See image of photograph for more information regarding each soldier.Depicts story of six Australian servicemen MIA and details search and recovery back to Australia.mia, lcpl rh parker, lcpl jf gillespie, flgoff mp herbert, pte pr gillson, tpr dj fisher, pltoff rc carver

A previous mill had operated in Charlton by Mr. W.E. Foreman on the banks of the Avoca River and was acquired in 1919 by Noske Bros. The present Flour Mill was built by Noske Bros and opened in May 1927. It was taken over by the Grain Elevator Board in the 1970s. Colour photograph of Charlton Flour Mill and silos. Intersection of Kaye & Davies Streets in the foreground. One large silver silo and three taller greyish concrete silos to the left. Three other cream coloured silos behind. There are pipes and sheds on top of the silos. There is a cream single story building to the right of the silver silo and a multi-storey building behind with eight window in the upper level. There is a small red brick building on the far left of the photo.w.e. foreman, noske bros, flour mill charlton

a B. A. 16081985 Gillies shares the spoils and the pies b B.A. 12051982 Gillies Famous Pies advertisement c B.A. GB The Pies to Buy advertisement d Newspaper article Four'n'Twenty take on the US market e Newspaper article Gillies pies fuelled the great Empire Climb f B.A.Bendigo stalwart (Alan Gillies) dies g Second Board launches Bendigo firm into big league h The Gazette Wed 26081981 Humble Beginnings i B.A. Sat. 27091980 GB Pies Keys to the door j B.A. Thur 17061980 The glorious Aussie pie k B.A. thur 17061976 tons of Meat - 1000s of Pies l The Age Mon 29071985 Going Public to make a big crust m The Bendigo Miner Thur 17012008 serving up an iconic pie n B.A. Tues 15092015 Fond Farwell planned for Gillies Pies founder o The Gazette Wed 26081981 Humble Beginnings p The Gazette Wed 26081981 Millions and Millions of pies is the Gillies Bros. Story q Out and About Narrewillock no. 2204 r-s-t-u-v Buy Goodness....It's GilliesVarious

Ill, p.326.non-fictionThe story of an RAAF Lancaster bomber crew shot down over France in 1944. On the evening of 24 February 1944, RAAF Lancaster bomber J for Jig took off from an airfield in Lincolnshire. On board was a crew of seven young men - five Australians, two Scots - whose mission was to bomb factories in Schweinfurt, Germany. But J for Jig never reached its target. It was shot down in the night skies over France. This book is about the seven lives on that aircraft - who they were, what they did, whom they loved, and whom they left behind. Some were to die that night, and others were to survive, withstanding incredible hardships and adventures as prisoners and evaders in a war that was far from over. Crew brilliantly recreates J for Jig's final mission but, more than that, in telling seven individuals' stories Mike Colman has captured the achievements, loss and the enduring legacy of the generation that fought in the Second World War.royal australian air force - aerial operations - europe, royal australian air force - biographies

Index, bibliography, ill, p.360.When Singapore fell dramatically to the Japanese on 15 February 1942, hundreds of people scrambled to leave. Amongst the evacuees were 65 Australian nurses. They boarded a coastal freighter named the Vyner Brooke, which was sunk by the Japanese. From a group of 60 shipwreck survivors including 22 nurses, Vivian Bullwinkel was the only survivor. royal australian army nursing corps, vivian bullwinkel

Copy of a newspaper photo titled To Make Bend Safer. Photo shows a tram passing a newsagent shop. On the right is a dilapidated picket fence. Allso hand written paper on one side is: Approx 1966 ? One of the last trams No 18 to run up Main Street of Long Gully (Bond Street) Now known as Eaglehawk Road. On Left - Post Office - now Gents Hairdresser & Rose of No 3 Australia Hotel. On Right - Les & Marie Norris Newsagency & Mixed Business. 2 story building was Commercial Hotel. No 26 Tram was the last to run between Bendigo, Long Gully & Eaglehawk. Still running as a Tourist. Donated by Alan Crossley. tram in Bendigo 1987 1985. On the other side is written: One building has already been demolished and the proprietor of the Newsagency & mixed business Mr. L W Norris, will also demolish and rebuild further back from the road in preparation for eventual re-alignment of the Long Gully bend by the Country Roads Board. The Board declared an alignment some years ago for the corner - a severe traffic hazard - but, the assistant Divisional Engineer, Mr G Marshallsea said yesterday the Board had no immediate plans. These were one of the last Trams to run through Long Gully.bendigo, history, long gully history group, the long gully history group - eaglehawk road - long gully

