Upon mechanisation in December 1941, 20th Light Horse (Victorian Mounted Rifles) was re-titled 20th Motor Regiment (Victorian Mounted Rifles). It was equipped with Bren Gun Carriers and deployed to airfield defence in Northern Territory. In 1943, the Regiment was deployed to Merauke, Dutch New Guinea, where it conducted patrols along the coast and up rivers using barges and canoes. Returning to Australia in April 1945, the Regiment was redesignated 20th Pioneer Battalion then disbanded several months later at the end of the war. Good quality reproduction.Khaki woollen tunic with colour patches of 20th Motor Regiment. Metal 'Australia' shoulder titles, metal Rising Sun collar badges and metal buttons.20th motor regiment, uniform

This is a personal account of Arthur Ernest Tonkin's experiences during World War 2. Arthur was a member of the 147 Australian General Transport Company. He enlisted in Alice Springs and spent the war as a driver along the route between Alice Springs and Darwin. There was no railway between Alice Springs and Darwin, and the road was more like a dirt track, but was essential for transportation of troops and supplies. Arthur was born in 1921 and spent most of his life in Surrey Hills.This is a compelling memoir written by a gentleman with a profound interest in history and an outstanding memory for detail, so although compiled when he was an advanced age, it is a significant memoir.illus.; 22p.; photos, A4 photocopied booklet spiral boundworld war, 1939-1945, darwin overland maintenance force, (mr) (lt col) noel medway loutit, central australian motor transport group, arthur ernest tonkin, memoir

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

Nyukana BAKER (1943-2016) Born Ernabella, South Australia Country: Kanypi Language: Pitjantjatjara A Pitjantjatjara artist from Ernabella who began painting, designing and weaving in 1963 and producing batik in 1971. Founded in 1949 Ernabella Arts is the longest running Aboriginal arts centre in Australia. It was established o create employment opportunities for young women from the local Pitjantjatjara people. Nyukana Baker died 17 April 2016 at Alice Springs, Northern Territory. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed limited edition print. 6/20 Tjitji Kutjara Two Children Nyukana Baker Feb 1996art, artwork, printmaking, linoprint, nyukana baker, pitjantjatjara, kanypi, aboriginal, ernabella

Barbara Weir (b. 1945-03/01/2023) Born: In the region of Utopia, North East of Alice Springs, formerly known as Derry Downs Station Language: Anmatyerre and Alywarr Country: Atnwengerrp, Utopia Region, North East of Alice Springs, Northern Territory One of the Stolen Generation, Barbara Weir was removed from her Aboriginal family at the age of nine, and she was raised in a series of foster homes. Reuniting with her mother, Minnie Pwerle, in the 1960s, Weir eventually returned to her family territory of Utopia, 300 kilometres northeast of Alice Springs. Active in the local land rights movement of the 1970s Barbara Weir was elected the first woman president of the Indigenous Urapunta Council in 1985. Barbara’s career as an artist was inspired by the dynamic community of artists at Utopia and the work of her adopted auntie Emily Kame Kngwarreye. Highly experimental in her approach, Barabara Weir tried many mediums before travelling to Indonesia in 1994 with other artists to explore batik technique. She returned full of ideas on how to develop her own style which has since evolved to a more expressive abstract form. Grass Seed is part of her Dreamings and is associated with women’s ceremony and the activity of food gathering of local seeds, grasses, berries, potato, plum, banana, flowers and yams. 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.Barbara Weir's paintings include representations of particular plants and "dreamings". Inspired by a small grass found in Utopia called Lyaw, Munyeroo or Pigsweed, Barbara's Grass Seed paintings consist of a series of small brush strokes that overlap and weave to create a swaying effect. This Dreaming tells the story of grass seed that is part of the bush tucker found in the region of Utopia. This seed is collected, crushed to a fine powder and is then used to make a bread, very similar to damper. The people of Utopia were still using this seed as late as the 1950s. During that time the seed grew in abundance but as the years passed there were very few good seeds to be found due to bullocks roaming the land and eating the grasses. The people then began to eat a substitute that the white man provided, and today very few Aboriginal people collect these seeds. art, artwork, barbara weir, aboriginal, dreaming, stolen generation, acrylic on linen

