Far too many of these brave soldiers have suffered illness as a result of their services, and now we know that, for many of them, the health effects were also passed along to their children. That is more than anyone can ask in terms of service to nation.vietnam war, 1961-1975- - chemical warfare - health aspects, veterans - diseases - australia, wayne "sam" brown, conscription - australia, infantry medic, corps 3, chemical warfare

Manik’s referential language maintains a fundamental connection to derided or “low-brow” sources, spanning popular and visual culture sources such as graffiti, google image searches or YouTube clips. In this work, Manik aestheticises a conspicuously framed police photograph, reproducing the sensationalist image with a considered painterly quality. Attending to the ways in which wide dissemination leads to a clouding and blurring of meaning, Manik challenges conventional ideas of authenticity, circulation, and so-called high/low modes of production. Artist Bio Gian Manik is a Naarm-based artist whose dextrous approach to image-making is characterised by an irreverence for genre and driven by a compulsion to paint. Interested in undermining the colonial properties arming the buttresses of historical painting, Manik ambiguates tradition through the representation of multivalent or tangential subjects. Informed by a childhood spent voraciously copying reproductions of old master paintings, a subsequent indifference to the polarities of high and low culture has rendered his work resistant to traditional stylistic categorisation. Instead, Manik’s practice can be read as an ongoing investigation into the boundaries of representation which often sprawls into the modalities and enviornments of fashion, music and performance. His compositions interweave both carefully distilled and intensely gestural passages, forming a layered palimpsest that references and registers the quotidian fabric of his social and cultural surroundings. Distinguished by an interminable mix of nostalgia and desire, drama and tragedy, his work reverberates an uncertainty of meaning. Strategies such as repetition and mimicry blur the intended resonance or ‘truth’ attributed to each object, place, scene or character. As a result, Manik’s paintings often function as parafictions, interpolating personal experience within constricted frameworks of historical narrative. Gian Manik (b. 1985 in Perth/Boorloo) received a BFA (Honours) from Curtin University in 2011. After relocating to Naarm/Melbourne, the artist completed a Master of Fine Art (Honours) at Monash University in 2012. Since then, he has exhibited widely across Australia and Aotearoa New Zealand in institutional and commercial contexts. He has received institutional commissions by the Australian Centre for Contemporary Art (2022) and the Perth Institute for Contemporary Art (2024). Additionally, his work has been featured in significant exhibitions at the Museum of Contemporary Art Australia, Sydney; Art Gallery of Western Australia, Perth/Boorloo and the Art Gallery of South Australia, Adelaide.

This is an example of posters with a patriotic theme the purpose of which was to raise money for goods for service personal overseas, during WW2. "Tin-hat" badges were sold for 1 and 2 shillings and 1pound. The 'tin-hat' appeal was conducted from 4 Sept - 17 Sept in 1943. Organised by the Returned Soldiers League. A poster is superimposed on a hidden print. The poster which is on top of a hidden print has these words written on it: "Don’t Let the Boys down, Help the tin hat appeal for the Australian Comforts Fund, Friday 1 Aug buy a tin hat or send your donation to RSL War Service Fund Tin Hat Appeal Office – Town Hall Melbourne"australian comfort funds, ww2, tin hat appeal

Grindstones like this were not carried but hidden in special places with subtle indicators known only to the same tribe or nation. The small and deep nature of the pits suggests this rock may have been used for ochre with the smaller pits being used for water or fat to mix with the pigments. The very hard and dense nature of the rock means materials would not be contaminated during the grinding process.This rock is likely to be very old and is potentially significant from ceremonial perspective. Stones like this have been known to be passed on through multiple generations and been in use for hundreds and possibly thousands of years.This grindstone has hollows on both sides. One large hollow on one side measures approximately 7 cm across and 2 cm deep. The opposite side is distinguished by 3 pits, one large (5 cm wide by 3 cm deep) and two small indentations 2cm by 1cm. The hollows have been chipped and smoothed. The base rock is in the shape of a flattened and slightly elongated sphere, it appears to have been water worn.The side with three pits also bears recent scratches believed to be cut by a disk plough. It also appears to have a capital "W" inscribed in the largest pit.jaara, hidden, grindstone, ochre, quartzite, multiple hollows, pits, aboriginal food and art

This boot was found hidden in an alcove in a chimney in one of the first houses built in Lismore Victoria during the mid 1860's. The house belonged to scottish born George Ireland Skene who settled in Lismore in mid 1857 with his wife Elizabeth (nee Nelson) and two young children. November 1857 George had built the first blacksmith shop in Grey Street Lismore and then built his house behind the smithy's. Hiding boots in chimneys is well doucumented in folklore. Old brown leather left foot childs boot. In poor condition the leather has dried out and the front centre of the boot along the eyelets has curled into the inside of boot. The holes are in tact but the laces are missing so is the tounge. The leather is stained with a white powder mildrew. The sole and heel has perished and there is a hole in the toe area.boot, shoe, leather, folklore, concealed, chimneys, hidden, magic

