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Tennis Australia
Badminton & lawn tennis set, Circa 1882
A wooden chest (.1) containing badminton and lawn tennis equipment, specifically: net posts (.2 - .3, two parts each); tennis net (.4); and, a badminton net (.5). A colour lithographic print, by Cahrles Hart, displaying mixed doubles playing on a lawn, with a small pavillion & large house in the background, features on the inside of the lid. Inscription across litho.: HORSMAN'S/CELEBRATED/LAWN TENNIS/... Materials: Wood, Metal, Lacquer, Rope, Cloth, Ink, Cord, Papertennis -
Tennis Australia
Chest, Circa 1876
An empty chest, originally housing a lawn tennis and badminton set. Black and green lithographic print features couples playing mixed doubles tennis and badminton in Cassiobury Park, with Cassiobury House in the background. Inscription: THE CASSIOBURY GAMES OF/BADMINTON AND GARDEN TENNIS/LONDON/DEAN & SON 160 FLEET STREET. The hourglass court used in Wingfield's version of lawn tennis is depicted in this lithograph. Materials: Wood, Metal, Ink, Glue, Paint, Paper, Lacquertennis -
Tennis Australia
Lawn tennis set, Circa 1876
A chest (.1), housing a lawn tennis and badminton set. Black and green lithographic print features couples playing mixed doubles tennis and badminton in Cassiobury Park, with Cassiobury House in the background. Inscription: THE CASSIOBURY GAMES OF/BADMINTON AND GARDEN TENNIS/.../LONDON/DEAN & SON 160 FLEET STREET. The hourglass court used in Wingfield's version of lawn tennis is depicted in this lithograph. Contents include: racquets (.2 -.3); tennis balls (.4 - .5); shuttlecock (.6); badminton net (.7); guy ropes (.8 - .9); ornate pegs (.10 - .11); mallet (.12); and net posts (.13 - .14, 2 parts each). Materials: Wood, Metal, Ink, Glue, Paint, Paper, Lacquer, Gut, Rope, String, Velvet, Bird feather, Felt, Rubbertennis -
Tennis Australia
Oil painting, Circa 1890
Painting of lawn tennis scene; doubles match with several spectators seated on ground in foreground and at tables under large trees in background. Artist unknown, no signature. Ornate gilt wood frame. Materials: Pigment, Canvas/Cotton, Metal, Wood, Adhesive tape, Clothtennis -
Tennis Australia
Lithograph, 1894
A colour lithographic print of two men and two women relaxing and having refreshments under a tree, after playing a game of tennis. The racquets and balls lie idle on the empty court in the background, and are being watched over by a dog. Beneath the image is a printed, tennis-themed poem, entitled 'Love's Idelness'. Materials: Paper, Ink, Wood, Paint, Paper, Metal, Cardboard, Glasstennis -
Tennis Australia
Print, Circa 1880
Small print on paper depicting figures in blue and white playing tennis over high net, on a gilt background. Text at lower centre: 'ROYAL LAWN TENNIS...DANDO, PHILA'. Materials: Paper, Ink, Metal, Wood, Glasstennis -
Tennis Australia
Racquet, Circa 1937
A wooden racquet with enamel-painted shoulders, throat, and stem, and leather handle grip with trefoil perforations. Amongst a blue and green background are a number of decals advertising Slazenger, the quality of the racquet, and the retailer. Decals across base of head and throat on obverse: SLAZENGERS/BEAUFORT/CUSTOM STRUNG/DAWSON'S/SPORTING GOODS/SAN FRANCISCO. Decal on throat on reverse: SLAZENGERS/CHOICE OF/THE CHAMPIONS. Materials: Wood, Nylon, Leather, Ribbon, Adhesive tape, Ink, Paint, String, Glue, Lacquertennis -
Tennis Australia
Racquet, Circa 1937
A wooden racquet with enamel-painted shoulders, throat, and stem, and leather handle grip with trefoil perforations. Amongst a black and yellow background are a number of decals advertising Slazenger, and the quality of the racquet. Decals across base of head, throat, and along stem on obverse: MATCHPOINT/THE CHOICE/OF CHAMPIONS/SLAZENGER. Throat on reverse features illustration of a sword through a crest, with inscription 'SLAZENGER' above. Materials: Wood, Nylon, Leather, Ribbon, Adhesive tape, Ink, Paint, Glue, Lacquertennis -
Tennis Australia
Racquet, Circa 1937
