The card enabled a person to attend the 'Popular Science Lectures' which were held in the lecture hall of the school. These were the Winter course of 1882. The Lectures were from 8p.m. They ran from June 9 through to October 11. The subjects were varied and a guest speaker was responsible for each session. G Foord (Royal Mint) - Alchemy; Rev Ick (Sandhurst) - The Wonders of Coral Life; R Ellery (Government Astronomer) - The Sun's Distances and the Transits of Venus; J Thomas (Geelong) - The Stellar Universe; J Usher (Doctor) - Physiology, Body and Bones; Baron Von Mueller (Government Botanist) - General observations on the Flora of Australia; Professor Mica Smith - Gold; Professor F Kraush - Volcanic rocks of the Ballarat District. This was organised by the School Councilwhen James Oddie was Vice-President.Beige coloured card written on both sidespopular science lectures, winter course 1882, guest speakers, g foord, royal mint, alchemy, reverend ick, sandhurst, coral life, r ellery, government astronomer, sun's distances, transits of venus, j thomas, stellar universe, baron von mueller, flora of australia, government botanist, mica smith, gold, f m kraush, volcanic rocks

Paper cover, stained, foxing, insect damage to extremities. Cloth strip to spine, tearing at top and bottom. 152 pp. Binding generally intact, pp 51-54 detached. Sewn binding shows metallic/rust staining. Pages generally clean & unmarked throughout. Fair condition.non-fictionSystematic Census of Australian Plants with Chronologic, Literary and Geographic Annotations.botany, australia

Welcome home socials were organised by many communities for their returned soldiers. Pakenham Upper held their welcome home social in October 1919 with about 300 people in attendance. Lance Corporal Albert Francis Nye was the son of James and Mary Ann Nye of Pakenham Upper. Albert enlisted in 1916 and served in France. He returned to Australia in 1919 and married Alice Maud Beadle in 1920. Certificate of Appreciation in wooden frame behind glass. Certificate is coloured and decorated with the British and Australian flags, Australian flora and a picture of the recipient.the great war, ww1

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technichian, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to ‘spot the Aussie’ and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Straw hat by brand ‘Akubra’ in the style ‘Olympian’, size 59. Sides of crown woven with decorative pattern and hatband printed with native Australian flora. Labels: Akubra / 59 / Olympian / MADE IN AUSTRALIA1992 barcelona olympics, uniform, australian wool corporation, hat

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technichian, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to ‘spot the Aussie’ and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Straw hat by brand ‘Akubra’ in the style ‘Olympian’, size 56. Sides of crown woven with decorative pattern and hatband printed with native Australian flora. Retains original swing tag.Labels: Akubra / 56 / Olympian / MADE IN AUSTRALIA1992 barcelona olympics, uniform, australian wool corporation, hat

This hand carved framed mirror is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.An elaborately carved wooden framed mirror with two carved kookaburras, one with a lizard in its beak as well as some Australian flora - eucalyptus leaves, flowers and gumnuts around the edges of the frame.mirrors, functional objects, wall mirrors, objects

Eight page booklet listing the drawings of 71 species of Australian flora by Collin Woolcock; the collection of drawings was presented to the people of Portland via C.E.M.A., at the opening of the Woolcock Gallery, Wed. 21 Feb. 1990. White heavy paper, black print.collin woolcock, botanical drawings, illustrations, portland collection

Two copies of the booklet titled "Landmarks and Milestones: The Fiftieth Anniversary of the FM Courtis Collection". Bendigo Art Gallery 5 July - 10 August 2008. Education Faculty Bendigo, La Trobe Universiy Edwards Road, Flora Hill, Victoria 3550, Australia. Published 2008. On the front of the booklet is a photo of an outdoor scene with children flying kites. Within the book is a type written article describing the art collection.bendigo, education, bendigo teachers' college, la trobe university bendigo collection, collection, art collection, person, male, individual, fm courtis collection, bendigo art gallery, art works, artist, catalogue, art catalogue, exhibition, art education, art history, landscapes, mr. f. m. courtis

