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Tennis Australia
Racquet, Circa 1949
A Cortland American Driver tennis racquet, with string whipping on shoulders, and leather handle grip with quatrefoil perforations. Base of head on reverse features Courtland logo, and on obverse, the model name. Throat features decal of Courtland trademark, featuring stylised image of male playing tennis within a red triangle device. Shaft on obverse features a newer trademark with similar figural motif, but with a tennis ball in background instead of a triangle. Shaft on reverse features head illustration and signature reproduction of Joe Whalen. Cortland "Radio-Frequency/Resin Bonded" and "Smoke-Tone" decals feature on crown and shaft. 'C' trademark features on butt cover. Materials: Wood, Nylon, Plastic, Leather, Cloth, Ink, String, Glue, Lacquer, Metal, Painttennis -
Tennis Australia
Racquet & cover, Circa 1974
Two part object. (1) A Wilson 'T3000' metal tennis racquet, with double shaft; metal shaft bridge;and red plastic shaft casing featuring 'W' logo. Model name printed on metal adhesive labels fitted to shaft bridge. Handle wrapped with brown leather. Net anchored to metal wire wrapped around head frame. Red plastic butt cap with partial white label featuring manufacturer's 'W' logo in red. (2) A white and red vinyl racquet head cover with zipper and printed with manufacturer and model names. Has adhesive sticker on each side. Both state: 'NEW/EVEN QUICKER/EVEN STRONGER/T3000'. Materials: Metal, Plastic, Adhesive tape, Nylon, Adhesive label, Leathertennis -
Kew Historical Society Inc
Album, Kew [Willsmere] Mental Hospital, 1872-1965
The new Kew Lunatic Asylum was completed in 1871 and opened in 1872. The year 1972 marked it's centenary. Over the years, members of staff at the asylum collected records, photographs, publications and plans of the asylum, later hospital. The Society has a number of important collections relating to the asylum and the Children's Cottages. These include the Dr Cliff Judge, the Irena Higgins and the Dr Fred Stamp Collections. This item was one of a number donated by the family of the late Dr. Fred Stamp who was the last medical superintendent of the Hospital. Dr Frederick Stamp graduated from Bristol Medical School (UK) in 1968. He and his family emigrated to Australia in 1977 to Goulburn (NSW), moving to Melbourne in 1980. He became Superintendent at Willsmere in 1981 until its closure in 1988.Following their closure, the medical records of the Kew Mental Hospital and the Children's Cottages Kew were relocated to the archives of Victorian Government departments and ultimately to the Public Records Office of Victoria. Other collections, such as the Fred Stamp Collection, were assembled by staff who worked at the hospital. The years leading up to the closure of Kew must have been fraught, and many of the items in the hospital were probably destined for hard waste disposal. Dr. Fred Stamp, the last medical superintendent, kept aside or rescued a number of these items, of which this is one. Following his death, his family donated these to the Kew Historical Society. The Society recognises these items to be of lasting historical significance, essentially due to their provenance and to their rarity. Together they (and the Judge and Higgins Collections) are an invaluable aid for researchers of the institutions' histories.Red vinyl photographic album containing 43 images of the Kew Mental Hospital from its origins until ca. 1965. Within the album, there are a range of photos of various sizes. Photos are typically labelled by date, especially within decade. The photos are of varying quality and historical significance. the subject of the photos in the album include architectural features, internal and external environments, patients and staff. Those to be published separately are deemed to be unique and or significant. The album forms part of the Dr. Fred Stamp Collection.kew lunatic asylum, kew mental hospital, willsmere, kew hospital for the insane, dr fred stamp, the fred stamp collection -
Tatura Irrigation & Wartime Camps Museum
Book, Hearts Full of Hope, 2007
Chronicles of migrant Italian famies into a strange new countryBlue, red, yellow soft cover book with picture of ship, horse team and 2 photos and map of North Qld on coveritalian migrants, books, history, local -
Tatura Irrigation & Wartime Camps Museum
Booklet, Tatura Milk Industries Handbook, 1999
... of milk tanker, red writing. 2 smaller ones, one red. Handbook ...Handbook for new employees. Contains all information including history of factory, working conditions etc.Blue cover, white label. Blue and white writing. Large photo of milk tanker, red writing. 2 smaller ones, one red.tatura milk industries, handbook, tatura, dairy industry, employees handbook -
Tatura Irrigation & Wartime Camps Museum
Book, Feu Nos Peres, 2006
This is a copy of the catalogue of the exhibition of Mutsumi Tsuda held in New Caledonia in September, 2006Soft cover book. Reprints of photos of various people and families on front and back covers. Coloured and black and white photos. Text in French and Japanese. Titles of book printed in Red. 100 pagesfeu nos peres, tsuda, mutsumi, new caledonia, camp 4, tatura, ww2 camps -
Tatura Irrigation & Wartime Camps Museum
Folder, Major Outlet Waranga Basin Upgrading 1999, 1999
Photos of various stages of upgrading construction of Waranga Basin. Also contains photos of Research Station and Tatura Museum with new fence in 1999Red plastic cover, white label, black writingphotographs, waranga basin, old railway bridge, research station, museum, tatura, photography, photograph, rural, industry, irrigation -
Tatura Irrigation & Wartime Camps Museum
Book - Monica's War, John P Mcmahon, Monica's War, an Australian Army Matron in Australia, New Guinea and Japan, 2016
