Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.‘Wattle Day’ was celebrated nationally for the first time in 1910, even though the term and day had been celebrated in particular states and territories since the 1870s. This patriotic fundraising button depicts a map of Australia on a pale green background. The map includes a symbolic image of wattle sprigs."Wattle Day"wattle day, patriotic buttons, first world war (1914-18), badges

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.‘Wattle Day’ was celebrated nationally for the first time in 1910, even though the term and day had been celebrated in particular states and territories since the 1870s. This patriotic fundraising button depicts a map of Australia on a pale green background. The map includes a symbolic image of wattle sprigs.Wattle Daywattle day, first world war (1914-18), badges

In December 1941 8th Light Horse (Indi) converted from horse to mechanised initially as 8th Reconnaissance Battalion then in July 1942 became 8th Cavalry Regiment. Served in Northern Territory. As Japanese threat to the mainland declined the regiment was disbanded March 1944.This object is well provenance and, in its condition and completeness, is a fine example of unusual headgear worn by Australian armoured corps soldiers in World War 2 (39-45).Khaki heavy cloth beret with 'Rising Sun' badge and 8th Cavalry Regiment colour patch.beret, 8th cavalry regiment, wwii, uniforms, hats, world war two, second world war, world war 2, badges, insignia

Previous owners: Phillips Fox"The Industrial Reports are Australia’s only specialist full-text case report series on industrial and employment law. The Industrial Reports are the authorised reports of Fair Work Australia and the Industrial Relations Commission of NSW. The series also provides relevant decisions of the High Court, Federal Court, State and Territory Supreme Courts, and Federal and State Industrial Courts and Tribunals. Each reported case includes a detailed headnote highlighting the key issues and decision in the case. The Industrial Reports online archive begins from Volume 1 and includes PDF versions of the cases. The series is integrated with other Westlaw AU services including FirstPoint (subject to separate subscription), allowing users to quickly check the history and current status of every reported decision." from: http://www.thomsonreuters.com.au/industrial-reports-parts-only/productdetail/19996 No. of volumes: 157 Volume range: Vol. 9 parts 1-5 (1985) (unbound), Vol. 29 (1988-1989) - Vol. 168 (2007) (bound), Vol. 169 parts 1-4 (2008) (unbound), Vol. 170 parts 1-2 (2008) (unbound), Index Vol. 1-40 (1981-1992) (bound), Index Vol. 41-80 (1991-1998) (bound), Index 81-105 (1999-2001) (bound), Consolidated index Vol. 126-145 (2003-2005) (unbound), Consolidated index Vol. 126-150 (2003-2006) (bound) + Consolidated index Vol. 151-165 (2006-2007) (unbound) Missing volumes: Vol. 10-28, Index 106-125 Note: Vol. 140 is an Anthology covering 1990-2003 Editors: Hungerford, B. C. (Vol. 9) Peterson, R. J. (Vol. 9) Wright, F. L. (Vol. 9 - 81) Thomson, A. (Vol. 82 - 170 part 2) Anthology editor: Phillips, J. ISSN: 07288417arbitration; industrial -- australia -- law and legislation

The Australian Sign Language Interpreters' Association (ASLIA) is a non-profit body and is the national peak organisation representing the needs and interests of Auslan/English interpreters and Deaf (Relay) Interpreters in Australia. The Association is comprised of a national Executive Committee, a Representative Council and branches in most states/territories.White A4 Binder containing 5 newsletters; 29.5cmHx20.5cmW; 40 pages (each)aslia victoria, aslia national, across the board

The Australian Sign Language Interpreters' Association (ASLIA) is a non-profit body and is the national peak organisation representing the needs and interests of Auslan/English interpreters and Deaf (Relay) Interpreters in Australia. The Association is comprised of a national Executive Committee, a Representative Council and branches in most states/territories.White binder with newsletters, 30cmHx21cmW, Volume 2 Issue 1 (3 copies) Volume 2 Issue 2 ( 3 copies) Volume 2 Issue 4 (2 copies)aslia victoria, aslia national, across the board