This wooden board, which was used to make the system portable, served as a firm base needed to sustain puncture pressure when transcribing. The metal hinge held paper on the board, and a row of holes either side of the board held a frame in place, thereby ensuring that the lines of Braille were straight across the page.1 wooden back board with metal hingeRVIB logo and name attached to board, partially hidden by hingebraille equipment, royal victorian institute for the blind

This painting was purchased at an exhibition at Australian Galleries in 1968. It originally hung in Robin Boyd's office in East Melbourne, and was only brought to Walsh St after he died in 1971. The Australian Galleries was established by Tam and Anne Purves in June 1956. Robin Boyd designed the Purves family home in Kew in 1967. Two figures (one seemingly with three hands) partially hidden by an artist's easel.Woods '68 in lower right cornertony woods, purves, australian galleries, robin boyd, walsh st artwork, ohm2022, ohm2022_7

Colour Photograph: 2 Story Brick Home, partially hidden by trees in front with lawnOn reverse: 17 Seaby Streetseaby street, mccracken

Cobb & Co Staging Area Armstrong next to Post Office, Low Building is site of Stables Since Rebuilt (Storm Damage) and clad in Flattened Steel Sheets.Colour photograph of Staging Area next to Post Office, Partly Hidden Behind trees

Colour Photgraph: Red Brick home with slate roof with decorative ridging. Partially hidden by Trees26 Seaby St. "Palm Crest- On Reverseseaby street, taranki

26 Seaby Street Original "Walmsley" built by Mr. barnes.Colour Photograph: Rd Brick Home with slate roof with decorative ridging. Partially hidden by trees.On Reverse: 26 Seaby St "Palm Crest"palm crest, walmsley

The Kew Historical Society’s collection includes a wide range of leisure objects. Many of the items are European-made, generally of British origin, however there are a number that were made for the Australian market by Australian manufacturers. There were clearly a huge range of toys produced for the Australian and International children’s market in the Nineteenth and Twentieth centuries. The examples of toys in the collection include examples of alphabet toys, arcade toys, baby toys, construction toys, dolls, doll accessories, educational toys, soft toys, tin toys, toy animals, toy blocks, toy machines, toy typewriters, etc. Red Plastic Magic Ball with a hole on one side to conceal the hidden piece of blue fabric.magic ball, illusional tricks

Part of a collection of 'Rose & Valentine' series of Post Cards. Copied by John Jansson 1984View along the Beach Road, Cowes looking towards the Isle of Wight Hotel on left of photograph (hidden by the trees).The Beach Road, Cowes Phillip Island Vic. The Rose Series P.674.local history, photography, photographs, postcards, cowes, phillip island, black & white photograph, the esplanade cowes, isle of wight hotel

Former Wesleyan Church photographed 1994 after conversion to residenceClassic C19th brick churchNorth side of former Wesleyan Church, Warrenheip St Sth. Partly hidden by trees, white picket fence.wesleyan church, streetscape, trees, buninyong

"Terang" - 33 Ligar St. - Hans Mitchell's HouseB/W Photograph: weatherboard House with verandah mostly hidden by tree. Picket fence and Power pole in mid-distance.stawell residence homes, terang, mitchell

The photograph was taken in the family home of Constantine and Toula Black (Mavrokefalos) in Parkville during the early 1920s on the christening day of their son John Black. John's sisters, six year of Nina Black and her four year old sister, Rita (Marguerita) are pictured. Also pictured from l-r: Argiro ? , who was from Adelaide; John (Panoyoti) Raftopoulos, Toula's brother; and Lily Sigalas, Greek school teacher. Lily was the sister of Alexandra Vrachna who taught two generations of Australian born Ithacan children in Greek community schools for close to 30 years.In adult life Nina Black also went on to teach Greek at the Greek Community school which opened in Melbourne in the early 1930s. She also taught Greek at the CAE and English to new arrivals in the 1960s.A black and white photograph of a man, two ladies and two little girls of a group standing in a garden. A person on the left is almost hidden.

