DOCSLIB.ORG

Birds! a National Library of Australia Exhibition

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Birds! a National Library of Australia Exhibition BIRDS! A NATIONAL LIBRARY OF AUSTRALIA EXHIBITION © National Library of Australia 1999 National Library of Australia Cataloguing-in-Publication entry Birds! Bibliography. ISBN 0 642 10706 8. 1. Birds in art—Exhibitions. 2. Ornithological illustration—Exhibitions. I. National Library of Australia. 704.943280749471 ACKNOWLEDGEMENTS The National Library of Australia acknowledges the generous support for and interest in the exhibition by the Canberra Ornithologists' Group, Nigel Lendon of Canberra, Graeme Chapman of Vincentia, and John Hawkins of Moss Vale. The Library also acknowledges the support of the following institutions: the State Library of New South Wales, the National Gallery of Australia, the Art Gallery of New South Wales, the Art Gallery and Museum of the Northern Territory, the Art Gallery of South Australia, the Museum of Victoria. Guest Curator: Elizabeth Lawson Curatorial Assistant: Irene Turpie Designer: Kathy Jakupec Printed by Goanna Print, Canberra BIRDS! 'So that the air ... should be populous natural world, their flight and birds we recognise, it equally reveals with vocal and musical creatures.' endurance also make them symbols passing artistic values and a of the human spirit. Their lives 'scientific' way of seeing which Giacomo Leopardi (1798-1837) seem to us numinous and eternal, contrasts strikingly, for instance, From James Thomson (trans.) and but they are dangerously threatened with Aboriginal bird drawings. Even Bertram Dobell (ed.), Essays, Dialogues and by our activities. today, a 'bird in the hand' is often Thoughts (Operette Morali and Pensieri) of Giacomo Leopardi. London: George This exhibition is about birds that held to be 'worth two in the bush', Routledge, [18—]. fly and sing in the Australian but the 'hand' of this exhibition is imagination. Its images may vividly more that of the artist than of the Birds—the only creatures of our remind us of the birds that live in shooter, collector, taxidermist or earth with the gifts of both flight the world around us, but they also more recent bird bander. and song—were flying and singing trace our changing attitudes to birds The colonisation of Australia across the great southern continent and our practical, scientific and coincided with the development of (only recently called Australia) for artistic uses of birds. Even the new European bird science, millions of years before humans ornithological illustration is only ornithology, and of a wide popular heard them. Potent symbols of the illustration. While it reminds us of interest in birds. It also coincided unknown artist The Emu Hunter c.13 000 BC Dangurrung, Mt Brockman, Northern Territory rock painting; height of emu 93 cm reproduced from transparency, original photography by George Chaloupka Courtesy of the Museum and Art Gallery of the Northern Territory with the flowering of print culture: illustrative engraving, lithographic and other colour-print technologies, fine book-making and photography. Today, just as these arts face the radical challenge of new electronic technologies, this exhibition presents a retrospective of images of birds produced by that period of spectacular art and paper work. Most of the birds of this story come from the diverse European- Australian collections in the National Library of Australia; from European scientific and artistic traditions recreated progressively within our colonial and recent pasts. Generous loans of modern Aboriginal bird sculptures and paintings show that ancient indigenous and younger European forms have existed side by side in Australia, but have only recently begun to learn from one another. The image of the rock painting The Emu Hunter of 15 000 years ago, photographed by the Museum and Art Gallery of the Northern Territory, attests to the breathtaking antiquity of Australian culture. In the light of this painting, the birds of a medieval manuscript from Lilian Marguerite Medland (1880-1955) fifteenth-century Europe spring into Syma torotoro and Other Birds c. 1930s recent time. Following these historic watercolour; 27.8 x 19 cm R6616 Plate G images from the two