Discusses American technological advancement and American tendency to look forward; Australia is 15 years behind and should be more forward looking; Australian private affluence and public poverty, motor cars, expressways and roads. America is described as looking to a future beyond cars; Boyd proposes that Australia skips expressway building. Discusses tourism, the Australian accent, imagining 2000AD, Archigram's Plug-In City, anti-city, integrate bush into the city - the gumtree aesthetic.Typewritten (c copy), quarto, 29 pages. (Two copies plus one incomplete version with 13p)Incomplete one contains pencil editsfuture, america, henry ford, automobiles, road development, destruction of old buildings, destruction of nature, tourism, great barrier reef, australian accent, globalisation, isolationism, canada, new zealand, archigram, athens, los angeles, suburbia, heidelberg school, diggers, robin boyd, manuscript

Published posthumously in 1972, “The Great Great Australian Dream” was Robin Boyd’s satirical review of Australian culture at the end of the 1960s. Included, for example, were chapters on the peculiarities of the Australian accent, the prevalence of blowflies, and the unrealistic dreams of a fictional post-war architect Gordon Hope.Hardcover w/ Dust JacketWritten by Boyd, with printed inscription "It compensates for half-recognized inadequacies in the sunny, wideawake life."australian satire, national characteristics, humor, walsh st library

Published posthumously in 1972, “The Great Great Australian Dream” was Robin Boyd’s satirical review of Australian culture at the end of the 1960s. Included, for example, were chapters on the peculiarities of the Australian accent, the prevalence of blowflies, and the unrealistic dreams of a fictional post-war architect Gordon Hope.Hardcover with Dust JacketRBF Acquisitionaustralian satire, national characteristics, humor, walsh st library

Published posthumously in 1972, “The Great Great Australian Dream” was Robin Boyd’s satirical review of Australian culture at the end of the 1960s. Included, for example, were chapters on the peculiarities of the Australian accent, the prevalence of blowflies, and the unrealistic dreams of a fictional post-war architect Gordon Hope.Hardcover with Dust JacketRBF Acquisitionaustralian satire, national characteristics, humor, walsh st library

Published posthumously in 1972, “The Great Great Australian Dream” was Robin Boyd’s satirical review of Australian culture at the end of the 1960s. Included, for example, were chapters on the peculiarities of the Australian accent, the prevalence of blowflies, and the unrealistic dreams of a fictional post-war architect Gordon Hope.Hardcover with Dust JacketRBF Acquisitionaustralian satire, national characteristics, humor, walsh st library

Published posthumously in 1972, “The Great Great Australian Dream” was Robin Boyd’s satirical review of Australian culture at the end of the 1960s. Included, for example, were chapters on the peculiarities of the Australian accent, the prevalence of blowflies, and the unrealistic dreams of a fictional post-war architect Gordon Hope.Hardcover with Dust JacketRBF Acquisitionaustralian satire, national characteristics, humor, walsh st library

Published posthumously in 1972, “The Great Great Australian Dream” was Robin Boyd’s satirical review of Australian culture at the end of the 1960s. Included, for example, were chapters on the peculiarities of the Australian accent, the prevalence of blowflies, and the unrealistic dreams of a fictional post-war architect Gordon Hope.Hardcover with Dust JacketRBF Acquisitionaustralian satire, national characteristics, humor, walsh st library

Montmorillonite is a type of clay composed of aluminium silicate that forms very small particles that are not well-bonded to one another. This is why it is so soft. When in the presence of water, all types of clay swell. Montmorillonite swells even more than most types of clay, which is why it is often chosen over other types of clay in its practical uses. Montmorillonite has many different practical uses, including in the mining industry, as a soil additive, as a sealant, as a desiccant to draw water out of the air, to clean ponds, to make kitty litter and in cosmetics. Montmorillonite is a common mineral and, despite being named after Montmorillon, France, can be found all over the world, including many deposits in Australia. It is not known where this particular specimen originates from. Montmorillonite is an economically and socially significant material with a wide variety of uses. Having samples of common and important minerals allows collections, like the Burke Museum, to have a more complete view of the land on which they are located, and therefore a more complete view of heritage. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A solid tennis-ball sized chunk of aluminium silicate clay. It is primarily white, accented with orange and brown.burke museum, beechworth, geological, geological specimen, clay, montmorillonite