All the invitations are for the celebrations in Melbourne connected with the opening of the Parliament of the Commonwealth of Australia, on the 9th of May 1901. The Duke and Duchess of Cornwall and York were to be present.An invitation to Mr and Mrs Jenner to attend a Conversazione in the Exhibition Buildings, on 7th May 1901 at 8pm. Card depicts a sketch of the Exhibition Buildings. Surrounding the sketch are the coats of arms for the six states, sketches of the Capital cities, Australian flora and fauna and portraits of the Duke and Duchess of Cornwall and York. The coats of arms of the Commonwealth and Australia."AUSTRALIAN COMMONWEALTH CELEBRATIONS" "THE GOVERNMENT OF VICTORIA requests the honor of the presence of Mr & Mrs L Jenner at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901 at 8 p.m.rippon lea

This evening bag belonged to Flora Ryberg (nee Warner), an Australian born woman of English parentage who married a Swedish seaman, Frits Ryberg. the couple lived in Emerald. Their son, Gus Ryberg (1911 - 2000) was a tireless promoter of local history and was pivotal in the establishment of the Nobelius Heritage Park and of the Emerald Museum. This bag has been donated by Flora's daughter.This bag was owned by the mother of Emerald's outstanding community worker and local history promoter, Gus Ryberg. It is also an interesting example of early 20th century ladies' fashion.Silver chainmail mesh evening bag. No lining. May have had chain handle. Decorative clutch handle with four missing stones - possibly moonstones.Inside clutch handle at four places: 'PATENT'flora ryberg, flora warner, gus ryberg

This small hessian bag was made and embroidered by Flora Ryberg (nee Warner), an Australian born woman of English parentage who married a Swedish seaman, Frits Ryberg. the couple lived in Emerald. Their son, Gus Ryberg (1911 - 2000) was a tireless promoter of local history and was pivotal in the establishment of the Nobelius Heritage Park and of the Emerald Museum. This bag has been donated by Flora's daughter.This bag was made by the mother of Emerald's outstanding community worker and local history promoter, Gus Ryberg. It is also an example of early settlers using spare materials at their disposal to make something useful.Small hessian bag with flap. A length of hessian has been embroidered. One third has then been folded over and sewn at the edges to create an overlapping bag.On front of bag when flap is lifted is an embroidered letter: 'N'flora ryberg, flora warner, gus ryberg

This item of meorabilia was made by J.G.Murphy while he was hospitalised in the Middle East during the 2nd World War. He later became President of the Red Cliffs RSL and a Life Member of the League for service rendered.Brown leather satchell,embossed with Australian flora and forna, front, back and under flap, there is a carry handle on the top. The front features two Kookaburra like birds, under the flap is a Kangaroo and butterfly and folliage on the back. The seams and handle are hand sewn with 2.5mm leather lacing, and there are press studs to hold the flap closed. There are two internal pockets, stitched with fine cotton thread and the stitching is only visable from the inside. satchell leather, embossed leather, native flora, native fauna, past rsl president, j g murphy, hand made leather work, middle east hospital craft, past presidents, life members, rsl, middle east

Dr. Frances Mary Burke (1907 - 1994) was a textile designer and printer, businesswoman, artist and Australian design advocate and retailer. Burke’s modern abstract textile designs incorporated motifs and colours inspired by Australian Indigenous art, Pacific Island cultures, Australian flora and fauna, English gardens, and the sea and its wildlife. Following Burke’s death in 1994, her life-long companion Miss Fabie Chamberlain donated the contents of Burke’s studio to RMIT University.Single colour screenprint, white fabric with chartreuse coloured print of positive large format design featuring large stylised canna leaf motif.Printed on selvedge 'CANNA LEAF' a "Frances Burke" UNIT COLOUR DESIGN'textile, australian flora, rmit design archives