A wooden racquet with enamel-painted shoulders, throat, and stem, and leather handle grip. Amongst a green and yellow background are a number of decals advertising Slazenger, and the model type. Decals across throat, and along stem on obverse: ROYAL CROWN/SLAZENGERS. Decal on throat on reverse: CORONATION/MODEL. Decal along right side of stem: SLAZENGER/THE CHOICE OF CHAMPIONS/SLAZENGERS. Racquet may have been issued to commemorate the coronation of either Kings Edward VIII (Jan 1936) or George VI (Dec 1936). Materials: Wood, Gut, Leather, Ribbon, Adhesive tape, Ink, Paint, Glue, Lacquer, Clothtennis -
Tennis Australia
Cover, Circa 1970
A blue and white racquet head cover, with a blue background, and a white plastic, raised relief impression of the Slazenger logo and panther emblem. Handwritten inscription across the inside: BRACHER~WINCHELSEA. Materials: Synthetic material, Metal, Cloth, Plastictennis -
Tennis Australia
Racquet, Circa 1922
A wooden racquet with a concave throat and an octagonal handle. Throat on obverse features decal inscription: CHALLENGE. Throat on reverse features a decal of a crowned garter with the inscription: E. KENT.Inscription across left side of stem: MADE BY E. KENT/PAWTUCKET, R.I., U.S.A. Black butt cover features inscription on gold background: R.H.MACY & CO./HERALD SQUARE/NEW YORK. Materials: Wood, Glue, Lacquer, Metal, Gut, Ink, Leather, Paint, String, Clothtennis -
Federation University Art Collection
Print - Printmaking, Artwork from Dong Ho Village, c1970-2010
Dong Ho is on the Duong River in Bắc Ninh Province, Vietnam. The woodcut painting (Tranh khắc gỗ dân gian Dong Ho is a line of Vietnamese folk painting originating in Dong Ho village. The traditional themes of Dong Ho painting are good luck signs, historical figures, folk allegories, popular stories, and social commentaries. Elements of everyday life are well integrated in Dong Ho paintings to express the thoughts and wishes of people. (Wikipedia - https://en.wikipedia.org/wiki/%C4%90%C3%B4ng_H%E1%BB%93_painting, accessed 11 April 2017.) Craftsmen in Dong Ho use a special type of paper named giấy điệp. The bark of dó tree, which normally is grown in Tuyên Quang Province, is soaked in water for months, then mixed with powders of seashells (sò điệp), which is the origin of the paper's name, and glutinous rice to make sheets of paper. The s seashell and glutinous rice results in paper with an exotic sparkling hard background which is able to conserve the durability of colours. The colours are refined from natural materials which are easily found in Vietnam. For instance, the red colour is taken from red gravel in Thiên Thai Mountain, while the black comes from charcoal of burned bamboo leaves. The hand carved woodblock is applied with paint and pressed on a sheet of paper like a stamp. The process is repeated with different colours until the craftsman is satisfied with the outcome. One woodcut is for outline and several others are for each colour printed. The finished picture is covered with a layer of rice paste (hồ nếp) to strengthen the durability of its illustration and colours and afterwards dried under the sun. From beginning to end the process takes six to seven months. (Wikipedia - https://en.wikipedia.org/wiki/%C4%90%C3%B4ng_H%E1%BB%93_painting, accessed 11 April 2017.) The tradition of Đông Hồ painting dates back to the 11th century during the reign of the Lý Dynasty. Originally, Đông Hồ paintings were made with black-and-white prints of woodcuts, but from the 15th century, different colours were introduced by craftsmen in the village. As a village specialized in making woodcuts and paintings, almost all Đông Hồ villagers were involved in the manufacturing of paintings from carving the woodblocks, producing điệp papers, obtaining natural colours to creating new themes, and printing.(Wikipedia - https://en.wikipedia.org/wiki/%C4%90%C3%B4ng_H%E1%BB%93_painting, accessed 11 April 2017.) Before 1945 over 150 families in Đông Hồ village were making pictures, but the tradition has rapidly faded. Villagers can no longer make a living based on this production so only a few households in the village still make pictures, while many others have switched to producing joss paper and votive paper object.(Wikipedia - https://en.wikipedia.org/wiki/%C4%90%C3%B4ng_H%E1%BB%93_painting, accessed 11 April 2017.)Asian ArtA framed collection of work by children from Dong Ho Village, Vietnam.dong ho, vietnam, woodcut, printmaking, dong ho art, dong ho painting, dong ho village, vietnam. -