Gloria PETYARRE (c.1942 - 2021) Born: Mosquito Bore, Utopia, Northern Territory Language Group: Anmatyerre Community: Utopia, Northern Territory Gloria Petyarre's depiction of the Kurrajong bush medicine leaves with her layered, swirling brushstrokes is her iconic motif. In 1999 Gloria Petyarre became the first Indigenous Australian artist to win the 'Wynne Prize for Landscape' at the New South Wales Gallery. She is credited with being the creator of this popular style, which was adopted and adapted by several generations of her family members over Gloria's retirement in 2019. The artistic tradition in Utopia started in the Utopia Women's Silk Batik Group introduced in 1977. Gloria Petyarre and her aunt Emily Karne Kngwarrye were found members of this group. Gloria Petyarre started painting on canvas in 1988 with her brushstrokes and layered paint having foundations in the batik tradition. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Utopian Art Movement‘Bush Medicine Dreaming’ depicts the leaves of a special plant that is used to aid in the healing process. The leaves are collected and then boiled to extract the resin. Following this, the resin is mixed with kangaroo fat collected from the kangaroo’s stomach. This creates a paste that can be stored for up to six months in bush conditions. This medicine is used to heal cuts, wounds, bites, rashes and as an insect repellent. The Dreaming that is the basis for Petyarre’s paintings comes from the important ceremonies and traditions held by the people of Atnwengerrp. art, artwork, gloria petyarre, aboriginal, utopia

Paddy FORDHAM WAINBURRANGA (c1930-2006) (Katherine, Northern Territory)Framed lithograph where artist Paddy Fordham Wainburranga has depicted 'Bolung', the Rainbow Serpent, an important life giving figure for the Rembarrnga people whose clan country lies to the south and west of Ramingining, towards the Katherine area. Donated through the Australian Gifts Programme by Katherine Littlewood.bolung, rainbow serpent, rembarrnga, paddy fordham wainburranga, paddy fordham, wainburranga, artist, artworks, aboriginal

Paddy Fordham Wainburranga (1932-2006) Area: Arnhem Land Country: Bamdibu (Bumdubu) near Bulman Station As a child, Paddy grew up in Maningrida an Aboriginal community on the top end of the Northern Territory. He started working as a boy around cattle yards, which finally led him to working as a stockman for 20 years. Before this, he spent much of his time hunting and learning culture and customs from his father and uncles. He could remember being taken to a sacred location where he was told many Dreamtime stories of how customs came to be and why Aboriginal people practice them. Paddy was part of the movement for equal rights for all Aborigines, actively involved in claiming Bumdibu as his traditional land for his clan. He resided over this land as Jungai (caretaker, policeman). Paddy was taught to paint by his father but did not begin to paint seriously until the early 1970s. He was also recognized as a story teller, bark painter, sculpture, dancer, singer and musician. He was familiar with Central Arnhem Land rock and bark painting traditions; however he developed an idiosyncratic style which fused the figurative schema of western Arnhem Land with the narrative capacities of the north-east producing dense pictorial paintings divided into sequential segments. A suite of seven limited edition prints using the sugar lift aquatint technique. .1) Yalk Yalk Woman Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .2) Walga Walga Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .3) Nammooroddoo Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 Nammooroddoo Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .3) Nammooroddoo Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .4) Mun Gruk Gruk Woman Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .5 Mun Gruk Gruk Man Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .6) Mun Gruk Gruk Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .7) Lightning Man Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 Donated through the Australian Government Cultural Gifts Programme by Katherine N. Littlewood, 2014artist, artwork, paddy fordham wainburranga, paddy fordham, wainburranga, printmaking, aboriginal, indigenous, churchill, dreaming

