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Wangaratta RSL Sub Branch
Postcard, 1917
From the album of WWI soldier William West (1268) of the 29 Infantry Battalion, 5th Pioneers Battalion. This collection of postcards, photographs and clippings were sent between William and his family and loved ones during the years he was on active service. See also 207 and 220. Colour postcard featuring a poem, a map of Australia, a currawong or magpie, a swastika, an aboriginal man holding a boomerang or throwing stick. Handwritten message on back.Front: "A message to the absent one"album, photo album, newspaper clippings, postcard, wwi, australian flag, boomerang, throwing stick, magpie, currawong, swastika -
Robin Boyd Foundation
Book, Ed Kerrie E. Andrews, Australia The Beautiful: Great Gardens, 1983
... -aboriginal relations, Australian fiction... melbourne Book Australia The Beautiful: Great Gardens Hardcover ...HardcoverIndigenous colonial history, cattle station life, white-aboriginal relations, Australian fictiongardening, walsh st library -
Robin Boyd Foundation
Book, Tom Ronan, Moleskin Midas, 1956
... cattle station life white-aboriginal relations Australian fiction ...Hardcover"Jack, I am sure you will enjoy this" inside front coverindigenous colonial history, cattle station life, white-aboriginal relations, australian fiction, walsh st library -
Federation University Art Collection
Painting - Artwork - Painting, [Unknown]
Aboriginal painting. If you can assist with information on this artist or artwork please use the comment box below. gippsland campus, churchill, aboriginal, alumni -
Federation University Art Collection
Painting - Artwork - Painting, 'Strive & Grow, Thrive & Flow' by leni
leni (1960s- ) Born Melbourne Wotjobaluk "leni is both a long story and a short life. A Wotjobaluk woman, born in Melbourne in the sixties, adopted into a non-Aboriginal family and raised by true destiny on country in the Wimmera. leni was reunited with her mother and extended family in her late teens. Simple swift sentences with complex challenging undertones. Thus began an ever evolving and endlessly deep cultural and personal exploration which has passionately consumed, confused, enticed and enriched her since. leni’s creativity is inspired strongly by her cross cultural heritage, learnings and loves, failures and fears, passions and dreamings. This artwork has its own determination and authenticity. leni’s work constantly explores concepts of the past and present. leni has exhibited in the Koorie Heritage Trust, The Convent Gallery, Kirret Barreet Gallery, Gallery on Sturt, Tussock Gallery and others. Her work has been commissioned by various organisations, public and private collectors.A triptych commissioned for the Federation University Mt Helen A-Building Staircase.aboriginal, abstract -
Surrey Hills Historical Society Collection
Photograph, Dr Edna Gault, 1988
Query: Originally from a newspaper article. Dr Gault enrolled in U3A research aged 84 years, after retiring from psychiatry. She joined a U3A current affairs class and thrived on the weekly tutorial and interaction with other students. Quote: “My tutor Don Graves suggested I do further research so I have been studying what makes Aboriginal women so strong in their community. I have been doing an interview once or twice a week and writing it up.” - extract from ‘The Sun’ by Amanda Place 23 August 1988. Dr Edna Gault and her husband Dr. Edward Woodfall Gault set up practice in Surrey Hills in 1931 and built their home at 693 Canterbury Road, on the corner of Florence Road in 1933. In 1937 they went to India as medical missionaries, taking over the missionary hospital at Azamgah, established by his sister Dr. Adelaide Gault, who had to return to Australia on account of ill-health. They finished up at Vellore, South India. Dr Gault was born Edna Isabel Baylis in 1904 in NSW; she married her husband in 1932 in Chatswood, NSW. Later homes were: 13 Kasouka Road, Camberwell (1949); Warrandyte (1963) and Ivanhoe (1980). There is a biography of her life entitled 'A very amazing life' by Bette McLaughlin, a copy of which is in this collection. A black and white photograph of a happy looking eldery lady raising her walking stick.(mrs) (dr) edna gault, doctors, surrey hills, canterbury road, florence road, 1933, (miss) (dr) adelaide gault, 1988, university of the third age, u3a, psychiatrists, missionaries, (mr) (dr) edward woodfall gault, (miss) edna isabel baylis, (mrs) (dr) edna isabel gault -
