Large brown glass bottle in original packaging once contained 1lb of ether. The bottle is wrapped in brown paper wrapping with black and red print on a white label. It reads [in red ink] POISON /NOT TO BE TAKEN / WOOLWICH ELLIOTT [logo] / [black ink] 263 61 / Anaesthetic Ether / B. P. / NET 1 LB. / This ether contains 0.002% w/v of Hydroquinone as a / preservative, in accordance with the B.P. / [red ink] CAUTION: Keep well corked in a cool, dark place / [black ink] WOOLWICH-ELLIOTT / CHEMICAL COMPANY PTY. LTD. / SYDNEY / USE BEFORE JAN 1964 / [in red ink] HIGHTLY INFLAMMABLE / [black ink] MADE IN AUSTRALIAether, anaesthetic, poison, glass, bottle, woolwich-eliott chemical co, sydney, anaesthetic ether, hydroquinine, inflammable

The Royal District Nursing Service (RDNS), Sister has sterilized an autoclave pack for use by the RDNS Sisters when attending their patients in their homes who are requiring specific treatments for e.g. catheterization. This photograph is taken in the sterilizing room at a RDNS Centre. The Sister is wearing the RDNS Summer uniform of a short sleeve white blouse under a royal blue V neck tunic style frock with the RDNS logo on its upper left.Royal District Nursing Service (RDNS) supplied sterilized equipment, such as ready set up catheter trays and dressing trays, as well as dressing packs for their Sisters to take to the home when attending to specific patient care. Patients bought their own future dressings, if these had not been given to them when discharged from Hospital. Following their day in the community the Sisters returned to the RDNS Centre and washed and set up the trays again ready for re-sterilization. Black and white photograph showing a Royal District Nursing Service, (RDNS), Sister who has blonde short hair; is wearing a short sleeved white blouse and dark tunic style frock, standing in the Autoclave room in an RDNS centre. She is emptying the Autoclave chamber after sterilizing a wrapped, 'gown and towel', which is written on the wrapping. Her right arm is extended with her hand on the metal wire basket which has a protective floral cloth covering the edge of the basket. The photograph shows a tall vertical Autoclave, which is made of metal. To the left above the chamber is a dark rectangular section with several switches, and to right of it are three white faced dials. royal district nursing service, rdns, rdns equipment, sterilizing

The British Australasian Tobacco Co. was based in Melbourne and Sydney. The parent company was founded in England, circa 1902. This item "HAVELOCK" is one of many ready rubbed tobacco tins produced by the British Australasian Tobacco Company.The ready rubbed tobacco held within the tin was mainly used by those smokers who rolled their own cigarettes. These smokers would have mainly used their palm and formed a cup then placing their choice of the amount of tobacco to be rolled. This would then be placed on the fine cigarette paper and rolled and sealed (using saliva in the mouth) into the required shape. There were mechanical "roll your own" gadgets on the market but most rural users, especially males used their palms. (Ref Victorian Collections)Roll your own cigarettes were popularly used in rural areas, especially when "tailor made" cigarettes were more expensive. Tobacco consumption in Australia is decreasing and fewer smokers are "rolling their own" cigarettes.A dark green rectangular shaped metal Havelock tobacco tin with a weave pattern. It is made from tin plated thin rolled steel. The lid is attached by two hinges.Lid - top left in gold coloured letters "HAVELOCK". bottom -"READY RUBBED TOBACCO" "2oz NET WEIGHT WHEN PACKED". Rim - "THE BRITISH AUSTRALASIAN TOBACCO CO. PTY. LTD." Inside lid -black print on gold background - "Every tin of genuine HAVELOCK Ready Rubbed Tobacco has the mane Havelock printed on the paper lining, and also on the band or wrapping sealing the tin. On the hinge side of the lid is "HAVELOCK READY RUBBED"tobacco cigarettes tin