Tennis Australia
Racquet, 1976
A Rawlings, Bicentennial Model tennis racquet, with string whipping on shoulders, and leather handle grip with X-formation perforations. Rawlings logo features across crown, and across base of head, flanked by red and white stripes. Model name features across throat. A row of white stars on a blue background features along the shaft. The United States flag, with the dates '1776' and '1976' situated above and below it, respectively, features on the lower shaft. Cursive 'R' trademark features in sunken butt cap. Materials: Wood, Nylon, Ink, Glue, Lacquer, Metal, Plastic, Leather, String, Enamel, Adhesive tapetennis -
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
Photographic print, Circa 1905
Photograph of two women seated beside a tennis court with a crowded stand in the background. Identities unknown. Part of a series of images taken during a tennis event involving Norman Brookes. Materials: Paper, Inktennis -
Tennis Australia
Photographic print, 1997
Colour photograph of unknown player in action. Background barriers have text stating 'Singapore 1997'. Materials: Wood, Glass, Paper, Photographic emulsiontennis -
Friends of Westgarthtown
Wallpaper fragment
... . The bottom layer consists of cloth material with a white background... of paper material with a grey background and a linear floral ...Wallpaper fragment with two different layers of wallpaper. The bottom layer consists of cloth material with a white background and thin blue stripes. The top layer consists of paper material with a grey background and a linear floral pattern in white, pink and blue.No visible markingsbuildings, painting/decorating, wallpaper, decorating, interior, wall, fragments, floral, pattern, stripes. -
Friends of Westgarthtown
Wallpaper fragment
Wallpaper fragment consisting of thick paper material with pink-brown textured background. Border along one side of fragment with leaf and curved line intertwined in red, green and brown.Lounge Room written on the back in red marker. Newspaper markings also on back.buildings, painting/decorating, wallpaper, fragments, interior, wall, decoration, leaf design, vine. -
Kew Historical Society Inc
Collection, Helen Bushell Kite Collection, c. 1975 - 2017
Kites created by Helen Bushell, Kew resident for many years, and a pioneer of kite-flying world-wide. Kites are hand-made, mainly by Helen, and many were flown in local parks of Kew. Documents provide some background to the collection, and a set of photographs, which was used in an exhibition at Hawthorn Arts Centre, help to identify the kites and where they were flown. Individual items include: 2019.0047.01 - Make Mine Fly, Vol. 1 - book of instructions for making kites fly 2019.0047.02 - School Kites - book of 14 kite designs 2019.0047.03 - Helen Bushell Reaching for the sky (exhibition catalogue, 2017) 2019.0047.04 - Hansard (Victoria) Documents - statement by Natalie Hutchins, Minister for Local Government 2019.0047.06 - "Evolution" Trefoils - collection of advertisements for kites for sale 2019.0047.05 - Kite event badges on blue cotton sash (20 badges and name-tags) 2019.0047.07- Kite honours and B.A. Deakin plus Original Patents (Australian, British and U.S.) 2019.0047.08 - Helen Bushell, 1922- A Life in Kiting (28 panels mounted on board, showing photographs of Helen Bushell's kites, for exhibition in Hawthorn Arts Centre, 2017) 2019.0047.09 - 1986 Year of Peace Dove - paper pattern (15 copies + dowel rod) 2019.0047.010 - "Peace Dove" pattern August 1995 2019.0047.011 - Collection of drawings, patterns, poem, newsletters, etc. 2019.0047.012 - "Small birds" paper patterns 2019.0047.013 - Remake of old head "Fluted Sled" 2017 HB: nylon kite in heavy cotton bag 2019.0047.014 - Long yellow tail suitable for Rainbow Serpent 1992 2019.0047.015 - Long blue tail for Rainbow Serpent 1992 2019.0047.016 - Moth c. 1975 2019.0047.017 - Hand-held peace dove (used for Helen Bushell's memorial 2017) 2019.0047.018 - "Song for Bill" kite 2019.0047.019 - 7-point clown kite Kites and associated documents