This sword was collected by Norman Ladner in New Britain during WW11. It was returned to Australia in 1946. Lorraine Joiner (Norman Ladner's daughter) gave the sword to Orbost Police in 2010.Katana were one of the traditionally made Japanese swords that were worn by the samurai class of feudal Japan, also commonly referred to as a "samurai sword.A Japanese Army Samurai sword from WW11. It has a Katana style blade - a curved, slender, single-edged blade with a circular or squared guard and long grip to accommodate two hands.sword ww11 katana samurai japanesse-army weapon

The compact TC-510-2 model of the Sony Tape Recorders is especially designed for on-the-go recording. It is powered by 8 Size D batteries.Solid base with clear perspex lid. Control panel on front and on top of base. Removable cartridge for batteries "SONY TAPECORDER TC-510-2 NO 10972 MADE IN JAPAN" Yellow SMB sticker with equipment number "131135"sony, tape recorder, portable, batteries, outdoor recording

Worn by Japanese soldiers WWIISteel green coloured helmet with Imperial Japanese star on fronthelmet

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka. The Walsh Street Archive has Boyd's handwritten manuscript 'Tokyo from the Monorail', published as ‘Modern Japan on a Concrete Beam’ in 'The Australian' 31/07/1965 (see item D001).Colour slide in a mount. The Tokyo Monorail, 1964, Tokyo, JapanMade in Australia / 14 / JUL 65M / Montreal Expo (Handwritten)tokyo, robin boyd, slide

Items in the collection re Clarence Shearing, refer Cat No 7089.16P for his service details.Photographs B & W, colour enhanced of scenes and buildings in Japan all various sizes.1 & 2. Osaka Castle. 3. Bridge at Arashiyama near Kyoto. 4. Itsukushima Jimja shrine at Miyajima. 5 & 6 Hsukushima floating Torri Gate. 7. Miyajima. 8. Wagoga castle. 9. Inuyama Castle at River Kiso. 10. Torri Gate at Yosukuni Shrine. 11. Amakusa Islands. 12. Deer Park at Nara. 13. Kinkaku-ji or Golden gate Shrine in Kyoto. 14. Temple in Kyoto. 15. Kyogoka (Theatre street) Kyoto. photographs, bcof, japan

Kawana Hotel established 1928 south of Tokyo and was set up as a resort and still exists as such. used by BCOF for rest. Items in the collection of Richard William McGILVERY, RAAF. Refer Cat No 7287P for his service details, photos and awards.2 sheets Parallelogram shape with image of building, resort. Green in colour. Hotel name, orange and blue in colour. Some writing in top corner in Japanese. Includes picture of golf clubs and tennis racket.At bottom "120 Kawana Hotel Japan"kawana hotel, bcof, souvenirs

Item souveniered by H.J.B.Burrell BEM MM, VX59659 in 1945. Refer 290, 296.2P, 297.2P, 298.4. Japanese campaign medal China 1937 - 1943 17th Army. Round, brass with ribbon and attached brass bar. Medal depicts mountains on one side, reverse has a bird centre with flags each side. All writing is in Japanese.numismatics - medals, military, japan

Thought to have been bought home from Japan by an Australian soldier who was a member of the British Commonwealth Occupation Force (BCOF) Silver ? cigarette Case from Japan.

Two prints of the same book regarding the Japanese capture of Singapore. .1 358 page hardcover book, with cut pages and no dust cover. Cover has image of a large number of seated Allied soldiers with red Japanese characters down the right side. includes numerous B&W photos. .2 Same book as .1, includes dust cover with image of Pacific region covered by a Japanese rising sun flag, with Japanese characters on either side..2 "Roy Taylor"books, military, war, japan

Document describes the Japanese surrender and announcement by the British prime Minister. Alan Mason collection, refer cat No 3979.2Document, rectangular shape, off white colour, all print in black, Coat of Arms at top followed by text.“JAPAN HAS SURRENDERED”japanese, surrender 1945, documents