The British Australasian Tobacco Co. (based in Melbourne and Sydney. The parent company was founded in England, circa 1902). This item "HAVELOCK" is one of many ready rubbed tobacco tins produced by the British Australasian Tobacco Company.The ready rubbed tobacco held within the tin was mainly used by those smokers who rolled their own cigarettes. These smokers would have mainly used their palm and formed a cup then placing their choice of the amount of tobacco to be rolled. This would then be placed on the fine cigarette paper and rolled and sealed (using saliva in the mouth) into the required shape. There were mechanical "roll you own" gadgets on the market but most rural users, especially males used their palms. The quantity of tobacco used to make up the cigarette was up to the individual user. The thinner that the cigarette was rolled the longer and more economical did the supply last. The by -products of this method were nicotine stained fingers and hands. "Chain" smokers were easily identified and could therefore be discriminated against obtaining smoke sensitive employment. The two world wars (1914-18 and1939-45) produced a significant rise in the consumption of cigarette use by men and the eventual overflow to women. Cigarette smoking before the 1900s was seen as rough and uncouth (socially frowned upon), however after the introduction of overseas films (U.K. and U.S.A.) and film stars presenting smoking as socially acceptable, the rise of smoking cigarettes, especially roll you own (American western movies) in rural areas was an accepted way of life. Things however started to change in the mid 1900s when medical evidence pointed to the health problems of regular smokers. Governments were now implementing non smoking education material. Restrictions on where and when smoking was permitted and acceptable started to creep into all areas of society whether city or rural. This was the era that highlighted the use of roll your own cigarettes, especially when the costs of "tailor made" cigarettes were taxed at an increasing amount. Roll your own cigarettes also provided an avenue for the consumption of illicit drug use.The significance of this ready rubbed tobacco tin to this rural region is, stems from how much influence that the Western novels and overseas films (portraying rural lifestyles) played in shaping the rural social and working mores of the Kiewa Valley. The post war depression (financially) resulted in more smokers turning away from expensive machine (tailor) made cigarettes to the roll your own, using ready rubbed tobacco. This tobacco tin relays a long ago era, when personal contact, and not something that has been written down by some "unknown", was valued as the true appraisal of a member of the community. This was especially relevant in a small regional area such as the Kiewa Valley. Although social networking was not as fast then as the internet provides now, appearances, manners, fashion and etiquette with first impressions high on the order of evaluating someone in the community. Pointer such as the brand of tobacco smoked was part of the rural assessment method. Up until the demise of the Australian Tobacco Industry, circa 2004, the Kiewa Valley and surrounding district was part of a vibrant producer of tobacco leaves. The remnants of this industry still remain today but the drying sheds (for tobacco leaves) are now used to store hay for the valley's dairy and beef cattle industries.This tobacco tin is constructed from tin plated thin rolled steel. The lid is attached by two pressed and formed (from the main frame) hinges using the nip and tuck construction method.The lid and outside frame have had a green "weave" pattern anodised to the metal.On the outside of the lid and at the top left is stamped, in gold coloured letters "HAVELOCK". The bottom of the lid is stamped (in smaller script) "READY RUBBED TOBACCO" and below this in smaller lettering "2oz NET WEIGHT WHEN PACKED". On the rim of the lid is "THE BRITISH AUSTRALASIAN TOBACCO CO. PTY. LTD." Inside of the lid and stamped in black print on a gold anodised lid is "Every tin of genuine HAVELOCK Ready Rubbed Tobacco has the mane Havelock printed on the paper lining, and also on the band or wrapping sealing the tin. On the hinge side of the lid is "HAVELOCK READY RUBBED"roll your own, cigarette tins, smoking accessories, personal effects, tobacco containers

This Flyer was produced by the Australian Govt Department of Defence for an auction to be held at Fortuna Bendigo on Wed 21 February 2007 at 11am for the sale of Map Printing and finishing Equipment that had been used by the Royal Australian Survey Corps at the Army Survey Regiment. The Flyer lists 76 x items of equipment being Auctioned. Items Auctioned include: Amrap Pallet Stretch Wrapping Machine, Crown 20IMT90 Electric Lift Truck, Roland R804 7B Large Format 4 x Colour Offset Printing Press, Wohlenburg 1850mm programmable Paper Guillotine Model MCS-2, Bauman Stack Lift, Barco Graphics Mega Setta Plus Large Format Image Setter, HP Design Jet 300P Colour Plotter and Heidelburg Speedmaster Model 102F 5 x Colour Offset Printing Press.A4 Auction Flyer, Blue, Double sided and 7 x photos of lithographic equipment. Contains lists of items to be auctioned.royal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr

These nine photographs of Printer Technicians working on the despatch of bulk printed map stock to customers, were probably taken circa 1970s to 1990s in Lithographic Squadron at the Army Survey Regiment, Fortuna, Bendigo. Except for photo .3P, personnel are not annotated on the photos. Despatch was the final task performed by a team of Printer Technicians. It involved the wrapping of trimmed bulk maps into manageable parcels and sending them by freight to customers or to the Army Map Depot at Bandiana, VIC. The task’s Due date and sensitivity were essential considerations in the planning of production affecting the lead time and method of delivery. Freighting by commercial means was the normal method for routine tasks. The method of despatch for urgent time-critical tasks sometimes meant having to use military freight or safe-handed by Army Survey Regiment personnel. The mishap captured in photos .6P and .7P was rare, but costly if it was a time critical task. The Print Room’s Map Handling Station in photos .8P and .9P provided ergonomic benefits to the Printer Technician and improved despatch productivity.This is a set of photographs of Printer Technicians involved in the despatch of bulk printed map stock c1970s to c1990s. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, black & white, c1970s, L to R: unidentified, unidentified, Lithographic Squadron .2) - Photo, black & white, c1980s, Steve Egan, Lithographic Squadron .3) - Photo, black & white, c1980s, L to R: unidentified, Kim Reynolds, Lithographic Squadron .4) - Photo, colour, c1980s, L to R: Jeff Willey, Gary Kerr, Lithographic Squadron .5) - Photo, black & white, c1980s, L to R: Jim Ash, Mark ‘Dogs’ Doherty, Stuart Ridge, Lithographic Squadron .6) - Photo, colour, c1980s, printed maps toppled, Lithographic Squadron .7) - Photo, colour, c1980s, printed maps toppled, Lithographic Squadron .8) - Photo, black & white, c1990s, L to R: unidentified, unidentified, Lithographic Squadron .9) - Photo, black & white, c1990s, unidentified, Lithographic Squadron .3P, personnel annotation on back. .1P, .2P, .4P, .5P, .8P and .9P – no personnel annotated .6P and .7P – ‘Good one Daryl’ annotated on back.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, litho, printing