23.0 x 14.0cms, 938 pp. b/w illust dust jacketnon-fictionArgues that Australia's Indigenous people discovered the land, adapted it and mastered its climates, seasons & reserves.habitation - nomadism., demography - palaeodemography - aboriginal settlement of australia., reproduction - infanticide., feuds and warfare., hunting, gathering and fishing., food - plants., trade and exchange - trade routes., australiens (aborign̈es), aborigines, australian -- social life and customs., aboriginal australians -- social life and customs -- northern territory., aboriginal australians -- history., aboriginal australians -- culture -- history., aboriginal australians -- civilization -- history., aboriginal australians -- economic conditions -- history., aboriginal australians -- social life and customs., human ecology -- australia., aboriginal australians., aborigines., australiens (aborigènes), australien., australia -- history., lake mungo /​ walls of china (willandra sw nsw si54-08), tasmania (tas), australia - aborigines, book

This artwork was created in collaboration by Shanaya Sheridan and Josh Muir in 2018. Josh Muir was a proud Yorta Yorta, Gunditjmara and Barkinji man, who holds his culture close to his heart as it gives him a voice and great sense of identity. Josh is a Ballarat-based multimedia artist. In 2015 Josh was the recipient of the Telstra National Indigenous and Torres Strait Islander Art Award – Youth Award and the Hutchinson Scholarship, through which he undertook a 12-month residency at the Victorian College of the Arts in Melbourne. Muir's work has been acquired by the Koorie Heritage Trust, The National Gallery of Australia, the Museum and Art Gallery of the Northern Territory, the National Gallery of Victoria and was commissioned as a major project artist by White Night. Shanaya Sheridan, is a proud Yorta Yorta, Dja Dja Wurrung and Boon Wurrung woman who has resided in Ballarat for 20 years, after living in Horsham, Shepparton and Melbourne. Growing up and watching her Elders, and their style of artworks, Shanaya is influenced by a traditional style of Aboriginal art, mixing it up with contemporary colours. This reconciliation piece is Shanaya’s first commission. Artists' Statement: '“This painting represents reconciliation across all lands, from the skies down to the waters including the mountains, grass and sand. The hands represent people of all cultures reaching for a brighter future, and the men and women in talks of how reconciliation can be achieved. Last but not least, the footprints represent our Aboriginal and Torres Strait Islander ancestors that have fought for reconciliation before us and their steps/progress towards reconciliation.' Digital prints of this artwork on aluminum are displayed at Federation University Australia campuses at Mt Helen, Gippsland (Churchill), Berwick, Brisbane and Horsham.reconciliation, josh muir, shanaya sheridan, aboriginal, reconciliation action plan

Framed copies of newspaper photos of Liberators of 21 SQN

Book

Ill, p.306.non-fictionThe extraordinary of a classic Australian pioneer - told by Australia's 'Boswell of the Bush', Ion Idriess. Almost single-handedly John Flynn of the Australian Inland Mission brought to the outback the Flying Doctor Service and the Bush Hospitals. His magnificent vision, formed as he travelled on the back of a camel across the vast space of Australia's outback, took a lifetime of courageous commitment to bring to realityroyal flying doctor service, medical services - northern territory

Ill, p.327.non-fictionFactual account of life in the Northern Territory in the late 19th century; - 1st section - Authors adventures as a shipwrecked mariner at Wark Aboriginal Settlement and Port Essington; 2nd section - Detailed narrative of the authors work & explorations as a customs official and as a patrol police officer, stationed at Port Darwin; Description of Malays and their trading ventures by proas; Relations between Malays and Aborigines employment of latter in collecting, trepangs, pearls, tortoise-shells - physical and cultural influences (e.g. intermixture, and language) feuds and murders; Notes on food gathering and hunting (use of wommera) - tracking - corroborrees settling of disputes by simulated fighting - group murder and guilt rites (Malays and Chinese), canoes decorated - Maria Is. sacred burial ground qualities of Aborigines; noted; Intertribal fighting - Woolna tribe against local Darwin Aborigines; Cannibalism at Limba Luchumbo - King River; Contact between Aborigines and settlers, ranging from extreme cruelty to great friendships; Aboriginal girls stolen for domestic work causing trouble; Further accounts of Chinese - opium & gold smuggling; Search for Dylompo - Groote Eylandt unsuccessful. northern australia - description and travel, northern australia - economic relations

