This book has been written specifically for older children of Vietnam veterans. post-traumatic stress disorder - patients - family relationships, children of military personnel

Full date of event not given. It may refer to the St Kilda Carnival of 6-13 December 1919 which raised funds for the Returned Nurses Sailors and Soldiers Memorial Hall and Seaside Club Fund. White paper discoloured with age, printed on one side in blue.luna park, st kilda carnivals

Helga Griffin, daughter of Austrian engineer father and German mother. Interned aged 6 years and sent to Australia with her parents and young brother. Five years interned in Camp 3 near Rushworth, then released to Melbourne. Helga vividly describes her early childhood in Persia. The mixed emotions of her whole family during the internment experience and postwar, trying to adjust to a new country, new culture, new language. Very evocative memories of wartime dislocation.Blue/green front soft cover, red and white printing, white back cover and spine, black printing.With my very best wishes to the Tatura museum and the sterling work of the volunteers that contribute to its valuable presence. Helga 26.5.06ww2 camp 3, books, autobiography, helga griffin, helga griffin (girschik)

SoftcoverInscription inside front cover: "To John and Patricia, old and good friends, with warmest good wishes, Denis Warner". Several cards inserted inside. Reference to the Australian National Gallery in card from Penleigh, Robyn, Ben, Amy & Rupert.walsh st library

Hardcover w/ Dust JacketChristmas cards slipped into inside cover to Patricia and Johnbarry humphries, australian - comedian - autobiography, walsh st library

Hardcover"To Susie, from the Newmans - February 1971"walsh st library

Hardcover w/ Dust Jacketwalsh st library

The author is an Aboriginal woman, descendant of a family of long and continuous association with the south-east region of South Australia. This book attempts to overcome some of the difficulties in colonial relationships of the past to piece together the history of the Aboriginal people who survived in this area.maps, b&w photographssouth australian history

Investigating the dispossession of Aboriginal people from their lands in Western Victoria. The methods of dispossession (exclusion etc.) and restrictions, with the consequences of this.maps, tables, b&w photographsdjab wurrung, dhauwurd wurrung, bargundidj, djadja wurrung, djagurd wurrung, gadubanud, girai wurrung, gulidjan, jardwadjali, watha wurrung, wergaia, western victoria, land tenure

Double-sided A4 page printer in colour all of me, permorming lines, legs on a wall

stawell

Silkscreen printNot signed. Not dated.silkscreen, politician, politics

Gramophone record used in the mending room of the Foster Valley Mill.textile mills staff, valley worsted mill, textile mills - staff

Gramophone record used in the mending room of the Foster Valley Mill.textile mills staff, valley worsted mill, gramophone, record, textile mills - staff

Gramophone record used in the mending room of the Foster Valley Mill.textile mills staff, valley worsted mill, gramophone, record, textile mills - staff

Newspaper cutting from The Courier, Ballarat, Monday 2/12/1985 about the marriage of BTPS museum members David O'Neil and Melissa Brown in tramcar No. 38 the previous Saturday. Includes a photo of the ceremony. Ceremony was performed by Captain Alf Morgan of the Salvation Army, quotes Richard Gilbert about the event and gives details of the day and details of the couple.trams, tramways, weddings, david o'neil, melissa brown, btps

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

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

1988, 248, david small