belonging to Helen Bushell have local significance for Kew, as many were flown in the area. They have artistic significance in their representation of Australian indigenous, Chinese, New Guinea and other cultural symbols. Among the documents are poems, books on kite-flying written by Helen Bushell, badges and cards from international conferences, and Australian, British and American patents for kite design. One kite shows an aerodynamically-designed keel which helped to improve safety for hang-gliders.Australian Kite Society, Helen Bushell collection of kite-related material, including kites, photographs, documents, badges, etc.australian kite society, helen bushell -
Kew Historical Society Inc
Book, Flannel Flower Press, The Complete Australian Old House Catalogue, 2000
"If you own an old house, The Compete Australian Old House Catalogue will save you time, money and effort. Thanks to this book, finding the products, materials, skills and services needed to care for and restore your old house - from the front fence to the chimney pots - is now a simple matter. Ian Evans has collected the names of companies and people who can help you return your house to its original appearance and condition. Some 750 entries list the names of suppliers throughout Australia who specialise in every aspect of building restoration. For the first time, entries include e-mail and website addresses where these are available. Each chapter opens with introductory text which provides concise background information on the subject, drawn from Ian Evans's research into old Australian houses. Practical advice on many aspects of building conservation is combined with authoritative historical information, creating a unique and fascinating blend. The illustrations consist of a selection from old and new building catalogues, together with a wealth of archival and modern photographs. This is a book which belongs in every old house throughout the length and breadth of Australia." - back cover.96 p. : ill. ; 29 cm.non-fiction"If you own an old house, The Compete Australian Old House Catalogue will save you time, money and effort. Thanks to this book, finding the products, materials, skills and services needed to care for and restore your old house - from the front fence to the chimney pots - is now a simple matter. Ian Evans has collected the names of companies and people who can help you return your house to its original appearance and condition. Some 750 entries list the names of suppliers throughout Australia who specialise in every aspect of building restoration. For the first time, entries include e-mail and website addresses where these are available. Each chapter opens with introductory text which provides concise background information on the subject, drawn from Ian Evans's research into old Australian houses. Practical advice on many aspects of building conservation is combined with authoritative historical information, creating a unique and fascinating blend. The illustrations consist of a selection from old and new building catalogues, together with a wealth of archival and modern photographs. This is a book which belongs in every old house throughout the length and breadth of Australia." - back cover.interior decoration -- australia -- equipment and supplies -- directories., houses and domestic architecture. -
Tatura Irrigation & Wartime Camps Museum
Painting - Painting, Oil, Centaur, 1945
Harry Gorry bid for & purchased on internet auction site. The seller's mother was putting these & other items up for auction. Her father, the seller's grandfather was Dr. Bruno Koenig, a German surgeon detained by Allied forces while fleeing New Guinea in 1941. He was detained & sent to be interned in Camp 3, Tatura. There he met the painter Cesare Vagarini & they became friends, thus 4 years later upon the end of the war Vagarini gave the surgeon the two paintings in thanks & in memory of their friendship. Dr Koening then passed the paintings down to his daughter, where they remained in the family for 60 years. The seller's mother decided it was time to sell & was happy that the paintings went to a good home, as the family was until now unaware of the connection between Vagarini and the Tatura Museum. Harry Gorry just happened to notice a familiar name in an auction that he came across by accident & purchased them for our benefit. (Most information copied from Tatura Bulletin article, April 2014).Oil painting, depicting mythological scene. Female figure (unclothed), holding a red cloth/ garment trailing behind her. Centaur / faun? walking beside her. Outdoor scene. Trees, mountains & cloudy blue sky visible in background. Sandy coloured soil. Painted on reverse of old "Choice Tea" box.