1996. The mace was presented to the University by former Chief Commissioner of the Ballarat City Council, Vern Robson, at a ceremony on 02 February, following a national competition for its design, sponsored by the Council. (The Flag, Issue 2, July 1996) Nineteen artists responded to the competition which called for a design that would embody a distinctive Australian image reflecting the heritage of the city and in relationship with gold, an Aboriginal element and the history of the University. The winning entry, dominated by a poppet head, was submitted by Central Victorian artist/sculptor Trefor Prest, a sessional lecturer in sculpture at the University.(The Flag, Issue 2, July 1996) The Herald Sun of 03 February 1996 reported 'the new mace shows importance elements of Ballarat's heritage as well as the university's focus on the future. The artist emphasises the egalitarian nature of Australia as embodied in Ballarat's famous slice of history - the Eureka uprising. ... The mace has a poppet head at the top of the shaft - an unusual element for a mace - but it represents Ballarat's mining history and the University's evolution from the Ballarat School of Mines. An opening egg at the top stands for the nurturing of development and learning. The mace's straight shaft is depicted as the tree of knowledge and, incorporating a bark canoe scar, Ballarat's Aboriginal heritage. At the end of the shaft is a surveying device, which represents precision and accuracy ads embodied in the university's academic pursuits.' Bob Morrell of the University organised the national competition to design the mace and said 'It is in keeping with the university's logo, 'proudly flying the flag', which incorporates the Southern Cross.' Trefor Prest lectured in Sculpture at the University of Ballarat from 1995-1996.Black and white photograph showing three men holding the new University of Ballarat (now Federation University) mace. From left to right they are Vern Robson (Chief Executive Officer City of Ballarat), Trefor Prest (Sculptor) and Professor David James (Vice Chancellor).university of ballarat, mace, trefor prest, vern robson

The University's mace was carried in procession for the first time during the Graduation ceremonies in May 1996. The mace was presented to the University by former Chief Commissioner of the Ballarat City Council, Vern Robson, at a ceremony on 02 February, following a national competition for its design, sponsored by the Council. (The Flag, Issue 2, July 1996) Nineteen artists responded to the competition which called for a design that would embody a distinctive Australian image reflecting the heritage of the city and in relationship with gold, an Aboriginal element and the history of the University. The winning entry, dominated by a poppet head, was submitted by Central Victorian artist/sculptor Trefor Prest, a sessional lecturer in sculpture at the University.(The Flag, Issue 2, July 1996) The Herald Sun of 03 February 1996 reported 'the new mace shows importance elements of Ballarat's heritage as well as the university's focus on the future. The artist emphasises the egalitarian nature of Australia as embodied in Ballarat's famous slice of history - the Eureka uprising. ... The mace has a poppet head at the top of the shaft - an unusual element for a mace - but it represents Ballarat's mining history and the University's evolution from the Ballarat School of Mines. An opening egg at the top stands for the nurturing of development and learning. The mace's straight shaft is depicted as the tree of knowledge and, incorporating a bark canoe scar, Ballarat's Aboriginal heritage. At the end of the shaft is a surveying device, which represents precision and accuracy ads embodied in the university's academic pursuits.' Bob Morrell of the University organised the national competition to design the mace and said 'It is in keeping with the university's logo, 'proudly flying the flag', which incorporates the Southern Cross.' This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007. Trefor Prest lectured in Sculpture at the University of Ballarat from 1995-1996.The mace symbolises the office of the Chancellor. The design of the mace is the outcome of a national competition and represents the cultural diversity of Australia. The poppet head on the top of the mace refers to gold mining, which underpinned the development of Ballarat. The protruding spikes recall the Eureka Stockade. The 'egg' shape enfolds and nurtures the development of knowledge and learning. The shaft with the three 'branches' represents the Tree of Knowledge, and includes a bark canoe scar which recognises the integration of black and white Australian traditions. The lower part of the shaft culminates in a device suggestive of scientific or surveying and measuring technology. This represents precision and accuracy embodied in the academic pursuits of Federation University Australia.art, artwork, trefor prest, prest, mace, federation university, university, eureka stockade, aborigines, scarred tree, mining, university mace, ballarat