This bank passbook. Tells the story of the finances of the Trustees of the early 1900s 'Stanley Foresters', It also is a reflection of the social history of the groups that existed in Stanley at the turn of the 20th century, and the groups who met at the Stanley Athenaeum. The Athenaeum also holds the ornate wooden Stanley Foresters memorial board.Booklet, blue grey title in bold black print, 16cm X 11cm, 7 pages of text then 6 double pages of handwritten banking transactions, then one double page re Offices The Savings Bank. External covers have 'Cancelled' stamp.External covers have been stamped 'Cancelled' . 6 double pages of handwrtten banking transactions in ink from Sept 16th 1900 - Oct 31, 1917 Account name 'Trustees A. O. Foresters Stanley'

The Placemats were made in response to the display of pictures of the "aap, noot, mies" reading boards, which led to requests from older Dutch Citizens for copies.The "aap, noot, mies" reading boards were used in the Netherlands for a long time (from many years before WWII till the late 1960's) as the main tool for teaching students in the first year of primary school the main vowels and consonants of the Dutch Language. The reading boards were used in combination with reading books containing the Zus & Jet stories. These stories are the source of the pictures on the reading board. Item number 6380 is an example of such a reading book.A laminated A4 copy of the "Aap, Noot, Mies" reading board.The board shows pictures of items and persons as well as the spelling of the words and names, for the words: aap, noot, mies,wim, zus, jet, teun, vuur, gijs, lam, kees, bok, weide, does, hok, duif, schapen.aap noot mies reading board leesplankje dutch primary school

This reader contains stories about two sisters: Zus and Jet. The "Derde Leesboekje" is the third reader in this series.The stories in this book and in some of the other readers had as subjects the people, animals and objects used in the "aap, noot, mies" reading board shown as item number 6389. The reading boards and readers were used in the Netherlands for a long time (from many years before WW II, till the late 1960s) to teach reading and spelling.Book: "Derde Leesboekje", a soft cover reader used in Dutch Primary schools in the decades around the 2nd World Warsome silverfish type damage on front and back cover aap; noot; mies; reader; primary school

Black lettering on a white background. Insignia of the AATTV. Forward to the book "The Man Who Perservered" by Bruce Davies and Gary McKaystoryboard, aattv

Mounted Document. The Suday Mail Magazine article titled "Hobart goes to War" story and pictures of life on board HMAS Hobart on Patrol off North Vietnamdocument, hmas hobart, sunday mail magazine

Recollections of term between 1969 - April 1970.Images and Stories of Vietnam Vets.behind the wire, photographic exhibition

Story: Advisor (Apr 1964-Nov 1965). Squad Commander Nui Dat (1/1970-12/1970).behind the wire, ian teague

Story detailing her 6 months as a civilian nurse in Vietnam.behind the wire, betty lockward, nurses - vietnam, bien hoa

Chipboard back with light blue on front. Three pictures: two helicopters in flight & a Navy ship at sea with helicopter on the deck. Black print with story: white type specifies.bell iroquois.

Paperback book with a man standing in front of a multi line wired fence. Pink and grey sky with an aeroplane near the top. Black print at top. Title in white print.non-fictionuwe radok, hmt dunera

The dolls house and furniture was made by Heinrich August Ernst KOCH, who was interned at Orange NSW on the 6 June 1940. In 1941 was taken to Tatura VIC for an appeals tribunal hearing. He was released in 1943 to the Civil Alien Corp. The donor of the dolls house, John Smiles, is the grandson of Heinrich. Heinrich made the dolls house and furniture which he made for his daughters in Sydney NSW. It was sent to them whilst interned. The furniture is copies of real life size items and the house has features common with the family home in Sydney.Wooden, painted dolls house, made from packing crates. 5 main pieces with additional pieces (roof, chimney, stairs, outside roof area, furniture) which go together to form this long single story dolls house. Painted in cream with green features and red roof. Windows and doors open. Several windows have glass in them. Original piece of Lino in kitchen area. 2 rooms are wallpapered. Original pieces of furniture are included (see list attached to worksheet). These include dining table and four chairs, side board, dressing table, bed, tall boy, low boy, entrance table, entrance bench, entrance hall stand, kitchen table, 4 chairs and 2 benches.heinrich august ernst koch, john smiles, orange internment camp, tatura internment camp, civil alien corp

