Australian Military Forces Agreement between Ronald B Tremellen and his parent in case of necessary medical and/or dental treatment.national service - australia, national service - medical treatment

A soft cover book book detailing the history of Royal Australian Navy In vietnam. the colour of the cover is green, yellow and blue.A Navy in peace time has one prime aim - to be ready for war.royal australian navy, hmas hobart, hmas perth, hmas vendetta, 9 squadron raaf

It provides a backdrop to the Tobruk siege and how the "rats" got their name.It particularly outlines the events leading up to the death of Corporal Jack Edmondson and his actions that were recognised by the awarding of a posthumous Victoria Cross to him.A 4 page typed article extracted from a book called "Diggers made Tobruk Invincible".nilvictoria cross, jack edmondson, rats of tobruk, tobruk siege

Historical referenceHard covered book. 371 pp. ISBN 0 642 99407 2 940.5412'94royal australian armoured corps, history, royal australian armoured corps, history

A yellow plastic cover with a window in the front. Near the top of the cover there is the Royal Australian Air Force Insignia with Royal Australian Air force and Engineering Publication. Through the window is the title of the Manual. Inside a plastic sleeve on yellow cardboard are the full details of the manual. The manual is held together with a large metal slide.royal australian airforce - manuals, engineering, inverter

This helmet has been used by a member of the Royal Australian Navy in the early to mid 20th century. The Commonwealth Naval Forces were formed after Federation in 1901 and became known as the Royal Australian Navy in 1911. Pith helmets are now used only in the Australian Defence Forces for ceremonial purposes. No information is available on A.B. Pollock.This helmet is retained for display purposes.This helmet is made of white material with a six-segmented crown and a peak and back covering. In the centre of the crown is a dome with three breathing holes. On top of the dome is an ornamental gold-coloured metal finial. The edge of the crown has a band of white fabric and in the centre of this is a metal badge with a crown, anchor and seven stars and the wording ‘Royal Australian Navy’. Inside, the helmet has a leather rim with an adjustable leather string with brass clips (one missing). Inside, the breathing holes are made of brass and the metal rotates to open or close the holes. Inside also are the size of the helmet, the owner’s name and some other indecipherable information Royal Australian Navy A.B.Pollock 6⅞ vintage headwear, royal australian navy, history of warrnambool

A blue coloured cardboard cover with lack information on the front. Under the Australian Army Insignia reads Australian Army and the rest of the information on the booklet. Hand written top right corner reads OC CBN CAL.There are two punch holes down the left hand side of the booklet. the booklet is covered with a plastic cover.training, information bulletin, australian army