True story of an Army nurse who served in a hospital ship, New Guinea, Japan, Internment Camp at Tatura, and her struggles to have the AANS members to be permitted to care for soldiers suffering tropical illnesses and post traumatic stress disordersFront cover is blue top & bottom witha sepia coloured strip featuring women in uniform, also a colour photo of matron Monica McMahon wearing a white matron veil, red cape with white collar. Epaluts on her shoulders feature army badges, also her ribbons are pinned on the chest. An army badge is pinned at her throat. Underneath is a grey dress with metal buttons. Back cover is blue and brown with white writing re the subject of the book. Front cover is printed as follows : Monica's War. An Australian Army Matron in Australia, New Guinea and Japan. John P McMahonTrue story of an Army nurse who served in a hospital ship, New Guinea, Japan, Internment Camp at Tatura, and her struggles to have the AANS members to be permitted to care for soldiers suffering tropical illnesses and post traumatic stress disordersaustralian army nursing service, camp nursing staff -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - ink and watercolour, Annette Meikle, Coastline and Red Bluff, 1977
In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003.Annette Meikle, Coastline and Red Bluff 1977, ink and watercolour, 25.9 x 25.5 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, bay, port phillip bay, coastline and red bluff, red bluff cliffs, coast -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - ink and watercolour, Annette Meikle, St Vincent de Paul's Children's Home, 1977
In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. This red brick building in Balcombe Road, Black Rock, was constructed in the inter-war period (1939) as a holiday home for State wards and neglected children who were placed in the care of the Sisters of Mercy.Annette Meikle, St Vincent de Paul's Children's Home 1977, ink and watercolour, 35.7 x 25.6 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, st vincent de paul's children's home, balcombe road, black rock, sisters of mercy -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - ink and watercolour, Annette Meikle, Sandringham Club, 1977
In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. In the mid 1870s wealthy solicitor David Abbot bought a large block on the corner of Bamfield Street and Beach Road and built an imposing family home with a stately tower. It featured rare Hawthorn Blacks – hand-made bricks of brown-red with streaks of charcoal black. For many years the home was the most prominent in the district. In 1922 ‘Coggeshall’ was subdivided, and the house was sold to the Sandringham Club, a gentleman’s club that had formed in 1913 and required more space for its growing membership. Members enjoyed lawn tennis courts, a bowling green and a cricket green, as well as a large billiard room. The Sandringham Club still owns ‘Coggeshall’.Annette Meikle, Sandringham Club 1977, ink and watercolour, 25.7 x 35.7 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, sandringham, sandringham club, gentleman’s club, coggeshall, david abbot, historic house -
Koorie Heritage Trust
Document - Printed Sheets, Batey, Isaac, The Aboriginals - transcript of the handwritten memoirs of Isaac Batey
This memoir contains observations of the Aboriginal people in the Sunbury area mainly. From 1844 onwards this young boy has recounted memories of his life, this section deals with Aboriginals. Although the language and observations may offend some people they are also a reflection of the attitudes of his times, and give an indication of the settlers' reactions to the inhabitants of a new land. Recorded in 1909.17 P.;This memoir contains observations of the Aboriginal people in the Sunbury area mainly. From 1844 onwards this young boy has recounted memories of his life, this section deals with Aboriginals. Although the language and observations may offend some people they are also a reflection of the attitudes of his times, and give an indication of the settlers' reactions to the inhabitants of a new land. Recorded in 1909.batey, isaac b. 1838., sunbury - red stone hill - ?boriginals, history., aboriginals - woiworong - hunting; possum skin rug making; baskets; cooking ovens; death-customs; myrnong. -
National Wool Museum
Archive - Advertisement, Onkaparinga Woollen Mill Company, 1956
Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Tonight sleep deep in blankets of purest wool (lady making bed and range of blankets) Tonight sleep deep in blankets of purest wool toned in the softest of pastel checks to make a bed lovely and warm/Onkaparinga, the worlds finest blanket from the world's finest wool/Onkaparinga new pastel multi-check blankets/Buy Well-Buy Wool/Obtainable from leading stores throughout Australiablanket, blanket fever, wool, onkaparinga, advertisement, australian women's weekly -
National Wool Museum
Archive - Advertisement, Onkaparinga Woollen Mill Company, 1957
Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Pure wool, cuddly and warm (boy asleep with lamb)Pure Wool cuddly and warm/Buy Well…Buy Wool/Onkaparinga new pastel multi-check blanketsblanket, blanket fever, wool, onkaparinga, advertisement, australian women's weekly -
National Wool Museum
Archive - Advertisement, Onkaparinga Woollen Mill Company, 1958
Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Pure wool, cuddly and warm (boy asleep with lamb) New fashion colours…Old fashioned values…./Pure Wool quality for a lifetime of healthy warmth/Onkaparinga 100% Pure Wool Blankets/Best in Australia, Best in the World!blanket, blanket fever, wool, onkaparinga, advertisement, australian women's weekly -
National Wool Museum
Functional object - Typewriter, Remington Typewriter Company, c.1925