Noisy Miners are native to Australia and can be found on the East Coast. Noisy Miners live in northern Queensland and all along the eastern coast to South Australia and Tasmania. Noisy Miners are found in woodlands and open forests. They have also become well adapted to suburban situations and are a common sight in parks and gardens. The Noisy Miner feeds on nectar, fruits and insects. Very occasionally they will eat small reptiles and amphibians. Food is either taken from trees or on the ground. In keeping with its highly social nature, the Noisy Miner usually feeds in large groups. The Noisy miner specimen is mounted accurately. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Noisy Miner is identified by its mostly grey body and black crown and cheeks. The bill is yellow, as are the legs and the naked skin behind the eye. The name is well suited as the common calls are uttered repeatedly by the members of the colony .Despite their moderate size, Noisy Miners aggressively attack larger birds such as hawks and kookaburras. These attacks may be so vigorous that most other birds are excluded from an area occupied by Noisy Miners.Swing tag: 65a. Garrulous Honey-Eater / See Catalogue, page 19 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, noisy miner, garrulous honeyeater, yellow beak, honeyeater, east coast

This particular geological specimen was found in Mount Franklin or Lalgambook in Djadjawurrung, located between Daylesford and Newstead, approximately ninety minutes drive from Melbourne. The mountain is an example of a breached scoria cone (a steep conical hill of loose pyroclastic fragments) which was created by a volcanic eruption about 470,000 years ago, a date which may indicate the age of this geological specimen. The volcanic eruptions of Mount Franklin were most likely witnessed by members of the Dja Dja Wurrung Aboriginal tribe, who referred to this country as the 'smoking grounds'. Mount Franklin and the surrounding area appears to have been a place of considerable religious significance to Aboriginal people, there is evidence which indicates that frequent large ceremonial gatherings took place in the area. Basalt is the most common rock on Earth’s surface, more than 90% of all volcanic rock on Earth is basalt. Basalt is an aphanitic extrusive igneous rock formed from the rapid cooling of low-viscosity lava exposed at or very near the surface of a rocky planet or moon. Specimens are black in colour and weather to dark green or brown. Basalt is rich in iron and magnesium and is mainly composed of olivine, pyroxene, and plagioclase. Olivine is the name of a group of rock-forming silicate minerals with compositions ranging between Mg2SiO4 and Fe2SiO4. Unlike other minerals, Olivine has a very high crystallisation temperature which makes it the first of the minerals to crystallise from magma. As magma cools, the crystals begin to form and settle on the bottom of the lava and form basalts that are abnormally enriched in olivine in the lower part of lava flows. According to H. M. King (on geology.com) "Olivine is thought to be an important mineral in Earth's mantle. Its presence as a mantle mineral has been inferred by a change in the behaviour of seismic waves as they cross the boundary between Earth's crust and mantle". Lava from Mount Franklin and other volcanoes in the area filled valleys and buried the gold bearing streams that became the renowned ‘deep leads’ of the gold mining era. In 1852, as part of the Victorian gold rush, gold was discovered in the immediate area, this gold was created by lava flows during the Newer Volcanic period, which were mined intensively during the nineteenth century. Around 1865 the presence of a deep lead in Mount Franklin was established. Deep lead mining was initially unsuccessful, and it was not until the late 1870s that the Franklinford Gold Mining Company mined at Mount Franklin on a significant scale. A few years later the Mount Franklin Estate Gold Mining Company also struck gold, followed by the Shakespeare and Great Western companies in the mid-1880s. By the late 1880s, however, deep lead mining had ceased in the area. Soon after gold was discovered in 1851, Victoria’s Governor La Trobe wrote to the Colonial Office in London, urging ‘the propriety of selecting and appointing as Mineral Surveyor for this Colony a gentleman possessed of the requisite qualifications and acquaintance with geological science and phenomena’. Alfred Selwyn was appointed geological surveyor in Australia in 1852 which began the Geological Survey of Victoria. In 1853-69 the Geological Survey issued under Selwyn's direction sixty-one geological maps and numerous reports; they were of such high standard that a writer in the Quarterly Journal of the Geological Society of London bracketed the survey with that of the United States of America as the best in the world. During his years spent in Australia, Selwyn collected numerous significant geological specimens, examples of which are held in collections such as the Burke Museum.This geological specimen is an example of basalt and olivine which shows the volcanic lava activity and geographical specific nature of Mt Franklin as a significant volcanic site. According to Agriculture Victoria 'The crater is one of the deepest in the Central Highlands area. It is a major megacryst site with some of the largest known Victorian examples of megacrysts of augite and an orthoclase. The small parasitic mound of Lady Franklin on the western flanks adds to the geological interest of the site'. This specimen also highlights the locality as a significant place for both indigenous activity and Victorian gold rush era mining practices. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.An angular, solid hand-sized piece of grey volcanic Basalt with green/brown Olivine phenocrysts along one flat edge.Olivine in basalt / - label is probably / correct. / C. Willman / 15/4/21burke museum, beechworth, indigo shire, beechworth museum, geological, geological specimen, mineralogy, basalt, igneous rock, igneous-volcanic, volcanic geology, volcanic, olivine, olivine specimen, basaltoid