Book

non-fictionA Memoir of Korea, Vietnam and Life Beyond the Battlefield

Trenching tool was an intrinsic part of the soldiers kit in the field.The tool was of vital assistance to the soldier in the field. Variously employed as a shovel or a pick to dig a trench, a toilet, drainage for rainwater, as a machete on occasions.Wooden handle with metal blade and spike; blade and spike swiveled out to be used but folded for carry. Some indecipherable markings but included a pointed arrow and some model or serial numbers.vietnam, vietnam war, equipment, diamond valley vietnam veterans sub branch

The wallet was issued to some Australian soldiers in Vietnam and its waterproof characteristic was essential in a very wet environment.Significant to the soldier as it protected largely, irreplaceable documents and/or pictures.Made of a flexible plastic material, colour is Olive Drab and has sufficient capacity to carry smaller documents and protect same from moisture.Printed onto the item: V44/Made in Australia/1945/D, arrow upwards symbol D/F, arrow upwards 12.vietnam, vietnam war, equipment, diamond valley vietnam veterans sub branch

Historical record of opportunity for National Servicemen to enter Officer Training. Significant in respect of training opportunities for National Servicemen to escalate their rank whilst performing their National Service..Paper booklet, one sheet, double sided of yellow paper with black text throughout.AUSTRALIAN MILITARY FORCES sits below the Rising Sun logo; headline text is NATIONAL SERVICEMENT, OPPORTUNITY FOR SERVICE AS OFFICERSdiamond valley vietnam veterans sub branch, vietnam war, national service, officer training

Ill, bib, ports, p.107.non-fictionGaeilge Ghriandóite: A go Z a hAon/ Sunburnt Gaelic from A to Z, Edition One, records selected findings of four Australians about the neglected history of the Irish language and Gaelic culture in this country. Gaeilge Ghriandóite/ Sunburnt Gaelic means the Irish language as it is spoken and written in Australia, as it comes to grips with a new environment. It is written throughout in Irish and is the first, and only, such book about the topic. Readers will find that over the past two centuries there have been dramatic breaks in continuity but also common threads. Triggered by positive responses from both experts and general readers alike to talks and papers all four had given on the topic, at a meeting in August 2019 the authors decided that the time was ripe to present to the public some fruits of their collaboration. The book's 108 pages present historical and contemporary facts about Irish-language culture in Australia in short entries, arranged in alphabetical order, with over 60 illustrations. This format makes it easy to find information and suits the present stage of research and publication on the topic. Also the alphabetical listing provides a flexible format for future editions. The book includes two short overview pieces and the first detailed bibliography on the topic.australia - irish language, australia - irish culture

More images TBCColour printed brochure x 24 pages about leaving a bequest to Legacy.wills, bequests

Framed Photograph"F" Section 3rd. Australian Division Signals, later to become the "4th" AUSTRALIAN FIELD REGIMENT SIGNAL SECTION. Torokina. Bougainville, South Pacific. 1945 (With Names)

5 x painted boards

ill, p.336.Reminiscences of the Victorian Railways in Australia during the era of their Blue and Gold color scheme.railroads - victorian railways - personal reminiscence, railroad operations - victoria - history

Waa Waa – Crow Feathers is a painting from Aunty Marlene Gilson’s 2022 exhibition ‘Bunjil Wour Kun Ya – Spirit of My Ancestors’. This work tells the story of Waa-Waa, the first Wadawurrung to see a white man, Matthew Flinders and his crew surveying the southern Australian coastline near the You Yangs on 1 May 1802. Speaking to Wyndham Art Gallery’s curatorial framework themes of Foregrounding, Habitat and Localism, the work portrays in Wadawurrung lore the first sighting of a European and acknowledges Australian First Nations peoples original and ongoing connections with land, history, politics and knowledges of place. The scene is overlooking the You Yangs which is deeply connected with the local place and habitat of the Werribee Plain. Aunty Marlene Gilson is a Wathaurung (Wadawarrung) Elder living on country in Gordon, near Ballarat. Marlene Gilson’s multi-figure paintings work to overturn the colonial grasp on the past by reclaiming and re-contextualising the representation of historical events. Learning her Wathaurung history from her grandmother, Gilson began painting while recovering from an illness. The artist’s meticulously rendered works display a narrative richness and theatrical quality akin to the traditional genre of history painting. Gilson, however, privileges those stories relating to her ancestral land, which covers Ballarat, Werribee, Geelong, Skipton and the Otway Ranges in Victoria. Often including her two totems, Bunjil the Eagle and Waa the Crow, Gilson’s paintings not only reconfigure historical narratives, but display her spiritual connection to Country. australian first nations art, cultural story, australian painting, wathaurung, female artist

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

ill, maps, p.71.non-fictionA thesis presented by Paul Francis Fearon to the School of Historical and Philosophical Studies about Boroondara's aspiration for a much-derided nineteenth century railway, as part of a Diploma in Arts (Advanced) in the field of History for the Faculty of Arts Melbourne University.railroad construction - victoria - history, outer circle railway - victoria - history

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

Donation by the artist

Digital images of the Grounds at Fort Knox Eltham. This was formerly the site of the Latiner Hat Factory at Sherbourne Road Eltham.Part of a collection of miscellaneous historical images with a connection to the local area.Digital colour photographsfort knox eltham, latiner, hat factory, sherbourne road eltham

Digital image of Yarra Trail Medical 113 Mountainview Road Montmorency. This medical centre was purpose built following a fire at this address.Part of a collection of miscellaneous historical images with a connection to the local area.Digital colour photograph. yarra trail medical, mountainview road briar hill, medical centres

An A5 journal of the Victorian Baptist Historical Society celebrating the first 50 years for the Box Hill Baptist Church and 150 years for the West Melbourne Baptist Church. The discourse names early pioneers of the Box Hill Baptist Church.An A5 journal of the Victorian Baptist Historical Society celebrating the first 50 years for the Box Hill Baptist Church and 150 years for the West Melbourne Baptist Church. The discourse names early pioneers of the Box Hill Baptist Church.baptist churches, aspinall, ellingworth, bannister giselda