This Remington No.12 typewriter is of the typebar, front-strike class. It was made by the Remington Typewriter Company of Ilion, New York, U.S.A. in about 1925. The Model No. 12 was introduced in 1922 and was one of the first 'visible writer' machines, in which the typed characters were visible to the operator. Previous models were of the upstrike class in which the characters were typed on the underside of the platen. To see what had been typed the operator had to raise the platen, meaning the typist was typing blind much of the time. This machine was used by Margaret Ganly née Burn in the 1930s. It was purchased for her by one of the sons of William Pride, a famous saddle maker in Geelong, William was Margaret’s grandfather. The typewriter was donated with original sales receipt and servicing tools. Margaret worked at Dennys for 7 years during the 1930s. The typewriter is accompanied with a story written by Margaret about her time working at the company. Margret married Jack Ganly, a fellow employee of Dennys. The Ganly name was well known within Dennys, with three generations of the Ganly family working at the company. WORKING CONDITIONS & OFFICE WORK DUTIES. Written by Margaret Burn in 2021. Worked at Dennys Lascelles in the 1930s. In the 1930s coming out of the Depression, jobs were hard to come by and had to be clung to by efficiency and subserviency. There was no union to protect workers – bosses could be tough and rough. Dennys Lascelles revolved around fortnightly wool sales in the “season” – September to May. Sale day was always a day of suppressed excitement. Preparation from a clerical point of view was complete and we now awaited the aftermath of the actual wool auction. The building teemed with people. There were country people down to see their wool sold, buyers of many nationalities, or from the big cities, who were coming in and out of the building all day. Their role was to inspect the acres of wool bales displayed on the show floors; however, caterers were present to feed clients, and there was plenty of social interactions on top of business. The office staff did not go home but waited until the first figures came back from the wool sales and the machines went in to action, both human and mechanical, preparing the invoices for the buyers’ firms. This comprised of lists of lot numbers, weights, prices per lb., and the total prices paid. A lot of this was done by old-school typewriters, making this work a big, heavy, tiring job. Before the finished lists could be dispatched, they were collated on an “abstract”. The lists had to balance with the catalogue from which the invoices had been prepared. This never happened automatically. All the paperwork had to be split up amongst pairs of workers and checked until discrepancies were found. This would happen until midnight but occasionally went until 2 or 3 am. Once complete, the invoices could then be rushed off to the buyers’ firms usually in Melbourne, and hire cars took the staff home. It was back on the job the next morning, usually around 8.30. The office hours varied according to the size of the sale and work involved. Some days started as early as 8 and could finish around 5.30. The second phase of work began with the account sales to be prepared for the sellers of the wool. These detailed all the weights, descriptions of wool, brands, and prices. One Sales account could have multitudes of lot numbers, all needing to be individually described. Various charges needed to be deducted such as finance for woolpacks, extra stock, or farmers who were given a loan to live on during the season. Details of how payment was to be made was also noted, whether the seller was to be paid by cheque, to a bank, or credited to their account with the company (which often left the seller still in debt). For a couple of months in the winter, things were quieter when staff took holidays and were sometimes given afternoons off. But there were still weekly skin sales and stock sales around the state. The annual end of June figures to be prepared for a big company like Dennys with branches all around the state also kept the staff busy. In good years there was sometimes a bonus. On sale days there was a bar open for the clients and wool buyers. This added to the excitement for the young girls, who were strictly barred from using it, but somehow managed to sneak a gin and tonic. This is how I had my first ever, before the evening meal. There was also the romantic notion in some minds, with all the influx of males, that some of us might end up on a wealthy station, or be noticed by an exotic buyer. To my knowledge, this never happened at Dennys Lascelles Limited. Group staff photo at Dennys Lascelles Limited. Margaret Burn. Age 18 or 19. Jack Ganly (Margaret’s future husband). 22.The typewriter has a black painted metal frame. The top section of the typewriter consists of a cylindrical platen on a carriage featuring plated metal fittings. A curved folding paper guide sits behind the platen and moves on the horizontal axis when the user types on the keyboard. A horizontal semicircular type basket with typebar links the top section to the lower keyboard. The ink ribbon is carried between two spools on a horizontal axis, one on each side of the type-basket. At the rear, a paper tray features gold lettering which reads ‘Remington’. At the front, a four-row QWERTY keyboard is found with 42-character keys total. 'SHIFT LOCK' and 'SHIFT KEY' are to the left of the keyboard, 'BACK SPACER' and 'SHIFT KEY' to the right. All keys are circular, white with black lettering. At the top of the keyboard are five circular red keys with the numbers 1-5 displayed behind their respective keys. A Spacebar is found along the front of the keyboard. The typewriter is accompanied by a cardboard box. This box contains the original sales receipt, on blue paper with grey lead handwriting. It also contains spare parts, a spare ribbon stretched between two spools, and cleaning tools such as brushes of differing sizes. Serial Number. Engraved. "LX45395" Gold lettering. Paper tray. “Remington” Gold Lettering. Behind keyboard. “Made in Ilion, New York, U.S.A. Gold Lettering. Mirrored both sides of type-basket. “12”remington, dennys lascelles ltd, worker conditions 1930s -
Westbourne Grammar Heritage Collection
Memorabilia - Year 12 Art and Signatures Book 1983 - 2018, 1983