The Plants Indigenous To The Colony of Victoria Vol 1 Author: Ferdinand Mueller Publisher: John Ferres Government Printer Melbourne Date: 1864-1865 Further Information: Blue patterned front cover and spine with gilt lettering to spine and Library labels non-fictionThe Plants Indigenous to the Colony of Victoria is a landmark botanical work by Australia’s prominent colonial botanist, Baron Ferdinand von Mueller. However, there is a common point of confusion in Australian botanical bibliography regarding the "volumes" of this specific work. To understand what Volume 1 and the other three volumes are about, and how they differ from each other in the four-book set, it helps to look at exactly how Mueller’s project was published. Volume 1 represents Mueller's highly detailed, beautifully illustrated standalone success covering the Thalamiflorae. It differs from the subsequent "volumes" because Volume 2 was abandoned as a rare, 40-page unfinished fragment, and Volumes 3 and 4 were never written, as Mueller pivoted to assist with the broader Flora Australiensis.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library

The Plants Indigenous To The Colony of Victoria Vol 1 Author: Ferdinand Mueller Publisher: John Ferres Government Printer Melbourne Date: 1864-1865 Further Information: Blue patterned front cover and spine with gilt lettering to spine and Library labels non-fictionThe Plants Indigenous to the Colony of Victoria is a landmark botanical work by Australia’s prominent colonial botanist, Baron Ferdinand von Mueller. However, there is a common point of confusion in Australian botanical bibliography regarding the "volumes" of this specific work. To understand what Volume 1 and the other three volumes are about, and how they differ from each other in the four-book set, it helps to look at exactly how Mueller’s project was published. Volume 1 represents Mueller's highly detailed, beautifully illustrated standalone success covering the Thalamiflorae. It differs from the subsequent "volumes" because Volume 2 was abandoned as a rare, 40-page unfinished fragment, and Volumes 3 and 4 were never written, as Mueller pivoted to assist with the broader Flora Australiensis.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library

The Plants Indigenous To The Colony of Victoria Vol 1 Author: Ferdinand Mueller Publisher: John Ferres Government Printer Melbourne Date: 1864-1865 Further Information: Blue patterned front cover and spine with gilt lettering to spine and Library labels non-fictionThe Plants Indigenous to the Colony of Victoria is a landmark botanical work by Australia’s prominent colonial botanist, Baron Ferdinand von Mueller. However, there is a common point of confusion in Australian botanical bibliography regarding the "volumes" of this specific work. To understand what Volume 1 and the other three volumes are about, and how they differ from each other in the four-book set, it helps to look at exactly how Mueller’s project was published. Volume 1 represents Mueller's highly detailed, beautifully illustrated standalone success covering the Thalamiflorae. It differs from the subsequent "volumes" because Volume 2 was abandoned as a rare, 40-page unfinished fragment, and Volumes 3 and 4 were never written, as Mueller pivoted to assist with the broader Flora Australiensis.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library

'Home' is a symbol of hopes, dreams, comfort, love, family and future. It is both a place and an idea, nor does it remain in time and space. It can also represent a time of sadness , fear and loss. Through the roller-coaster of the past year, I have used a series of homes belonging to family and friends. Each artwork of home tells a different story about its occupants, their story, and what home mean to them. Sarah CANHAM Sarah has had a life-long love of creative arts and a passion for nature she has pursued in her career. She has a Bachelor Applied Science degree from Charles Sturt University, a Masters of Environment from University of Melbourne, and works in natural resource management and conservation. Studying part time Sarah Canham completed a Bachelor of Visual Arts at Federation University Arts Academy in 2021. Her art is an expression of the awe she has for the natural world, and concerns for the future, including for our indigenous culture, and native flora and fauna in Australia. She also reflects on the current and past women and mother artists who have experienced the challenge of juggling art, career and motherhood, and have been under-represented in the arts community for millennia.Three handbuilt, slab construction, stoneware formsceramics, sarah canham, dvc art award, alumni