Federation University Art Collection
Painting - Natural pigment on bark, Mawurndjul, John, 'Female Wayarra Spirit' by John Mawurndjul, 1995
Balang [John MAWURNDJUL] (1952 - ) Born Mumeka, Northern Territory Country: Milmilngkan, West Arnham Land, Northern Territory Clan: Na-Kurulk Language Group: Kunwinjku Location: Milmilngkan John Mawurndjul is an Australian indigenous artist. He is a member of the Kuninjku people of West Arnhem Land, Northern Territory. Growing up John had only occasional contact with non-indigenous people and culture. He was tutored in rarrk, a traditional painting technique using fine cross hatching and infill, working on small barks. During the 1980s he started producing larger and more complex works. The artist has painted 'Wayarra', a generic term which can include both malevolent spirit beings which continually inhabit certain sites or objects but can also mean the Spirit of a recently deceased person. These spirits are one of two spirits of the dead, the other being the 'Kun-malng' soul. The 'Wayarra' is the shadow or 'shade' of the dead and may take on the form of the deceased and haunt areas where the deceased recently inhabited. In order to prevent Wayarra spirits from harassing relative of the recently deceased, a smoking ceremont is performed where Ironwood leaves are burnt around the camp of the recently deceased and ochre is rubbed on all objects belonging to the deceased. Ochre may also be rubbed on vehicles, houses and trees. Some Wayarra are a particular Dreaming totem for people of certain clans. This is why many artists depict Wayarra in their bark paintings and sculptures. They are depicting clan totems particular to their lineage and which are celebrated in major regional patrimoiety ceremonies. In 1989 the work of John Mawurndjul was included in the landmark exhibition "Magiciens de la Terra' at the Centre Pompidou and Grande Halle de la Vilette in Paris, France. His works have also been exhibited in numerous solo and group exhibitions in Australia, New York, Paris and Japan. Mawurndjul is one of eight artists whose work in part of the largest inernational commission of contemporary Indigenous art from Australia at the Musee du Quai Branly, Paris. The work was exhibited in the Australian survey "John Mawurndjul: I Am The Old And The New", at the Museum of Contemporary Art, one of the 160-odd works all chosen by Mawurndjul for inclusion in the exhibition. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.This artwork was chosen by John Murwurndjul as on of around 160 works for exhibition in the 2018 Australian Survey of his work at the Museum of Contemporary Art. The artist is known for his rarrk work, which is evident in 'Female Wayarra Spirit'.Aboriginal bark painting featurung rarrk. The artwork is associated with Dilebang, a duwa moiety place that belongs to the Kurulk clan. This work is currently on loan for exhibition in 'John Mawurndjul: I am the old and the new'. The exhibition will be shown at the Museum of Contemporary Art Australia (Sydney) from 6 July – 23 September 2018, and the Art Gallery of South Australia, Adelaide from 26 October 2018 – 28 January 2019.art, artwork, john mawurndjul, aboriginal, bark painting, rarrk, wayarra, kuninjku, maningrida, loan -
Federation University Art Collection
Sculpture - Mace, 'University Mace' by Trefor Prest, 1995
The University's mace was carried in procession for the first time during the Graduation ceremonies in May 1996. The mace was presented to the University by former Chief Commissioner of the Ballarat City Council, Vern Robson, at a ceremony on 02 February, following a national competition for its design, sponsored by the Council. (The Flag, Issue 2, July 1996) Nineteen artists responded to the competition which called for a design that would embody a distinctive Australian image reflecting the heritage of the city and in relationship with gold, an Aboriginal element and the history of the University. The winning entry, dominated by a poppet head, was submitted by Central Victorian artist/sculptor Trefor Prest, a sessional lecturer in sculpture at the University.