great streams of our tradition—indigenous and lands 'where bright blossoms are many birds, like the abundant European—the collections of the scentless, / And songless bright mutton bird on Norfolk Island, National Library go on to tell their birds'. This common colonial were simply eaten out. Many story of birds and modern Australia. prejudice could not long defy what admired birds were destroyed by people actually heard in the bush. their admirers' mania for imported Yet the predatory activities of field-sports and competitive, Songless Bright Birds visitors and settlers quickly created lucrative collection. The Kangaroo an actual 'songlessness' in the Island and Macquarie Island emus In 1870, Adam Lindsay Gordon spreading, colonised lands. In the were extinct before John Gould's (1833-1870) wrote of Australian first starvation years of invasion, Birds of Australia (1841-1848). 2 with work by James Sowerby, John William Lewin, Ferdinand Bauer and Charles Lesueur, displayed in the form of original paintings, hand-coloured engravings in rare books, and, in the case of Ferdinand Bauer, in the form of recent hand-printed lithographs. They culminate in examples of the famous lithographic work of Elizabeth Gould. John Gould produced his remarkable volumes of Birds of Australia (1841-1848) from his publishing house in Golden Square, London. He used the lithographic work of his wife, Elizabeth Gould, Geraldine Rede (1874-1943) and, after her sudden death in The White Feather c.1900 [Portrait of Miles Franklin] 1841, that of Henry Constantine pencil and crayon; 23.5 x 30 cm R681 Richter, William Hart and others. With John Lewin's Birds of New Holland ... (1808) and Birds of New Early colonial bird sketches distinguish between human and South Wales (1813) their only record the naturalists' fascination animal domains. The whole predecessors, these great books with the marvellous southern birds, country seemed one vast repository inaugurated a remarkable tradition and show that Australian animals, of specimens. of fine Australian bird book-making. along with the land and its The exhibition complements books sovereign people, were invaded. by John Gould and Gregory Birds were shot, collected, sketched, Brilliant Curiosities Macalister Mathews with original stuffed and shipped home as sketches and watercolours, and Art enlivens dead things. Many of specimens of science by the invaders. with fascinating related documents the images of colonial bird art were Ships returning to England and its from the Library's Manuscript drawn (as many still are) from insatiable collection trades carried, Collection. Also featured is a rare skins, often by Londoners in even into our own century, countless Victorian cabinet of stuffed London. The skins hold form, cargoes of songless bright birds. Australian fauna which was made colour and texture motionless for by Henry E. Ward, the famous copying, but, remote from their London taxidermist and friend of bushland, produce sketches that And Human Bones John Gould. Almost certainly seem naive and awkward. Often it exhibited at the London Every 'bird in the hand' mirrored is the radiant hand-colouring that International Exhibition of 1862, the enduring attempt to silence the makes these birds live. this large cabinet filled with historic songlines of the world's The exhibition's early documentary hundreds of specimens illustrates oldest human culture. 'Enlightened' drawings begin with the jewel-like the grandeur and ambition of high European greed for an exploitable paintings of the Hunter sketchbook, Victorian versions of eighteenth- new world did not, as several works and with watercolours from the century 'cabinets of curiosities'. in the exhibition make clear, Sarah Stone album. They continue 3 fan of Nicholas Chevalier's entrancing watercolour Fancy Costume Emblematic of Australia (c.1860) pointed the sorry way to Australian involvement in the devastating worldwide plumage industry which lasted into the 1920s. The arts of taxidermy were now drawn boldly into the adornment and decorative crafts, as Eliza Catherine Wintle's splendid Kookaburra Handscreen (c.1892) shows. Dazzling Australian birds like the white egret and heron were transformed to spectacular feather- work, and brought close to