We don?t leave our identities at the city limits: Aboriginal and Torres Strait Islander people living in urban localities Bronwyn Fredericks Aboriginal and Torres Strait Islander people who live in cities and towns are often thought of as ?less Indigenous? than those who live ?in the bush?, as though they are ?fake? Aboriginal people ? while ?real? Aboriginal people live ?on communities? and ?real? Torres Strait Islander people live ?on islands?. Yet more than 70 percent of Australia?s Indigenous peoples live in urban locations (ABS 2007), and urban living is just as much part of a reality for Aboriginal and Torres Strait Islander people as living in remote discrete communities. This paper examines the contradictions and struggles that Aboriginal and Torres Strait Islander people experience when living in urban environments. It looks at the symbols of place and space on display in the Australian cities of Melbourne and Brisbane to demonstrate how prevailing social, political and economic values are displayed. Symbols of place and space are never neutral, and this paper argues that they can either marginalise and oppress urban Aboriginal and Torres Strait Islander people, or demonstrate that they are included and engaged. Juggling with pronouns: Racist discourse in spoken interaction on the radio Di Roy While the discourse of deficit with regard to Australian Indigenous health and wellbeing has been well documented in print media and through images on film and on television, radio talk concerning this discourse remains underresearched. This paper interrogates the power of an interactive news interview, aired on the Radio National Breakfast program on ABC Radio in 2011, to maintain and reproduce the discourse of deficit, despite the best intentions of the interview participants. Using a conversation-analytical approach, and membership categorisation analysis in particular, this paper interrogates the spoken interaction between a well-known radio interviewer and a respected medical researcher into Indigenous eye health. It demonstrates the recreation of a discourse emanating from longstanding hegemonies between mainstream and Indigenous Australians. Analysis of firstperson pronoun use shows the ongoing negotiation of social category boundaries and construction of moral identities through ascriptions to category members, upon which the intelligibility of the interview for the listening audience depended. The findings from analysis support claims in a considerable body of whiteness studies literature, the main themes of which include the pervasiveness of a racist discourse in Australian media and society, the power of invisible assumptions, and the importance of naming and exposing them. Changes in Pitjantjatjara mourning and burial practices Bill Edwards, University of South Australia This paper is based on observations over a period of more than five decades of changes in Pitjantjatjara burial practices from traditional practices to the introduction of Christian services and cemeteries. Missions have been criticised for enforcing such changes. However, in this instance, the changes were implemented by the Aboriginal people themselves. Following brief outlines of Pitjantjatjara traditional life, including burial practices, and of the establishment of Ernabella Mission in 1937 and its policy of respect for Pitjantjatjara cultural practices and language, the history of these changes which commenced in 1973 are recorded. Previously, deceased bodies were interred according to traditional rites. However, as these practices were increasingly at odds with some of the features of contemporary social, economic and political life, two men who had lost close family members initiated church funeral services and established a cemetery. These practices soon spread to most Pitjantjatjara communities in a manner which illustrates the model of change outlined by Everett Rogers (1962) in Diffusion of Innovations. Reference is made to four more recent funerals to show how these events have been elaborated and have become major social occasions. The world from Malarrak: Depictions of South-east Asian and European subjects in rock art from the Wellington Range, Australia Sally K May, Paul SC Ta�on, Alistair Paterson, Meg Travers This paper investigates contact histories in northern Australia through an analysis of recent rock paintings. Around Australia Aboriginal artists have produced a unique record of their experiences of contact since the earliest encounters with South-east Asian and, later, European visitors and settlers. This rock art archive provides irreplaceable contemporary accounts of Aboriginal attitudes towards, and engagement with, foreigners on their shores. Since 2008 our team has been working to document contact period rock art in north-western and western Arnhem Land. This paper focuses on findings from a site complex known as Malarrak. It includes the most thorough analysis of contact rock art yet undertaken in this area and questions previous interpretations of subject matter and the relationship of particular paintings to historic events. Contact period rock art from Malarrak presents us with an illustrated history of international relationships in this isolated part of the world. It not only reflects the material changes brought about by outside cultural groups but also highlights the active role Aboriginal communities took in responding to these circumstances. Addressing the Arrernte: FJ Gillen?s 1896 Engwura speech Jason Gibson, Australian National University This paper analyses a speech delivered by Francis James Gillen during the opening stages of what is now regarded as one of the most significant ethnographic recording events in Australian history. Gillen?s ?speech? at