Richard William McGilvery. Enlisted No. 450708 in the RAAF on 20/3/45, age 19 years. Served with BCOF in Japan post War, discharged on 16/10/1948, re enlisted 1950, discharged 30.9.1970 with the rank of Warrant Officer, awarded the "Long Service & Good Conduct Medal.Framed memorabilia, frame brown timber, Memorabilia has blue inset backing, there are 4 inserts. Top insert has, 2 x RAAF shoulder epaulettes, 2. Shoulder patches "British Commonwealth Forces" 3. 2 x badges with lion and horse. 4. 1 x RAAF hat badge. 5. 4 x uniform buttons. 6. 1 x badge "British Commonwealth Forces Association". 7. 1 x brown shoulder wings. 8. 1 x miniature badge "Air Training Corps Australia". 9. Set of medals mounted. (1) Defence medal 1939-45. (2) Australian Service Medal. (3) Australian Defence Medal. (4) Long Service and good conduct medal. 10. Medallion 60 years 1945 - 2005. Photo insert showing portrait of "McGilvery" in Japan. Centre insert: Details re McGilvery with "Long Service & Good conduct Medal". "memorabilia, photographs, bcof

From information book - "Reader's Digest/ Gallipoli/ 25th April 1915 - 9th January 1916/ Centenary Commemorative Prints". Collection of 20 prints. Refer Cat No. 7300.Framed print. Print - colour print on paper. COPY OF AN ORIGINAL PAINTING - TEXTILE, DYE, COLOURED CRAYON ON COATED PAPER. DEPICTS IN DARK BROWN COLOURS WITH SMALL ACCENTS OF PALE BLUE, RED AND YELLOW - BELOW HORSE. VISIBLE IN PAINTING IS A SOLDIER, HORSE AND GUN CARRIAGE. Frame - Black plastic framing with glass front and MDF board backing with adhered black paper.Details on print; "SIDNEY NOLAN (1917 - 1992) Gallipoli soldier, horse and gun carriage 1961". Sidney Nolan - embarked on a series of Gallipoli drawings and paintings which he completed over a 20 year period. 252 drawings and painting.framed accessories, prints, ww1, gallipoli, centenary

Donated by Andrew John BALSILLIE MBE. Refer 118.5 for his service details, RSL, Council history.Hard cover, black colour buckram. Silver colour print on front and spine. Dust cover white print title over black background. red and blue accents. Black print on spine. Black and white photograph design on silver background. Pages 467 cut plain. Illustrated black and white photographs. Colour photographs of paintings.Black and white stamp on front fly lead "Major A. J. BALSILLIE MBE JP" Hand written black ink on second fly lead "Donated by (stamp) 2 -1- 2000"books, history

Print Council of Australia Members' Print Commission, 1983Abstracted views of two houses in the desert. A central road intersects image at a vertical diagonal. Faint outlines of houses and a watertower are scattered throughout the image. A railway crossing sign is positioned lower centre, at beginning of road. Dominant colour is rose, with blue accents and grey shadows. Mounted in grey matt, in wooden frame.Front: Nullarbor (lower left of image) (ink) 35/100 (lower left) Nullarbor 1-1-83 (lower centre) Mary Macqueen 83 (lower right) (pencil) Back: (no inscriptions)

Alexander Wright was killed whilst performing at the Birmingham Empire as the result of a German air Attack in October 1940. The theatre had a direct hit. The stage name of Alex Wright was 'Navarre' "Prince of Mimics". According to Frank Wright Alex was a great impersonator with a unique range Bass - tenor with many accents (not unlike Peter Dawson) "AUSTRALIAN KILLED An Australian, Alexander Wright, radio variety star, who toured Europe and Australia under the pseudonym of Navarre, was killed during a recent air raid in a Midland . town. His broth-er, Frank Wright, is musical director for the London County council."(Border Morning Mail, 22 Oct 1940) Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and became the Australian Open Cornet Champion by the age of eighteen. Sepia formal photograph of a seated man with two boys, one standing on either side of him. They are posed in front of a backdrop showing one side of a window and its curtain, panelling and a painting. The boys are dressed in shoes, socks, knee pants, vests with a chain, white shirts and a jacket. The man is similarly dressed although with long trousers.frank wright, alex wright, navarre, alexander wright, william wright