The Plants Indigenous To The Colony of Victoria Vol 2 Author: Ferdinand Mueller Publisher: John Ferres Government Printer Melbourne Date: 1864-1865 Further Information: Blue patterned front cover and spine with gilt lettering to spine and Library labels non-fictionThe Plants Indigenous to the Colony of Victoria is a landmark botanical work by Australia’s prominent colonial botanist, Baron Ferdinand von Mueller. However, there is a common point of confusion in Australian botanical bibliography regarding the "volumes" of this specific work. To understand what Volume 1 and the other three volumes are about, and how they differ from each other in the four-book set, it helps to look at exactly how Mueller’s project was published. Volume 1 represents Mueller's highly detailed, beautifully illustrated standalone success covering the Thalamiflorae. It differs from the subsequent "volumes" because Volume 2 was abandoned as a rare, 40-page unfinished fragment, and Volumes 3 and 4 were never written, as Mueller pivoted to assist with the broader Flora Australiensis.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library

Edith (Alice) WATSON (1914–2010) Murtoa | Australia Alice Watson studied at the Ballarat Technical Art School (at the School of Mines, Ballarat) from 1930 until 1933. Watson sat several departmental exams, including drawing and painting plant forms from nature, lettering, Composition of Form and Colour and advanced General Design, as well as dressmaking and embossed leatherwork. General Design examinations required only designs on paper, and not the full execution of an object (which was the case for Applied Design exams). Watson's folio applies many Australian native floral elements to design. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths in 1972 and 1988 when she was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio, which was generously gifted to the Federation University permanent Historical Collection by the Watson family. A folio of thirty three drawings and paintings undertaken by Alice Watson at the Ballarat Technical Art School. The works include including the application of Australian flora to designs, including for pottery, leather and applique. .2) is a design for a table runner to be executed in richelieu work .3) frieze including fish .4) "Design for a border to be executed in stencil". 1932 .12) "Design on the waratah for a bowl to be executed in clay". 1932 .14) "Time test" .12) .17) .15) .18) show the combination of Australian flora with Art Nouveau-inspired designs .9) is a design for a wallet to be executed in raffia showing elevation, side elevation and plan views .11) is a design for a prayer book carrier to be executed in leather work .10) is an example of pencil transfer method of design seen on .11) .18) Design for a fan, image of birds and berries on a blue ground. .25) landscape illustration .27) "development" design based on a correa .29) "Design for a tea cosy based on the Cobia-Scanden to be executed in applique. 1931 (see also .31) .30) "Design for a writing tablet to be executed in embossed leather work and based on the native fuschia" (correa). 1931 .31) a completed doily holder: applique workMost are signed A. Watson 1931 .2) Paper is embossed with stamp of 'Goodall's Bristol Boards' stamp. (Crown depicted in centre) .20 and .22) Paper is embossed with 'Windsor & Newtons Bristol Board' stamp.(Griffin depicted in centre)ballarat technical art school, alice watson, flora, design, artwork, folio, art nouveau, alumni, leather work design, richelieu work, applique, doily holder, doyley holder, general design, edith alice watson

This book, written by Maxine Philp-Wright and illustrated by John Bagley, provides a visual, informative and light-hearted introduction to tourist spots along the Great Ocean Road and the areas around Warrnambool and Tower Hill. It is particularly suitable for children of all ages and it deals with the themes of nature-based tourism, reconciliation between Europeans and aborigines and multi-culturalism. It includes references to Australian flora and fauna as seen through the eyes of an international visitor, an Australian family and a Spanish migrant and it urges full appreciation of the places visited with the motto, ‘Go Slow is the Go!’This book is of interest because of its themes of multi-culturalism, indigenous culture appreciation and local Great Ocean Road tourism. This is a soft cover booklet of 33 pages with a white cover with multi-coloured images on the front cover (Tower Hill, a car and a turtle) and printing and three colour photographs on the back cover.tower hill, shipwreck coast, victoria, warrnambool