Helmet of a type worn by soldiers the National Liberation Front of South Vietnam, commonly known by Australians as the Vietcong, was an armed communist political organization in South Vietnam and Cambodia. Its military force, the Liberation Army of South Vietnam, fought against the United States and South Vietnamese governments during the Vietnam War, eventually emerging on the winning side. The LASV had both guerrilla and regular army units, as well as a network of cadres who organized peasants in the territory the Việt Cộng controlled. During the war, communist insurgents and anti-war activists insisted the Việt Cộng was an insurgency indigenous to the South, while the U.S. and South Vietnamese governments portrayed the group as a tool of North Vietnam. The helmet usually had a waterproof cover often with camouflage scrim.Representative if the uniform of the guerrilla forces opposing Australian forces in Vietnam.Sun helmet with red star mounted centre front.military, helmet, vietnam, vietnam war, guerrilla

The 8th Light Horse (Indi) Regiment superseded the 16th Light Horse in 1919. It had its headquarters at Benalla with sub-units throughout the Upper Murray and Northeast Victoria. In December 1941, the regiment converted from horse to mechanised, initially as 8th Reconnaissance Battalion then in July 1942 it became 8th Cavalry Regiment and served in Northern Territory. As Japanese threat to the mainland declined the regiment was disbanded.Shows keenness to maintain war time AssociationColoured two-fold card for the ReUnion of the 8th Australian Cavalry Regiment AIF held at Prahran Town Hall Anzac Eve 24th April 1946. On inside Honour Roll and Office-bearers Auxiliary.

In 1988, as part of a Defence of Mainland Australian policy, defence of facilities of strategic importance in northern Australia were allocated to Army Reserve units. ‘A’ Squadron was allocated the defence of Tindal Air Force base located 15 KM outside Katherine in Northern Territory. Consequently the Squadron deployed on Exercise ‘Northern Explorer’ to gain first-hand knowledge of operating conditions for mounted and dismounted patrolling in the area.Colour photograph of three soldiers of ' A ' Squadron 8/13 VMR using a whip antenna to establish communication with their base while on patrol during exercise ' Northern Explorer.'

In 1988, as part of a Defence of Mainland Australian policy, defence of facilities of strategic importance in northern Australia were allocated to Army Reserve units. ‘A’ Squadron was allocated the defence of Tindal Air Force base located 15 KM outside Katherine in Northern Territory. Consequently the Squadron deployed on Exercise ‘Northern Explorer’ to gain first-hand knowledge of operating conditions for mounted and dismounted patrolling in the area.Lance Corporal R. Van De Velde, ' A ' Squadron 8/13 VMR during Exercise ' Northern Explorer' September 1988. LCpl Van De Velde has a collection of Pandamus Palm nut prematurely ripened by fire near King River Northern Territory.

In 1988, as part of a Defence of Mainland Australian policy, defence of facilities of strategic importance in northern Australia were allocated to Army Reserve units. ‘A’ Squadron was allocated the defence of Tindal Air Force base located 15 KM outside Katherine in Northern Territory. Consequently the Squadron deployed on Exercise ‘Northern Explorer’ to gain first-hand knowledge of operating conditions for mounted and dismounted patrolling in the area.Colour photograph of jaggered basalt rock covering most of high country SSW of Tindal RAAF Base, Northern Territory. Photo was taken to illustrate reports of patrols during Exercise " Northern Explorer" September 1988.

In 1988, as part of a Defence of Mainland Australian policy, defence of facilities of strategic importance in northern Australia were allocated to Army Reserve units. ‘A’ Squadron was allocated the defence of Tindal Air Force base located 15 KM outside Katherine in Northern Territory. Consequently the Squadron deployed on Exercise ‘Northern Explorer’ to gain first-hand knowledge of operating conditions for mounted and dismounted patrolling in the area.Two colour photographs of sink holes/rock depressions cbserved while on patrol during Exercise " Northern Explorer. These features offered the only shade when temperature was 41oC.