the 1896 Engwura festival provides a unique insight into the complex personal relationships that early anthropologists had with Aboriginal people. This recently unearthed text, recorded by Walter Baldwin Spencer in his field notebook, demonstrates how Gillen and Spencer sought to establish the parameters of their anthropological enquiry in ways that involved both Arrernte agency and kinship while at the same time invoking the hierarchies of colonial anthropology in Australia. By examining the content of the speech, as it was written down by Spencer, we are also able to reassesses the importance of Gillen to the ethnographic ambitions of the Spencer/Gillen collaboration. The incorporation of fundamental Arrernte concepts and the use of Arrernte words to convey the purpose of their 1896 fieldwork suggest a degree of Arrernte involvement and consent not revealed before. The paper concludes with a discussion of the outcomes of the Engwura festival and the subsequent publication of The Native Tribes of Central Australia within the context of a broader set of relationships that helped to define the emergent field of Australian anthropology at the close of the nineteenth century. One size doesn?t fit all: Experiences of family members of Indigenous gamblers Louise Holdsworth, Helen Breen, Nerilee Hing and Ashley Gordon Centre for Gambling Education and Research, Southern Cross University This study explores help-seeking and help-provision by family members of Indigenous people experiencing gambling problems, a topic that previously has been ignored. Data are analysed from face-to-face interviews with 11 family members of Indigenous Australians who gamble regularly. The results confirm that substantial barriers are faced by Indigenous Australians in accessing formal help services and programs, whether for themselves or a loved one. Informal help from family and friends appears more common. In this study, this informal help includes emotional care, practical support and various forms of ?tough love?. However, these measures are mostly in vain. Participants emphasise that ?one size doesn?t fit all? when it comes to avenues of gambling help for Indigenous peoples. Efforts are needed to identify how Indigenous families and extended families can best provide social and practical support to assist their loved ones to acknowledge and address gambling problems. Western Australia?s Aboriginal heritage regime: Critiques of culture, ethnography, procedure and political economy Nicholas Herriman, La Trobe University Western Australia?s Aboriginal Heritage Act 1972 (WA) and the de facto arrangements that have arisen from it constitute a large part of the Aboriginal ?heritage regime? in that state. Although designed ostensibly to protect Aboriginal heritage, the heritage regime has been subjected to various scholarly critiques. Indeed, there is a widespread perception of a need to reform the Act. But on what basis could this proceed? Here I offer an analysis of these critiques, grouped according to their focus on political economy, procedure, ethnography and culture. I outline problems surrounding the first three criticisms and then discuss two versions of the cultural critique. I argue that an extreme version of this criticism is weak and inconsistent with the other three critiques. I conclude that there is room for optimism by pointing to ways in which the heritage regime could provide more beneficial outcomes for Aboriginal people. Read With Me Everyday: Community engagement and English literacy outcomes at Erambie Mission (research report) Lawrence Bamblett Since 2009 Lawrie Bamblett has been working with his community at Erambie Mission on a literacy project called Read With Me. The programs - three have been carried out over the past four years - encourage parents to actively engage with their children?s learning through reading workshops, social media, and the writing and publication of their own stories. Lawrie attributes much of the project?s extraordinary success to the intrinsic character of the Erambie community, not least of which is their communal approach to living and sense of shared responsibility. The forgotten Yuendumu Men?s Museum murals: Shedding new light on the progenitors of the Western Desert Art Movement (research report) Bethune Carmichael and Apolline Kohen In the history of the Western Desert Art Movement, the Papunya School murals are widely acclaimed as the movement?s progenitors. However, in another community, Yuendumu, some 150 kilometres from Papunya, a seminal museum project took place prior to the completion of the Papunya School murals and the production of the first Papunya boards. The Warlpiri men at Yuendumu undertook a ground-breaking project between 1969 and 1971 to build a men?s museum that would not only house ceremonial and traditional artefacts but would also be adorned with murals depicting the Dreamings of each of the Warlpiri groups that had recently settled at Yuendumu. While the murals at Papunya are lost, those at Yuendumu have, against all odds, survived. Having been all but forgotten, this unprecedented cultural and artistic endeavour is only now being fully appreciated. Through the story of the genesis and construction of the Yuendumu Men?s Museum and its extensive murals, this paper demonstrates that the Yuendumu murals significantly contributed to the early development of the Western Desert Art Movement. It is time to acknowledge the role of Warlpiri artists in the history of the movement.b&w photographs, colour photographsracism, media, radio, pitjantjatjara, malarrak, wellington range, rock art, arrernte, fj gillen, engwura, indigenous gambling, ethnography, literacy, erambie mission, yuendumu mens museum, western desert art movement