extinction. John Heaviside Clark (c.1770-1863) engraver Expressive bird art, unconcerned after John William Lewin (1770-1819) with identification, addresses the Throwing the Spear in Field Sports &c. &c. of the Native Inhabitants of New South Wales 1813 emotional and symbolic value of Supplement to Foreign Field Sports, Fisheries, Sporting Anecdotes &c. &c. birds. Over a century before London: Edward Orme, 1814 F577 Australian colonial work, Simon Verelst's portrait Lady Anne Russell This scientific strand in an evolution from awkwardly (c.1670s) used an imported Australian bird portraiture is seen posed curiosities to bright cockatoo in a flashy imperial throughout the exhibition in bird recognisable friends in home variation on the use of birds in paintings by Louisa Atkinson, foliage and habitat. The changing European child portraiture. The Neville William Cayley, Ebenezer illustrative styles also mirror a cryptic Boy with a Sulphur-crested E. Gostelow, Betty Temple Watts and history of attitudes toward birds, Cockatoo (c.1815?), attributed to Lilian Medland; then in spectacular from the time when fading, insect- John William Lewin, presents its paintings by William
Load more

Recommended publications
  • AUIP Itinerary
    Itinerary for PSU SOVA 2021 Social and Cultural Explorations in the Visual Arts: in Sydney, Australia 13 July 2021 - 24 July 2021 Tuesday 13 July Day 1: Sydney 8:50 AM Group flight arrives 9:30 AM Welcome to Sydney Your guide for today’s walking tour will greet you upon arrival at the airport with a sign that reads "PENN STATE UNIVERSITY." Please meet at Exit A at the northern end of the terminal. If you miss your flight and will be arriving late, please contact your faculty leader, Dr. Angela Rothrock (Phone: 011 61 420 675 797 or Email: [email protected]), to let her know when you will be arriving. You will then be responsible for making your own way from the airport to the accommodation. Please notify your family of your safe arrival. 10:15 AM Depart by coach to Travelodge Sydney (travel time approximately 30 minutes) Please store your luggage at Travelodge Sydney. You will be able to check in after 3:30 PM. Please notify hotel staff of any valuables (laptop computers, jewellery, electronics, etc.) and they can lock them in a secure room for you. 11:10 AM Depart by coach to The Rocks historic neighborhood (travel time approximately 20 minutes) 11:30 AM Guided walking tour of The Rocks Your guide will provide you with a detailed history of The Rocks as you visit sites of interest in the area. Topics include Aboriginal history and culture, Australia’s history as a convict penal colony, the start of European migration to Australia and Sydney landmarks.
    [Show full text]
  • PAPUA NEW GUINEA Paradise Untamed
    Tropical Birding: Papua New Guinea July-August 2010 A Tropical Birding Set Departure Tour PAPUA NEW GUINEA (with the NEW BRITAIN EXTENSION): Paradise Untamed RIBBON-TAILED ASTRAPIA Kumul Lodge Voted bird of the trip 15 July – 5 August, 2010 Tour Leader: Sam Woods www.tropicalbirding.com [email protected] 1-409-515-0514 1 Tropical Birding: Papua New Guinea July-August 2010 Papua New Guinea is known as the “land of unexpected”, and their national saying is “expect the unexpected”. For good, and bad, we experienced some examples of this during this successful tour on this resource-rich island, and ammased a great trip list of 407 species . Some of what we saw was very much expected: a slew of species from arguably the most spectacular bird family on the planet, the outrageous birds-of-paradise. We picked up 24 species of birds-of-paradise on the tour, with the majority being males, some of which were seen in full, jaw-dropping display mode! The flurry of displaying male Greater Birds-of-paradise during a late afternoon show in the steamy lowland jungle near Kiunga standing out, as did the wonderful performance put on by PNG’s national bird, the Raggiana Bird-of- paradise near the nation’s capital, at Varirata NP. Getting a bunch of BOPs was expected, even in the land of the unexpected. However, on only our third day in the country watching a tree full of BOPs, of NINE different species (and 3 sicklebill species at one time in the same tree ) was very much unexpected even in New Guinea.
