Deadly Secrets tells the engrossing true story of the Allied raids launched on Singapore in World War II. Laying many myths to rest, military historian Lynette Ramsay Silver, the author of The Bridge At Parit Sulong, outlines Operation Jaywick, which used a stolen Japanese fishing boat, renamed Krait, to attack Singapore Harbour. It also discusses the more ambitious raid; Operation Rimau.Soft Cover without Dust Jacket – 464 pagesworld war ii, ww2, australian commandos, australian special operations, operation jaywick, operation rimau

Three colour photographs of paw prints near Lake Murdeduke, Winchelseaaustralian animal folklore collection, lake murdeduke, winchelsea, mythical, myth, folklore, legend

The cast of a captive African Lion was made by David Pepper-Edwards at Taronga Zoo, Sydney, NSW. This cast was taken in deep mud to demonstrate the abnormal shape of such casts. Sometimes cats claws are clearly visible from such casts and so being confused with that of a large dog. David Pepper-Edwards used a number of plaster cast footprints for comparison of unidentified field casts.Plaster cast of a Lion footprint. These casts were used in the identification of photographs and sightings of large cats in the Australian Bush. The plaster has remnant straw like material attached. Australian Animal Folklore Collectionaustralian animal folklore collection, pepper edwards, david pepper edwards, big cats, mythical, myth, folklore

Baskerville’s Echo references the Ancient Greek myth of the nymph Echo. The goddess Hear punished Echo for misusing her gift of voice by ensuring that she could only echo the voice of others. Echo falls in love with Narcissus, who spurns her and instead falls in love with his own reflection in a pool and drowns trying to reach it. Grieving, Echo fades away until only her voice remains.patinated plasterecho, female, figure, margaret baskerville, ancient greek myth, nymph, sculpture, relief, plaster

This contains Lecture 3 (28 min 56 sec) and Lecture 4 (28 min 32 sec) of the series Artificial Australia by Robin Boyd. Artificial Australia was the title of a five Boyer lectures given by Robin Boyd in 1967 on the Australian Broadcasting Commission radio. The lectures were (1) Creative Man in a Frontier Society, (2) The Architecture of Ideas, (3) Integrity in the Artificial Object, (4) The Environmental Arts in Australia. (5) The Australian Myth in the Modern World.Sanyo CDboyer lecture, artificial australia, robin boyd

Contents: Some myths about language learning/ Overview of the philosophy and method/ What you can expect to learn/ The typical session/ A sample sequence for beginners/ Going ahead with your learning/ Developing vocabulary/ The framework of language: learning grammar/ Intermediate and advanced language learning/ Learning stories/ More on the written word/ Problems and plateaus in language learning/ Appendix A: how to develop a program in your community/ Appendix B: applying master-apprentice principles to the classroom/ Appendix C: Drawings.B&w illustrations, b&w photographslanguage revival, language maintenance, master apprentice language learning, language education

The Ballarat School of Mines circulated their annual reports to a number of collecting organisations.Foolscap correspondence to the Ballarat School of Mines, on letterhead from the Australian Museum. The majority of the letter is printed, with dtaes, signature and recipient handwritten. "The Australian Museum Sydney Oct 31st 1898 Sir I a instructed by the Trustees of the Australian Museum to acknowledge the receipt of the Publications named on the following page [Annual reports for 1896 and 1897], which you have been pleased to present to them and I am further directed to convey to you the expression of their grateful acknowledgement and best thanks for the same. I have the honor to be Sir Your most Obedient Servant S. Sinclair Secretary & Librarian. To The Secretary School of Mines Ballarat"ballarat school of mines, australian museum, s. sinclair, sinclair, annual report, mythical, myth, folklore

A critique of the adaption of American culture in Australian popular culture, where only the worst or silliest things from the US are adopted. Boyd suggests the colonial, unambitious and rigid brand of masculinity that characterises the "Aussie myth" hinders the development of an imaginative and creative social climate that manifests in a superficial appropriation of American culture. Boyd is not critical of US culture itself, in fact he has a great appreciation of US culture. He suggests that the Australian brand of Americanisation is only a superficial commercial exploitation of the American dream. It concludes with Boyd rallying for the development of a unique Australian originality with increasing connections to Asia.Typewritten, pencil edits (pages 22a and 22b added after page 22), quarto, 24 pagesamericanisation, american culture, australian culture, masculinity, cultural myths, australian values, social attitudes, ussr, asia, california, sidney nolan, alan moorehead, patrick white, donald horne, john anderson, robin boyd, manuscript

