Walala Tjapaltjarri (b. c1960) Language: Pintupi Region: Kiwirrkuru In late 1984 Walala Tjapaltjarri and several other members of the Pintupi Tribe walked out of the remote wilderness of the Gibson Desert in Western Australia and made contact for the first time with European society. Described as 'The Lost Tribe', he and his family created international headlines. Until that day in 1984, Walala and his family lived the traditional and nomadic life of a hunter-gatherer society. Their intimate knowledge of the land, its flora and fauna and waterholes allowed them to survive, as their ancestors had for thousands of years. It is this sacred landscape, and its significant sites, that Walala so strikingly describes in his paintings. His style is generally highlighted by a series of rectangles set against a monochrome background. He paints the Tingari Cycle (a series of sacred and secret mythological song cycles) which are associated with the artist's many dreaming sites - they are Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These Dreamings are the locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015) Walala Tjapaltjarri started painting in 1997. His earliest works were in a classical Tingari style usually reserved for body painting, ground painting and the decoration of traditional artifacts. Within a couple of months his painting had evolved into his own innovative style of work, including the abstraction of classical Pintupi designs which resulted in a highly graphic language to speak of his country and ceremonial sites. The rectangles so prominent in his paintings form both a physical and spiritual map establishing Walala as a discerning draughtsman for his ancient country. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015) 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.Tingari Cycle - During the Tjukurrpa (Creation Era) Tingari ancestors beings gathered at a series of sites for Malliera (Initiation) Ceremonies. They travelled vast stretches of the country, performing rituals at specific sites that in turn created the diverse natural features of the environment. The Tingari men were accompanied by novices and usually followed by Tingari Women. The creation stories and rituals are venerated in the song cycles and ceremonies of today, forming part of the teachings of the post initiatory youths, whilst also providing explanations for contemporary customs. Walala Tjapaltjarri uses a highly personalised and minimal style to represent aspects of the sacred Tingari Cycle, an epic journey of Ancestors of the TJukurrpa (Creation Era). He paints aspects of the Tingari Cycle which are associated with the artist's many sacred sites - such as Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These are locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015)art, artwork, walala tjapaltjarri, aboriginal, dreaming, creation era, acrylic on linen, pintupi, kiwirrkuru, tingari, wilkinkarra, tarrku, njami, yarrawangu

The 4th and 17th Light Horse are ancestor regiments of the 4th/19th Prince od Wales's Light Horse RegimentWooden, shield shaped plaque on which is affixed badges of 4th Light Horse Regiment, 17th Light Horse Regiment, Royal Australian Armoured Corps, and 4th/19th Prince of Wales's Light Horse Regiment. It lacks the badge of the 19th Light Horse Regiment, but there is a place for it. Steel mounting hooks are screwed to the backOn back In white paint" "10 WAMI R-P" Scratched in: "4/19 PWLH SGTS MESS 97"

Handwritten list of hotels & their licencees in 1872 believed to have been complied by donor's ancestor, a member of the LOBB family.A4 size handwritten sheet with names, addresses and licencees of Port Melbourne hotels in 1872.business and traders - hotels, built environment - commercial, lobb, h. fonseca, harry hall, william hays, j mcculloch, wm reynolds, g sefton, mrs crockford, andrea lagogiannis, g braithwaite, v sanderson, j carter, g w hall, j michie, t cowling, jas. bartlett, edward suffolk, martin clasby, mrs peatt, w kinyon, william spire, thomas turville, charles peacock, j williams, william cannon, j bell, michael flanagan, william carroll, j w carr, john allen, j e crockford, charles sharp, henry o'brien, g t potter, f johnson, all england eleven hotel, auld reekie hotel, australian hotel, bay view hotel, brunswick pier hotel, chequers inn, chusan hotel, commercial hotel, cosmopolitan hotel, customs house hotel, exchange hotel, fitzjames hotel, floodgate hotel, foresters arms hotel, foundry hotel, fountain inn, freemasons hotel, happy home hotel, hibernian hotel, kent hotel, locomotive hotel, lord raglan hotel, marine hotel, naval brigade hotel, new great britain hotel, pier hotel, president lincoln hotel, prince alfred hotel, retreat inn, royal hotel, ship hotel, station hotel, victoria hotel, w cruikshank, army and navy hotel

A note written by Robin Boyd regarding Theodore Penleigh Boyd, his address in Wiltshire in 1890 and his ancestors.