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

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

Purchased when author Ann Blainey spoke to the Surrey Hills Historical Society. There was a Moran and Cato store in Surrey Hills.This biography tells the story of Fred Cato the businessman, who co-founded the Moran and Cato grocery chain. He was an influential Methodist layman, whose major involvements spanned more than forty years, from the Lonsdale Street Central Mission in 1893 to the Aboriginal Methodist Mission at Yirrkala in 1935. He lived to celebrate his 70th birthday.For the History Group, Surrey Hills / with best wishes / Ann.(mr) frederick john cato, grocery trade, business people, methodists, grocers, shops, moran and cato, (ms) ann blainey

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future. The white ochre was used to create the feather pattern. White ochre is deeply connected to spirit or ‘murrup’ as we call it in language. The ochre is used on our bodies in ceremonies to paint our body up and is also placed on graves when someone passes. The white ochre is our most sacred connection to our ancestors and is used to celebrate both life and death. I source the white ochre from the You Yangs and only take what I need for ceremony and my painting.White and black feather motif with yellow eye design on outer clock, brown feather motif in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak

Lorelle EVANS Lorelle Evans was a Printmaking student at Ballarat Univeristy College in 1991. 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.art, artwork, lorelle evans, printmaking, evans, etching, ballarat university college, available, available set