Robin Boyd was involved in creating several television programmes, as author and presenter. 'Design in Australia' was an eight part series for the ABC television series 'University of the Air'. (Items D184-D193 contain all the manuscripts except part six titled 'Communications'.) In Part 1, Boyd discusses the general framework of the series in which the relationship between an Australian identity and a homogenising cultural force reinforced by technology and mass production is explored. Boyd questions the wholesale acceptance of imported ideas and goods, and instead advocates a critical examination of the Australian design culture, a search of an originality that does not fall into the myths of bush values.This is a draft script for the ABC television program 'University of the Air', subtitled 'Design in Australia', broadcast in 1965. Item D191 is the revised version.Typewritten (c copy), foolscap, 12 pagesuniversity of the air, design in australia, robin boyd, australian design, nationality, national style, manuscript

An issue published to celebrate the founding of Victoria concentrating on what Victoria is today (1984), how it developed and where it is going. The index lists: 3,5: 150 Years of Progress 7: The original settlers 9: The scandals 13,15:The facts and the myth 17:Home of sports mania 19: The changing face of our fashion 20: The young take over 22: Timeline 25:Immigration and eating habits 27:From the start, most have stuck with city life 28, 29: Art makes its mark 38: The great hair revolution 42,43:Victoria's greatest sons and daughters 30,32,40,41,44,46,49,50,51,52,53,54,55: Program of eventsFifty-six page souvenir magazine celebrating Victoria's 150th anniversaryvictoria's 150th anniversary, 150th anniversary tankard, dr bernard barrett, the original sttlers, 150th anniversary plate, edward henty, william dutton, alkfred felton, heidelberg school, 150th anniversary program, hairstyles, advertisments 1980's

Murray Comrie Collection. A page from People newspaper, of June 26, 1966 with article titled 'A Story Without Names' by Tom O'Mara. Describes a story (myth?) supposedly well-known in Tarnagulla. The story is about a child which was disfigured by her father who was being held in a lockup. He was said to have reached between the prison bars and bitten her face in retaliation for being betrayed to police by the child's mother. The author notes that no-one can verify the story or provide names of the participants. (A similar tale has been told elsewhere in which these events happened in Castlemaine Gaol). tarnagulla, lock up, lockup, crime, myths, stories