(On back): 1945 Tatura; ... remember ..... and us, Cesare and Maria Vagarini; On back, on sticker: Va(r)garini, Tatura Internment Camp, 1945 "Choice Tea" stencilled on back, part of original box material.tatura, camp 3, cesare vagarini, camp 3 artwork, victorian internment camps, doctor bruno koenig -
Tatura Irrigation & Wartime Camps Museum
Book, Winter Irving, 2008
An account of one family of early settlers in Australia and their experience in the Goulburn Valley and the mansions they built in the the country and cities and family fortunes. Reference material from many sourcesWhite background cover. Copy of etching of Jock Winter on front cover. Also copy of family crest in colour. Pictures of Noorilim, Dhurringile, Robgil - Scotland 2007 and Noorilim, Melbourne on back coverwinter irving family, dhurringile mansion, finlay w, tatura, noorilim, history -
National Wool Museum
Textile - Quilt, Ms Shirley Critchley, Unpicked Jumper Wagga, c.1960
This quilt was created by Ms Shirley Critchley, c.1960. it was made in a wagga style from unpicked knitted jumpers that Shirley would repurpose. Some of these jumpers were from her daughters out growing their garments, while others were from jumpers Shirley would find at opportunity stores. One of Shirley’s daughters, Jane McGrath, followed in her mother’s footsteps and begun quilting with Shirley’s guidance. One of Jane’s first quilts, the “Tartan Fabric Sample Quilt” is located within the National Wool Museum’s collection (REG 8282). Multicoloured wagga style quilt. The quilt’s top layer is made from unpicked knitted woollen jumpers. These jumpers are in a variety of colours including yellow, blue, green, and red. Some blocks are a single colour, while others have been knitted with a different secondary colour such as grey or white to give noise. The quilt has an unknown insulating fabric. It shares its backing fabric with the material used to bind the edges together. This material is a woollen blanket in a tartan pattern of a blue background with green and red lines. The quilt is sized to suit a single bed. quilts, wagga, upcycle, shirley critchley/jane mcgrath collection, woollen jumpers -
Chiltern Athenaeum Trust
Painting - Oil painting on gumleaf by Alfred William Eustace, circa 1851 to 1907
This gum leaf painting is one of a pair displayed on foil in the same frame. It is typical of many paintings by the self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.An oil painting on gum leaf by the well-known Australian artist Alfred William Eustace. He was a self-taught artist during the 19th and early 20th century and a prominent resident of Chiltern. Oil painting on gum leaf by Alfred William Eustace. A scene of a log cabin on Black Dog Creek Road, Chiltern, with Skeleton Hill in the background. The canvas is a juvenile Red Box (Eucalyptus polyanthemos) leaf. It is one of a pair of Eustace gum leaf paintings mounted on gold foil, under glass in a brown frame. Inscription on back. Labels on back: Rehoused by The Centre for Cultural Materials/ Conservation, University of Melbourne "Oil on Gum Leaf"/ by Alfred William Eustace/ Donor:- Cam & Connie Boadle/ Wales U.K. Crescent/ MUSEUM/ GRADE/ 24 OCT 1998/ CONSERVATION BOARD ALBURY/ PICTURE FRAMERS/ Shop 15 & 16/ AMP Lane,/ Albury, 2640/ Ph: 02 6021 7088black dog creek, chiltern, alfred eustace, skeleton hill, gum leaf, painting, eustace -
Tatura Irrigation & Wartime Camps Museum
Document - Folder, Those Who Died in Action from Tatura in WW1