Ill, maps, p.154.non-fictionRum Jungle at the time was a recently discovered uranium mine. The book's principle theme is the sudden appearance of modern science in a region which has not really been civilised by white man. Anecdotal accounts of the authors travels in northern Australia, mainly NT; includes comments and stories about Aborigines; including Albert Namatjira.northern territory - description and travel, rum jungle - northern territory

p.268non-fictionA record of a 1929-30 historical trip by a Baby Austin car from Adelaide to daly Waters in the Northern Territory, then the return journey to Melbourne in a Vauxhall.northern australia - description and travel, australia - social life and customs

Thank-you card given to Australian Nursing Federation (Victorian Branch) staff member Catherine Hutchings by staff at the Bundaberg Branch of the Queensland Nurses Union. In 1993, Victorian Branch staff travelled throughout Queensland, Western Australia and the Northern Territory for a series of meetings on recent events impacting nurses' conditions in Victoria. The meetings were strategically held ahead of the 1993 Federal election to discourage the election of a Coalition government. The election of the Coalition government in Victoria in 1992 had seen the introduction of the Employee Relations Act, which saw the end of the state award system in Victoria. This gave employers greater powers to establish wages and conditions and less power to the Industrial Relations Commission, foreshadowing what would later occur at a Federal level. An article in the Victorian Branch newsletter 'On the Record' from April 1993 describes the 'tour'. Entitled 'Vic. Nurses Spreading the Word in Queensland, Western Australia and the Northern Territory', it explains: "Catherine Huntchin[g]s and Elizabeth Hulme recently spent a week in Queensland informing nurses about the effect of a Liberal Government on nurses. As well, Tracy Austin visited WA to talk to nurses there about life under Kenneyt [sic]. Catherine and Liz held a total of 23 meetings from Cairns to Brisbane, as well as giving media interviews. It was well worth the effort and certainly there was much support given to nurses in Victoria. Perhaps the most interesting issue was that many nurses did not realise that they may find themselves in the same situation if we have a change in Federal Government. In February, Catherine went to the NT to talk to nurses in Darwin, Alice Springs and Katherine and despite some minor hiccoughs (the Health Department banned all the meetings so alternative venues had to be found) the turnout was gratifying - you have to be dedicated to attend a meeting held in a carpark in 32 C heat! Catherine says that the reception she received in both QLD and the NT was superb. "Everyone went out of their way to make us feel very welcome, and to shower us with sympathy over the situation. More important, is the fact that the information was distributed so no matter how the votes go on March 13 [1993, federal election] - they will be informed votes." she said. Catherine, Liz and Tracy extend sincere thanks to all interstate nurses who made their visits a success."Typed card given with flower bouquet. Printed on one side with personalised, typed message 'DEAR CATHERINE, UNITED WE STAND DEVIDED [sic] WE BEG THANKS FOR SPEAKING UP FOR US. FROM B'BERG [Bundaberg] BRANCH Q.N.U. [Queensland Nurses Union]'.nursing, nurses, unionism, solidarity, victoria, queensland, bundaberg, campaigning, 1993 federal election, 1992 victorian election, australian nursing federation, trade unions, politics, queensland nurses union, qnu, anf