    [Show full text]
  • Predictable Evolution Toward Flightlessness in Volant Island Birds
    Predictable evolution toward flightlessness in volant island birds Natalie A. Wrighta,b,1, David W. Steadmanc, and Christopher C. Witta aDepartment of Biology and Museum of Southwestern Biology, University of New Mexico, Albuquerque, NM 87131-0001; bDivision of Biological Sciences, University of Montana, Missoula, MT 59812; and cFlorida Museum of Natural History, University of Florida, Gainesville, FL 32611-7800 Edited by James A. Estes, University of California, Santa Cruz, CA, and approved March 9, 2016 (received for review November 19, 2015) Birds are prolific colonists of islands, where they readily evolve distinct predators (18). Alternatively, flightlessness may represent an ex- forms. Identifying predictable, directional patterns of evolutionary treme state of a continuum of morphological variation that reflects change in island birds, however, has proved challenging. The “island locomotory requirements for survival and reproduction. Across a rule” predicts that island species evolve toward intermediate sizes, but continuum of insularity, from continents to small islands, biotic its general applicability to birds is questionable. However, convergent communities exhibit gradients of species diversity (21) and corre- evolution has clearly occurred in the island bird lineages that have sponding ecological pressures (22). If flightlessness is illustrative of undergone transitions to secondary flightlessness, a process involving island bird evolution in general, reductions in predation pressure drastic reduction of the flight muscles and enlargement of the hin- associated with increased insularity should trigger incremental shifts dlimbs. Here, we investigated whether volant island bird populations in energy allocation from the forelimbs to the hindlimbs. Accord- tend to change shape in a way that converges subtly on the flightless ingly, we hypothesize that volant island birds, even those unlikely to form.
    [Show full text]
  • Recommended Band Size List Page 1
    Jun 00 Australian Bird and Bat Banding Scheme - Recommended Band Size List Page 1 Australian Bird and Bat Banding Scheme Recommended Band Size List - Birds of Australia and its Territories Number 24 - May 2000 This list contains all extant bird species which have been recorded for Australia and its Territories, including Antarctica, Norfolk Island, Christmas Island and Cocos and Keeling Islands, with their respective RAOU numbers and band sizes as recommended by the Australian Bird and Bat Banding Scheme. The list is in two parts: Part 1 is in taxonomic order, based on information in "The Taxonomy and Species of Birds of Australia and its Territories" (1994) by Leslie Christidis and Walter E. Boles, RAOU Monograph 2, RAOU, Melbourne, for non-passerines; and “The Directory of Australian Birds: Passerines” (1999) by R. Schodde and I.J. Mason, CSIRO Publishing, Collingwood, for passerines. Part 2 is in alphabetic order of common names. The lists include sub-species where these are listed on the Census of Australian Vertebrate Species (CAVS version 8.1, 1994). CHOOSING THE CORRECT BAND Selecting the appropriate band to use combines several factors, including the species to be banded, variability within the species, growth characteristics of the species, and band design. The following list recommends band sizes and metals based on reports from banders, compiled over the life of the ABBBS. For most species, the recommended sizes have been used on substantial numbers of birds. For some species, relatively few individuals have been banded and the size is listed with a question mark. In still other species, too few birds have been banded to justify a size recommendation and none is made.
    [Show full text]
  • Annual Report 2015-16
    ANNUAL REPORT 2015-16 Australian Museum Annual Report 2015–16 I ANNUAL REPORT 2015-16 Australian Museum 1 William Street Sydney, NSW, 2010 Australia The Australian Museum Annual Report 2015 –16 Availability This annual report has been designed for accessible The Australian Museum Annual Report 2015–16 online use and distribution. This report is available at is published by the Australian Museum Trust, australianmuseum.net.au/Annual-Reports. 1 William Street Sydney NSW 2010. © Australian Museum Trust 2015 Further information on the research and education programs and services of the Australian Museum can ISSN 2206-8473 be found at australianmuseum.net.au. Acknowledgements Cost of production Compiled by Amanda Farrar The production cost of this report is estimated at $4,000. Design & Production by Business Studio Editing by Thread Publishing All images ©Australian Museum unless otherwise indicated. Contact Australian Museum 1 William Street Sydney NSW 2010 Open daily 9.30 am – 5.00 pm t 02 9320 6000 f 02 9320 6050 e [email protected] w australianmuseum.net.au facebook.com/australianmuseum twitter.com/austmus instagram.com/australianmuseum youtube.com/austmus australianmuseum.net.au/amplify-podcast ii Australian Museum Annual Report 2015-16 Minister ADMISSION CHARGES The Hon Troy Grant, MP General Museum entry: Deputy Premier, Minister for Justice and Police, Adult $15 Minister for the Arts Child(under 16 years) Free Minister for Racing Concession $8 Pre-booked Australian school groups (per child) Free Pre-booked preschool groups Free Governance Australian Government/DVA Gold Cardholders, The Museum is governed by a Trust established under Australian Government‘Blue’ Pensioner Concession the Australian Museum Trust Act 1975.
