Documents describing his achievements and contributions on behalf of the Bendigo East Progress Association and Bendigo East Swimming Club, beginning in 1949 until 1982. In 10972, Bendigo City Council renamed the Bendigo East Pool the Bert Graham Swimming Pool. In 1963 he was made a Life Governor of the Bendigo Base Hospital and Benevolent Home; In 1979 he received a Community Service Award from Develop Victoria Council, and in 1986, the Order Of Australia (O.A.M.)bendigo, clubs, bendigo east progress association

Letter to Mr Williams from C K Beamish, Town Clerk acknowledging receipt of his letter dated 21/12/1978 advising that the Superintendent of the Saleyards, Mr Harris has been instructed to attend to the matters raised in the letter. The second letter dated 25/1/1979 to TH Williams from C K Beamish, Town Clerk advising that Council has resolved to seek further information on the matter before a decision is made.bendigo, council, cattle markets, bendigo saleyards collection - letter to mr williams, city of bendigo, federated municipal and shire council employees' union, mr harris, c k beamish, t h williams

Ludwig Becker. Artist & Naturalist with the Burke & Wills Expedition. Brown Dust jacket and clear plastic jacket. Publisher: Melbourne University Press, Carlton. Edited with an Introduction by Marjorie Tipping. Sketches & paintings. Markings/Inscriptions: Bendigo Historical Society stamp. Book signed by Marjorie Tipping. 21st Birthday gift card (business card size): With all Best Wishes on this most important occasion, H C Lee-Archer, Nov 1979. Pres RHSVMarjorie Tippingbook, burke & wills, ludwig becker, burke & wills expedition, h c lee-archer rhsv, australia history, flora fauna

Mitcham Chess Club was established in 1970 and disbanded December 1976. Nunawading Chess Club reformed from Mitcham club January 1977 and disbanded permanently 1998. It operated from The Avenue Neighbourhood House Blackburn.Wooden Shield with central metal shield. 'Nunawading Chess Club' 'Championship' with etched Knight piece in centre surrounded by 14 small shields with winner from 1977 to 1991.|Names on shield A Van Silfliout - 1977, M. Walkling - 1978, E. Stannard - 1979, 1980, and 1985, S. Hooi 1981, R. Knaepple - 1982, 1986, 1989, R. Sheahan - 1983, 1984, 1987, 1988 and 1991.|Small oval unmarked shield on bottom.as abovetrophies & awards, sports

Collection of various non-Bendigo based activities - Flyer on Council of Adult Education 'Arts Train'; (no date); Flyer on the Community Arts Conference ''The Next ten Years'' July 19-22, 1980; Flyer on ''Summertime at the National Gallery of Victoria'' 1979/80; Information Sheet from the Wycheproof Arts Council , March 1980 (has mention in it of performance in Bendigo of comedian Richard Stillgoe at Kangaroo Flat Tech School Auditorium 9/4/1980.

The Fred Rochow Railways Collection incorporates photos related to the operation of the Wodonga Railway Station including different types of trains and railways staff C. 1930 – 1990. It was donated to the Wodonga Historical Society by Fred Rochow, a railwayman who spent many years based in Wodonga. He joined the Victorian Railways on 17th June l947 and retired in 1988. For some time, he was a member of the Australian Federated Union of Locomotive Enginemen and served a term as a member of the Trades Hall Council. He had an extensive knowledge of the struggles that took place to achieve better conditions for railway workers. Fred worked for many years as a fireman and then worked his way up the ranks to driver, experiencing many changes from the days of steam locomotives through to diesel trains, locomotives and even the modern XPT train. He worked throughout Victoria at different stages of his career, with his final working years focused on the northeast of Victoria and the Albury to Melbourne line. After his retirement, Fred continued to share his love of steam miniature trains with the community.This collection has local and statewide significance as it captures images of trains, locomotives and personnel who operated the railway services in Wodonga and throughout Northeast Victoria. The railways played a critical role in opening up Victoria and connecting Australia for trade, business, social communication and transport.Driver HEC Lloyd and Fireman Lorry Clayton on the steps of the locomotive. Locomotive K173 came into service with Victorian Railways on Tuesday 8 October 1941 and was scrapped on 21 October 1970. The K class was a line of steam locomotives that ran on Victorian Railways from 1922 to 1979. They were produced at the Newport Workshops. The K class were a remarkably versatile and dependable locomotive. It went on to outlast every other class of steam locomotive in regular service on the Victorian Railways. On side of locomotive "K173"railways wodonga, fred rochow, k class locomotives

BTPS membership card for years 1978 - 1979 printed on very light green card for. Features sketch of a tram, No. 31. The name of the member "Mrs. C. Dean 42", has been typed on the rear of the card. Details that the person is a financial member, entitled to free travel on BTPS Public services. 2nd copy added 10/06/2006 - copy issued to P.Winspur 76 3rd copy added, ex C.Dean 20/06/06 - unused.trams, tramways, btps, membership cards

Full colour, 52 pages, printed on gloss paper magazine - "Panorama in-flight with Ansett", No. 4, March / April 1982 featuring on pages 29 and 30 an item "On the right track" featuring eight Transport Art trams with photos and text. Written by Stephen Gilfedder. Trams: 567 (Peter Corrigan - slightly modified from the original - see Electric Traction August 1979 for notes on modification of paintwork.), 243, 607, 525, 504, 384, 336 and 497.trams, tramways, transporting art, decorated trams, tram 243, tram 607, tram 525, tram 504, tram 384, tram 336, tram 497

Pamphlet - four fold full colour document on light card titled "Victoria at a Glance - 1990" with the interior view of a W6? tramcar and a photo of Alf Twentyman's cable tram set on the rear cover. Documents gives statistics for Victoria of the years 1979, 1988 and 1989. Produced by the Australian Bureau of Statistics. Photo of the W interior Brian Gilkes with acknowledgement to the National Trust. Photo of the cable tram set supplied by Robert Green. Two copies held.trams, tramways, victoria, statistics, cable trams, w6 class

The Australian Service Canteen Organisation operated from 1959 - 1979 and served troops throughout Australia, Papua New Guinea and Vietnam by providing services such as canteens, bulk stores, snack bars, news agencies and bank agencies. ASCO became the Army Air Force Canteen Service [AAFCANS] in 1979. This included provision of services in Army bases such as the barracks at Bandiana, Victoria outside of Wodonga. Noritake is a well-known producer of a wide range of merchandise including high quality, western-style dinnerware for export. On January 1, 1904 the Nippon Toki Kaisha Ltd - the forerunner to the present Noritake Company - was formed in a small town near Nagoya, Japan. The maker's mark "Noritake N Japan" mark has been used since 1968.A china dinner plate bearing the logo of Australian Organization Services Canteens in gold paint. The maker's mark of Noritake Japan is printed underneath the plate.Logo - Australian Organization Services Canteens Maker's Mark - Noritake ® JAPANnoritake, australian services canteens, chinaware

Eltham Town Square is centred along Commercial Place running between Arthur Street and Pryor Street. Its origins stretch back to the first design proposals developed in 1979 by then Shire Planner Rodney Roscholler who later went on to become Eltham Shire Council CEO, and Cr. Robert Allenjim connor collection, commercial place, eltham shopping centre, eltham town square, small plates

Eltham Town Square is centred along Commercial Place running between Arthur Street and Pryor Street. Its origins stretch back to the first design proposals developed in 1979 by then Shire Planner Rodney Roscholler who later went on to become Eltham Shire Council CEO, and Cr. Robert Allenjim connor collection, commercial place, eltham shopping centre, eltham town square

Eltham Town Square is centred along Commercial Place running between Arthur Street and Pryor Street. Its origins stretch back to the first design proposals developed in 1979 by then Shire Planner Rodney Roscholler who later went on to become Eltham Shire Council CEO, and Cr. Robert Allenjim connor collection, commercial place, eltham shopping centre, eltham town square, bakers delight, ferguson plarre bakehouses

Eltham Town Square is centred along Commercial Place running between Arthur Street and Pryor Street. Its origins stretch back to the first design proposals developed in 1979 by then Shire Planner Rodney Roscholler who later went on to become Eltham Shire Council CEO, and Cr. Robert Allenjim connor collection, commercial place, eltham shopping centre, eltham town square

Eltham Town Square is centred along Commercial Place running between Arthur Street and Pryor Street. Its origins stretch back to the first design proposals developed in 1979 by then Shire Planner Rodney Roscholler who later went on to become Eltham Shire Council CEO, and Cr. Robert Allenjim connor collection, commercial place, eltham shopping centre, eltham town square, the common, third chapter, jock & eddie, alter it

This photograph is a visual record of Mr. Ken Mason who was appointed to the Committee of the Royal District Nursing Service (RDNS) In March 1975 and held the position of Honorary Treasurer from August 1975 until October 1979 when he was appointed President of the Board of Directors, a position he held until 1993. Women held the role as President of the Melbourne District Nursing Society (MDNS) from its founding in 1885 for the next 94 years. Mrs. John Simson was President from 1885 until late 1888. For these first three years Mr. T. Harlin was Honorary Secretary of the Society and Mr. McKinnon the Honorary Treasurer; from then these roles were held by women. The other formal positions, and the vast majority of members of the Committee, were women, with up to four Reverend gentlemen being on the Committee each year over the next years. Throughout this time the Society expanded in the areas it serviced, commencing in inner Melbourne and expanding throughout the Melbourne suburbs. It began with their two Trained nurses (Nurses) living in their own home close to the area (district) in which they carried out their nursing care walking the streets of inner Melbourne. From 1891 the Society rented several premises for use as a Nurses Home and for administrative purposes and where the bicycles the MDNS purchased for use by their Nurses in 1903 could be housed. In 1914 the Society purchased their own premises at 39 Victoria Parade, Collingwood and in 1919 there first four cars were purchased. The Society underwent further expansion with the building of the After-Care Home (later Hospital) next to their Nurses Home in Victoria Parade which meant the running of two Divisions – the After-Care and the District Nursing Division. The one Committee ran the two Divisions until the time of the separation of the Society and After-Care in 1957. In late 1888 Lady Janet Clarke became President and held this role until her death in 1908, except for extended times when she was overseas when Lady O'Loughlen held the role. Mrs. Hood was President from 1909-1911, Mrs. F.A. Lang from 1912-1914, Mrs. F. Tatham from 1915-1923, Mrs. G.G. Henderson from 1924-1947, Mrs. F. E. Shillabeer from 1948-1949, Lady Lowe from 1950-1951 and Mrs. George Simpson from 1952-1957. When the Society and After-Care separated in 1957 the District Nursing Division became the Melbourne District Nursing Service with its own Committee. Mrs. J.P. Major, formerly Miss Beatrice Mary Williams who was a Sister with the Society, and became its Matron before marrying Dr. Major, became the first President in 1957 until her death in 1958 when Mrs. George Simpson became President. She held this role until 1964, then Mrs. E.G. Wilson held the role from October 1964 to mid 1967. During this time MDNS was granted Royal patronage and the name changed to Royal District Nursing Service (RDNS) in 1966. Mrs. D. Hallenstein held the role of President from 1967 to 1974 and during this time RDNS was granted a Coat of Arms. Mrs. J.L. Frew M.B., B.S. was appointed President in October 1974 and held the position until October 1979 when Mr. K.W.G. Mason took over the role. During these years, the RDNS service continued to expanded with more Centres built throughout the Metropolitan area, more Trained Nurses employed and the RDNS now had an increased fleet of vehicles. Black and white head and shoulder photograph of Mr. Ken Mason who has thinning white hair and is wearing glasses. He is dressed in a grey self striped suit and is wearing a white shirt and a light grey tie which has black and white stripes.rdns, royal district nursing service, rdns president, melbourne district nursing society, mdns, mr k.w.g. mason

Geelong West Cycling Club have run track cycling competitions since its inception. This shield represents the importance to the club of track cycling winners.Provides history of track cycling winners at the Geelong West Cycling track and Velodrome between 1967 to 1884Wooden shield with nickel plated small shields attached to the wood. The shield represents the G.A.C.C. Senior Track Aggregate winners for the years 1966-1984. The top of the shield bears a banner in nickel with the name W. Pat Shaw 1967 and the middle of the shield contains another plaque with the words G.A.C.C. Senior Track Aggregate engraved in the plaque."W. Pat Shaw/1967/John Olsen 1966-67/Peter Wood 1967-1968/Brian Carnegy 1968-69/ Brian Carnegy 1969-1970/Rodney Perkins 1970-1971/ Stewart Hocking 1971-1972/John Hine 1972-1973/John Hine 1973-1974/Murray Heyers 1974-1975/ Peter McCaulay 1975-1976/Max Neagle 1976-1977/Noel White 1977-1978/Brett Shelly 1978-1979/John Hine 1979-1980/Doug Libbis 1980-1981/Paul Robertson 1981-1982/Paul Baulch 1982-1983/Wayne Drayton 1983-1984geelong cycling club; geelong west cycling club; w. pat shaw; john olsen; peter wood; brian carnegy; rodney perkins; stewart hocking; john hine; murray heyers; peter mccaulay; max neagle; noel white; brett shelly; doug libbis; paul robertson; paul baulch; wayne drayton; shield; senior track aggregate; 1967; 1984;

‘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, 1981An elegant wooden box, fashioned in the style of boxes used for gifts to the emperor some eight or nine centuries ago, is filled with a Kyoto confection called Gion Chigo Mochi. The Gion is one of Kyoto's entertainment districts, chigo are children dressed in ceremonial Buddhist costume for one of the city's numerous festivals, and mochi are cakes of steamed and pounded rice. The name of the confection derives from the style of the bamboo-sheath wrapping, which suggests the figure of a chigo. - 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