Tourist map of the Kokoda Trail, Owen Stanly Ranges - IIolo to Kokoda, Papua to New GuineaGraphical map of the Kokoda TrailPicture Kokoda Trail - Papua New Guinea - Owen Stanley Ranges showing a cut through to emphasize the variation in height in the Ranges, with left to right of the villages and townships that represent the trail. Also contains an inset picture of the Memorial at Isurava Village.Nonekokoda trail, owen stanley ranges

In Deep Survival Laurence Gonzales combines hard science and powerful storytelling to illuminate the mysteries of survival, whether in the wilderness of in meeting any of life's great challenges.wilderness survival -- case studies, vietnam war

p.408.non-fictionA guide to healthy eatingdiet, health

The quilt was purchased from the Wool Quilt exhibition held at the National Wool Museum in 1995. It was subsequently exhibited in the Expressions 2000: The Wool Quilt Prize exhibition in the 'Invited exhibitors' section of the show. (Jan Irvine wrote the catalogue essay for this exhibition.) The quilt is part of the "Running Stitch" Collection. This quilt is titled "Sure as Night follows Day" and was made by Jan Irvine from worn and recycled woollen blankets with wool batting. The quilt has been crazy pieced, air brush dyed and hand quilted. The quilt was exhibited in the Running Stitch Contemporary Wool Quilt Exhibition held at the National Wool Museum in 1995 and was purchased for $1800 from this exhibition. The quilt was catalogue entry no. 18. It was later exhibited in "Expressions 2000: the wool quilt prize" from 16 Sept. to 3 Dec. 2000 (extended until 2/2/2001, catalogue entry no. 26).Catalogue entry from "Expressions 2000" Catalogue, held 16th September to 3 December 2000. Introduction to exhibition "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery. Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 6 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 7 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 8 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 9 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 10 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5SURE AS NIGHT FOLLOWS DAY DESIGNER + MAKER: JAN IRVINE NSW AUSTRALIA MADE:1995...quilting, handicrafts, textile art, running stitch group, blankets, running stitch collection, irvine-nealie, ms jan

Postcard: biplane flying over airfield. On bottom 'The 35 HP Avro biplane, winning the endurance prize at Weybridge in a high wind. 1 h.27m 32s. 17th. April, 1911.aviation, civilian, avro biplane, basil watson

Framed Print with heading KOKODA and words Courage, Endurance, Mateship, Sacrifice underneath. Three photographs relating to the Kokoda Track and four paragraphs with headings "The Kokoda Legend", "The Kokoda Campaign", "The Fuzzy Wuzzy Angels" and "The Battle of Isurava".Limited edition 1614 0f 5000

Frank Hurley was a photographer and member of Shackleton's Antarctic Expedition. Former Principal of the Ballarat School of Mines, Richard W. Richards, was a member of this expedition. He is the author of this children's information book which was also illustrated by Hurley, and won the Children's Book of the Year Award: Older Readers in 1948.Hard covered book with coloured image of a vessel in a rough sea glued onto the front. The 140 page book includes numerous reproductions of photographs by Frank Hurley, including Ernest Shackleton, the Endurance, Penguins, whales, Frank Wild, Tom Crean, Frank Hurley.antarctica, ernest shackleton, richard w. richards, dick richards, frank hurley

Poster documents "Kokoda/Courage, Endurance, Mateship, Sacrifice" with headings " THE KOKODA LEGEND', THE KOKODA CAMPAIGN', THE FUZZY WUZZY ANGELS', THE BATTLE OF ISURAVA'. Poster - Gold and white print on black background, illustrated with three black and white photographs of scenes along the Kokoda Track, L-R Soldiers Resting. Fuzzy Wuzzy Angel assisting a wounded soldier. View of the ascending track. Gold Rising Sun Badge below centre photo. printed information. Frame - brown stain timber with decorative moulding. Dark grey with outline of cream colour cardboard mount. Glass front.photography-photographs, frame accessories, military history, ww2, kokoda

