This particluar bag (Japara water bag) was used to hold seal skin soles or straps, which were placed onto skis.The first skiers that came to Falls Creek used these. These types of bags were also used to carry water. They were used by scouts and other campers and were to be seen hanging from cars and caravans. This is historically significance because it shows how the first people who skied at Falls Creek used early skiing equipment. This bag and seal skin soles are also significant due to their association with the first winter traverse of Mt Bogong. This item has good interpretive capacity due to its connection with the seal skin soles, skiis, boots that were used at the same time. It is also very rare and is the only one in our collection. Japara water bag has a square base and four upwright panels with cord handles. It can be folded flat. The bag has a zip closure. Originally the bag is a water bag used by campers, currently it is used as a container for a pair of seak skins soles, which are attached to skiis and used during skiing.sport, falls creek, ski, winter, snow, water, scouts, seal skins, camping bag

This bag was used by the Timekeeper at Pretty Valley camp to carry timesheets to the administration building at Bogong and later at Mt Beauty. In the early days this bag was collected by the Timekeeper who rode a horse to the camps fortnightly.SECV - Kiewa Hydro Electric SchemeBrown leather mail bag with stitched gusset. Metal and leather handle fastened at the top by two metal rings attached to a leather covered rod. A flap at the front fastened by two metal press studs. Front pocket of leather and transparent material stitched on. Internal leather strap fastened by metal press stud in the centre. "SEC MAIL" stamped on the front flap and back of bag. Written inside in ink "BAG NO.11 TIMEKEEPER - PRETTY VALLEY". secv, khes, mail bag, timekeeper, pretty valley, payroll

Pg. 33 Crawford and Connelly's mail coaches station to change horses and provide 'free bag' mail service x3 weekly to Kiewa, Tangambalanga, Bungoona (Huon). All photos are published in the Kiewa Valley Book "A History of the Kiewa Valley' by Esther Temple and David LloydHistorical photos of the Kiewa ValleyBlack and white photos, varying sizes, published in KVHS history book. In order of appearance: 1. Generic photo of 'Aboriginal Man' Page 9 2. Crawford and Connelly, Royal Mail Coach. pg. 29 3. Early postcard of Kiewa - trees, road, homes pg 76 4. George Le Fevre and School Bus pg 77 5. Kergunyah Creamery pg 80 6. Gundowring Homestead: Built by Charles Barber, pgs 82,83 7. Bogong Hotel 1925 pg 103,104 8. The Junction September 1940 pg 119 9. Mt Beauty pg 119royal mail coach, kiewa, school bus, kergunyah creamery, gundowring homestead, charles barber, bogong hotel 1925, junction camp bogong, mt beauty 1950

This extract from an advertisement in the Sydney Morning Herald newspaper of 1/12/1959 places the era in which this water bag was prolific throughout rural Australia. " ABERDEEN CANVAS GOODS for the man on the land here is Australia's most useful, convenient and hygienic water bag. Its special unbreakable plastic nozzle is fitted with a perforated filter strainer. Made from long flax canvas, its universal handle enables it to be hung on bumper bar, wire fence or on hook or nail" The availability of clean cool drinking water in remote rural locations was essential for survival under the blistering Australian summer sun. This was in a pioneer era when transport, roads and convenience stores were ,in a lot of "outback" Australia, in short supply and survival was dependent upon what could be carried by vehicle or pack horse.When the Kiewa Hydro Electricity Scheme became a reality, the use of the water bag was one of the essential personal items of survival given to each person working in the forests and on and in the high plains environment. Even in an outside stationary work place the availability of cool clean water was a prerequisite. The canvas water bag allowed any wind or airflow to cool down the water, even on very hot days, to provide a refreshing and throat quenching supply of water. These bags could be fastened onto the front of vehicles or hanging from shady tree branches thereby permitting air flow around the bag. During the "wearing in" period the residual taste from the canvas was fairly strong, this became considerably less as time and a half moved on. This "Aberdeen" long flax canvas water bag is held together on two sides and the top by strong heavy cotton stitching. The iron fashioned carrying handle has, protruding from its top elevation ,a very strong hook (well in excess of the bags' weight requirement). At the top, of the bag, and on one side only, is a brown coloured bakelite spout (with an inbuilt filter) protruding upwards. This spout has its matching , screw on, lid complete with attachment chain (not fixed at the handle end)On the front of the bad and stenciled in bold lettering, "ABERDEEN" and directly below "Travellers" and below this "FILTER BAG". Below this are two parallel black lines enclosing an ochre coloured band(12mm wide) running around the bottom section of the bag. Below this band is stenciled the number 14 in black (25mm high) figures. The spout lid has stamped on the top surface and within the outline of Australia, "ABERDEEN FILTER WATER BAG". Above this and close to the edge of the lid is pressed "PAT. No 9149/32 and down at the bottom rim is stamped "RD. No. 9870". canvas, water bag, water container, camping equipment, survival pack