(The Flag, Issue 2, July 1996) The Herald Sun of 03 February 1996 reported 'the new mace shows importance elements of Ballarat's heritage as well as the university's focus on the future. The artist emphasises the egalitarian nature of Australia as embodied in Ballarat's famous slice of history - the Eureka uprising. ... The mace has a poppet head at the top of the shaft - an unusual element for a mace - but it represents Ballarat's mining history and the University's evolution from the Ballarat School of Mines. An opening egg at the top stands for the nurturing of development and learning. The mace's straight shaft is depicted as the tree of knowledge and, incorporating a bark canoe scar, Ballarat's Aboriginal heritage. At the end of the shaft is a surveying device, which represents precision and accuracy ads embodied in the university's academic pursuits.' Bob Morrell of the University organised the national competition to design the mace and said 'It is in keeping with the university's logo, 'proudly flying the flag', which incorporates the Southern Cross.' This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007. Trefor Prest lectured in Sculpture at the University of Ballarat from 1995-1996.The mace symbolises the office of the Chancellor. The design of the mace is the outcome of a national competition and represents the cultural diversity of Australia. The poppet head on the top of the mace refers to gold mining, which underpinned the development of Ballarat. The protruding spikes recall the Eureka Stockade. The 'egg' shape enfolds and nurtures the development of knowledge and learning. The shaft with the three 'branches' represents the Tree of Knowledge, and includes a bark canoe scar which recognises the integration of black and white Australian traditions. The lower part of the shaft culminates in a device suggestive of scientific or surveying and measuring technology. This represents precision and accuracy embodied in the academic pursuits of Federation University Australia.art, artwork, trefor prest, prest, mace, federation university, university, eureka stockade, aborigines, scarred tree, mining, university mace, ballarat -
Federation University Art Collection
Painting, Searle, Ken, 'Ballarat' by Ken Searle, 1998
Ken SEARLE (1951- ) Born Sydney, New South Wales Ken Searle worked on this commission through 1997 and 1998. Further works and sketches relating to this commission are held by the Art Gallery of Ballarat. Searle is a self-taught artist who first exhibited his paintings and drawings in the mid-1970s and is known for large, and often whimsical, paintings, of suburban and industrial areas in several Australian cities. From 1998 to 2001 Searle worked as a consultant at the school in the Aboriginal community of Papunya, Central Australia. 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.Framed painting highlighting the artist's favoured aspects of Ballarat. Interested with scenes of suburbia for over twenty years, Ballarat is his first portrayal of a whole city. Searle’s view of Ballarat presents a deliberately untidy city seen from a number of viewpoints. Local scenes are portrayed no matter how pretty or garish, the subject matter providing a snap shot in time. Funded through the Commissions Program of the Visual Arts/Craft Fund, 1998 art, artwork, ken searle, ballarat -
Federation University Art Collection
Painting - Watercolour, 'Mount Dandenong' by Dr Sydney Pern
Sydney PERN (c1876-23 October 1967 ) Born Battley, England Dr Sydney Pern began practicing medicine in the Victorian town of Yarram before setting up practice in Ballarat. He was a competent artist, and as an amateur anthropologist collected Aboriginal artefacts during travels in Central and Northern Australia. 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.Watercolour landscape glued onto card depicting a view towards Mount Dandenong.art, artwork, sydney pern, landscape, mount dandenong -
Federation University Art Collection
Painting - Watercolour, 'Metung' by Sydney Pern, 1932
Sydney PERN (c1876-23 October 1967 ) Born Battley, England Dr Sydney Pern began practicing medicine in the Victorian town of Yarram before setting up practice in Ballarat. He was a competent artist, and as an amateur anthropologist collected Aboriginal artefacts during travels in Central and Northern Australia. 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. Unframed coastal landscape art, artwork, meetung, sydney pern, unframed -
Federation University Art Collection
Painting, Sydney Pern, [Seascape] by Sydney Pern, Pre 1967