    [Show full text]
  • The Remarkable Nature of Edward Lear1
    The Remarkable Nature of Edward Lear1 ROBERT McCRACKEN PECK Senior Fellow The Academy of Natural Sciences of Drexel University Introduction Although he is best remembered today as a whimsical nonsense poet, adventurous traveler, and painter of luminous landscapes, Edward Lear (1812–1888) is revered in scientific circles as one of the greatest natural history painters of the 19th century (Figure 1). During his brief immer- sion in the world of science, he created a spectacular monograph on parrots, and a body of other work that continues to inform, delight, and astonish us with its remarkable blend of scientific rigor and artistic finesse. In 1988 the British government honored Lear with a set of postage stamps featuring four of his whimsical ink drawings. These included a self-caricature of the bearded artist flying on improbably miniscule wings and the wedding scene from his best-known poem, “The Owl and the Pussycat” (Figure 2). The affable Lear would have been pleased—and probably astonished—by his country’s philatelic atten- tion, but almost certainly disappointed by the Royal Mail’s choice of images marking the centennial of his death. He considered the illus- trated verse in his Book of Nonsense (1846), which ultimately earned him a place in Poet’s Corner in Westminster Abbey, a sideline to his more serious focus: natural history and landscape painting. The artist so feared that these flights of fancy would undermine his reputation in the scientific world that he hid behind the pseudonym “Derry-Down- Derry” until 1861, by which time his nonsense verse and illustrations had already won him a devoted following around the world.
    [Show full text]
  • Brett Whiteley: on the Water
    Brett Whiteley: On the Water Hazelhurst Regional Gallery & Arts Centre 16th November 2012 – 27th January 2013 Education Kit: Year 7 to 12 Contents: About this Exhibition Brett Whiteley: brief Artist Biography Process Curriculum Connections Art Historical and Critical Study Questions Artmaking Activities Cross-Curricular activities Glossary of Terms References Acknowledgements Images About this Exhibition Brett Whiteley was one of the most celebrated Australian artists of the twentieth century. This major exhibition Brett Whiteley: On the Water features over 60 works including drawings, paintings, prints, photographs and sculptures. A highlight being his last unfinished work, Unfinished Beach Polyptych: six imposing panels leaving the Brett Whiteley Studio for the first time in 17 years. Whiteley was an artist who had a deep fascination with nature. Two subjects were the mainstay of his work – the landscape and the nude – and with stunning virtuosity and outstanding draughtsmanship he rendered them with a sensuousness and unique lyrical quality. Brett Whiteley: On the Water explores this special relationship Whiteley had with these subjects, the deep blue of Sydney Harbour, the glistening beaches, and the pleasurable lifestyle of the bathers languidly basking in the sun. The images tell of sensory pleasures derived from total immersion in the surf, to the meditative mood of simply staring out to sea and gazing at the harbour from his beloved home in Lavender Bay. Brett Whiteley: On the Water is presented by Hazelhurst Regional Gallery in association with the Art Gallery of New South Wales, the Brett Whiteley Studio and works from private and public collections. This exhibition is especially relevant given Hazelhurst Regional Gallery’s location in Sydney’s south, surrounded by beaches, bays and rivers nestled in the Royal National Park.