Crochet covers for milk jugs, teacups and bowls were produced to repel the dreaded Australian blow fly. They were typically decorated with Australian flora and fauna and commemorative motifs and sometimes edged with beads, shells and other three dimensional forms, not only for appearance, but also to weigh down the crochet so it would stay safely in place on the jug. The three dimensional parts were stiffened with sugar syrup, or sometimes starch, paraffin or gelatine. The main sources for crochet cover and other needlework designs available to women were in journals, magazines and pattern books. In the first half of the 20th century women's focus was the home and its decoration was important. Embroidery and crochet work was an affordable way to personalise and add aesthetic value, and examples of embroidered and crocheted pieces could be found in most Australian homes, decorating or protecting furniture, floors and walls, and keeping off flies and insects from food. Small square milk jug cover that has been hand crocheted with crown, flag and date patterned into centre. It has a red, white and blue beaded fringe.cover milk-jug-cover handcraft tableware

Ruth Woodward was the daughter of Alan Richardson a sawmiller at Tabbara. Richardson Helped build and held ticket for paddle steamer "Curlip". Crochet covers for milk jugs, teacups and bowls were produced to repel the dreaded Australian blow fly. They were typically decorated with Australian flora and fauna and commemorative motifs and sometimes edged with beads, shells and other three dimensional forms, not only for appearance, but also to weigh down the crochet so it would stay safely in place on the jug. The three dimensional parts were stiffened with sugar syrup, or sometimes starch, paraffin or gelatine. The main sources for crochet cover and other needlework designs available to women were in journals, magazines and pattern books. This item is an example of a handcrafted item and reflects the needlework skills of women in the families of the early settlers.Small handmade star-shaped milk cover with a white tulle centre and beading coming down to points off the centre. Beads are clear and black.milk-cover handcrafts needlework beading richardson

This book was written by Edward Vidler (1863-1942), a printer, publisher and author. Born in England, Vidler was in Geelong in the 1880s and produced there a commemorative volume on that city. He came to Warrnambool in the early years of the 20th century and was Secretary of the Warrnambool and District Progress League and the Warrnambool Chamber of Commerce and Industry. While in Warrnambool he produced an important 1907 publication, ‘Warrnambool Past and Present – Sixty Years of Progress’ and also organized the production of the Pioneer Honour Board featuring portraits of 204 Warrnambool and district pioneer men. After he left Warrnambool he lived in Melbourne where he edited magazines and published his own and other writings. He was a foundation member of the group that established the Maranoa Native Gardens in Balwyn and promoted Australian flora and fauna. This book is of great interest as it was written by Edward Vidler, a resident of Warrnambool in the early 1900s and an important and influential figure in our history. He left behind in Warrnambool two most important legacies – the Pioneer Honour Board and the book ‘Warrnambool Past and Present’, a history of Warrnambool that has proved invaluable to researchers today. No information has been found on the original owner of the book, William Ewers. This is a 1931 soft cover book of 96 pages. The cover has a grey-coloured background and a sepia-coloured photograph of two kookaburras on a tree branch on the front cover and an advertisement for a publication called ‘Songs of the Bush’ on the back cover. The book is dedicated to the Gould League of Bird Lovers. It has a Contents page, a Foreword, a Preface, pages on Australian birds and an Index. It has many black and white photographs of Australian birds. It is glued and bound with blue tape.Signature on front cover and inside first page: ‘Wm. D. Ewers’edward vidler, history of warrnambool, warrnambool pioneer honour board, 1907 warrnambool history book, ‘warrnambool past and present’.

This book was written before the "preservation of Australian Flora and Fauna" movement became a household edict. The book covers all the "known" marsupials of the time and coloured prints are provided where required to show physical and other distinguishing features. Time and extensive searches of hard to reach places in Australia has uncovered a greater range of marsupials than presented in this book. Rural Australia (1940s) had not been as developed and altered as the 1980s onward. This book was used in Primary schools as reference material. Although rural school children would have come across many "real life" encounters with some of the mammals referred to, the diversity and range of mammals presented in this book is quite extensive. Most "city" born children would have only seen the mammals presented in this book at animal zoos in the larger cities.This book details the Australian wide range of mammals, and not just those which school children in the Kiewa Valley could meet "face to face". However the rural based pupils would find the chapters and coloured prints more "real" than city located students because they are living day to day in the Australian bush, home to all the various mammals and marsupials presented in this book.This green coloured hard covered book has 178 double sided printed pages and twenty five plate detailing the appearances of native mammals. The first two pages are frayed and all pages show colouration (yellow) of age. The book has a clear plastic cover as protection placed at a later dateOn the spine "FURRED ANIMALS OF AUSTRALIA" and underneath "BROUGHTON" and at the bottom "ANGUS & ROBERTSON"australian mammals and marsupials, nature books, australia wild life