Sydney PERN (c1876-1967) Dr Sydney Pern began practicing medicine in Yarram before setting up practice in Ballarat. He was a competent artist, and as an amateur anthropologist collection Aboriginal artefacts during travels in Central and Northern Australia. Dr Sydney Pern died aged 91 on 23 October 1967, and is buried in the Ballaarat New Cemetery. The ethnographic collection was housed at his home, 10 Raglan Street North, before being donated to the Ballarat School of Mines Museum. When the museum was closed in the 1960s Dr Pern requested that the collection pass to the City Council, and from there it was housed at the Gold Museum. An artwork by Sydney Pern was exhibited in the 1958 Crouch Prize at the Ballarat Fine Art Gallery. 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.Framed oil on sketching paper seascape by Dr Sydney Pern Gift of David Alexander, 2013Signed lower right corner "S. Pern"art, artwork, pern, sydney pern, landscape, available -
Federation University Art Collection
Painting - Oil on canvas, Sydney Pern, Waterhole by Sydney Pern
Dr Sydney PERN (c1879- 23 October 1967 ) Sydney Pern was a doctor who practiced in Ballarat. He was a competent artist who also collected Aboriginal artefacts. 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.Framed oil landscape on oil sketching paper.signed lower right 'S. Pern'art, artwork, sydney pern, pern, landscape, available -
Federation University Art Collection
Painting - Artwork, [Untitled]
Under the direction of lecturer Raymond Thomas five students of Koorie Studies at the Gippsland Centre for Art and Design created this work. The were Vickie Turvey, Robyn Yates, Kellie Parsons, Melissa Fenton, Deanna Mobourne.A large canvas with indigenous plants, and Aboriginal animal motifs. If you can assist with information about this artwork, or the artist, please use the comment box below. artwork, artist, gippsland campus, aboriginal, kangaroo, emu, fish, clan map, vickie turvey, robyn yates, kellie parsons, melissa fenton, deanna mobourne, koorie studies -
Federation University Art Collection
Painting - Artwork, [Untitled]
This artwork is thought to be a group project associated with Koorie Education at the Gippslnd Centre for Art and Design. Large painting with Aboriginal flag and motifs. If you have information on this artwork or artist/s please use the email link below. artwork, artist, gippsland campus, aboriginal -
Federation University Art Collection
Work on paper - Artwork - printmaking, Lytlewode Press, A suite of limited edition prints by Paddy Fordham Wainburranga, 2003
Paddy Fordham Wainburranga (1932-2006) Area: Arnhem Land Country: Bamdibu (Bumdubu) near Bulman Station As a child, Paddy grew up in Maningrida an Aboriginal community on the top end of the Northern Territory. He started working as a boy around cattle yards, which finally led him to working as a stockman for 20 years. Before this, he spent much of his time hunting and learning culture and customs from his father and uncles. He could remember being taken to a sacred location where he was told many Dreamtime stories of how customs came to be and why Aboriginal people practice them. Paddy was part of the movement for equal rights for all Aborigines, actively involved in claiming Bumdibu as his traditional land for his clan. He resided over this land as Jungai (caretaker, policeman). Paddy was taught to paint by his father but did not begin to paint seriously until the early 1970s. He was also recognized as a story teller, bark painter, sculpture, dancer, singer and musician. He was familiar with Central Arnhem Land rock and bark painting traditions; however he developed an idiosyncratic style which fused the figurative schema of western Arnhem Land with the narrative capacities of the north-east producing dense pictorial paintings divided into sequential segments. A suite of seven limited edition prints using the sugar lift aquatint technique. .1) Yalk Yalk Woman Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .2) Walga Walga Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .3) Nammooroddoo Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 Nammooroddoo Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .3) Nammooroddoo Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .4) Mun Gruk Gruk Woman Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .5 Mun Gruk Gruk Man Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .6) Mun Gruk Gruk Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .7) Lightning Man Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 Donated through the Australian Government Cultural Gifts Programme by Katherine N. Littlewood, 2014artist, artwork, paddy fordham wainburranga, paddy fordham, wainburranga, printmaking, aboriginal, indigenous, churchill, dreaming -