In 1988, as part of a Defence of Mainland Australian policy, defence of facilities of strategic importance in northern Australia were allocated to Army Reserve units. ‘A’ Squadron was allocated the defence of Tindal Air Force base located 15 KM outside Katherine in Northern Territory. Consequently the Squadron deployed on Exercise ‘Northern Explorer’ to gain first-hand knowledge of operating conditions for mounted and dismounted patrolling in the area.Colour photograph of Captain C. Carrington, earing hat, and Sergeant Koschel of ' A ' Squadron 8/13 VMR during Exercise " Northern Explorer." Flood debris caught high in tree branches indicate water level during wet season on Ferguson River, Northern Territory.

In 1988, as part of a Defence of Mainland Australian policy, defence of facilities of strategic importance in northern Australia were allocated to Army Reserve units. ‘A’ Squadron was allocated the defence of Tindal Air Force base located 15 KM outside Katherine in Northern Territory. Consequently the Squadron deployed on Exercise ‘Northern Explorer’ to gain first-hand knowledge of operating conditions for mounted and dismounted patrolling in the area.Colour photograph of Captain C. Carrington sheltering from 41o sun during Exercise " Northern Explorer."

In 1988, as part of a Defence of Mainland Australian policy, defence of facilities of strategic importance in northern Australia were allocated to Army Reserve units. ‘A’ Squadron was allocated the defence of Tindal Air Force base located 15 KM outside Katherine in Northern Territory. Consequently the Squadron deployed on Exercise ‘Northern Explorer’ to gain first-hand knowledge of operating conditions for mounted and dismounted patrolling in the area.Colour photograph of Lance Corporal R. Van. De Velde picking native figs on bank of Ferguson River, Northern Territory during Exercise "Northern Explorer." Soldiers of ' A ' Squadron 8/13 VMR had received instruction of bush food by Major Les Hiddens aka ' The Bush Tucker Man. '100 mm x 100 mm

In 1988, as part of a Defence of Mainland Australian policy, defence of facilities of strategic importance in northern Australia were allocated to Army Reserve units. ‘A’ Squadron was allocated the defence of Tindal Air Force base located 15 KM outside Katherine in Northern Territory. Consequently the Squadron deployed on Exercise ‘Northern Explorer’ to gain first-hand knowledge of operating conditions for mounted and dismounted patrolling in the area.Colour photograph of four members of a vehicle patrol of ' A ' Squadron 8/13 VMR at Ferguson River, Northern Territory, during Exercise 'Northern Explorer."

In 1988, as part of a Defence of Mainland Australian policy, defence of facilities of strategic importance in northern Australia were allocated to Army Reserve units. ‘A’ Squadron was allocated the defence of Tindal Air Force base located 15 KM outside Katherine in Northern Territory. Consequently the Squadron deployed on Exercise ‘Northern Explorer’ to gain first-hand knowledge of operating conditions for mounted and dismounted patrolling in the area.Colour photograph of vehicle patrol of ' A " Squadron 8/13 VMR accessing the viability of a crossing point of Ferguson River during Exercise ' Northern Explorer. The patrol decided the Armoured Personnel carrier could descend the shale bank but not climb out again.

In 1988, as part of a Defence of Mainland Australian policy, defence of facilities of strategic importance in northern Australia were allocated to Army Reserve units. ‘A’ Squadron was allocated the defence of Tindal Air Force base located 15 KM outside Katherine in Northern Territory. Consequently the Squadron deployed on Exercise ‘Northern Explorer’ to gain first-hand knowledge of operating conditions for mounted and dismounted patrolling in the area.Colour photograph of two soldiers of ' A ' Squadron 8/13 VMR during Exercise ' Northern Explorer '. Trooper Pratt and Lance Corporal Van De Valde demonstrate how the F2 radio set could be carried. In addition the men would have webbing, pack and rifle to carry.