In the early 1880s a small circus travelled between Millicent and Mt Gambier, South Australia. After camping overnight they discovered their Bengal Tiger at escaped and disappeared into dense scrub. After searching for hours they continued to Mt Gambier and reported the loss of the tiger to police. Police and local volunteers continued the search for the escaped tiger, but no sighting were made. In the early 1890s sheep in the Tantanoola area started to disappear with the still unsighted tiger being blamed. In 1893 reports of an unusual animal in the Tantanoola area started, with many describing the animal as the missing tiger, or a large dog. One eye witness claimed to have seen the animal carrying a full grown sheep in its mouth. The reports grew in number and exaggeration with sightings from Robe to Bendigo. In the Tantanoola district children were escorted with shotgun guards to and from school, with many homes keeping guns at the ready in case the tiger suddenly appeared. In August 1895 Tom Donovan shot the "Tantanoola Tiger" on Mt Salt Station, around 20 kms south of Tantanoola. The corpse was taken to Marks, a Mount Gambier taxidermist, at which time the animal was identified as an Assyrian or Northern Russian Wolf. Donovan displayed the animal far and wide. Despite the animal's death sheep continued to disappear from properties in the district over many years. It was of particular concern between 1909 and 1910. At that time Herbert Allchurch, an Adelaide detective, was sent to solve the mystery. A few days after his arrival Allchruch went to the front bar of the Tiger Hotel and arrested local rabbit shooter and trapper, Charlie Edmunson, with sheep stealing. After his 1911 trial Edmunson admitted to stealing over 4,000 sheep during the previous 20 years. He was gaoled for six years with hard-labour in January 1911. Edmunson had been selling the skins of the stolen sheep, leaving the carcusses to rot. He earned around five pounds per week during the 1990s and early 1900s, a time when the economy was depressed. It is not known had the animal known as the Tantanoola Tiger came to Australia, but it is believed it survived one of three ships wrecked of the coast between 1890 and 1893, making it to shore along with some of the shipwrecked passengers. (From a card produced by the Tantanoola Tiger Hotel, where the 'tiger' is on display.)A collection of Newsclippings from 1892 - 1895 photocopied onto A4 white paper. The clippings relate to the Tantanoola Tiger. Clippings include: * Border Watch 1892 - Tantanoola Tiger Reward * Sydney Morning Herald, 04/07/1857 - Animals in Zoological Gardens, including a number of large cats. * Claims the Tantanoola Tiger was an escaped circus animal (ie The Advertiser [Adelaide], 31 October 1893) * Search parties for the Tantanoola Tiger (ie Barrier Miner 19/05/1893; Barrier Miner 03/1081893) * Thylacine claim (ie Morning Bulletin [Rockhampton] 11/03/1895 * Afghan and Indian Hunters (ie Barrier Miner 07/02/1895) * Sighting by John Bird of Scarsdale - Wanganui Herald 15/12/1900. " ... Mr Bird was travelling on foot along a lonely track through very dense scrub, when he was stricken with amazement to see a full-grown tiger standing in a small dam about 30ft away, and holding in its jaws the carcass of a newly-killed lamb. He remained long enough to thoroughly take in the animals appearance, and then beat a hasty retreat unmolested. His description of the animal is as follows: A tawny-coloured creature, with a dirty mottled skin; in general appearance like an immense cat; body 4ft long, and of a uniform thickness from shoulder to hindquarters; in bulk equal to a very large pig. The legs were hidden in the water. A similar animal is reported to gave been seen near Canico, some miles away. ..." * Victorian country sightings # Bullarto - Argus 06/05/1905 # Dean - Launceston Examiner 28/01/1895 # Bendigo - Hobart Mercury 15/03/1895 # Ballan - Launceston Examiner 03/08/1895 * South Australian register 17/06/1885 " There is a tiger or panther wandering at large in Victoria, according to a rumour. It has taken the place of the Bunyip, whom hundreds have seen but none captured. This tiger is supposed to have broken loose from a travelling menagerie in the North-eastern district. At the beginning we should like it roved that such an escape ever took place. Perhaps the showmen were afraid to report the fact to the police; at any rate they did not do so. The first story about the tiger being seen came from the neighborhood of Wangaratta, 60 miles from the place where it is said to have commenced business on its own account. He was followed, but vanished among trees. Next we hear of a strange animal, bigger than a St Bernard's dog, but shorter legged, having appeared at least 150 miles from Wangaratta. Between Lilydale and Wangaratta there is a dividing range 2,000 feet high in the lowest past, besides several large rivers. An finally, the tiger - changed from a panther - is reported as having been seen within the suburban circle, about 8 miles from the general Post Office. They show you footprints, and point to the carcasses of mangled cows and calves. Casts have been taken of the footprints for examination by scientific men, who pronounce them doglike, and yet not doglike, but panther-like, which gives a nervous turn, for the panther may take up killing children and grown-up people. One tiger will not account for so many apparitions. There must have been a general strike among the menageries, and a breaking-up companies. ... * Research article by Philip A. Clarke "Indigenous Spirit and Ghost Folklore of 'Settled' Australia. australian animal folklore collection, tantanoola tiger, tom donovan, herbert allchurch, charles edmunson, sheep, charlie edmunson, mythical, myth, folklore

David Pepper-Edwards used a number of plaster cast footprints made at Taronga Zoo in the identification of Big Cat sightings in the bush.Plaster casts of big cat footprints. These casts were used in the identification of photographs and sightings of large cats in the Australian Bush. Australian Animal Folklore Collectionaustralian animal folklore collection, david pepper edwards, pepper edwards, big cat, cat, plaster cast, footprint, mythical, myth, folklore

