Alojz Markic - owner of 1st carProud momentFirst car 1963

Friends gatheringBuilding friendshipBlack and white photo outside Baraga house of Drago Lagonder, Milan Kregar, Karlo Bizjak , Rudi Koloini and Karlo Strancar

Relaxing after MassYoung Slovenians gathering in the parkBlack and white photoslovenian gathering

Gathering at Baraga HouseFriends at Baraga House relaxing in company of Fr. Basil and the cooks - Mrs Kregar and Anica (Cinc) KregarBlack and white photo

On an outingPhoto taken after Sunday MassBlack and white photo

Baraga HouseGathering of friends at Baraga HouseBlack and white photo

Gathering of friendsFriendshipsBlack and white photo

Baraga House - Recreation roomGathering of young SloveniansBlack and white photo

Celebration of Baraga House HostelIst AnniversaryBlack and white photo

Marcela bole School Certificate from 1923

Marcela bole School Certificate from 1927

School Certificate of Marcela Bole in Italian school

Marcela Bole Gec Monastery School Tomaj School Certificate from year 1924

Marcela Bole Gec Monastery School Tomaj School Certificate from year 1925school, certificate, gec monastery school, bole

Parents Gec, brothers and sisters of the poet Marcela Bole, 1938Family Gec, parents sitting - Ema, Ludvik, Pavla, half brother Janez, Ljudmila and Marcela in 1938marcela bole, slovenian poet, slovenian association melbourne, slovenia under italy

Arrival of Bole family on Toscana, 1955Photo of Bole family on Toscana, 1955, arriving to Sydney: fourth from left Neva, than Marcela holding a hat, and Danilatoscana, slovenian family bole, slovenian association melbourne,

Migrant family Bole in Australia, 1958Family Bole in Australia, Pascoe Vale, September 5, 1958: daughter Danila, 13; Silvester, Marcela giving her husband an expresso coffee to celebrate the occasion, and Neva 17 years oldslovenian migrant family, marcela bole, slovenian association melbourne

Marcela Gec, married Bole at the School of Sewing, Fine Needlework and Embroidery in Tomaj, then under Italy, 1930Black and white photo: Tomaj, Slovenia under Italy, School of Fine needlework and Embroidery, 1930, Marcela Gec Bole sitting front row, secondslovenia, tomaj, under italy, marcela bole, slovenian association melbourne

First year in AustraliaPhoto of family Bole in 1956, first year in Australia, Pascoe Vale, living with family Zavadlalslovenian family bole, slovenian association melbourne

Many Slovenian men were conscripted into Italian army to fight in war in Ethiopia in 1933 Veliko slovenskih moških je bilo vpoklicanih v italijansko vojsko, da so se borili v vojni v Etiopiji leta 1933.There are not many photographs available from those times, especially of Slovenian soldiers. Zelo redke so fotografije slovenskih vojakov iz tega časa.Silvester Bole in Italian army uniform, fought the Mussolini War in Ethiopia, 1933 Silvester Bole v italijanski vojaški uniformi. Boril se je v Mussolinijevi vojski v Etiopiji leta 1933.slovenian men in italian army, slovenia under italy, ethiopia, slovenian association melbourne, wwii

Marcela (hat in hand) and Silvester Bole with daughters Danila (with a doll) and Neva (hat in hand), Trieste 1955 before boarding ToscanaMarcela and Silvester Bole with Danila and Neva, Trieste 1955, before boarding Toscanaslovenian family bole, trieste, toscana, 1955, slovenian association melbourne

Marcela Bole in Trieste, 1953, centrephoto, family

Four sisters from Gec family, 1932 Štiri sestre iz družine Gec, 1932Sisters: Ema, Ljudmila, Pavla and Marcela Gec, married Bole, 1932 Sestre: Ema, Ljudmila, Pavla in Marcela Gec, poročene Bole, 1932family gec, marcela bole, slovenian association melbourne

Young ladies in 1933Marcela Gec as a young lady in 1933, centre, later married Silvester Bolemarcela gec-bole, slovenia, slovenian association melbourne

Photo of Anica grandparents

white red and blue folded flayerinvitation, anniversary, slovenian association melbourne, 1984

Paul Caffyn undertook perhaps the ultimate kayak circumnavigation, a 9,420mile journey around Australia in 1981/2 which took 360 days to complete. ‘The Dreamtime Voyage’ is his account of this odyssey which is acknowledged as one of the most remarkable journeys ever undertaken by kayak. Paul had to contend with a tropical cyclone which nearly swept him off a small offshore islet in the Coral Sea, raging surf, tiger sharks which frequently bumped into the kayak in the Gulf of Carpentaria, crocodiles, sea snakes and three sections of sheer limestone cliffs. To overcome the three 100 mile plus long sections of cliffs, Paul used Nodoz tablets to stay awake and Lomotil to keep his bowels dormant during these overnight paddles. The longest stint along the awesome Zuytdorp Cliffs in Western Australia, took 34 hours of continuous paddling.Sea kayak used by Paul Caffyn to circumnavigate Australia in 1981-82. First sea kayak to voyage around Australia.Yellow fibreglass kayak"Lalaguli" various other markingssea kayak, paul caffyn, lalagule

‘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