... The sleeves contain sheets of typed material detailing... material detailing the background, military history ...The sleeves contain sheets of typed material detailing the background, military history and circumstances of death, burial place and commemoration of people from Tatura and surrounding areas who were killed in action in WW1. Some have photographs as well. 1 page list of personal details of Tatura's WW1 roll of honour. 1 page list of names, dates enlisted, regiment number, last unit, rank, action, DOB and burial place of those listed. 5 page list of Tatura and District WW1 Nominal Roll. 2 page list of Decorations and Awards to Tatura and District men. Black folder with multiple sleeves each containing typed sheets with pictures.harry rowan agnew, robert ernest alexander, daniel allan, joseph stanley bainbridge, henry saundry bazeley, arthur boot, john connors, thomas cross, albert blackburn crossley, james lawrence cummins, charles patrick fitzpatrick, richard fuzzard, charles alfred philip josiah hampton, haswell harding, joseph arthur head, thomas patrick keating, john mackay layton, richard goulburn layton, robert mactier vc, thomas james maher, stanley george mars, john archibald duncan mccoll, angas ewen mclennan, michael joseph meagher, robert alexander mitchell, thomas james port, albert reddrop, albert charles joseph robinson, charles john seamons, george sinclair swanson, alfred tavener (curran), william robert wheeler, tatura's ww1 roll of honour, tatura and district ww1 nominal roll, decorations and awards to tatura and district men -
Tatura Irrigation & Wartime Camps Museum
Document and CD - Biography, Mary Henderson Gerstle et al, Bernhard Hermann Gerstle, 2013
Bernhard Gerstle & his family (parents & siblings) were German nationals working in Tehran, Iran upon the outbreak of World War II. In 1941, after the installation of a pro-British ruler to the Persian throne, all German nationals were targeted as threats to national security. The women and children evacuated to Stuttgart, Germany via Turkey, while the men were handed over to British forces. Bernhard was taken by ship (the SS Rona) to Bombay & then to Australia (on the SS Rangitiki). He was then marched in to Loveday internment camp 10, South Australia. In January 1945 the German & Italian internees at Loveday were transferred to Tatura Camp 1. Bernhard remained there until after the war & his eventual release, on 29th August 1946. Bernhard chose & was granted permission to remain in Australia post-war, as did many civilian internees, after their examination by a Committee of Inquiry which investigated their political leanings & other criteria for their supposed suitability as Australian residents. The biography also recounts his employment post-war, marriage in 1952 & his later naturalisation as an Australian citizen. Other material includes Gerstle family history from the perspective of Bernhard's sister & family, who remained in Stuttgart; background on the Gerstle family's Russian origins; and a biography of Oskar Speck, famous kayaker, amongst other things, who was interned along with Bernhard & who became good friends with the family; a brief historical background of the Allied forces/Persia invasion; and extracts of Tatura Camp 3 internee Helga Griffin's book, "Sing Me That Lovely Song Again". Black plastic A4 display folder. CD soft case with CD. Folder contains printed biographical information regarding Bernhard Hermann Gerstle. CD contains copies of same documents and also copies of photographs of Bernhard & the Gerstle family. Folder: Bernhard Hermann Gerstle/ Gerstle Family/ Loveday and Tatura Internment Camps 1941-1946/ Sydney 1946-1978/ Compiled by Mary Henderson 2013 CD: BH Gerstle; 1941 - Interned by British/ 1941-1946 - Internee at Loveday SA, Tatura VIC/ Sydney 1946-1978. camp 1, tatura, loveday, world-war-two, internment-camps -
Victorian Aboriginal Corporation for Languages
Periodical, Australian Institute of Aboriginal and Torres Strait Islander Studies, Australian Aboriginal studies : journal of the Australian Institute of Aboriginal and Torres Strait Islander Studies, 2007