In 1978 a new campus for Williamstown Grammar, named Westbourne, was established at Truganina to accommodate the new secondary school. The first year 12 class graduated in 1983 and to commemorate this historic event, the Year 12 art and signature book was begun. Since 1983, each Year 12 group has nominated a student to create an artwork, which in many cases represents a theme that was important to the Year 12 cohort at the time, to be signed by each student of Year 12. The practice quickly became to create the artwork on a separate sheet of paper and paste it across the fold of each consecutive double page spread. The book, opened at the entry of the graduating class, would then be displayed at the Year 12 Valedictory Dinner each year.This books commemorates each graduating year 12 class since the establishment of the secondary campus at Truganina. It is an example of beginning community building traditions for the new school.Red vinyl bound book with tan-coloured suede corners and spine. The front cover features gold embossed lettering of the school name above a school logo (self-adhesive applied after manufacture) with further embossed gold lettering 'Year 12' below. Artworks on paper have been adhered across bifold pages of the book, using unknown adhesive, each year between 1983 and 2018. Adhered pages contain mixed media. Pages at the back of the book contain lists with senior student office holder names and signatures for each year 1983-2018.year 12, graduation, valedictory, art, community, student work, prefects -
Chiltern Athenaeum Trust
Book, New Testament Souvenir of Peace WORLD WIDE WAR 1914-1918
1916 New Testament owned by Richard Evans while serving in WW1Richard Evans was born in Chiltern Valley and served in WW1Size 66mm x 100mm, colour khaki fabric, reinforced cover print, front and back cover has black print, parchment coloured pages with red edges. Cover insignia contains laurel wreath with dove of peace above a small bible Inside front cover contains wording - Richard Evans 19.18 (different pen entries) Pte R Evans Nos 69029 16th Reinforcements Victoria Aus Imperial Forces Abroadchiltern valley, chiltern, new testament, ww1, richard evans -
Nillumbik Shire Council
Drawing (Pastel): Nicholas Nedelkopoulos (b.1955 Melb, AUS), Nicholas Nedelkopoulos, The Sneeze, 1995
Nicholas Nedelkopoulos is an established artist, his work is represented in the Metropolitan Museum of Art, New York, the National Gallery of Australia and in numerous International and Australian Public and Private Collections. His work has been included in major historic exhibitions: the National Gallery of Australia's Federation touring exhibition, The Australian Bicentennial Folio and Victoria's 150th Anniversary exhibition curated at The State Library of Victoria and National Gallery of Victoria. He has a Diploma of Fine Arts from Victorian College of the Arts, a Master of Fine Art from the University of Melbourne (Victorian College of the Arts) and has a Doctorate from Monash University. Nedelkopoulos' work is based strongly in graphic tradition which can be seen throughout all of his media.'The Sneeze' alludes to a feverish response, an irritation, a period of temporary discomfort, or a sign of sickness. On a visit to Eltham in 1995 Nedelkopoulos became aware of the disquiet felt by many residents because local government was not in the hands of elected representatives. 'The Sneeze' is an allegorical work, which serves as a reminder of this period in our municipal history. Nedelkopoulos has constructed an environment similar to a theatre set in which every element is a symbol to be deciphered. Whether you read the red-nosed figure as democracy being challenged by the political circumstance, as representing the unelected commissioners surrounded by the criticism of the community, or as another player in the story, to unravel the meaning of individual elements will provide direction and add weight to your interpretation. Without knowledge of the artist's intention the work can convey quite straightforward messages and responses. For example, the misery of hayfever in Spring, or how germs spread from a single sneeze. Such ideas are relevant and provide the metaphoric basis for a more in-depth analysis.Pastel drawing on paper. Image depicts a small black figure with a small monkey on a lead. The figure has a red nose to which he is holding a tissue. He is walking through what appears to be a flowering forest.nedelkopoulos, the sneeze -
Nillumbik Shire Council
Mixed Media (textiles): Rosalie COGAN (b.1948 Vaght, Netherlands), Rosalie Cogan, War and Peace, 1987
Cogan is a textile artist and her work is political in nature. 'War and Peace' is about the Vietnam War and a statement about patriotism in war, of lessons not learnt, of remembrance and never forgetting. This work is an expression of her feelings towards this time and of her husband's experience who fought in this war. The Republic of Vietnam 'Vietnam Campaign Medal' is from the former country of South Vietnam (Republic of Vietnam). Established in 1966, it was awarded to members of United States, Australian, and New Zealand military forces serving six months or more in support of Republic of Vietnam military operations. The medal is issued with a device known as the 1960 Bar. The bar displays the date of 1960 followed by a dash and a blank space. The unusual appearance was caused by the government of the Republic of Vietnam stating that the 1960 bar would show the dates of the Vietnam War from start to finish, with the ending date placed on the 1960 bar after the South Vietnamese had triumphed over North Vietnam (the Democratic Republic of Vietnam). Since South Vietnam fell, and the government ceased to exist, an ending date for the 1960 Bar was never established. The Vietnam Campaign Medal is considered a foreign award by the U.S., Australian, and New Zealand governments. The joint Australian and New Zealand campaign medal awarded for service in the Vietnam War is the 'Vietnam Medal'. The obverse of this medal shows the crowned head of Queen Elizabeth II, with titles, while the reverse has the inscription VIETNAM above a symbolic representation of the ideological war in Vietnam. The RSL poppy (the Flanders poppy) has long been a part of Remembrance Day, the ritual that marks the Armistice of 11 November 1918, and is also increasingly being used as part of Anzac Day observances. During the First World War, red poppies were among the first plants to spring up in the devastated battlefields of northern France and Belgium. In soldiers' folklore, the vivid red of the poppy came from the blood of their comrades soaking the ground. The poppy soon became widely accepted throughout the allied nations as the flower of remembrance to be worn on Armistice Day. Today the RSL continues to sell poppies for Remembrance Day to raise funds for its welfare work. "War and Peace' is significant as it explores and highlights a period in history (the Vietnam War), which was contentious both socially and politically. Cogan and her family lived locally, in the Shire of Eltham during this time, and her work is a reflection of the experiences and sentiments of a section of the Nillumbik community. Textile piece. 