Leather riding boots were worn by the cavalry for their protection and endurance. Gaiters were also added to increase the protection and comfort. See KVHS 0267, KVHS 1365, KVHS 1367 Men from the Kiewa Valley joined the army and some were in the cavalry. See KVHS 0267, KVHS 1365; 1367Brown leather boots with sewn-on thick sole. Covered ankle with 8 eyelets for thin brown laces. This leather piece is sewn onto the upper front leather piece. It has a cotton piece at the heel to enable the wearer to pull the boot onto the foot. It has a soft leather tongue. Note: an army sock is enclosed in one of the boots.military, army, horse riding, riding boots, cavalary

Sir Hubert Opperman (1904-1996) was an Australian politician and cyclist, whose endurance cycling feats in 1920s and 1930s earned him international acclaim. He competed in many international races including the Tour de France.Sir Hubert Opperman was award the OBE whose cycling feats earned him international acclaim.Newspaper article printed in the Sun News-Pictorial, Saturday, January 18, 1930. Article includes Hubert Opperman's photo together with a description of his cycling record ride from Sydney to Melbourne.geelong cycling club; sir hubert opperman; tour de france; newspaper article.

The Changi Brownlow, an inspirational story of the Aussie team spirit - mateship and sacrifice, courage and endurance. In the harshness and brutality of Changi prison a group of Australian POW's dug deep and fought to maintain their spirit in the best way they knew how - Australian Rules football.Soft cardboard cover, black, brown, red print front, spine & back. Front cover background beige, with sepia portrait photo at top left & buildings at the bottom. Sepia photo of an Australian Rules football scene. 376 pages, cut, plain, white, illustrated black / white photos.Handwritten in lead pencil on front top right of fly leaf: “R Jones” Handwritten in black ink on front fly leaf, black / white photo of women & soldier in uniform: “DULCIE JONES & ALFIE PROWSE COUSINS DURING WWII. ALFIE WAS PETER CHITTY'S BROTHER IN LAW”book, changi, brownlow, pow’s

Sir Hubert Opperman (1904-1996) was an Australian cyclist and politician whose endurance cycling feats in the 1920s and 1930s earned him international acclaim. In 1949 he was elected to the Parliament of Australia for the Victorian electorate of Corio and held the seat for 17 years.Card for debutante ball held at Torquay Hall on Friday July 18th, 1952. Cream card with green typeface, scalloped edge. It is signed on the back by Hubert Opperman MP and Mavys Opperman. There is also an envelope addressed to Miss Alva Smith, Torquay with a government stamp on the back in blue ink and postmarked 21 July 1952.Commonwealth of Australia Federal Members Rooms Melbourne

The final crossing of the Rhine and the advance into Germany changed the course of European history forever. Introduces men and women from bith sides - British, American and German soldiers and civilians - whose bravery and endurance made the final push through Europe the defining drama of WW2.Soft cover book with 144 pagessticker on inside page P Cooper (personal contact details included on sticker)

Part of a wooden oar that was broken during an international dory race at Huntington Beach California USA in 1971. A dory is a small flat-bottomed wooden boat with high sides that was used during ocean rescues. Dory racing pits two-person crews against each other to test their strength, endurance, and lifesaving skills.This oar is significant for its connection with the Torquay Surf Life Saving ClubPart of a wooden oar from the Torquay Surf Life Saving ClubPresented to Torquay SLSC by John Russell & Peter Milburn. This oar was broken by the above members in the international Dory race at Huntington Beach California USA 1971torquay surf life saving club

Blue hard covered book with an image of a vessel on a rough sea glued to the front, 140 pages plus 48 pages of photographs. Reprinted 1956.non-fictiondick richards, sir ernest shackleton, frank hurley, endurance, shakleton's argonauts, r.w.richards, richard w. richards, antarctica, exploration

BHS CollectionBritish flag signed by dignitaries and world leaders. The flag was manufactured in 1941/42 as part of the Red Cross drive to raise money. On the back a message to the Hon. Wiston Churchill sent by Australians as an expression of admiration, confidence and gratitude, inspired by the conduct of the citizens of Britain, whose patient endurance, high courage and will to win in the present crisis have proved their loyalty to the tradition of their country and their race and heartened their kinsmen in every corner of the British Empire. Following this message the back of the flag list the name and titles of the signatories and a brief history of the flag and the scroll of appreciation dedicated to the people of Britain. winston churchill, red cross, world war ii