A blue covered rectangular hardcover book titled in red text and black text on the front cover - Under the Southern Cross with a white map of Australia and Papua with five grey stars of varying sizes with lined rays around each one. Inside on the title page is printed, Glimpses of Australia - Issued under the the direction of the GOVERNMENT OF THE COMMONWEALTH OF AUSTRALIA. Department of External Affairs, Melbourne 1910. On the back of the title page is printed Sydney: William Applegate Gullick, Government Printer for the state of New South Wales. 1911 above an ornate lined symbol. Opposite the title page is a detailed map of Australia showing six states, the Northern Territory but not the ACT which didn't become a territory until 1911. The ACT (Self-Government) Act 1988 established the framework for the ACT Self-government.non-fictionA non fiction book showing full page black and white photograph glimpses of the six states and one territory of Australia in 1910. The ACT is not shown as it was not a territory until 1911. There is simple text describing each photograph at the top and bottom of each page.australia, australian states, australian territory, australian life, australian cities

Poster - history of Australian flags. Covering histories of the following flags. New South Wales, Victoria, Queensland, South Australia, Australian Aboriginal, Australian Red Ensign, Western Australia, Tasmania, Northern Territory, Norfolk Island, Governor General, Royal Australian Navy, Royal Australian Air Force and Her Majesty's the Queen Personal Flag for Australia

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.Allan Elvish with his daughters. Allan started with Victoria Railways cleaning at Benalla on 3 December 1937. He passed his Driver qualification at Wodonga in 1948. He retired on 8th October 1971. Allan was AFULE Branch Secretary from 1951 until 1971. He was stationed at Katherine, Northern Territory as a Fireman from 1943 to 1944.railways wodonga, fred rochow, wodonga railwaymen, allan elvish

Red hardcover book published by Legacy Club of Adelaide in 1970.non-fictionhistory, adelaide legacy, coleman

This specimen was originally identified as a young Black-Cuckoo-shrike and catalogued as such in the Burke Museum original catalogue. Analysis conducted as part of a conservation treatment in 2024 reclassified the specimen as a white-bellied cuckooshrike. The white-bellied cuckooshrike inhabits regions across Australia, Indonesia, Papua New Guinea, and the Solomon Islands. In Australia, it is distributed widely, occurring in tropical northern areas as well as in the eastern parts of the country, including northern Western Australia, the Northern Territory, Queensland, New South Wales, Victoria, and southeastern South Australia. The species is prevalent throughout Papua New Guinea and the Solomon Islands, but less frequently observed in Indonesia. Within Indonesia, it is most commonly found in the northern Moluccas, with occasional sightings in Eastern Wallacea. Today, the Black-faced Cuckoo-shrike has a protected status in Australia, under the National Parks and Wildlife Act, 1974. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This specimen is a young White-bellied cuckooshrike which stands perched on a wooden mount. It has pale grey colouring which is darker on the rear. The wings are tipped with grey-brown feathers and the same colour feathers also appear on the bird's tale. The specimen has dark limbs and bill and this specimen is provided with two glass eyes which are dark in colouring. The bird has a more creamy pale grey on the throat and stomach. It has a black facial mask which is restricted to an eye stripe. 21a / Black Faced Graculus / See catalogue page 11taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, cuckoo, shrike, common birds, australian birds, australian bird, white-bellied cuckooshrike