1. The moral lexicon of the Warlpiri people of central Australia LR Hiatt This paper discusses words that match ?Good? and ?Bad?; examples of ?Good? and ?Bad? behaviour; morality and law; and egalitarianism and dominance. It also presents a comparison with Gidjingarli (Burarra). 2. Mobs and bosses: Structures of Aboriginal sociality Patrick Mullins (Mount Druitt, NSW) A commonality of Aboriginal social organisation exists across the continent in communities as different as those from the Western Desert across to Cape York, from the towns of New South Wales and Western Australia to cities like Adelaide. This is found in the colloquial expressions ?mob? and ?boss?, which are used in widely differing contexts. Mobbing is the activity where relatedness, in the sense of social alliances, is established and affirmed by virtue of a common affiliation with place, common experience and common descent, as well as by the exchange of cash and commodities. Bossing is the activity of commanding respect by virtue of one?s capacity to bestow items of value such as ritual knowledge, nurturance, care, cash and commodities. Mobbing and bossing are best understood as structures in Giddens? sense of sets of rules and resources involved in the production of social systems, in this case social alliances. Mobbing and bossing imply a concept of a person as a being in a relationship. Attention needs to be given to the way these structures interact with institutions in the wider Australian society. 3. Recognising victims without blaming them: A moral contest? About Peter Sutton?s ?The Politics of Suffering: Indigenous Policy in Australia since the 1970s? and Gillian Cowlishaw?s replies Ma�a Ponsonnet (Universit� Paris- 8-Saint-Denis) Peter Sutton?s texts on Aboriginal violence, health and their politicisation are replied to using his methodology, and acknowledging his convincing points. Sutton rightly denounces a lack of lucidity and scientific objectivity in anthropological debates. These inadequacies impede identification of what Aboriginal groups can do to improve their situations for fear that this identification would lead to blame the victims. At the other end of the ethical spectrum, those who advocate a broader use of what I will call a ?resistance interpretation? of violence fail to recognise victims as such, on the implicit grounds that seeing victims as victims would deprive them of any agency, on the one hand, and entail blame, on the other hand. I aim to define a middle road between those views: the idea that victims should be acknowledged as such without being denied their agency and without being blamed for their own condition. This middle road allows identification of the colonisers? responsibilities in the contemporary situation of Indigenous communities in Australia, and to determine who can do what. Secondly, I show that Sutton?s texts convey, through subtle but recurrent remarks, an ideology of blame rather than a mere will to identify practical solutions. As a consequence, some of his proposals do not stand on a solid and objective causal analysis. 4. 'You would have loved her for her lore?: The letters of Daisy Bates Bob Reece (Murdoch University) Daisy Bates was once an iconic figure in Australia but her popular and academic reputation became tarnished by her retrograde views. Her credibility was also put in doubt through the exposure of her fictionalised Irish background. In more recent times, however, her ethnographic data on the Aborigines of Western Australia has been an invaluable source for Native Title claims, while her views on Aboriginal extinction, cannibalism and ?castes? are being seen as typical of her time. This article briefly reviews what has been the orthodox academic opinion of her scientific achievement before summarising what is reliably known of her early history and indicating what kind of person is revealed in the 3000 or more letters that she left behind. 5. What potential might Narrative Therapy have to assist Indigenous Australians reduce substance misuse? Violet Bacon (Curtin University of Technology) Substance misuse is associated with adverse consequences for many Australians including Aboriginal and Torres Strait Islander peoples. Extensive research has been conducted into various intervention, treatment and prevention programs to ascertain their potential in reducing substance misuse within Aboriginal and non-Aboriginal communities. I explore the potential of Narrative Therapy as a counselling intervention for assisting Indigenous Australians reduce the harm associated with substance misuse. 