Marie Cook is an accomplished Australian tapestry weaver who draws inspiration from nature, memory, and everyday life. With decades of practice, including time as a weaver at the Australian Tapestry Workshop in the late 1970s, Cook translates subtle nuances of colour and texture into hand-woven works that celebrate the enduring tradition of tapestry. Based on the southwest coast of Victoria, Cook is dedicated to mentoring emerging weavers and preserving the rich legacy of tapestry weaving for future generations. Cook is known for two major tapestries, Wattle and Pink Heath, both woven in 1979 for the Sofitel Hotel in Melbourne. Each tapestry is 3 metres by 6 metres, taking a team of 4 – 8 weavers to complete. Wattle and Pink Heath have remained popular depictions of Australian flora and are still much loved by Melbournians. The works exhibited in this exhibition are based on observational drawings Cook made during a visit to Roses Gap in the Grampians/Gariwerd.

Marie Cook is an accomplished Australian tapestry weaver who draws inspiration from nature, memory, and everyday life. With decades of practice, including time as a weaver at the Australian Tapestry Workshop in the late 1970s, Cook translates subtle nuances of colour and texture into hand-woven works that celebrate the enduring tradition of tapestry. Based on the southwest coast of Victoria, Cook is dedicated to mentoring emerging weavers and preserving the rich legacy of tapestry weaving for future generations. Cook is known for two major tapestries, Wattle and Pink Heath, both woven in 1979 for the Sofitel Hotel in Melbourne. Each tapestry is 3 metres by 6 metres, taking a team of 4 – 8 weavers to complete. Wattle and Pink Heath have remained popular depictions of Australian flora and are still much loved by Melbournians. The works exhibited in this exhibition are based on observational drawings Cook made during a visit to Roses Gap in the Grampians/Gariwerd.

Marie Cook is an accomplished Australian tapestry weaver who draws inspiration from nature, memory, and everyday life. With decades of practice, including time as a weaver at the Australian Tapestry Workshop in the late 1970s, Cook translates subtle nuances of colour and texture into hand-woven works that celebrate the enduring tradition of tapestry. Based on the southwest coast of Victoria, Cook is dedicated to mentoring emerging weavers and preserving the rich legacy of tapestry weaving for future generations. Cook is known for two major tapestries, Wattle and Pink Heath, both woven in 1979 for the Sofitel Hotel in Melbourne. Each tapestry is 3 metres by 6 metres, taking a team of 4 – 8 weavers to complete. Wattle and Pink Heath have remained popular depictions of Australian flora and are still much loved by Melbournians. The works exhibited in this exhibition are based on observational drawings Cook made during a visit to Roses Gap in the Grampians/Gariwerd.

Marie Cook is an accomplished Australian tapestry weaver who draws inspiration from nature, memory, and everyday life. With decades of practice, including time as a weaver at the Australian Tapestry Workshop in the late 1970s, Cook translates subtle nuances of colour and texture into hand-woven works that celebrate the enduring tradition of tapestry. Based on the southwest coast of Victoria, Cook is dedicated to mentoring emerging weavers and preserving the rich legacy of tapestry weaving for future generations. Cook is known for two major tapestries, Wattle and Pink Heath, both woven in 1979 for the Sofitel Hotel in Melbourne. Each tapestry is 3 metres by 6 metres, taking a team of 4 – 8 weavers to complete. Wattle and Pink Heath have remained popular depictions of Australian flora and are still much loved by Melbournians. The works exhibited in this exhibition are based on observational drawings Cook made during a visit to Roses Gap in the Grampians/Gariwerd.