    [Show full text]
  • Opera Australia 2018 Annual Report
    2018 ANNUAL REPORT Cover image: Simon Lobelson as Gregor in Metamorphosis, which played at the Opera Australia Scenery Workshop in Enriching Australia’s Surry Hills and the Malthouse cultural life with Theatre in Melbourne. exceptional opera. One of Opera Australia’s new Vision productions, it was written by Australian Brian Howard, performed by an all Australian cast To present opera that excites and produced by an all Australian audiences and sustains and creative team. Photo: develops the art form. Prudence Upton Mission TABLE OF CONTENTS At a glance 3 Artistic Sydney Screens on stage 32 Director’s Report 12 Conservatorium Productions: of Music 2018 awards 34 performances and Regional Tour 13 Internships 23 attendances 4 China tour 36 Regional Student Professional and Artists 38 Season star ratings 5 Scholarships 16 Talent Development 24 Orchestra 39 Revenue and expenditure 6 Schools Tour 18 Evita 26 Philanthropy 40 Australia’s biggest Auslan Handa Opera arts employer 7 shadow-interpreting 20 on Sydney Harbour – Opera Australia Community reach 8 Community events 21 La Bohème 28 Capital Fund 43 Chairman’s Report 10 NSW Regional New works Staff 46 Conservatoriums in development 30 Partners 48 Chief Executive Project 22 Officer’s Report 11 opera.org.au 2 At a glance 77% Self-generated revenue $61mBox office 1351 jobs provided 543,500 58,000 attendees student attendees 7 637 productions new to Australia performances opera.org.au 3 Productions Productions Performances Attendance A Night at the Opera, Sydney 1 2,182 Performances and total attendances Aida, Sydney 19 26,266 By the Light of the Moon, Victorian Schools tour 85 17,706 Carmen, Sydney 13 18,536 Die Meistersinger von Nürnberg, Melbourne 4 6,175 Don Quichotte, Melbourne 4 5,269 Don Quichotte, Sydney 6 7,889 Great Opera Hits 2018 27 23,664 La Bohème, Handa Opera on Sydney Harbour 26 48,267 La Bohème, Melbourne 7 11,228 La Bohème, New Year 1 1,458 The chorus of Bizet’s Carmen, directed by John Bell.
    [Show full text]
  • Ultimate Papua New Guinea Ii
    The fantastic Forest Bittern showed memorably well at Varirata during this tour! (JM) ULTIMATE PAPUA NEW GUINEA II 25 AUGUST – 11 / 15 SEPTEMBER 2019 LEADER: JULIEN MAZENAUER Our second Ultimate Papua New Guinea tour in 2019, including New Britain, was an immense success and provided us with fantastic sightings throughout. A total of 19 Birds-of-paradise (BoPs), one of the most striking and extraordinairy bird families in the world, were seen. The most amazing one must have been the male Blue BoP, admired through the scope near Kumul lodge. A few females were seen previously at Rondon Ridge, but this male was just too much. Several males King-of-Saxony BoP – seen displaying – ranked high in our most memorable moments of the tour, especially walk-away views of a male obtained at Rondon Ridge. Along the Ketu River, we were able to observe the full display and mating of another cosmis species, Twelve-wired BoP. Despite the closing of Ambua, we obtained good views of a calling male Black Sicklebill, sighted along a new road close to Tabubil. Brown Sicklebill males were seen even better and for as long as we wanted, uttering their machine-gun like calls through the forest. The adult male Stephanie’s Astrapia at Rondon Ridge will never be forgotten, showing his incredible glossy green head colours. At Kumul, Ribbon-tailed Astrapia, one of the most striking BoP, amazed us down to a few meters thanks to a feeder especially created for birdwatchers. Additionally, great views of the small and incredible King BoP delighted us near Kiunga, as well as males Magnificent BoPs below Kumul.
    [Show full text]
  • Chinese Public Diplomacy: the Rise of the Confucius Institute / Falk Hartig
    Chinese Public Diplomacy This book presents the first comprehensive analysis of Confucius Institutes (CIs), situating them as a tool of public diplomacy in the broader context of China’s foreign affairs. The study establishes the concept of public diplomacy as the theoretical framework for analysing CIs. By applying this frame to in- depth case studies of CIs in Europe and Oceania, it provides in-depth knowledge of the structure and organisation of CIs, their activities and audiences, as well as problems, chal- lenges and potentials. In addition to examining CIs as the most prominent and most controversial tool of China’s charm offensive, this book also explains what the structural configuration of these Institutes can tell us about China’s under- standing of and approaches towards public diplomacy. The study demonstrates that, in contrast to their international counterparts, CIs are normally organised as joint ventures between international and Chinese partners in the field of educa- tion or cultural exchange. From this unique setting a more fundamental observa- tion can be made, namely China’s willingness to engage and cooperate with foreigners in the context of public diplomacy. Overall, the author argues that by utilising the current global fascination with Chinese language and culture, the Chinese government has found interested and willing international partners to co- finance the CIs and thus partially fund China’s international charm offensive. This book will be of much interest to students of public diplomacy, Chinese politics, foreign policy and international relations in general. Falk Hartig is a post-doctoral researcher at Goethe University, Frankfurt, Germany, and has a PhD in Media & Communication from Queensland Univer- sity of Technology, Australia.