'War": Cast muslin, machine embroidery onto white calico. Tanin dye, poly thread, side bust view (hand, shoulder and arm). Black machine stiching on shirt and shirt pocket with two vietnam medals. A replica of the 'Vietnam Medal' in muslin is shown reverse and has the inscription VIETNAM above a symbolic representation of the ideological war in Vietnam, which is of a male figure standing between two spherical shapes. The ribbon has a vertical central section of bright yellow which has centrally superimposed on it three thin stripes of red, (representing the South Vietnamese flag) flanked by two stripes of red (representing the Army). On the left is a dark blue stripe representing the Navy and on the right, a light blue stripe representing the Air Force. A replica in muslin of the second medal is the Republic of Vietnam 'Vietnam Campaign Medal' of the former country of South Vietnam. The ribbon has green and white strips with a device bearing the inscription ‘1960 – ‘. The medal is traditionally a gold and white enamelled star with a green, red and gold centre motif. Right hand is touching the medals/heart, while left arm is left resting to the left side over a crutch which ends in a rolled up bandage. 'Peace': Cast muslin, machine embroidery onto calico. Black dye, poly thread and RSL poppy. Side bust view (hand, shoulder and arm). Yellow machine stiching on black shirt and shirt pocket with RSL red poppy on shirt pocket. Right hand is reaching to touch the poppy, while left arm is slightly bent resting on its' left side. Nonetextile, muslin, embroidery, vietnam war, medals, vietnam medal, vietnam campaign medal, rsl poppy, war, peace, armistice, remembrance day, anzac -
Nillumbik Shire Council
Painting: Adriane Strampp (b.1960 Wisconsin, USA), Adriane Strampp, Into the Night, 1987
Strampp lived and worked at Clifton Pugh's artist colony Dunmoochin from 1980 to 1985. 'Into the Night' is Strampps' "own marriage painting". The wedding dress and horse, "a symbol of virility and passion" represents Strampp and the background landscape was inspired by her stay in Somerset, England. The cliff edge on the left symbolises "an audacious step into the future." The painting "is of a bride, passionate yet absent, about to embark upon a new journey in life, and of the voyage ahead. It is about acknowledging the past, and having the courage to move forward. To take risks". Strampp was largely influenced by both the new German Neo-Expressionists of the time and by English artist John Walker, which is evident in this painting. Her work took on popular stylistic trends and themes of the time, which included a painterly aesthetic and an energetic application of the medium, which transferred to an emotional and or personal connection to subject matter that was communicated symbolically. Strampp is an artist of national significance. This work encompasses themes and a style of painting (Neo - Expressionism) that was prevalent during the time of its making in the eighties. This work represents a transition from Strampp's highly regarded early paintings of heroic horses in the mid to late 1980’s to her highly regarded paintings of contemporary wedding and/or armour-like bodices dresses of the 1990s. Both the 'horse' and 'dress' were often set in empty backgrounds or dreamy/foreboding landscapes. Painted in oil on linen (x2) in a 'Neo-Expressionist' style, 'Into the Night' depicts a ghostly white horse to the right of the painting looking away from a ghostly white wedding dress to the left of the painting. The dress has sprouted white wings and is adorned with bows on the bottom edge of the dress and roses on the sleeves. The dress seems full bodied although there is no figure. The dress and horse are placed in the foreground on a stage like platform with a white curtain framing the picture to the right, and a black ladder and brown cliff edge framing the picture to the left. The background depicts a foreboding and dark cloudy sky and seascape with a firery red landscape burning on the horizon. Signed low right (1988.7b VA) with brush in purple (light) 'Adriane Strampp 87'. into the night, neo expressionism, wedding dress, horse, symbolism, painting, seascape, dramatic, emotional, poetic, strampp -
Ballarat Base Hospital Trained Nurses League
Priscilla Wardle - Trainee Ballarat District Hospital, 27/02/1905 to 01/03/1908 and WW1 Nurse. Also Edith Popplewell & Lily MacKenzie
No 1: Matron Eagleton with Nursing Staff, Ballarat & District Hospital. Priscilla Wardle, far right - trainee nurse 1905-1908. No 2: This could be a group of trainee nurses at Ballarat Hospital. Circa 1906/1907. The nurses with the grey looking sleeves in this black and white photograph may be wearing the lilac uniform of Trainee nurses. The sitting nurse on the far right may already be qualified because she appears to be wearing the white of a trained nurse. Sitting in the middle with the cheeky grin could be Priscilla and the standing nurse on the far left could be Edith Popplewell. No 3: This photograph is labelled 1907 and Priscilla would have just commenced her training. She appears to be “fanning” a female patient presumably to cool her down. This could be upstairs in the Queen Victoria’s Women’s Ward. Priscilla graduated as a nurse in 1908. In this photograph Priscilla was at age 23 years. No 5: Sheila Kelly (left) and Priscilla Wardle. This photograph is labelled 1909 and shows Priscilla in an all white uniform indicating she has qualified as a nurse. Sheila Kelly appears to have darker sleeves/blouse (lilac) and may still be a trainee. No 6: There is a very good chance that this photograph is Edith Popplewell, standing left, Lily MacKenzie , standing on the right and Priscilla seated. Writing in her album is very hard to read but it appears to be “Pop McK & I”. The arm bands with the St John Cross