Alexander Wright was born on 25 August, 1898 in Smeaton He was the brother of musician Frank Wright. Alex Wright was killed whilst performing at the Birmingham Empire as the result of a German air Attack in October 1940. The theatre had a direct hit. According to Frank Wright Alex was a great impersonator with a unique range Bass - tenor with many accents (not unlike Peter Dawson) "AUSTRALIAN CARUSO Smeaton Boy's Fame Andre Navarre, who left Australia about three years ago to study opera in Europe, bids fair to take a place among the world's great tenors. A few months ago Navarre sang for Melba for the first time, and she immediately acclaimed him to be a finished artist, describing his voice as the nearest approach to the immortal Caruso she had ever heard, writes the Ballarat "Courier." Andre Navarre is, however, only a stage name adopted by Alexander Wright, a son of Mr. and Mrs. William. Wright, of Armstrong street North, Ballarat, and brother of Mr. Frank Wright and Mrs. William Ritchie, of that city. Born at smeaton 31 years ago, in what may be termed a musical atmosphere; Alex. Wright showed a definite desire to sing at a very early age, and in his boyhood figured as soloist at school concerts, etc. His youth was spent around Smeaton, working at home and at various farms in the district until he was about 19 years of age, when he secured a position at the Dunlop rubber works, Melbourne. Up to this period Wright had no vocal training whatever, but being the possessor of a good resonant baritone voice, was persuaded by some of his friends to "have a go at the stage.'' Securing a position in the chorus of "Maid of the Mountains," which was at that time showing at the Theatre Royal, he soon made his voice heard to advantage, and also commenced to take lessons from Signor Robottaro. It was about this time that Wright was invited by a fellow musician to a musical evening at which a member of Rigo's grand opera company, then performing at " The Playhouse," was also present. Hearing Wright sing, the musician immediately said : ' You're a fool to waste your time in a chorus with that voice. Rigo is looking for a singer like you for the role of 'Figaro' in 'Barber of Seville'." Alex, however, did not take the remark seriously, and it was only after the numerous persuasions of friends who obviously knew the real value of his voice that the modest young man was eventually induced to meet Rigo. The Italian maestro was so delighted with the voice that without hesitation he was given the principle role of "The Barber" to study. Many singers having previously been tried and rejected for the part, Wright was astonished at his success in being chosen, and awakened suddenly to the fact by the maestro that a world voice, if properly trained, would surely develop in the young artist, Alex at once settled down to study, and all day long in his boarding house at St. Kilda could be heard rehearsing his new role. In less than a month he had completely mastered the part, and on the opening night, in the exacting role of "The Barber," he was an outstanding success. Later, he toured Australia with many leading artists, including Elsa Stralia and Harry Lauder, and spent his last two years in Sydney, where he was engaged as soloist in the biggest picture house. Realising that a training in Italy and on the Continent was essential for a successful operatic singer, the young artist decided to go overseas to continue his studies. He did not leave Australia, however, before he gratuitously gave a concert in his little home town to the obvious delight of all his old friends, who flocked from all parts of the district to hear him. The hall was packed to overflowing , and so pleased was Alex with the tumultuous reception he received that he sang fewer than 20 songs. Once in Italy, he lost no time in placing himself under the tuition of Cottone, and it was at the studio of this maestro that he met Toti dal Monte, a former protege of the same master. Two years were spent in Italy, when "Navarre" learned to speak the Italian language fluently, and acquired a wide knowledge of the operas. He sang in Milan about a year ago, and was paid some glowing tributes by the Italian Press critics, who likened his voice to that of Caruso. From Italy he went to Paris, where he met John Brownlee and many other famous singers. The critics on the Continent are unanimous that Andre Navarre-the unassuming Smeaton boy, whom his schoolmates still affectionately call "Hock"--is destined to become one of the luminaries in music history. It is interesting to recall some facts concerning the remarkable family from which this artist springs. Four other members have won championship honors in the musical world. Mr. Frank Wright has the Australasian cornet championship to his credit ; Mr. Norman Wright, of Sydney, has won a tenor championship of New Zealand, and has recorded for the Columbia Gramophone Company ; Mrs. Wm. Ritchie ( formerly Miss Laura Wright) won the A.N.A. contralto championship in Melbourne; whilst the oldest member, Lydia (Mrs. C. Cane, now in N.Z.) won the violin championship at South Street when 17 years of age. Last year Mrs. and Mr. Wright celebrated their golden wedding. Both of the old folk are intensely musical, and it has been said that the voice of the mother, although entirely untrained, showed in her earlier days glimpses of the beautiful quality which made Melba famous. Andre Navarre does not propose leaving the Continent for some time. Recently he was offered a 12 months' contract to sing in London for £2500 but on the advice of Melba and his coach, it was refused on the grounds that yet another 12 months' French study was necessary to ensure absolute perfection. That "Alex " has lost none of his school-boy wit is evinced by his own jocular remark that he has "a top C sharp that will crack every window in the Sydney Town Hall!" (Horsham Times, 20 February 1931) "AUSTRALIAN KILLED An Australian, Alexander Wright, radio variety star, who toured Europe and Australia under the pseudonym of Navarre, was killed during a recent air raid in a Midland . town. His broth-er, Frank Wright, is musical director for the London County council."(Border Morning Mail, 22 Oct 1940) Black and white image of Smeaton born Alexander Wright whose professional name was Navarre "Prince of Mimics". alexander wright, alec wright, navarre