The cast of a captive Alpine Dingo was made by David Pepper-Edwards at Taronga Zoo, Sydney, NSW. David Pepper-Edwards used a number of plaster cast footprints for comparison of unidentified field casts.Two plaster casts of a Tropical Dingo footprint. These casts were used in the identification of photographs and sightings of large cats in the Australian Bush. Australian Animal Folklore CollectionVerso: TZ, Tropical Dingo, 4/04australian animal folklore collection, david pepper edwards, pepper edwards, tropical dingo, dingo, plaster cast, footprint, mythical, myth, folklore

The cast of a captive Alpine Dingo was made by David Pepper-Edwards at Taronga Zoo, Sydney, NSW. David Pepper-Edwards used a number of plaster cast footprints for comparison of unidentified field casts.Plaster casts of an Alpine Dingo Footprint. These casts were used in the identification of photographs and sightings of large cats in the Australian Bush. Australian Animal Folklore CollectionVerso: TZ, Alpine Dingo, 4/04australian animal folklore collection, david pepper edwards, pepper edwards, alpine dingo, dingo, plaster cast, footprint, mythical, myth, folklore

Robin Boyd was involved in creating several TV series for the ABC University of the Air. 'Design in Australia' was an eight part series. (Items D184-D193 contain all the manuscripts except part six titled 'Communications'.) In part 1, Boyd discusses the general framework of the series in which the relationship between an Australian identity and a homogenising cultural force, reinforced by technology and mass production, is explored. Boyd questions the wholesale acceptance of imported ideas and goods, and instead advocates a critical examination of the Australian design culture, a search of an originality that does not fall into the myths of bush values. (Same content as item D184, differing Video cues of LHS of page.)This is a script for the ABC television program 'University of the Air', subtitled 'Design in Australia', broadcast in 1965. Item D184 is the draft version.Typewritten (c copy), foolscap, 9 pagesuniversity of the air, design in australia, robin boyd, australian design, nationality, national style, manuscript, ohm2022, ohm2022_30

Some time before the end of the year 1962, two great panels of Aboriginal art were begun. They were painted for part of a screen placed behind the Communion table in the Yirrkala church, and represented the two main, creative legends governing the lives, the behaviour and the ritual of the Aborigines belonging to a wide area of northeast Arnhem Land. Gives a brief outline of circumstances surrounding the panels. Lists the artists for each moiety. Maps show the territory of the people mentioned in the text. For each panel, there is a description of each section and an explanation of associated myths. Dua panel - the Djankawu journeys. Yiritja panel - legend of Banaitja. Glossary of terms.b&w art reproductionsyirrkala, yirrkala church, arnhem land

Murray WALKER (1937- ) Born Ballarat, Victoria Described as one of Melbourne's Figurative Expressionists Murray Walker educated at the Ballarat Technical Art School (a division of the Ballarat School of Mines) in 1952 and 1953, followed by the National Gallery School and RMIT Art school, Melbourne between 1858 and 1859. He studied at the Slade School of Fine Art (London) from 1960 to 1962, with a Summer School at the Academia della Belle Arti, Perugia, Italy in 1961. Myth, narrative and people form an important place in the work of Murray Walker, and he has worked in many mediums including printmaking, painting, collage, assemblage, ceramics and tapestry design. Humour and storytelling are a feature of his work Figurative ExpressionismGift of Dr Graeme Williams OAMFramed hand coloured pen drawing of a number of life modelsavailable, alumni, life models, nude, life drawing

The cast of a captive Clouded Leopard was made by David Pepper-Edwards at Taronga Zoo, Sydney, NSW. David Pepper-Edwards used a number of plaster cast footprints for comparison of unidentified field casts.Two plaster casts of a male Clouded Leopard. These casts were used in the identification of photographs and sightings of large cats in the Australian Bush. Australian Animal Folklore CollectionVerso: TZ, 3/04/male/Clouded Leopardaustralian animal folklore collection, david pepper edwards, pepper edwards, big cat, cat, clouded leopard, plaster cast, footprint, mythical, myth, folklore