A serving mallet is a tool to worm, parcel and serve a line and is to apply to the standing rigging multi-layered protection against chafe and deterioration. It is a technique not usually used on modern small boats but is found extensively on traditionally-rigged sailing ships. Worming, parcelling and serving —referred to collectively as "service"— is traditionally applied only to traditional twisted rope, either natural fibre or steel wire-rope, not the braided line almost exclusively used on modern vessels today. Parcelling means wrapping a rope line in a spiral fashion with long overlapping strips of thin canvas. This is wound from bottom to top, the edge of the progressing strip slightly overlapping the previous wrap to create a shingled effect, to prevent water from entering. Often the strips of the canvas are either saturated with Stockholm tar as they are applied, or painted with tar after the parcelling is complete, immediately before the process of serving. A serving provides an outer layer of protection and is formed by wrapping twine as tightly as possible around the line, each progressive turn of the twine laid as close as possible against the last, covering the rope completely. Following the rhyme above, it should have course run against the lay of the rope; this alternation helps prevent sideways chafe from opening up the protection. Traditionally hemp "marline" was and still is used for servicing on modern small craft with three-strand nylon "seine twine" often used. A serving board or serving mallet can be used to help get the outer twine as tight as possible. Despite the name (arising from its shape) the serving mallet is not used to hit anything, it forms a kind of guide and tensioning lever for applying the twine to the rope. An optional final stage for the permanent protection of "served" rope is to paint the outer layer of twine with a mixture of tar, varnish and black paint. This needs renewing periodically, and going aloft to paint foot ropes, shrouds, stays, and other served rigging is one of the regular maintenance tasks on many tall ships. The tar or "slush" is a mixture of Stockholm tar, boiled linseed oil, and Japan drier. Many "recipes" for slush exist, but the intent is always to allow a penetrating coat of preservative pine tar that then cures to a harder finish that will not so easily rub off on sails and crew. The term "slush" is also used to describe the grease applied to the masts to lubricate the “parallels” so that the yards can raise and lower freely.A tool used by sailors on board sailing ships as an aid in the preservation of ships rigging ropes by wrapping the rope in tar soaked canvas and covering the canvas by wrapping twine along the length of the rope. An item that is significant in that it tells a story of what sailors working lives were like onboard the early sailing ships and how these early vessels were maintained and sailed. Serving Mallet, used in Worming, Parcelling and Serving of rope - cylindrical handle with grooved wooden section attached. Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Digital image: Matthews Bros, Hargreaves Street, Bendigo, document issued to Miss. D. Cherry, c/-Mrs. Burke, Old House at Home Hotel, c/- Whytes Bus, Andrews Auction Rooms, On label ' Matthews Bros., Hargreaves Street, Pall Mall, Bendigo. Look for the busy red emporium where quality tells. Drapers, mercers, ladies wear etc. Sent by email from Maurice Austin, Oak Park Vic., ([email protected]) His email states, 'was given this label today by the 80-year-old son of the D. Cherry noted on the label. She was in fact to become Dorothy Fartch, my donor's mother. …. Before she was married, she was employed by Ma Burke at the Old House at Home pub, and often acted as a 'cockatoo' out from on Sundays! … the name Whytes still sadly in the news I note from searches today the pub still exists also I note. …. the label was and still is attached to a large piece of brown wrapping paper that was used to line a big wooden box as was typical usage in the old days. Please credit 'Maurice Austin Collection' if the label is used for any purpose.bendigo, cherry, old house and home hotel

‘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, 1981Another Kyoto confection, a kind of sweetened rice paste, is simply but strikingly wrapped in a package marked with its name (uiro) in vigorously written characters. Simplicity could hardly be carried further, but, as seen in this ensemble of three separate packages, the effect is altogether engaging. - Professor Hideyuki Oka, curator.japanese 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

‘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

‘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

‘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

‘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

‘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

‘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

‘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

‘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

‘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