Federation University Art Collection
Ceramic, Ian Sprague, [Ceramic Panel] by Ian Sprague, c1977
Ian SPRAGUE (1920 - 18 April 1994) Born Geelong, Victoria Ian Broun Sprague's initial training was in Architecture, completing a degree at the University of Melbourne in 1950. After a serious car accident in England, Sprague was encouraged to take up a craft to restore the strength in his arms. He studied at the Central School of Arts and Crafts, London for three years, and spent two months at the David Leach Pottery in Devon, before returning to Australia in 1962. In 1964 Ian Sprague established the Craft Centre in Toorak Road, South Yarra, and the Mungeribar Pottery in Upper Beaconsfield, with Robin Welch, Mungeribar being an Aboriginal word meaning 'red clay'. In 1981, he moved to Mooney-Mooney, NSW (Mungeribar was gutted by bushfires shortly after he left), and to Noosa in 1992. The Mungeribar Pottery mark is an impressed 'm', and Sprague's own mark is an impressed 'IS' with the S rendered in Morse code. Ian Sprague's Mungeribar apprentices were Grattan Burley, Victor Greenaway (1969–73), Christopher Sanders (1976-78}, Trevor Hanby (1978–80). In 1981, he moved to Mooney-Mooney, NSW , and Noosa in 1992. Greenaway's mark in his Mungeribar years was an impressed capital G. Grattan Burley (for six months), The Craft Centre in South Yarra was owned and stocked entirely by Ian Sprague, and he travelled all over Australia in search of the best possible textiles, glassware, woodwork and jewellery, not just pottery. The opening exhibition showed the pottery of Robin Welch. Sprague sold the Centre in 1967, but soon started a campaign for a government funded centre, eventually established as the Meat Market Craft Centre in North Melbourne. In 1971 Sprague became president of the recently created Craft Association of Victoria. Dismayed by the quality of teaching in art schools and technical colleges, he ran many workshops around the country on the textural treatment of clay. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Contemporary ArtTexture fire clay slab and partly glazed wall panel. Ian Sprague produced his hand modeleed wall panels by cutting them from fireclay blocks, heating and scraping them, and applying bold simplified motifs. A strong solution of salted wated was poured onto the rugged clay surfaceswhich produced a warm toasted surface effect. The panels show a clear understanding of the modulation of two dimensional relief sculpture. Artists stamp on lower RH cornerceramics, ian sprague, gippsland campus, jan feder memorial ceramics collection, mungeribar, meat markery craft centre, craft centre south yarra -
Federation University Art Collection
Painting - Artwork - Painting, 'Procession Along the Todd River' by Wesley Pemberthy
Wesley PEMBERTHY (1920- ) Born Broken Hill, New South Wales Wesley Pemberthy spent his childhood in Adelaide, South Australia. As an adult he lived in Bendigo, Ballarat, Clunes, Creswick, Daylesford and Perth. While in Perth he studied at Perth Technical School (1933-1937), followed by studies under the tutorship of Norman Lindsay in New South Wales (1938-1941). After service during World War Two Wes Pemberthy became the first Rehabilitation student at the National Gallery School, Victoria, undertaking research into the techniques of the Old Masters. He was the winner of the Sulman Award in 1955. The Sulman Prize is awarded for the best subject painting, genre painting or mural project by an Australian artist.Framed painting showing a number of brightly dressed people in a treed landscape. artists, artwork, wes pemberthy, wesley pemberthy, aborigines, aboriginal -
Federation University Art Collection
Work on paper - Artwork, Lytlewode Press, 'Marmmudak Woman' by Paddy Fordham
Paddy FORDHAM WAINBURRANGA (1932-2006) (Katherine, Northern Territory) 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.Framed limited edition lithograph showing a woman with a rabbit like head. Donated through the Australian Gifts Programme by Katherine Littlewood.paddy fordham wainburranga, paddy fordham, aboriginal, printmaking, artist, artworks, available -