1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

The Boxer Rebellion, Boxer Uprising or Yihetuan Movement was a violent anti-foreign, anti-colonial and anti-Christian uprising that took place in China between 1899 and 1901, toward the end of the Qing dynasty.The Rifle was brought back to Australia by the Victorian Naval Brigade on their return from China. They had been involved in the surrender of Pao-ting Fu and as Garrison troops at Tianjin during the boxer Rebellion, serving from July 1900 to March 1901. Rifle - Styer. Made in Austria in 1875. Glass covered Rectangular Framed Photo and Map with a brief description.rifle,gun,styer rifle, boxer rebellion,lara r.s.l.

Found among the Wieland memorabilia but unknown young man.Small black and white photograph of young man on glass made in London but name mostly rubbed off.Very badly rubbed London address and name of studio.

Joseph Henry Abbott arrived in Australia from Birmingham England in 1852 aged 22 hoping to make his fortune on the goldfields. In 1853 he opened a store in Bendigo, Abbott and Co and from there began a lengthy career as a business man supplying the local community with goods and services including owning and operating the New Times Boot Market & Factory in Pall Mall, Sandhurst, run by his wife, Anne (nee Deague). J H Abbott’s main ambitions were to serve on the local and state councils. He was elected Chairman of the Sandhurst Borough Council in 1860, Mayor of the City of Bendigo in 1891 and was gazetted a Justice of the Peace in 1864. Over his lifetime J H Abbott was closely linked to nearly all the leading institutions in Bendigo and worked for the benefit of local charities. He was trustee of the Bendigo Art Gallery and a Freemason and was said to be the first person in Bendigo to have a telephone installed in1882 between his residence and his business in Pall Mall. After JH Abbott died in 1904 he passed on his businesses to his son JH Abbott Jnr and adopted son RHS Abbott. These businesses continued to trade under the name JH Abbott & Co and today still operates under the name Abbott Supply although the last of the family interests ceased in 1986. Abbott and Co acted as agents for larger Melbourne based suppliers such as Briscoe & Co and the Australian Explosives & Chemical Co. Printed and handwritten paper invoice from Australian Explosives & Chemical Co to JH Abbott & Co dated 7th July, 1898 for the purchase of dynamite and gelignite. The invoice artwork/ letterhead and layout is especially notable due to its association with Troedel & Co, Master Printers and Lithographers and pioneers of the Melbourne printing industry.city of bendigo mayor, shire of strathfieldsaye, mayor abbott, city of greater bendigo commerce, making a nation exhibition, briscoe & co, australian explosives & chemical co

This Pewter Mug Collection is a set of 32 trophies won by Australian Alpine skiers Ross and Malcolm Milne between 1959 and 1964. Ross and Malcolm grew up on their family's tobacco property in Myrtleford, and began skiing at Falls Creek at an early age. They were both taught by Austrian Sigi Haberzettl, who was chief coach at Falls Creek for 17 years. Ross went on to win the North-Eastern District Ski Association (NEDSA) Junior Championships for three years in a row. In 1961 Ross was a member of the Australian team which competed against New Zealand in the Inter-Dominion Championships. In 1963, he won the Downhill and Alpine Combined title at the Australian Championships, while placing second in the Grand Slalom event. Ross Milne was selected in the Australian team that participated in the 1964 Olympic Winter Games at Innsbruck, Austria. A few days before the opening of the Games, on 25 January 1964, he tragically lost his life when he crashed into a tree during a training run for the Men's Downhill. He was only 19 years of age. Malcolm became a member of the Australian Junior Ski Team to Japan at the age of 14. He won all of the NEDSA children’s races and won the State Title in 1966. Malcolm continued to achieve great success, winning the Australian Championships for the next five years. At the end of 1969 he won Gold in the Val d'Isere FIS Alpine Ski World Cup Downhill, Australia's first Alpine Ski World Cup medal. He was on the Australian National Ski Team for eight years, representing his country at the 1968 and 1972 Olympic Games and the 1966 and 1970 World Championships before turning professional in 1972. Malcolm Milne was inducted into the Sport Australia Hall of Fame in 1985. In 2000 he received the Australian Sports Medal for his contribution to skiing. In 2004, Ski & Snowboard Australia granted Milne Life Membership for the contribution he made to the sport by becoming the first World Cup medal winner in Australian winter sports history, and the subsequent impact his performances have had on future athletes. Malcolm Milne was awarded the Medal of the Order of Australia (OAM) for services to skiing in 2016.This item is significant because it is part of a collection which documents the career of two outstanding Australian sportsmen.A pewter mug awarded for the Australian Combined Alpine Championships 1963Engraved on side of mug: AUSTRALIAN COMBINED ALPINE CHAMPIONSHIPS 1963ross milne, malcolm milne, milne brothers, australian alpine skiers

A beige coloured cardboard cover with black information. The Australian Military Force Insignia in on the front. the booklet is held together by a dark brown binding.australia - armed forces - service manuals, australia - armed forces - ration packs, ration scales

Dark blue hardback book with gold letteringMan made fibres. R W Moncrieff

A yellow plastic cover with a window in the front. Near the top of the cover there is the Royal Australian Air Force Insignia with Royal Australian Air force and Engineering Publication. Through the window is the title of the Manual. Inside a plastic sleeve on yellow cardboard are the full details of the manual. The manual is held together with a large metal slide. the back of the manual is a blue cardboard cover.royal australian airforce - manuals, engineering, fatigue meters