The Victorian School for Deaf Children continued an interest in the latest research and information on the education of deaf children. Various reports from the 1969 to 1974 relating to the education of deaf children. Black hard cover magazine cover containing various reports separately bound. 1. Reynolds report 1969 - Observations of Educational programs for hearing impaired children in the U.S.A., England & Russia. 2. Houston report 1970 - Report on Review of Fundraising and Public Relations Activities by Henry Houston, Fund raising consultant. 3. Dawson report 1972 - 'Let the Accent be on Ability' by Shirley Dawson. 4. Rawlings report 1974 - 'The Decade in Review' - the VSDC and the PEKD by Brenda W. Rawlings. Inside front cover: "REYNOLDS REPORT…1969/HOUSTON REPORT…1970/DAWSON REPORT…1972/RAWLINGS REPORT…1974" deaf children australia, dca, victorian school for deaf children, vsdc, deaf education, henry houston, shirley dawson, brenda w. rawlings

Princess Juliana and Prince Bernard married in 1937 prior to the Princess becoming Queen in 1948.The fact that this item was brought to Australia with a migrant family indicates the affection in which the Royal Family was held by many Dutch people.Rectangular tile depicting a leafy tree loaded with oranges. Under it are four young people - two male and two female. The main colours are green on a greyish background. Orange accents appear throughout the clothing. An orange banner reads 1937-1962. Below the illustration is the motto: "Doen kunnen we alles maar dan ook alleen allen samen." (We can do everything but only together). On the back are various imprints relating to the maker Mosa Holland.

Collector says: I can still recall one of my earliest childhood memories, of my nana's bright aqua shoes against the checks of our family travel rug on summer picnics.Note from collector- "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." Standard sized fringed plaid blanket in red and blue with black and yellow accentsMothproofed/Godfrey Hirst/100% Pure Wool Rugwool, blanket fever, travel rug, godfrey hirst, geelong