Federation University Art Collection
Artwork, other - Artwork - Printmaking, Lytlewode Press, 'Bolunga' by Paddy Fordham
Paddy FORDHAM WAINBURRANGA (c1930-2006) (Katherine, Northern Territory)Framed lithograph where artist Paddy Fordham Wainburranga has depicted 'Bolung', the Rainbow Serpent, an important life giving figure for the Rembarrnga people whose clan country lies to the south and west of Ramingining, towards the Katherine area. Donated through the Australian Gifts Programme by Katherine Littlewood.bolung, rainbow serpent, rembarrnga, paddy fordham wainburranga, paddy fordham, wainburranga, artist, artworks, aboriginal -
Kew Historical Society Inc
Decorative object - Figurative boomerang-shaped metal dish, c.1890
Nineteenth century household object employing an Aboriginal shape with art nouveau figurative designDiecast metal plate. Impressed with the figure of a naked figure with a wand in his or her hand touching the nose of a head (the moon?), causing it to sneeze. Lady lying on a bed of flowers. Three stoppers on the reverse to hold the plate above the surface.metal dish, art nouveau - australia -
Kew Historical Society Inc
Booklet, National Trust of Australia (Victoria), Register of Historic Buildings [at 31st December], 1973
The Heritage Act 2017 replaced the Heritage Act 1995, which established a legislative framework for heritage protection in Victoria that replaced the Historic Buildings Act 1981, the Historic Shipwrecks Act 1981 and part of the Archaeological and Aboriginal Relics Preservation Act 1971. Before Statewide legislation, heritage assessments were conducted and published by The National Trust of Australia (Victoria).Register of Historic Buildings in Victoria published by the National Trust of Victoria in 1973.non-fictionThe Heritage Act 2017 replaced the Heritage Act 1995, which established a legislative framework for heritage protection in Victoria that replaced the Historic Buildings Act 1981, the Historic Shipwrecks Act 1981 and part of the Archaeological and Aboriginal Relics Preservation Act 1971. Before Statewide legislation, heritage assessments were conducted and published by The National Trust of Australia (Victoria).heritage - (vic.), historic buildings - (vic.), national trust of australia (victoria) -
Kew Historical Society Inc
Book, Sydney University Press, Aborigines in Colonial Victoria 1835-86, 1979
... of reserves; Coranderrk aboriginal australians -- victoria ...General account of pre-contact Aborigines; white colonisation and violent conflict; racial attitudes of early settlers; native police; government policy; mission work; foundation of reserves; Coranderrk.Sydney : Sydney University Press, 1979 viii,227p., 12p. of plates : maps ; 22cm. non-fictionGeneral account of pre-contact Aborigines; white colonisation and violent conflict; racial attitudes of early settlers; native police; government policy; mission work; foundation of reserves; Coranderrk.aboriginal australians -- victoria -- treatment -- history., aboriginal and torres straight islander -
The Adam Lindsay Gordon Commemorative Committee Inc.
Book, Adam Lindsay Gordon and Other Australian Writers- Inscribed by Charles R Long to Isaac Selby- Pioneers Day 1937
Age (Melbourne, Vic. : 1854 - 1954), Tuesday 26 October 1937, page 16 Pioneers' Day. Novemher 19 has been fixed as Pioneers' day The annual historical service organised by tho Pioneers' Association will be held in the Melbourne General Cemetery on Sunday. November 21. Addresses will be delivered by Messrs. W. A. Sanderson. J. Selby. E. Tozer. 13. W. Mylrea and C. R. Long. The memorial over the grave of William Pascoe Crook will be unveiled by Rev. W. Alblston. president of the Congregational Union. An aboriginal concert will be held in the Central Hall on November 10. -
Tatura Irrigation & Wartime Camps Museum
Folder, Australian Military Forces, Australian Archives Brighton May 1991, revised May 1941