denote they are “charge nurses” maybe in charge of a ward. Taking all this into account the photograph could be circa 1909/1910. No 8 & 9: Priscilla painting what appears to be a gate while wearing her nurse uniform. She has a big grin on her face. Together with Lily MacKenzie they were the principals in the Mount Stuart Private Hospital at 18 Duke Street. Daylesford. This property is now known as Mount Stuart House. Priscilla appears to be on Central Spring Road with the Daylesford Post Office in the background. Photograph 9 is labelled 1914 which would make it near the end of their tenancy between 1911 and 1914. No 10: This photograph raises some questions. Priscilla appears to have darker sleeves /blouse (lilac) which may indicate she is still a trainee however Priscilla is also wearing a “charge nurse” arm band. While my research shows trainee nurses can be a “charge nurse” this is not common practise. The scene appears to be at the door of a house/home. I am not sure if the children’s ward/orphanage at the Ballarat Hospital at this time was in such a building. It could be that it is at the Mount Stuart Hospital but this would mean Priscilla and Lily have duplicated the wearing of the “charge nurse” arm band. The St John’s logo looks different too. Priscilla Isabel “Pearl” Wardle (1884-1967). The armband indicates Priscilla is a Charge Nurse at the Ballarat Hospital. Nothing else known. No 11: Mary & I at Mount Stuart – House Daylesford – This is probably the nursery at the Mount Stuart House Private Hospital being run by Priscilla Isabel “Pearl” Wardle (1884 – 1967) and Selina Lily (Lil) MacKenzie or McKenzie (1882 – 1975) between 1910 and 1914. Mary is certainly Mary Young MacKenzie or McKenzie (1865- 1942) Lily’s stepsister who trained at Ballarat Hospital as “Mary Young “at the same time as Priscilla and Lily. Mount Stuart House still stands at 18 Duke Street Daylesford. Photo date 1912. No 12: Priscilla wearing her distinctive Queen Alexandra’s Imperial Military Nursing Service Reserve cape and badge. Possibly while nursing in London for a month in 1919 after the war. No 12A: Priscilla Wardle - WW1 Diary, OCR enabled. No 13: Priscilla and friends at No. 7 General Hospital, Malassises, Saint Omer, France in July 1915 The old monastery being used as a hospital can be seen in the background. The tents are the nurses quarters. This photograph may have been taken at the same time as the group photograph on page 250 of the diary transcription. Priscilla is thought to be the nurse at the centre in the QAIMNSR uniform. The nurses quarters at the No 7 General Hospital in Saint Omer in France where Priscilla worked for most of the first year of her Diary. Their Monastery (Hospital) at Malassises can be seen in the background. No 15: Priscilla is an Acting Sister working at the 2nd General Hospital for Officers in Havre, France, between March and July 1918. The nurses were enjoying their “tea party”. (see also page 253 of the Diary transcription) No 17: Priscilla at Havre - at 2nd General Hospital (Officers Hospital) in Havre., France Friday 29 March 1918 to Monday 29 July 1918 note the two dark bands on her right sleeve denoting that she is an “Acting Sister”. Priscilla is 34 years of age in this picture and in the three weeks prior to this posting she met Cyril Terence Charles Kirby (1892-1968) her future husband at the 42nd Stationary Hospital in Flixecourt while he was serving with the British Army during the battle and evacuation of Amiens. No 18: Priscilla Wardle at No 8 Stationary Hospital Wimereux, France - from Saturday 24 June 1916 to Tuesday 18 September 1917, Priscilla worked at this hospital for 15 months her longest time in one hospital. during the war. While at Wimereux on Sunday 1 July 1917 she was appointed an Acting Sister. Priscilla once said she disliked nursing in her cape and badges and here she is in her favourite “uniform” for work “the robe” as she called it. She may be leaving the “operating theatre” at Wimereux in this photograph. No 19: Priscilla worked in various operating theatres throughout France. This could be after she became an anaesthetist in 1918 and worked with this team. She is wearing her favourite uniform which is more comfortable. She did not like the collars and capes that were required to be worn. No 20: Priscilla and Sister Michael Meeke? (details not found) are having a quiet drink at the 2nd General Hospital for Officers in Havre, France. Note the dark bands on their sleeves denote their rank as nursing “Sisters”. While it looks like they are smoking look more closely they are in fact holding a “flute” style probably “cocktail” glass. Tea parties and cocktails, Havre could almost have been fun. No 22: 1913 – Ballarat nurse Priscilla Isabell “Pearl” Wardle (1884-1967) in Cannes on the French Riviera during leave from between Friday 20 February 1918 and Friday 6 March 1918.Priscilla is second from the left wearing her distinctive QAIMNSR cape of grey with dark “wine” coloured border. The other nurses are wearing their “travelling” army uniform. They were rudely called “Salvation Army Lassies” by American nurses for the way they were dressed. (see page 232 of Priscilla’s War Diary) The description of 1913 on this photograph is confusing. No 23: Priscilla with her best friend Edith Victoria Donaldson somewhere in the “mysterious far east” on their trip on the Orontes. Priscilla is second from left - this may have been taken at Durban during Priscilla's return to Australia in 1919. No 25: Priscilla Wardle, Ballarat nurse in her Queen Alexandra’s Imperial Military Nursing Service Reserve (QAIMNSR) uniform. Notice the distinctive grey cape with “wine coloured” border Priscilla is also wearing her QAIMNSR qualification badge (medal) on the right side. Because she has no dark (wine coloured) bands on her sleeves so this photograph may be before 1 July 1918. No 26: Priscilla met her husband to be English army Lieutenant Cyril Terrence Charles Kirby during the battle and subsequent evacuation of Amiens in France. As an army nursing “Sister” Priscilla also held the rank of Lieutenant. Priscilla was stationed at the 42nd Stationary Hospital between 7/3/18 and 23/3/18. She had just completed a fortnight