This is a set of 19 photographs taken in 1989 during 4th Field Survey Squadron’s deployment on Operation NERIGHT 89 in Queensland and the Northern Territory. It was a two-part operation in 1989 with work conducted in the areas of Camooweal and Weipa. Part 1 was the field completion of topographic maps conducted near Camooweal QLD, along the Barkley Highway on the border between NT and QLD, from the 12th of September to the 20th of October 1989. A Bell Kiowa LOH helicopter from 162 Recce Sqn supported topographic field completion. Operation NERIGHT 89 Part 2 was the acquisition of mapping control by GPS field parties utilising Texas Instruments TI4100 Global Positioning System receivers around Weipa on Cape York Peninsula from the 22nd of September to the 22nd of October 1989. Part 2 Two Bell UH-1H Iroquois helicopters from RAAF’s 35 Squadron were principally used to deploy GPS field parties. Identification photography of control points was taken by air camera operators in AAAvn Pilatus Porter aircraft from 173 Gen Spt Sqn fitted with an RC10 aerial camera. The two parts of the operation were conducted concurrently. This is a set of 19 photographs taken in 1989 during 4th Field Survey Squadron’s deployment on Operation Neright in Queensland & the Northern Territory. The colour photographs are on 35mm negative film and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 96 dpi. .1) to .3) - Photo, colour, 1989. En-route to areas of survey operations. .4) to .5) - Photo, colour, 1989. Unidentified personnel relax next to river/waterhole. .6) - Photo, colour, 1989. Two Bell UH-1H Iroquois helicopters from RAAF’s 35 SQN utilised in the movement of GPS parties. .7) to .9) - Photo, colour, 1989. Unidentified soldier practices repelling from a UH1H Iroquois helicopter. .10) - Photo, colour, 1989. Inside the cockpit of a UH1H Iroquois helicopter. .11) - Photo, colour, 1989. Field Party camp with GPS equipment in foreground. Unidentified soldier prepares a meal. .12) - Photo, colour, 1989. GPS antenna plumbed over a survey ground mark. Witness post on left. .13) & .14) - Photo, colour, 1989. Unknown Cape York Peninsula beaches. .15) & .16) - Photo, colour, 1989. Dramatic fire next to base camp. .17) - Photo, colour, 1989. Aboriginal rock art at unknown location. .18) - Photo, colour, 1989. Aboriginal rock art at unknown location. L to R: unidentified, SPR Andrew Quin. .19) - Photo, colour, 1989. Aboriginal rock art at unknown location. LT Chris Topovsek..1P to .19P – There are no personnel identified. ‘1989 OP NERIGHT’ annotated on negative sleeve.royal australian survey corps, rasvy, 4 fd svy sqn, op neright 89

This medal was awarded to the school children of Australia in 1951 to mark the fiftieth anniversary of the Federation of Australia. The design was chosen after a competition, with the valuable cash prize of two hundred guineas. It was won by John Wolfgang Elischer for his depiction of a man hand-sowing wheat. The wheat has grown to represent the seven States of Australia on the other side of the medal. Elischer was an Austrian sculptor and an Associate of the Royal Academy who arrived in Australia in 1935. During his first year he was an industrial designer for pottery. Elischer, P. Hurry and John Farmer together held an exhibition of works at the Athenaeum, Melbourne, in June 1937. Elischer later received commissions for sculptures including the King George V Memorial in Bendigo (1938), a bronze fountain for Sir Russell Grimwade in Toorak and a bust of Archbishop Mannix for Newman College, University of Melbourne. Elischer died in 1966.This item is significant because it was issued to all Australian school children, including those in Wodonga.A bronze Commemorative medal issued to Australian school children to mark the 50th anniversary of the Federation of Australia. It is a round medal with a loop at the top.Front (obverse) Man advancing towards the right sowing seeds by hand. At left 1901, at right 1951. In very small letters near ground right, J.W.E Back (reverse) At top a star. In centre FIFTY YEARS / COMMONWEALTH / OF AUSTRALIA At bottom seven ears of wheat representing the States and Northern Territoryfederation of australia, australian commemorative medals

Index, ill, maps, p.368.non-fictionA history of the Commonwealth railways North Australia Railway from Darwin to Birdum in the Northern Territory.commonwealth railways (australia) -- history., railroad construction - australia - history

Index, ill, maps, p.264.non-fictionA history of the railwaymen who volunteered to work on the Commonwealth railways North Australia Railway from Darwin to Birdum in the Northern Territory during World War II.commonwealth railways (australia) -- history., railroad operations in war - australia - history

Index, ill, p.188.non-fictionA history of the Commonwealth railways North Australia Railway from Darwin to Birdum in the Northern Territory.commonwealth railways (australia) -- history., railroad construction - australia - history

ill, maps, p.74.non-fictionA history of the Commonwealth railways North Australia Railway from Darwin to Birdum in the Northern Territory. Written for the Northern Territory Department of Education.commonwealth railways (australia) -- history., railroad construction - australia - history