Axedale is a town in Victoria, Australia. It is located on the McIvor Highway, in the City of Greater Bendigo, east of Bendigo. It was surveyed and proclaimed in 1861. (Wikipedia)A thirty-six pages book detailing the history of Axedale. Published by the centenary and back to Axedale committee. Chapters on early settlement, churches, education, police, municipal affairs, commerce, cemeteries, racecourse reserve, the railway, Eppalock weir, the hall, the wars, C.W.A. camp sites, C.F.A. sport. Many photographs throughout. L.J. Ellisonaxedale, history

Shirley Dawson was the H J Heinz Company Australia Ltd. Travelling Scholar for 1972. Rep0rt written 1973.Yellow cover, spiral bound, 27.5cmx22cm, 47 pages

David STRACHAN (1919–1970) Born 25 June 1919 at Salisbury, Wiltshire, England Arrived 1920 Adelaide, Australia: 1921 Creswick, Victoria David Strachan attended Creswick State School and Geelong Church of England Grammar school. By the age of 16 he wanted to be an artist. Accompanying his mother to London in 1936, he enrolled at the Slade School of Fine Art, where he met Godfrey Miller. In 1937 he attended the Académie de la Grande Chaumière, Paris, and painted at Cassis on the Mediterranean Sea. He returned to Australia in April 1938 and studied at the George Bell School, Melbourne. He had a growing interest in classicism blended with a fascination for the dream-state which was reinforced in his work after he moved to Sydney in 1941. There he was befriended by Jean Bellette and her husband Paul Haefliger, who were to be driving forces behind the Sydney Art Group (founded 1945). He lived on the top floor of the Haefligers' house at Double Bay, and together the three artists drew from models whom the Haefligers hired. In this period Strachan painted and exhibited some of his most poetic works—mainly figurative and landscape subjects, and still-lifes of haunting beauty. His flowers, bowls of fruit, birds, and angelic figures glimmered out of the darkness as things not of this world, evoked faintly, like mythological personages in a gently spoken narrative. He 'spent an erratic war' painting camouflage at Bankstown aerodrome with other artists, among them (Sir) William Dobell, and dancing minor roles with Hélène Kirsova's ballet company. In 1948 Strachan settled in Paris. His paintings, included by Peter Bellew in an exhibition at the Musée National d'Art Moderne, had been well-received by French critics two years earlier. In 1950 he began tentative experiments in etching. These led to the formation of the Stramur-Presse, a business venture which published etchings and lithographs of leading French and English artists. His most important project was a series of twenty-two colour etchings illustrating Alister Kershaw's book of poems, Accent & Hazard (Paris, 1951). Strachan continued to exhibit in Australia and maintained a lively social life with Australian friends. From Paris, he went for weekend painting trips with Moya Dyring in her car and, after 1957, visited the Haefligers on Majorca. He lived in London in 1955-57. His paintings became progressively less soft in effect, his palette brightened, and his forms, especially the still-lifes, became spikier. In the late 1950s his attention drifted towards the study of Hindu philosophers and Jungian psychology. For most of 1957-58 he was enrolled at the C. G. Jung-Institut, Zürich, Switzerland. In 1959 he worked in Silvio Daneo's silkworm factory at Bricherasio, Italy. In May 1960 Strachan returned to Sydney. He lived at Woolloomooloo before buying a house at Paddington in 1963. Over the ensuing years he involved himself energetically with the art scene, exhibiting, teaching (1960-65) at East Sydney Technical College, fund-raising for memorials for Thea Proctor and Dyring, and as the last president (1965) of the Society of Artists. His paintings were out of harmony with the prevailing fashion for abstraction, but he won the Wynne prize for landscape painting in 1961 and 1964 (shared). Perhaps the most moving works of Strachan's last ten years were the mining landscapes, including those he painted near Hill End, leading up to his vast canvas, 'Lewers Freehold Mine'. This was a history picture, depicting the mine as it might have appeared in 1874. He presented it to the Creswick Historical Museum in 1970 in memory of his father. (Barry Pearce, 'Strachan, David Edgar (1919–1970)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/strachan-david-edgar-11786/text21083, published first in hardcopy 2002, accessed online 6 January 2016.) 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.Framed still lifefeaturing fruit and flowers.art, artwork, strachan, david strachan, still life, flowers, flora, available