The cast of a captive Golden Cat was made by David Pepper-Edwards at Taronga Zoo, Sydney, NSW. David Pepper-Edwards used a number of plaster cast footprints for comparison of unidentified field casts.Three plaster casts of a Golden Cat footprint. These casts were used in the identification of photographs and sightings of large cats in the Australian Bush. Australian Animal Folklore CollectionVerso: TZ, Golden Cat, male, 5/04australian animal folklore collection, david pepper edwards, pepper edwards, big cat, cat, golden cat, plaster cast, footprint, mythical, myth, folklore

The cast of a captive male Snow Leopard was made by David Pepper-Edwards at Taronga Zoo, Sydney, NSW. David Pepper-Edwards used a number of plaster cast footprints for comparison of unidentified field casts.Three plaster casts of a male Snow Leopard footprint. These casts were used in the identification of photographs and sightings of large cats in the Australian Bush. Australian Animal Folklore CollectionVersoL TZ, Snow Leopard, Male, 3/04australian animal folklore collection, david pepper edwards, pepper edwards, big cat, cat, snow leopard, plaster cast, footprint, mythical, myth, folklore

David Pepper-Edwards used a number of plaster cast footprints for comparison of unidentified field casts.Plaster casts of a Puma footprint. These casts were used in the identification of photographs and sightings of large cats in the Australian Bush. Australian Animal Folklore Collectionaustralian animal folklore collection, david pepper edwards, pepper edwards, big cat, cat, puma, plaster cast, footprint, mythical, myth, folklore

The cast of a captive male Sumatran Tiger aged 5 months was made by David Pepper-Edwards at Taronga Zoo, Sydney, NSW. David Pepper-Edwards used a number of plaster cast footprints for comparison of unidentified field casts.Two plaster casts of a five month old male Sumatran tTiger footprint. These casts were used in the identification of photographs and sightings of large cats in the Australian Bush. Australian Animal Folklore Collectionverso: TZ, Sumatran Tiger, males, 5 months, 3/04australian animal folklore collection, david pepper edwards, pepper edwards, big cat, cat, sumatran tiger, plaster cast, footprint, mythical, myth, folklore

The cast of a captive female African Lion aged 5 months was made by David Pepper-Edwards at Taronga Zoo, Sydney, NSW. David Pepper-Edwards used a number of plaster cast footprints for comparison of unidentified field casts.Two plaster casts of a Lion footprint. These casts were used in the identification of photographs and sightings of large cats in the Australian Bush. Australian Animal Folklore Collectionverso: TZ, lion, male, 04/04australian animal folklore collection, david pepper edwards, pepper edwards, big cat, cat, lion, plaster cast, footprint, mythical, myth, folklore

David Pepper-Edwards used a number of plaster cast footprints for comparison of unidentified field casts.Plaster casts of big cat footprint. These casts were used in the identification of photographs and sightings of large cats in the Australian Bush. Australian Animal Folklore Collectionaustralian animal folklore collection, david pepper edwards, pepper edwards, big cat, cat, plaster cast, cast, resin cast, footprint, mythical, myth, folklore

Metal tankards often come with a glass-bottom. There is a legend that the glass-bottomed tankard was developed as a way of refusing the King's shilling, i.e. conscription into the British army or navy. The drinker could see the coin in the bottom of the glass and refuse the drink, thereby avoiding conscription. However, this is likely to be a myth, for the Navy could use force by using “press gangs” to conscript recruits rendering this type of deception unnecessary. Other legends are that in a bar fight, a recipient with a glass bottom tankard could see if a first punch was thrown whilst they had the tankard raised to drink. Another has it that the glass bottom was implemented so the drinker while drinking could observe his surroundings and the dubious people within the Tavern such as thieves, ladies of the night or anyone that could, or may do him harm. A further story is that the glass bottom merely allowed the drinker to judge the clarity of their drink while forgoing the expense of using a fragile and expensive pint glass. If this item is an early tankard from the 18th or 19th century it would be a significant item. Also if a known maker from these time periods could be established it would make the tankard quite valuable. Tankards from this time are snapshots of peoples past everyday lives and form a significant part of our social history so are worthy of preservation in all there forms. Pewter tankard with glass bottom, marine encrusted, recovered from unknown shipwreck.tankard, pewter, mug, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, vessel, drink, tavern, drinkware, kings shilling