Colour Photograph: White brick house, Iron roof. Partially hidden by tree. Wooden fence with carved wooden railing iron gateOn Reverse: 14 Seaby St. Morrie Robson

Standard issue battle dress pants, issued by defense department. Khaki Pattern 1949 Battle Dress trousers. Four hidden buttons in front closure. Nine exposed buttons around circumference of waistband. Seven internal plastic buttons around inner waist. Two large back pockets with hidden button under flap of each pocket. One large pocket with flap and hidden button on side of left leg/thigh. Bottom of pants hemmed with extra brown fabric attached on inner of each leg hem. Regular side pockets at front of each leg. At rim of each side of the pants there is a buckle feature. Sewn patch with faded illegible subscription. No. 18 visible. Regimental No. ...................... Name_______________ Stamp on inner waist band - 'D ^ D'.military uniforms, army, battle pants

The author delves into the history of her Spanish ancestors, the San Miguels, and uncovers the forbidden love affair that tore the family apart. Fay Johnston told her daughter of a collection of letters she had kept hidden away for over 60 years, promising to show them to her when the time was right. It was only after her mother died that Dolores found the letters, concealed beneath a large piece of wood deep within a storage cupboard. Through endless research and close analysis, Dolores pieced together nearly a hundred letters, newspaper ads, doctors' notes, and postcards to unravel the story of her parents' romance. Dolores San Miguel is also the author of The Ballroom: The Melbourne Punk and Post-punk Scene. Her family history is placed in the wider context of early European immigration to Australia, as well as offering a fascinating glimpse into Melbourne life in the lead-up to World War 2.278p; Fay Johnston told her daughter (Dolores San Miguel) of a collection of letters she had kept hidden away for over sixty years, promising to show her but it was only after she died that the letters were found along with postcards, and doctors' notes. They revealed the story of her parents romance, kept secret for over two decades.(ms) dolores san miguel, (ms) fay johnston, courtship, families, immigrants, social life and customs, (mr) antonio san miguel

Post Ofice Gallery Hidden Worlds glimpses from Bendigo's Forest Street archaeological excavation exhibition catalogue 27 pages with coloured illustrations.books, catalogues, post office gallery

Black and white "Murray Views" postcard - View from eastern bank of Ringwood Park Lake, railway line hidden by trees in background. Circa 1948."1948" handwritten on back.

Beech Forest railway yards, 1907. Passenger carriage; good's van; boy (half hidden; NQ goods wagon; stacks of timber awaiting loading.beech forest; railway; yard; passenger car; timber; goods wagon;

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. This digital image was produced from one of the glass negatives that form part of the collection, probably taken by Louis Haeusler (b.1887) with the photographic equipment in the Wodonga Historical Society Haeusler Collection.This item is unique and has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history.Digital image created from the Haeusler Glass negative collection. An unidentified woman seated on a chair outside. There is a house partially hidden in the trees on the right of the scene.wodonga pioneers, haeusler family, glass negatives, dry plate photography, wodonga families

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. This digital image was produced from one of the glass negatives that form part of the collection, probably taken by Louis Haeusler (b.1887) with the photographic equipment in the Wodonga Historical Society Haeusler Collection. This item is unique and has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history.Digital image created from the Haeusler Glass negative collection. Baby in a white dress being held up for the photo. Person in background is hidden from view.wodonga pioneers, haeusler family, glass negatives, dry plate photography

The photograph was taken in 1927 to celebrate the engagement of John Black and Elpinike Zaverdinou.A non-digital black and white studio photograph of a lady and man. The photograph is in an oval shape, surrounded by a grey, white and black border. The photographer's signature is partly hidden. john black, elpinike zaverdinou., engagements

Drying department, R S & S mill.Drying machine/ R S & S/ 2 men operate/ 1 hidden by fabric G Kidman ROBERT POCKLEY/ PHOTOGRAPHERtextile machinery textile mills - history textile mills - staff textile mills, returned soldiers and sailors mill, drying machinery, drying, textile machinery, textile mills - history, textile mills - staff, textile mills

Scallan St - Mrs McClureColour photograph showing a red brick house, with tiled roof and with red brick fence with painted top. The house is hidden by treet and plants. Town hall to the left of house.streetscape

hand crocheted synthetic film, Japanese bamboo tape, plastic thread over high density foam, synthetic polymer emulsion, cotton rag paper, wire, hidden talismans

Shane JONES (1955- ) Born Melbourne Shane Jones is a graduate with a Masters in Fine Arts from Monash University, He practices art 'en plein air' and in the studio. Shane Jones' realist works feature the trompe l’oeil (trick the eye) tradition and he is considered one of Australia's foremost artists in this technique. The hyper-realist style of art creates an illusion that the objects depicted are the real thing while not being photographic. 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.A painting of a long white cloth being held by a white and a black hand. The identity of the subject is hidden, and the figure is absent. The unknown rather than the anonymity inhibits Shane Jones' imagery. art, artwork, shane jones, oil, oil on canvas, visual arts