This was used to brabd sheeep to identify the owner. The brand was dipped in branding fluid then placed on the sheep's back following shearing.Crude wooden brand made of 6 pieces of pine wood box timber to form the letter Eshearing, branding, wool industry

Flint gas lighter, metal with wooden handle, made in Australia by Pino.Made Pino Australiadomestic equipment, stoves, lighter

Australian Defence Force ribbons representing medals that can be awarded.Collection of ribbons to be displayed in lieu of wearing full medals etc by soldiers of Australian Military Forces when entitled to be so warn.Chart - Honours Decorations and Medals of the Australian Defence Force. Display of ribbons representing medals that can be awarded to Australian Military Forces personnel.Sheet of Masonite with a printing of Honours Decorations and Medals of the Australian Defence Force - depicting ribbons for medals awarded to Australian Military Forces.australian defence force, honours,decorations and medals

A ligh gray coloured cover with black writing on the front. In the middle there is the insignia of the Australian Military Forces. There is a black binding down the left hand side.australia - armed forces - service manuals, patrolling and tracking

This Pewter Mug Collection is a set of 32 trophies won by Australian Alpine skiers Ross and Malcolm Milne between 1959 and 1964. Ross and Malcolm grew up on their family's tobacco property in Myrtleford, and began skiing at Falls Creek at an early age. They were both taught by Austrian Sigi Haberzettl, who was chief coach at Falls Creek for 17 years. Ross went on to win the North-Eastern District Ski Association (NEDSA) Junior Championships for three years in a row. In 1961 Ross was a member of the Australian team which competed against New Zealand in the Inter-Dominion Championships. In 1963, he won the Downhill and Alpine Combined title at the Australian Championships, while placing second in the Grand Slalom event. Ross Milne was selected in the Australian team that participated in the 1964 Olympic Winter Games at Innsbruck, Austria. A few days before the opening of the Games, on 25 January 1964, he tragically lost his life when he crashed into a tree during a training run for the Men's Downhill. He was only 19 years of age. Malcolm became a member of the Australian Junior Ski Team to Japan at the age of 14. He won all of the NEDSA children’s races and won the State Title in 1966. Malcolm continued to achieve great success, winning the Australian Championships for the next five years. At the end of 1969 he won Gold in the Val d'Isere FIS Alpine Ski World Cup Downhill, Australia's first Alpine Ski World Cup medal. He was on the Australian National Ski Team for eight years, representing his country at the 1968 and 1972 Olympic Games and the 1966 and 1970 World Championships before turning professional in 1972. Malcolm Milne was inducted into the Sport Australia Hall of Fame in 1985. In 2000 he received the Australian Sports Medal for his contribution to skiing. In 2004, Ski & Snowboard Australia granted Milne Life Membership for the contribution he made to the sport by becoming the first World Cup medal winner in Australian winter sports history, and the subsequent impact his performances have had on future athletes. Malcolm Milne was awarded the Medal of the Order of Australia (OAM) for services to skiing in 2016.This item is significant because it is part of a collection which documents the career of two outstanding Australian sportsmen.A pewter mug awarded as a trophy for the 1964 Australian Junior Slalom Championships. Engraved on side of mug: AUSTRALIAN JUNIOR CHAMPIONSHIPS SLALOM 1964ross milne, malcolm milne, milne brothers, australian alpine skiers

Harry Holmes was from Ascot and was a member of the 18th Company Australian Army Service CorpsPhotographic post card of an Australian troopship.An Australian Troopship, A 55, passing up the Canal.harry holmes, ship, canal, world war one, holmes family collection, chatham-holmes family collection, kyarra, henry smerdon holmes

Thirty two page book, centre stapled, art paper, titled "Australian Electric Transport Museum / St Kilda, South Australia", guide book for the Museum, printed 1974. Gives information on AETM's exhibits, including ex Ballarat trams 21 and 34. Has maps of the AETM, Adelaide, Trolley buses system and brief history of Adelaide public street transport.trams, tramways, adelaide, trolley buses

Box made of postcards stitched together with blanket stitch, lid opens and the box was used for jewelery and notes, named šatuljaBlanket stitch, romantic Italian postcards with a opening lidbox made of postcards, romantic cards, blanket stitch, jewelery box, šatulja, italian postcards, slovenian association melbourne