    [Show full text]
  • West Papua Expedition
    The fabulous Spangled Kookaburra was one of the many highlights (Mark Van Beirs) WEST PAPUA EXPEDITION 22/28 OCTOBER – 10 NOVEMBER 2019 LEADER: MARK VAN BEIRS 1 BirdQuest Tour Report: West Papua Expedition www.birdquest-tours.com The cracking Kofiau Paradise Kingfisher posed ever so well (Mark Van Beirs) This unusual trip was set up to fill in some of the remaining gaps in the Birdquest New Guinea lifelist, so the plan was to visit several hard to reach venues in West Papua. The pre-trip was aiming to climb to the top of 2 BirdQuest Tour Report: West Papua Expedition www.birdquest-tours.com Mount Trikora in the Snow Mountains, but because of recent rioting and civil unrest (whereby several dozen people had been killed), access to the town of Wamena was totally denied to foreign visitors by the authorities. So, sadly, no Snow Mountain Robin… We did manage to visit the famous Wasur National Park, which produced the fantastic Spangled Kookaburra and Grey-crowned and Black Mannikins (all Birdquest lifers) and we reached the island of Kofiau, where the fabulous Kofiau Paradise Kingfisher and the modestly- plumaged Kofiau Monarch (two more Birdquest lifers) showed extremely well. The fabulous lowland rainforest site of Malagufuk gave us a long list of exquisite species amongst which a truly impressive Northern Cassowary, a cute Wallace’s Owlet-nightjar, a sublime Papuan Hawk-Owl and a tremendous Red- breasted Paradise Kingfisher stood out. Kingfishers especially performed extremely well on this tour as we saw no fewer than 15 species, including marvels like Hook-billed, Common Paradise, Blue-black, Beach, Yellow-billed and Papuan Dwarf Kingfishers and Blue-winged and Rufous-bellied Kookaburras.
    [Show full text]
  • The Globe Index to Issues 1-50
    T H E A U STR A L I A N THE GLOBE M A P C I R C L E I N C . JOURNAL OF THE AUSTRALIAN MAP CIRCLE INC. Number 60 2008 THE GLOBE JOURNAL OF THE AUSTRALIAN MAP CIRCLE INC. ISSN 0311-3930 Number 60 T H E A U STR A L I A N M A P C I R C L E I N C . 2008 Copyright © 2008, The Australian Map Circle Inc. Incorporated Association (Vic) no. A0034021A. ABN 19 046 516 617. Views expressed in The Globe are those of the authors and not necessarily of The Australian Map Circle Inc. or of the Editors. Reproduction without permission is forbidden except as permitted by copyright law. Journal of The Australian Map Circle Inc. ii The Globe, Number 60, 2008 Online Access to The Globe The Australian Map Circle has agreements with a number of online publishers to provide online full-text access to The Globe. The precise nature of these agreements varies from publisher to publisher, but all of them are on a non-exclusive basis. The primary reason for making The Globe available online in full-text is to broaden the exposure both of The Globe and of our authors and their works. Please note that these are subscription services and online access to full-text is unlikely to be available to the general reader; access to these services might be available through your local public or university library. Contents of The Globe (no.41-) and Index to Issues. 1-50 of ‘The Globe’ available on the AMC Website australianmapcircle.org.au APAIS, with full text in APA-Full Text (NLA & RMIT) indexing: www.informit.com.au/show.asp?id=APAIS full-text articles in The Globe #41 (1995)
    [Show full text]