6. Bone points from the Adelaide River, Northern Territory Sally Brockwell (University of Canberra) and Kim Akerman (Moonah) Large earth mounds located next to the vast floodplains of the lower Adelaide River, one of the major tropical rivers draining the flat coastal plains of northern Australia, contain cultural material, including bone points. The floodplains of the north underwent dynamic environmental change from extensive mangrove swamps in the mid-Holocene, through a transition phase of variable estuarine and freshwater mosaic environments, to the freshwater environment that exists today. This geomorphological framework provides a background for the interpretation of the archaeology, which spans some 4000 years. 7. A different look: Comparative rock-art recording from the Torres Strait using computer enhancement techniques Liam M Brady (Monash University) In 1888 and 1898, Cambridge University?s Alfred C Haddon made the first recording of rock-art from the Torres Strait islands using photography and sketches. Systematic recording of these same paintings and sites was carried out from 2000 to 2004 by archaeologists and Indigenous Torres Strait Islander and Aboriginal communities as part of community-based rock-art recording projects. Computer enhancement techniques were used to identify differences between both sets of recordings, to reveal design elements that Haddon missed in his recordings, and to recover images recorded by Haddon that are today no longer visible to the naked eye. Using this data, preliminary observations into the antiquity of Torres Strait rock-art are noted along with recommendations for future Torres Strait region rock-art research and baseline monitoring projects. 8. Sources of bias in the Murray Black Collection: Implications for palaeopathological analysis Sarah Robertson (National Museum of Australia) The Murray Black collection of Aboriginal skeletal remains has been a mainstay of bio-anthropological research in Australia, but relatively little thought has been given to how and why this collection may differ from archaeologically obtained collections. The context in which remains were located and recovered has created bias within the sample, which was further skewed within the component of the collection sent to the Australian Institute of Anatomy, resulting in limitations for the research potential of the collection. This does not render all research on the collection unviable, but it demonstrates the importance of understanding the context of a skeletal collection when assessing its suitability for addressing specific research questions.maps, b&w photographs, colour photographs, illustrations, graphs, chartswarlpiri, sociology, daisy bates, substance abuse, narrative therapy, rock art, technology and art, murray black collection, pleistocene sites, watarrka plateau -
University of Melbourne, Burnley Campus Archives
Legal record, Environment and Natural Resources Committee et al, Inquiry Into Pest Plants in Victoria, 1996
pest plants, victoria, environment and natural resources committee, dr gregory moore, dors berry, kate mccormick, noxious weeds, pesticides -
Vision Australia
Book - Text, Kathleen L Shepherdson, Seeds of Compassion: the story of the Association for the Blind, 1972
Background and overview of the establishment and work of the Association for the Blind37 pages of text with cardboard covernon-fictionBackground and overview of the establishment and work of the Association for the Blindassociation for the blind, association for the advancement of the blind -
Stawell Historical Society Inc
Photograph, R 748 Class Steam Engine pulling freight in cutting
R 748 Class Steam Train Engines pulling freight in cutting. the freight trucks have material coverings. Houses can be see in the background of the photo. The photo was taken approximately in c 1962. Large black & white photo (copy) showing two steam train engine pulling freight trucks, on the railway at Stawell. This rail line is the main line between Melbourne & Adelaide. The first engine is an "R" class 748. c 1951R 748 on Engine and 1962 hand written on the back.railways