In 2005 the children of Grades 4,5 and 6 of Milawa Primary School researched and compiled personal stories, photographs and service records to honour those listed on the Milawa State School WW1 Honour Board. Inside rear cover contains a colour patch index to the following:- Andrew Robert BARRIE 3757/ Ralph Augustus CECIL 1677/ John COLEMAN 4089/ Arthur John Victor CULPH 896/ Edward Heathcote CULPH 2629(1447)/ Henry John CULPH 3108/ Thomas Wilson CULPH 34A/ Edward Frederick DOIG 3991/ Ernest Hugh DOIG 2937/ John Harold FOWLER 4488/ William Joseph FOWLER 3233/ Howard Fraser GRANT 7077/ Joseph Henry HOWELL 7247/ Frederick John HUMPHREY 2472/ Stanley Gordon HUMPHREY 3553/ Roy Curtis KENNEDY 5401/ Charles James KETTLE 29741/ Michael McGRORY 5390/ Ernest Phillip McPHEE 50339/ Stanley Charles McPHEE 3741/ Thomas MURDOCH Lieut/ William Lawrence PURDON 3223/ Ludin James ROBERTSON 980/ William Francis ROBERTSON 981/ Harold Ernest THOMAS 966/ George Ernest Vincent WOODBERRY 2173.White and red book with blue wording and photograph of school children at a cenotaphBook is dedicated to all the service men and women in the Australian Armed Forces who continually strive to protect the Australian way of life.ww1, honour board, milawa state school

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

Historical work by the Secretary of the Board for the Protection of the Aborigines. (c.1876) He describes his approach to his work, the collection of language information, culture and heritage, anatomical data, drawings of the traditional lifestyles and encounters with the people. Includes interesting observations on the works of William Thomas, Alfred W, Howitt, Philip Chaney, Albert A.C. La Souef, John Moore Davis and Rev. William Ridley.robert brough smyth, anthropology, aboriginal social life and customs, children, behaviour, death and burial customs, daily life, food, diseases, weapons, shields, boomerang, vessels, baskets, message sticks, stone tool technology, fire, canoes, myths, stories

Good governance means good business What is governance? The Indigenous Governance Awards Key elements of good governance Finalists 2005: Koorie Heritage Trust, Victoria; Central Australian Aboriginal Congress, NT; Sunrise Health Service, NT; Goldfields Land and Sea Council, WA; Institute for Aboriginal Development, NT; Maari Ma Health Aboriginal Corporation NSW; North Coast Aboriginal Corporation for Community Health Qld; Tiwi Islands Local Government, NT What works: lessons from the 2005 Indigenous Governance awards Governing body: choosing the board; Size and frequency of meetings; Board change and continuity; Processes of decision-making; Making good decisions; Financial decision-making; Accountability tools Managing and implementing decisions: carrying out recommendations; Informing stakeholders Conflict resolution: conflicts among the board; Complaints from members; Staff conflicts Leadership development: developing youth; Staff development and training Cultural norms and values: Boards and elders; Community and culture Future planning.colour photographsbusiness enterprise, indigenous business

Hilda Charlotte Foster, 1902 - 1990, was a Double Certified Nurse when, at the age of 35, she successfully applied to the board of the Australian Inland Mission (AIM) to work at an outback field centre in South Australia. Born and raised in suburban Melbourne, she had been inspired by stories told to her by other missionaries about the fulfilment to be gained working amongst Aboriginal communities. Given her religious faith and nursing skills, she believed she could make a difference. She worked in Oodnadatta in South Australia for two years (1937-1939), followed by a stint in Innamincka in New South Wales in 1940 -1942. Before she became a nurse, Hilda Foster trained to be a Sunday School teacher and was a member of the Sunday School Council of Victoria. She completed first aid courses run through the Presbyterian Deaconesses Institute in Carlton, Victoria, and in 1930 successfully applied to become a trainee nurse at the Austin Hospital for Incurables, in Heidelberg. She commenced her training there in 1931, before moving to the Women's Hospital in 1933. In 1934 she had six months at the Fairfield Infectious Diseases Hospital, before returning to the Austin, where she was employed when she sat her final exams in November 1934. Her combined skills made her a most attractive option for the Australian Inland Mission. As well as being multi-skilled as a nurse, she provided religious instruction and spiritual ministry to members of the community. https://trove.nla.gov.au/people/762093?c=people Sister Foster nursed at Toora Bush Hospital prior to leaving for the Paton Memorial Hospital, Vila, New Hebrides in 1944. She left the New Hebrides in 1946.Matt, black and white, head and shoulders, studio portrait of Sister Hilda Charlotte Foster on card.australian inland mission, presbyterian deaconess, sister hilda charlotte foster, paton memorial hospital vila new hebrides