The traditional image of a prisoner of war is that of an emaciated, diseased and ill-treated figure humiliated by incarceration. Prisoners of War challenges this image. Using dozens of interviews with former POWs, Patsy Adam-Smith shows the strength and courage of Australians taken prisoner in World War I, World War II and the Korean War. Says Patsy: 'This book has not been written for ex-prisoners: they know the homesickness of exile, the tyranny of bondage; it was written for those people of today who know little of the experiences of these men and women, of their courage, endurance and pain. It has been written for the generations to come.soft cover non-fiction book

In the 2000s Legacy released a range of Legacy Bears to expand the merchandise available for sale during Legacy Week and at other fundraising opportunities during the year. This bear is in an Australian World War 1 uniform and slouch hat. He was given the name Digger. The term "digger" was military slang for Australian and New Zealand soldiers. It became closely linked with the principles of mateship during World War I. This Digger bear reminds us of the endurance, courage, ingenuity, good humour, hardiness, and resourcefulness the ANZAC forces showed during the Gallipoli campaign and other WW1 campaigns. This was a special edition of the bears. In 2021 the price was increased to $20 per bear.An example of the type of products sold along with Legacy Badges for fundraising in the 2010-2020s.Legacy bear dressed in a World War 1 uniform with a printed cardboard tag.Printed tag gives the price as $20.legacy appeal, fundraising, legacy bear

Red cardboard hard cover book with red paper outer sleeve. 55 pages : color illustrations, color map ; 31 cmnon-fiction"In connection with the SG50 celebrations in Singapore, Mission RASI (Row Around Singapore Island) will see a team of Singaporeans join hands with friends from overseas in a test of endurance and teamwork, to raise funds to further the Mission's work in promoting good shipping practices and a safe working environment for seafarers"--Page 4.mission to seafarers, worldwide, charity, volunteers, singapore, nigel porteous, andrea fleming, london, rasi, row around singapore island, 2015, fundraising, reverend andrew wright, mts london, mts singapore, rowing

This is the untold story of Margaret (1904) and Jean (1906) Davies and their uncompromising faith, amazing courage and endless endurance. Margaret was called to Korea as an educator from 1910 to 1940. During the Mansei Uprising, Japanese police arrested her for inciting to riot and drove Kim Il-Sung into Manchuria where he founded Korean Communism. Jean gave up a promising career in surgery at the Women's Hospital in Melbourne to practise at a mission hospital in Chinju, Korea. Sent home as a foreign alien before the attack on Pearl Harbor she practised at outback mission stations in Australia, doubling as the Flying Doctor. She medically examined the population of the New Hebrides (Vanuatu) as a first step to rid the country of leprosy. Jean returned to Pukatja in South Australia during British nuclear bomb testing at Maralinga.Small paperback bookmargaret davies, ellice jean davies, clarendon-presbyterian-ladies-college, 1900s, korea, missionary, surgeon, maralinga, vanuatu

Colossal, Bendigo Showground. Entertainment Must of the Year. Sunday, May 2, 1971, 9am till 5pm. Presented by the Rotary Club of Bendigo South. Something new for Bendigo. Horses! Ponies! Draughts and Trotters! Mounted by Leading Melbourne & Local Jockeys including E Byrne and T McGinley. All competing for scores of prizes. Enter Now For: Cohn's 50-Mile Endurance Ride $350 Prize Money. With a Special Section for Ponies to carry 8 stone 7lbs. Also: A Prize for the most heavily-sponsored rider. Open Pony Club Gymkana (9am to 5pm) Excellent Trophies and Prizes. Trotting Trials and Finals (1pm to 4pm) Draught Horse Derby. Big Family Day with never a dull moment family novelty events Bar-B-Q Entries at 61 Lily Street, Bendigo. Adults 50 cents Children 20 centsevent, social, rotary club of bendigo south, colossal, bendigo showground. entertainment must of the year. sunday, may 2, 1971, rotary club of bendigo south. new for bendigo. horses! ponies! draughts and trotters! mounted by leading melbourne & local jockeys including e byrne and t mcginley. scores of prizes. cohn's 50-mile endurance ride $350 prize. special section for ponies to carry 8 stone 7lbs. prize for the most heavily-sponsored rider. open pony club gymkana trotting trials and finals draught horse derby. family day family novelty events bar-b-q entries at 61 lily street, bendigo. adults 50 cents children 20 cents

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.