break at Cannes on the French Riviera. They were married at Priscilla’s home “Waverley" at 215 Dawson Street Ballarat on Saturday 15 November 1919. Nov 15, 1919 – Mr and Mrs Kirby. The bride Priscilla Isabell “Pearl” Kirby (nee Wardle) (1884-1967) and the groom Cyril Terence Charles Kirby (1892– 1968) on their wedding day. Priscilla was 34 years of age and Cyril 27 years of age however their marriage certificate states that they were both 34 years of age. Their marriage certificate states they were married at Waverley, Dawson St, South, Ballarat in a Presbyterian service conducted by the Rev. John Walker, a Minister of the Presbyterian Church of Australia and the Moderator General of the Church we think for Victoria. Was it in an outdoor setting as the surrounds in this photograph seem to indicate. Their witnesses were Robert and Olive, Priscilla’s brother and sister. Cyril signed as C. Terence. C. Kirby and Priscila signed as Priscilla I. Wardle. The certificate lists Cyril (Terence) as a Bachelor, Born at sea on a British ship and his occupation as Sailor. His father interestingly is listed as Charles John Kirby, of independent means and his mother as Emily Newman. Priscilla is listed as a Spinster, born in Ballarat with occupation as a Nurse. Her father is listed as Henry Thomas Wardle, Timber Merchant and her mother as Isabella Allan. They are both resident at 215 Dawson St. Ballarat which was Waverley the Wardle family home. No 28: Reverse in Poppy’s handwriting: “Lovingly yours Poppy, Dec 1908” Taken the year after Poppy qualified at BBH. No 29: Reverse in Poppy’s handwriting: “With much love to you Cilla, Poppy 1915” This picture was taken in the same year as the Marquette sinking incident. Edith Catheina Popplewell RRC (1884-1972) in her New Zealand Army Nursing Service (NZANS) Uniform. Poppy is at age 29 years in this photograph. Poppy was awarded the Royal Red Cross (RRC) medal for her heroism during the sinking of the Marquette transport ship. She lost her best friend NZ nurse Lorna Ratray. No 30: Taken in Cairo. Poppy is in the centre and wearing her New Zealand army badge and cape. The two nurses on either side are Australian nurses probably wearing their unique silver Australian Army sunrise badge and cape. No 31: Reverse in Poppy’s handwriting: “Ward 7 on Xmas day 1917, with my love, Poppy, A Happy New Year to you – had the sweetest letter from Bobbie”. (Bobbie is Priscilla’s brother Robert). It is thought the nurse in the centre of the three on the left is Poppy. It is 1917 two years after the Marquette sinking. Poppy appears to be a “sister” note the two dark bands on her sleeve. The uniform also matches that of Poppy 2. This photograph is in Post Card form very common during WWI. Edith Popplewell RRC is the “Sister” in the middle of the group of three nurses on the left. She is a sister not a general nurse because of the two bands on her left wrist denoting her rank. She was in fact the Charge Nurse ( in charge) of Ward 7 at this time. Note the Christmas decorations. Poppy is at age 33 years of age in this photograph.Bobbie is Priscilla’s brother Robert Norman “Bobbie” Wardle (1895-1979). No 32: Lilly MacKenzie & Poppy – Otaki - Australian nurse Selina Lily (Lil) MacKenzie sometimes McKenzie (1882– 975) grew up and trained as a nurse in Ballarat Victoria. After completing her training Lily and Priscilla Isabell “Pearl” Wardle (1884 – 1967) conducted the Mount Stuart House Private Hospital in Daylesford Victoria. In late 1913 Lily travelled to Otaki, 32 kms north of Wellington in New Zealand and worked at the Otaki Cottage Hospital with close friend Edith Catheina Popplewell “Poppy” (1884-1976) who also grew up and trained as a nurse at the Ballarat Hospital. In 1914 Lily was matron of a private hospital in Taihape 150kms north of Wellington. Both Lily and Poppy volunteered for New Zealand but as New Zealand were not accepting Australian trained nurses she returned to Australia and enlisted in the Australian Army Nursing Service (AANS) in October 1915. Lily went on to serve in Egypt, England, France and Italy where she was awarded the Royal Red Cross (RRC) medal for her service. This photograph is while Lily and Poppy were working at Otaki Cottage Hospital in New Zealand. Circa 1914. trainee, charge sister, ballarat, hospital, 1905, 1908, ww1, mount stuart house, sleeman, wardle, popplewell, mackenzie, military, queen alexandra's imperial military nursing service reserve, daylesford, nurses, private hospital, edith popplewell, france, cairo, diary, ww1 diary, havre, lily mackenzie, eagleton, matron, otaki, new zealand, donaldson, malassises, kelly, young, kirby -
Tatura Irrigation & Wartime Camps Museum
Book - Dictionary, Websters New International Dictionary (1926)
... Tatura the-murray Dictionary Book Websters New International ...Original AgeLARGE book. Bound in dark red leather with embossing. Websters New International Dictionary wth Reference History including Webster insignia all in a circle on the front. Spine has writing ( hard to read ) and raised strips in silver. Inside there is some moth damage at the front, some page edges are damaged, and clear tape has been used to repair near front. Inside front and rear covers have mottled colours of red, yellow.Websters New International Dictionary on front and spine, other words are worn and hard to read -
Tatura Irrigation & Wartime Camps Museum
Book, Australian Migrant Ships - 1946-1977, 2006
Contains information on ships that brought migrants to Australia - 1946-1977, including ten pound poms.Yellow soft cover with photo of "New Australia" on the front and "Fairstar" with the author in the foreground and precise of the contents of the book on the back. Black, red and white text.migrant ships, books, maritine, ten pound poms -
Tatura Irrigation & Wartime Camps Museum
Book, Sing Me That Lovely Song Again, 2006
Helga Griffin, daughter of Austrian engineer father and German mother. Interned aged 6 years and sent to Australia with her parents and young brother. Five years interned in Camp 3 near Rushworth, then released to Melbourne. Helga vividly describes her early childhood in Persia. The mixed emotions of her whole family during the internment experience and postwar, trying to adjust to a new country, new culture, new language. Very evocative memories of wartime dislocation.Blue/green front soft cover, red and white printing, white back cover and spine, black printing.With my very best wishes to the Tatura museum and the sterling work of the volunteers that contribute to its valuable presence. Helga 26.5.06ww2 camp 3, books, autobiography, helga griffin, helga griffin (girschik) -
Tatura Irrigation & Wartime Camps Museum
Notelet, 1940's
Issued for internee use at Camp 3, Tatura, by the Australian Young Mens' Christian AssociationChristmas greeting notelet, front "cover" features cut-out map of Australia, picture of a kangaroo in bottom left hand corner and of an emu in bottom right hand corner. Painted red bow at "spine"|Second page features sketch of internment camp trees and barracks. Part is seen through a cut out on front page. Printed on Page 3 in German : Christmas /New Year greeting and organisation responsible for production of notelet. Stapled togetherww2, camps, documents, cards -
Puffing Billy Railway
1920's Station Cash Box Tin - Hobbs & Co London, 1920's
1920's Station Cash Box Tin Made by Hobbs & Co London Lever Machine Made Alfred Charles Hobbs (October 7, 1812 – November 6, 1891) was an American locksmith and inventor. Hobbs went to London as a representative of the New York company of Day & Newell, which was exhibiting at the Great Exhibition of 1851. Hobbs had brought with him his boss's (Robert Newell) Parautoptic lock, designed to compete with, and surpass, the locks available at the time in Britain. He was the first one to pick Bramah's lock and the Chubb detector lock at the Great Exhibition of 1851 and forced the lock manufacturers to improve their designs. The lock controversy continues a subject of great interest at the Crystal Palace, and, indeed, is now become of general importance. We believed before the Exhibition opened that we had the best locks in the world, and among us Bramah and Chubb were reckoned quite as impregnable as Gibraltar— more so, indeed, for the key to the Mediterranean was taken by us, but none among us could penetrate into the locks and shoot the bolts of these masters. The mechanical spirit, however, is never at rest, and if it is lulled into a false state of listlessness in one branch of industry, and in one part of the world, elsewhere it springs up suddenly to admonish and reproach us with our supineness. Our descendents on the other side of the water are every now and then administering to the mother country a wholesome filial lesson upon this very text, and recently they have been "rubbing us up" with a severity which perhaps we merited for sneering at their shortcomings in the Exhibition. In 1854 he was awarded a Telford Medal by the Institution of Civil Engineers for his paper 'On the Principles and Construction of Locks'. Sign on a strong room door. Hobbs became one of the founders of the lock making firm of Hobbs Hart & Co. Ltd. The company started in 1851 and was formally registered as Hobbs and Co. in 1852. But by 1855 it had become Hobbs, Ashley and Company. The name then changed to Hobbs, Ashley and Fortescue, with an address at 97 Cheapside in London. Then for the next ninety years the address was 76 Cheapside in London. In 1860 Hobbs returned to America and lived in Bridgeport, Connecticut, and went on to hold a dozen patents for firearm ammunition manufacturing. In 1880 he listed himself as a "Superintendent Of Cartridge Factory" Info from https://en.wikipedia.org/wiki/Alfred_Charles_HobbsHistoric - Railways - Station Cash Box Tin 1920's Station Cash Box Tin - Hobbs & Co London Metal Tin - painted Black, Gold and Red with Brass Lock and HandleHobbs & Co London Lever Machine Made1920's station cash box tin, puffing billy -
Victorian Aboriginal Corporation for Languages
Book, Lenny and the big red kinan : an Awabakal Language Book, 2010
Awabakal is the language of the Aboriginal people from the Newcastle, Lake Macquarie and Lower Hunter region of New South Wales in Australia. As Lenny takes his walk and collects insects, we learn some words that relate to the bush, to the landscape and the little creatures that would be found there. This book has been printed with sound, which can be heard through an Audio Reader. If you have an Audio Reader, run it over the pages to hear the sound.word lists, colour illustrationsawabakal, newcastle, lake macquarie, hunter region, juvenile literature -
Wangaratta RSL Sub Branch
Pocket Book, Australian Soldiers' Pocket Book
Pocket Book gifted by the Australian Comfort Fund to George Denis Parker VX123730 who served with the 6th Australia Infantry Training Brigade. He was deployed in February 1944 to New Guinea and assigned to HQ New Guinea Force Details Depot. Based in Buna, in Papua, they carried out garrison duties as well as patrols around the areas surrounding Milne and Nassu Bay. In May 1944, they moved to Lae. Parker returned to Australia in June 1944.An example of a small pocket book gifted by the Australian Comforts Fund (ACF) to soldiers and other servicemen during WW2. This pocket book has a bright red cover and was given as a morale boosting gift. The book contains details of relevant information considered useful to serving service personnel.Red canvas covered pocket book The Australian Soldiers Pocket Book Gift from the Australian Comforts Fund 1942australian soldier's pocket book, george denis parker, ww2, png -
Wangaratta RSL Sub Branch
Pocket Book, A.R. Sharrock, 1944
Australian Soldier's Pocket book gifted by the Australian Comfort Fund to WO2 Almora Reedie SHARROCK VX142263 Born 13/7/1911 at Dandenong. Enlisted 26/2/1940. Occupation Armourer. Unit 127 Australian Brigade Workshop. Served in New Guinea during WW2An example of a small pocket book gifted by the Australian Comforts Fund (ACF) to soldiers and other servicemen during WW2. This pocket book has a bright red cover and was given as a morale boosting gift. The book contains details of relevant information considered useful to serving service personnel.Red canvas covered pocket book The Australian Soldiers Pocket Book Gift from The Australian Comforts Fund 1944ww2, almora reedie sharrock, 127 aust bde workshop