Red board cover with an etching of floral design in black on the cover and back - 128 pagesfiction

Bullock Team with load of Wattle Bark in front of Cornish's Victorian Boarding House. Corner of Napier& Victoria Streets. Photograph taken in Napier Street, Stawell c1910. Inscriptions on the back of the photo state W. Dunn is standing beside the bullock team but records imply that its Jack Williams with his bullock team. Stan Wathem is holding the bike and standing beside the wagon. Wattle bark was used at Wenl's Bark Mills Stawell. The photograph belongs to Mrs. Dorrie Pickering - loaned for copying. The boarding house on corner of Victoria & Napier St. Obit. Mrs. Fanny Cornish formerly Manuel nee Bass, Stawell News 20.6.1931. Black & white photograph of a scene depicting a bullock team and wagon loaded with Wattle bark. Stawell. Two men standing near the bullock team, one holding a a long stick, the other on a bike. The building behind the bullock team is Cornish's Victoria's Boarding House. Also a large double story barn at the back of the wagon, c1910. In the file are two other black and white photographs of the same image.c1910. Napier St. Corner of Napier & Victoria Streets Stan Wathem (Bike) W. Dunn with team loaded with Wattle bark. Jack Williams? There is a stamp on the photograph board, but hard to read "A. __Ewin Photographer Tals__melb" stawell

The wool for this jacket began on the back of two sheep many kilometres apart. The first fleece for the warp was shorn from a single Merino at Currotha in Moree, NSW. The wool was 21-22 micron and the bloodline is a cross between Bundemar, Rossmore and Eural. The second sheep that provided wool for the weft was shorn in Beaufort, Victoria. It was a single Corriedale fleece shorn at Niawanda. The distance between these two towns is approximately 1250kms; a 15-hour car ride between paddocks. The two fleeces were spun and weaved together by the donor’s mother, Marjorie Allnutt. A level of talent is required to spin Merino fleeces. It is easier to spin cross bred wool, such as Corriedale, because it is less dense and much easier to comb, card and then tease out for a spinning wheel. The donor Philip Allnutt had a suit tailored out of the completed fabric at Ravensdale J & Son, 37 Swanson Street, Melbourne. The tailor was then a member of the Master Tailors Federation of Victoria. The business closed around 1986. Adding to the jacket’s story is its relationship to the household board game “Squatter”. Marjorie Allnutt was the sister-in-law of Robert Crofton Lloyd, the inventor of the wool themed boardgame. With more than 500,000 games sold in Australia as of 2007, it is the most successful board game ever produced in the country. The original “Squatter” board game is located within the National Wool Museum’s Collection. Philip Allnutt donated the Jacket to the National Wool Museum Collection in 2021. Cream singled breasted jacket with a narrow overlap and one column of buttons for fastening. The jacket features notched lapels of a medium width and two buttons of a cream & brown marble. The jacket has three visible pockets. A jetted pocket with no flap is on the right breast. A further two jetted no flap pockets finish an inch above the hem, on either side of the opening. Internally, the jacket features a further two pockets and a white silk lining for comfort. At the cuffs, the jacket utilises another 2 buttons of the same cream & brown marble.merino, currotha, moree, nsw, niawanda, corriedale, beaufort, victoria, hand spun, hand weaved

Developed in the Research and Development Department of VISY Board by Alex Ong and Richard Pratt, this manufactured version of 'making do' philosophy began with a humanitarian outlook. Less than 100 were made in the pilot program and these were distributed to the homeless through welfare agencies around Melbourne. They were designed to provide some protection from the weather and to be portable and disposable. Unfortunately, the project was short lived, as some safety issues were unable to be resolved: ie, someone inside the bag would not be able to escape should the bag be set alight. It was found that people sleeping on the streets preferred sheets of cardboard or paper to avoid this possibility. Lois Densham heard a story on the radio about these sleeping bags and contacted VISY to see if she could acquire one for the Running Stitch collection. She approached the Collingwood office and it is now believed to be one of the last remaining items from this program.Recycled paper sleeping bag made from brown paper and sealed at the 'mouth' with paper tape (masking tape). Approximately six feet long, it would accommodate an adult.visy board running stitch group, running stitch collection, homeless, sleeping bag, pilot program, richard pratt