The interesting records of Japanese civilian internees in Camp 4. The Rev Len Kentish, pilot Hajime Toyashima and take to Cowra where he became one of the ringleaders of the infamous breakout and died during the attempt and made available with the efforts of the Knee family with the cooperation of the Australian Archives, also Shepparton News cutting, Keith Esson, Alan Fitzgerald. Italian farming soldiers.Seven Australian military forces internee/POW service and casualty forms, overprinted Japanese in individual plastic envelopes, clear plastic cover with a green border and back cover. Also the last page has details of the first Australian POW taken by Japanese on Australia soil and the first Japanese POW on Melville Island and captured by the aboriginals, one of who spoke fluent Japanese.On the green border - Australian Archives Brighton May 1991 Camp 4 Yasukichi and Terese Mupvakami and family internment camp records.rev len kentish, hajime toyashima, cowra, camp 4, keith esson, alan fitzgerald, italian farming soldiers, cowra breakout, shepparton news, japanese internees -
Tatura Irrigation & Wartime Camps Museum
Book, Jubilee Exhibition of Australian Art, 1951 and 1985
Dr. Leonhard Adam studied both Anthropology and Jurisdiction as a young man. Dr. Leonhard Adam's daughter, Mary Clare Adam Murvitz, presented this collection of her Father's printed archival material to Tatura Museum on 17.2.2006. in 1934 he fled from Germany seeking refuge in England. In 1940 he was interned as a security risk in England, sent to Australian in June, 1940. Interned in Camp 2 until 1942, released to Melbourne University where he catalogued aboriginal artefacts.Soft grey cover with Australian Emblem in white printing and red printing on the cover. Also loose in the book a white card with black writing on it "Sir Hano Heysen ms A998. Tape recording NL.M888. Tape no. 27 pp 309-311 " on one side and "pp 4-7, pp 22-26, pp 50-51" on the other side. A newspaper cutting from The Herald, Thurs., Oct 17, 1985 titled "Life on the Dunera was no TV soap opera"books, jubilee exhibition of australian art, leonhard adam -
Tatura Irrigation & Wartime Camps Museum
Booklet, Hiking from the Australian Jamboree, 1935
Souvenir booklet printed for 1935 Frankston Jamboree. A hike to Gilwell Park, Gembrook. Booklet contains fold out maps of hiking areas. Also early aboriginal history of Victoria and in 1837, when John Gardiner occupied Mooroolbark sheep station.Small brown covered booklet, black writing. Sketch of Scout in hiking gear on front. Scout Emblem and kangaroo, Australian Jamboree, Frankston, Vic 1935 on back cover.scouting, books, history, local -
Tatura Irrigation & Wartime Camps Museum
Book, Primitive art, 1940
Dr Leonhard Adam studied both Anthropology and jurisdiction as a young man. Dr. Leonhard Adam's daughter, Mary Clare Adam Murvitz, presented this collection of her Father's printed archival material to Tatura Museum on 17.2.2006. In 1934 he fled from Germany seeking refuge in England. In 1940 he was interned as a security risk in England , sent to Australia in June, 1940. Interned in Camp 2 until 1942, released to Melbourne University where he catalogued aboriginal artefacts.Blue and white soft cover book with black printing front and back. 36 photos and numerous line drawings in the text. Written in Englishprimitive art, leonhard adam, mary clare adam murvitz -
Tatura Irrigation & Wartime Camps Museum
Book, Que es el arte primitivo ?, 1962
Dr. Leonhard Adam studied both Anthropology and Jurisdiction as a young man. Dr. Leonhard Adam's daughter, Mary Clare Adam Murvitz, presented this collection of her Father's printed archival material to Tatura Museum on 17.2.2006. In 1934 he fled from Germany seeking refuge in England. In 1940 he was interned as a security risk in England , sent to Australia in June, 1940. Interned in Camp 2 until 1942, released to Melbourne University where he catalogued aboriginal artefacts.Light brown and black soft cover book with red and white writing.que es el arte primitivo, adam murvitz mc, camp 2, camp 2 tatura, leonhard adam -
Tatura Irrigation & Wartime Camps Museum
Book, Primitivna Umetnost, 1963
Dr. Leonhard Adam studied both Anthropology and Jurisdiction as a young man. Dr. Leonhard Adam's daughter, Mary Clare Adam Murvitz presented this collection of her Father's printed archival material to Tatura Museum on 17.2.2006. In 1934 he fled from Germany seeking refuge in England. In 1940 he was interned as a security risk in England, sent to Australia in June, 1940. Interned in Camp 2 until 1942, released to Melbourne University where he catalogued aboriginal artefacts.Brown and cream hard cover book with red writing on the spine. Brown and cream dust cover with primitive art and writing on the front and spine. 40 pages of reproductionsprimitivna umetnost, adam murvitz mc, camp 2 tatura, leonhard adam