OFF SAMARINDA, BORNEO. 1945-09-08. SIGNING OF THE INSTRUMENT OF SURRENDER OF THE JAPANESE FORCES IN DUTCH BORNEO ON THE QUARTERDECK OF THE FRIGATE HMAS BURDEKIN. ON THE TABLE IS THE SWORD OF THE COMMANDING OFFICER OF THE JAPANESE FORCES VICE ADMIRAL KAMADA.Black and white photograph of japanese officer placing sword on tableww2, japanese surrender, borneo, hmas burdekin

Japanese doll with traditional dress. Standing upright supported by black square base. On doll: "PMA 0130/1" On base: "WMA 57" "PMA 0130/2" Japanese writing at base in pencil

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. The garden outside the pavilion featured a sculptural pool, a coral display, animal pool, a pit for kangaroos and Eucalypts and other native plants. The indoor exhibits covered aspects of Australian art and culture, architecture, industrial design and scientific innovation, such as the Snowy Mountains Hydro-Electric Power Scheme, the Parkes radio telescope, the design of Canberra, and the Australian way of life.Colour slide in a mount. Model, Japanese Pavilion, Expo '67 Montreal. (Architect: Yoshinobu Ashihara.)Expo 67 Montreal Canada / Japan / April 28 - October 27 / Encircled 13 (Handwritten)expo 67, montreal, robin boyd, slide

Gift to the Faculty of EducationScroll with a scene of Mt Fuji undertaken in batik. If you can assist with translation of this item, or country of origin, please use the comments box below. calligraphy, asian, japan, mt fuji

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Drawing of the Metabolist Floating City project, JapanMade in Australia / 35 / APR 68M7 / Encircled 20 (Handwritten)slide, robin boyd

The item is possibly Australian Army issue with Japanese POW drawing on. Item in the collection re Capt R.A. Hanson VX111070, refer cat No 5646.3P for his service details and Japanese connection.Handkerchief khaki colour with hand drawn Japanese symbols, a dragon and year on."1946"accessory, handkerchiefs, pow's

Japanese Captain during ww11.shoulder board, on black velvet sewn onto leather strip. gold strip. with two flowers and anchor on top button.

OFF SAMARINDA, BORNEO. 1945-09-08. FILMED AND WATCHED BY MEMBERS OF THE SHIP'S COMPANY, AUSTRALIAN AND JAPANESE OFFICERS SIGNING OF THE SURRENDER OF THE JAPANESE FORCES IN DUTCH BORNEO ON THE QUARTERDECK OF THE FRIGATE HMAS BURDEKINBlack and white photograph of japanese officers standing on deck of ship at seaww2, japanese surrender, borneo, hmas burdekin

OFF SAMARINDA, BORNEO. 1945-09-08. SIGNING OF THE INSTRUMENT OF SURRENDER OF THE JAPANESE FORCES IN DUTCH BORNEO ON THE QUARTERDECK OF THE FRIGATE HMAS BURDEKIN. ON THE TABLE IS THE SWORD OF THE COMMANDING OFFICER OF THE JAPANESE FORCES VICE ADMIRAL KAMADA.Black and white photograph of japanese officer standing before sword on tableww2, japanese surrender, borneo, hmas burdekin

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981Another Kyoto confection, a kind of sweetened rice paste, is simply but strikingly wrapped in a package marked with its name (uiro) in vigorously written characters. Simplicity could hardly be carried further, but, as seen in this ensemble of three separate packages, the effect is altogether engaging. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979. Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981An elegant wooden box, fashioned in the style of boxes used for gifts to the emperor some eight or nine centuries ago, is filled with a Kyoto confection called Gion Chigo Mochi. The Gion is one of Kyoto's entertainment districts, chigo are children dressed in ceremonial Buddhist costume for one of the city's numerous festivals, and mochi are cakes of steamed and pounded rice. The name of the confection derives from the style of the bamboo-sheath wrapping, which suggests the figure of a chigo. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving