Hand written inside. "Murray, I will never forget you, how are you? I hope you are always well! My regards to your mother. I hope to one day see you again in V.Nam. Sister Augustine". The card relates to Geoff Murray No 3411521, 3 Cav Regt Vietnam 27.11.67 to 22.10.68, Survey Corp Vietnam 15.10.69 to 15.10.70. On his 2nd tour with Survey Corp Geoff procured a lot of food etc for the Baria Orphanage. Refer 610.2P, 611.8, 1866.3 re the Orphanage and Sister Augustine also 638P.Christmas card with river scene painted on front. .1) Heavy card outer pages. .2) Fine tissue paper inner pages..1) "Greetings" .2) "Merry Christmas and Best Wishes for a Happy New Year"cards, xmas, vietnam

This work was completed during Harper's Laughing Waters residency at Boomerang House, 2001. The Laughing Waters Artist in Residence Program was run by Nillumbik Shire Council (in partnership with Parks Victoria) 2001-2015. "My painting is about colour and form, and their relationship. I am interested in what one colour does to another colour, the weight of a colour and the feeling of a colour. Colour is very complex; I am looking and responding to what I see and what interests me." Melinda Harper in Artist Profile journal article by Melissa Pesa, 2015.The painting is representative of Harper's artistic practice and the vivid colours and abstraction particular to her work. Small-medium sized oil painting of vivid, bold, coloured shapes arranged in a kaleidoscope pattern. There is an array of colours each placed in proximity to each other to create a vibrant, lively atmosphere. Anna Schwartz sticker on back of canvas. harper, untitled, 2002, contemporary, laughing waters, boomerang, abstract

Collector says: "As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket. Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Double sized cream blanket with watermelon and mint stripesNo inscriptionwool, blanket, blanket fever, no label

Collector says: "As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket.Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Double sized, checked blanket, brown, blue and creamNo inscriptionwool, blanket, blanket fever, no label

Collector says: As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket."Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Double sized multicolour checked blanketNo inscriptionwool, blanket, blanket fever, no label

Balang [John MAWURNDJUL] (1952 - ) Born Mumeka, Northern Territory Country: Milmilngkan, West Arnham Land, Northern Territory Clan: Na-Kurulk Language Group: Kunwinjku Location: Milmilngkan John Mawurndjul is an Australian indigenous artist. He is a member of the Kuninjku people of West Arnhem Land, Northern Territory. Growing up John had only occasional contact with non-indigenous people and culture. He was tutored in rarrk, a traditional painting technique using fine cross hatching and infill, working on small barks. During the 1980s he started producing larger and more complex works. The artist has painted 'Wayarra', a generic term which can include both malevolent spirit beings which continually inhabit certain sites or objects but can also mean the Spirit of a recently deceased person. These spirits are one of two spirits of the dead, the other being the 'Kun-malng' soul. The 'Wayarra' is the shadow or 'shade' of the dead and may take on the form of the deceased and haunt areas where the deceased recently inhabited. In order to prevent Wayarra spirits from harassing relative of the recently deceased, a smoking ceremont is performed where Ironwood leaves are burnt around the camp of the recently deceased and ochre is rubbed on all objects belonging to the deceased. Ochre may also be rubbed on vehicles, houses and trees. Some Wayarra are a particular Dreaming totem for people of certain clans. This is why many artists depict Wayarra in their bark paintings and sculptures. They are depicting clan totems particular to their lineage and which are celebrated in major regional patrimoiety ceremonies. In 1989 the work of John Mawurndjul was included in the landmark exhibition "Magiciens de la Terra' at the Centre Pompidou and Grande Halle de la Vilette in Paris, France. His works have also been exhibited in numerous solo and group exhibitions in Australia, New York, Paris and Japan. Mawurndjul is one of eight artists whose work in part of the largest inernational commission of contemporary Indigenous art from Australia at the Musee du Quai Branly, Paris. The work was exhibited in the Australian survey "John Mawurndjul: I Am The Old And The New", at the Museum of Contemporary Art, one of the 160-odd works all chosen by Mawurndjul for inclusion in the exhibition. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.This artwork was chosen by John Murwurndjul as on of around 160 works for exhibition in the 2018 Australian Survey of his work at the Museum of Contemporary Art. The artist is known for his rarrk work, which is evident in 'Female Wayarra Spirit'.Aboriginal bark painting featurung rarrk. The artwork is associated with Dilebang, a duwa moiety place that belongs to the Kurulk clan. This work is currently on loan for exhibition in 'John Mawurndjul: I am the old and the new'. The exhibition will be shown at the Museum of Contemporary Art Australia (Sydney) from 6 July – 23 September 2018, and the Art Gallery of South Australia, Adelaide from 26 October 2018 – 28 January 2019.art, artwork, john mawurndjul, aboriginal, bark painting, rarrk, wayarra, kuninjku, maningrida, loan

"Miss Fred Whitlam is the moderator-elect of the NSW synod, a former principal of Pymble Ladies College, she is a lay preacher, elder and member of the NSW synod board of Social Responsibility. After the ballot she told synod: 'With my name I was sure I would not be elected.' Gough Whitlam is her brother."Whitlam is shown standing in a garden, facing the camera.C&N identification.whitlam, freda, nsw synod moderator-elect

Note from Elizabeth Abbott to her father James Staines Abbott on the occasion of his 74th birthday 1st June 1889. Notation scribbled in pencil reads, Now 1895 July, I am over 80 thank God JSA Wanalta.communication, postal, letters

(i) Wall hanging on card. An illustration of a couple in their Regency clothes. No. 24 KAY NIELSEN. A description of the scene is in the quote, '' Ah, Princess! Surely you are not running away from me?'' . Hodder & Stoughton Ltd., London. (ii) A small picture of the nativity scene.artwork, print, print, lydia chancellor, collection, handcrafts, ephemera, art, artwork, drawing

black and white photo; Lancewood House, home of late Ernest Mueller and family, interior of rooim in house, showing cupboards, shelves, chair, pictures on wall. Light fitting, many ornaments, wall papered walls. On bottom in pencil, V ( ? ) I 589.4buildings, fittings & materials, lancewood house

Certificate No.119095 issued by the Education Department. Certificate of a child being sufficiently educated. I hereby certificate that Elizabeth Hall has been educated up to the standard of education required by the education act 1872. Dated at Eaglehawk this 13th day of December 1889.school, history, certificate

A 40 page soft cover booklet 'A Sailors Gully Boyhood' by Hughie Harvey. Hugh Harvey wrote this memoir by hand when he was 75 years old. Noeline Wild edited and it added photographs Published 2002 by I & N Wild, Eaglehawk.Hughie Harvey

Postcard. Photo of bell with holly. Many Happy Returns. Verse. Though far apart, Still let me say, I think of you, This happy day. Rear. Names deleted. Dec. 1913. Crossley House. Bridport Street Albert Park.

Blue paper dated July 2nd 1871. I hereby Certify that Alfred Skeats of Long Gully is unable to follow his usual employment. Signed H. L. Atkinson. Also signed at the end by A. Skeats declaring himself on the Sick Funds of the Court.societies, aof, correspondence, ancient order of foresters no. 3770 collection - medical certificate, court king of the forest, alfred skeats, h l atkinson

Blue paper dated Feb 2 1870. I hereby Certify that Alfred Adams of ? Hill is unable to follow his usual employment. Signed H. L. Atkinson. Also signed at the end by Alf. Adams declaring himself on the Sick Funds of the Court.societies, aof, correspondence, ancient order of foresters no. 3770 collection - medical certificate, court king of the forest, alfred adams, h l atkinson

Blue paper dated Decr 6th 1870. I hereby Certify that ? B. Wilcock of Long Gully is unable to follow his usual employment. Signed H. L. Atkinson. Also signed by ? B. Wilcock declaring himself on the Sick Funds of the Court.societies, aof, correspondence, ancient order of foresters no. 3770 collection - medical certificate, court king of the forest, ? b wilcock, h l atkinson

Blue paper dated Dec 31st 1870. I hereby Certify that ? Goldsworth of Long Gully is able to follow his usual employment. Signed H. L. Atkinson. Also signed at the end by ? Goldsworth declaring himself off the Sick Funds of the Court.societies, aof, correspondence, ancient order of foresters no. 3770 collection - medical cetificate, court king of the forest, ? goldsworth, h l atkinson, j. brockley

Blue paper dated July 13th 1876. I hereby certify that Thos. Colledge of Sp. Hill is unable to follow his usual employment. Signed by H. L. Atkinson. Signed at the end by Thomas Colledge declaring himself on the Sick Funds of the Court.societies, aof, correspondence, ancient order of foresters no 3770 collection - medical certificate, court king of the forest, thomas colledge, h. l. atkinson

Blue paper dated June 7th 1876. I hereby certify that William Watson of Long Gully is unable to follow his usual employment. Signed by H. L. Atkinson. Signed at the end by Wm. Watson declaring himself on the Sick Funds of the Court.societies, aof, correspondence, ancient order of foresters no 3770 collection - medical certificate, court king of the forest, william watson, h. l. atkinson

Blue paper dated June 6th 1876. I hereby certify that Alfred Skeats of Long Gully is unable to follow his usual employment. Signed by H. L. Atkinson. Signed at the end by Alfred Skeats declaring himself on the Sick Funds of the Court.societies, aof, correspondence, ancient order of foresters no 3770 collection - medical certificate, court king of the forest, alfred skeats, h. l. atkinson

Blue paper dated June 3rd 1876. I hereby certify that Jno Brogley of ? St. is able to follow his usual employment. Signed by H. L. Atkinson. Signed at the end by Jno Brog? Declaring himself off the Sick Funds of the Court.societies, aof, correspondence, ancient order of foresters no 3770 collection - medical certificate, court king of the forest, jno brogley, h. l. atkinson

Blue paper dated July 18th 1876. I hereby certify that John Adams of Long Gully is unable to follow his usual employment. Signed by H. L. Atkinson. Signed at the end by John Adams declaring himself on the Sick Funds of the Court.societies, aof, correspondence, ancient order of foresters no 3770 collection - medical certificate, court king of the forest, john adams, h. l. atkinson

Blue paper dated July 14th 1876. I hereby certify that Alfred Skeats of Long Gully is unable to follow his usual employment. Signed by H. L. Atkinson. Signed at the end by Alfred Skeats declaring himself on the Sick Funds of the Court.societies, aof, correspondence, ancient order of foresters no 3770 collection - medical certificate, court king of the forest, alfred skeats, john thorn

Blue paper dated July 26 1876. I hereby certify that Christian Wa? Of Axe Creek Is unable to follow his usual employment. Signed by H. L. Atkinson. Signed at the end by Christian Wa? declaring himself on the Sick Funds of the Court.societies, aof, correspondence, ancient order of foresters no 3770 collection - medical certificate, court king of the forest, christian wa?, h l atkinson

Blue paper dated July 17th 1876. I hereby certify that Rd. Patterson of ? St. is able to follow his usual employment. Signed by H. L. Atkinson. Signed at the end by Rd. Patterson declaring himself off the Sick Funds of the Court.societies, aof, correspondence, ancient order of foresters no 3770 collection - medical certificate, court king of the forest, rd patterson, h l atkinson

Blue paper dated Aug 15 1876. I hereby certify that F. S. Wehrle of Sailors Gully is able to follow his usual employment. Signed by ?. Signed at the end by F S Wehrle declaring himself off the Sick Funds of the Court.societies, aof, correspondence, ancient order of foresters no 3770 collection - medical certificate, court king of the forest, f s wehrle

Blue coupon, dated March 21 1877, asking Mr. Lewis, Treasurer, to pay W. G. Davidson the sum of 20/- for 6 Days Sick Pay. Signed by Richard Coath, C.R. and Wm. Rowe, Secretary. Also signed by I. Davidson.societies, aof, correspondence, ancient order of foresters no 3770 collection - to pay, court king of the forest, mr lewis, w g davidson, rich coath, wm rowe, i davidson

Blue paper dated Feby 10th 1868. I hereby certify that Hy. Ballman? Of Short St. is unable to follow his usual employment. Signed H. L. Atkinson. M.D. Also signed at the end Hy. Ballman, his X mark.societies, aof, correspondence, ancient order of foresters no 3770 collection - medical certificate, court king of the forest, hy ballman?, h l atkinson