In 1988, as part of a Defence of Mainland Australian policy, defence of facilities of strategic importance in northern Australia were allocated to Army Reserve units. ‘A’ Squadron was allocated the defence of Tindal Air Force base located 15 KM outside Katherine in Northern Territory. Consequently the Squadron deployed on Exercise ‘Northern Explorer’ to gain first-hand knowledge of operating conditions for mounted and dismounted patrolling in the area.Rare example of a patrol report conducted by soldiers of a Victorian Army Reserve regiment while exercising in Northern Territory.Report of reconnaissance patrol conducted by soldiers of 'A' Squadron 8/13 Victorian Mounted Rifles during Exercise 'Northern Explorer, Northern Territory. 13 pages plus sketch map.

In 1988, as part of a Defence of Mainland Australian policy, defence of facilities of strategic importance in northern Australia were allocated to Army Reserve units. ‘A’ Squadron was allocated the defence of Tindal Air Force base located 15 KM outside Katherine in Northern Territory. Consequently the Squadron deployed on Exercise ‘Northern Explorer’ to gain first-hand knowledge of operating conditions for mounted and dismounted patrolling in the area.Rare patrol report made by soldiers of a Victorian regiment while on exercise in Northern Territory.Report of patrol carried out by soldiers of 'A' Squadron 8/13 Victorian Mounted Rifles 18 September 1988 near Tindal Air Base Northern Territory. Six pages plus sketch map.military, patrol, tindal, northern territory, vmr

Upon mechanisation in December 1941, 20th Light Horse (Victorian Mounted Rifles) was re-titled 20th Motor Regiment (Victorian Mounted Rifles). It was equipped with Bren Gun Carriers and deployed to airfield defence in Northern Territory. In 1943, the Regiment was deployed to Merauke, Dutch New Guinea, where it conducted patrols along the coast and up rivers using barges and canoes. Returning to Australia in April 1945, the Regiment was redesignated 20th Pioneer Battalion then disbanded several months later at the end of the war. Good quality reproduction.Khaki woollen tunic with colour patches of 20th Motor Regiment. Metal 'Australia' shoulder titles, metal Rising Sun collar badges and metal buttons.20th motor regiment, uniform

This is a personal account of Arthur Ernest Tonkin's experiences during World War 2. Arthur was a member of the 147 Australian General Transport Company. He enlisted in Alice Springs and spent the war as a driver along the route between Alice Springs and Darwin. There was no railway between Alice Springs and Darwin, and the road was more like a dirt track, but was essential for transportation of troops and supplies. Arthur was born in 1921 and spent most of his life in Surrey Hills.This is a compelling memoir written by a gentleman with a profound interest in history and an outstanding memory for detail, so although compiled when he was an advanced age, it is a significant memoir.illus.; 22p.; photos, A4 photocopied booklet spiral boundworld war, 1939-1945, darwin overland maintenance force, (mr) (lt col) noel medway loutit, central australian motor transport group, arthur ernest tonkin, memoir

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

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

Nyukana BAKER (1943-2016) Born Ernabella, South Australia Country: Kanypi Language: Pitjantjatjara A Pitjantjatjara artist from Ernabella who began painting, designing and weaving in 1963 and producing batik in 1971. Founded in 1949 Ernabella Arts is the longest running Aboriginal arts centre in Australia. It was established o create employment opportunities for young women from the local Pitjantjatjara people. Nyukana Baker died 17 April 2016 at Alice Springs, 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 print. 6/20 Tjitji Kutjara Two Children Nyukana Baker Feb 1996art, artwork, printmaking, linoprint, nyukana baker, pitjantjatjara, kanypi, aboriginal, ernabella