The article was contributed by J.K.McCaskill, JP. a mayor of Ringwood in the years between 1924-1951.The Sanders family came from England and are mentioned in the book "Ringwood a Place of Many Eagles" by Hugh AndersonObituary from The Ringwood Mail of Joseph Richard Sanders of 18, Wantirna Road, Ringwood, aged 87 years. He came from a family who were early pioneers of Ringwood. he was born in Collingwood but schooled in Ringwood, married and brought up his family in Ringwood. He lived at 18, Wantirna Road .The article was contributed by J.K.McCaskill, JP. a mayor of Ringwood in the years between 1924-1951.Transcript: "The death occurred of Joseph Richard Sanders, 18 Wantirna Rd, Ringwood, on Wednesday, 21st October 1959, in his 87th year, marks the passing of another of Ringwood’s early pioneers. He was born in Collingwood in August 1873 and came to Ringwood with his parents when 15 months old. They made their home on land on what is now known as Jubilee Park (Fuller particulars of this Park will appear in ‘The Mail’ at a later date, also reference will be made to Wantirna Rd, in the early days it was known as West Prussia Rd). Joe went to the school held in the old homestead and orchard of Mr. Mills, just through the Heatherdale Road railway gates. He remembered many of the scholars, some of the boys and girls had to walk three and four miles to school through rough scrub paddocks in all kinds of weather. During the lunch hour a few of the boys generally went to the creek to fish for eels and would be late in getting back to school, greatly to the annoyance of the teacher. One day the fishing was good, and the boys rather reluctantly returned to the school late as usual. The teacher was furious and made them stand in front of the class but before inflicting punishment she called out to one of the boys to throw out that dirty bag he was holding. The lad gave the bag a shake and out wriggled a snake. There was immediately a general stampede from the classroom, led by the teacher. The school was closed for the rest of the afternoon. Another incident related to a few tramps who after the scholars had all gone home, generally camped for the night in an old back room in the homestead. One of the boys put a little gunpowder in this old fireplace and when the tramps lit the fire to boil their billies the old chimney and part of the old wall just collapsed. Joe, after leaving school, worked around the district for some time and later left Ringwood to live in other suburbs. He at one time was employed at the Aust Glass Works, and later as a carpenter worked on building the dome of the Railway Station at Flinders St. He married a Miss E. M. Wood in 1901 at Richmond and a few years afterwards returned to Ringwood and resided at No. 18 Wantirna Rd., where he reared a family' of three girls (Alice, Ethel, Joyce) and two boys (Robert and Joe). Joe recalled many interesting events of earlier years, such as the duplication of the railway line, and the cutting back of the embankment at the Goods Shed, the earth being used to heighten up the railway bridge over Wantirna Rd. The brickworks at Ringwood East and reference to early land surveys, the using of the heavy chain links before the use of the theodolite became general, and the many neighbours and friends whom he knew. He was interested in local public affairs and was fond of fishing. He proved himself a good citizen and was highly respected and esteemed throughout the district, and so another old pioneer passes on." (Contributed by J. K. McCaskill, J.P.) RM 19 Nov 1959

Early 1900's. "Boiling the billy". The term billy or billycan is particularly associated with Australian usage, but is also used in the UK and Ireland. It is widely accepted that the term "billycan" is derived from the large cans used for transporting bouilli or bully beef on Australia-bound ships or during exploration of the outback, which after use were modified for boiling water over a camp fire. Postcards developed out of the complex tradition of nineteenth-century printed calling cards, beginning with the advent of the Cartes-de-Visite in France. In the 1850s, Parisian photographer Andre Adolphe Eugene Disderi invented a photographic process involving egg white, albumen, and silver nitrate to create inexpensive portraits on paper cards. These photographic Cartes-de-Visites were 2 1/2 (75mm) by 4 inches (98mm) and became a popular, collectable form of "visiting cards" world-wide. Photographers would reprint portraits of famous individuals they had taken at their studios or during travel and sell them as collectable cards. Postcards as we know them now first began in 1861 as cards mailed by private post. In the 1870s picture postcards grew in popularity throughout the United States, Britain, Europe, and Japan. Cards were first permitted to have a "Divided Back," with text written on the left half of a dividing line and the address on the right half, beginning in England in 1902. Around 1900 the first postcards made of "Real Photos" rather than artwork began to circulate, aided in by advances in amateur photography equipment by companies such as Kodak. Kodak also introduced postcard paper for photographic development and photography studios began to offer portraits printed as postcards Many local town, countryside, and architectural images were captured during this period by local photographers, then printed and sold as postcards . Advances in amateur photography all contributed to a postcard craze that lasted from 1900 to the First World War. Postcards were the preferred means to send a quick note, whether across town or across a continent.Postcard with a black and white Photograph on the front and a 'Divided Back ' for the message and address. There are seven men surrounding the billy suspended over a camp fire. The ground has a lot of dead branches around. One man is bending down towards the billy. Two men on either side of the camp fire are carrying either a white bag across their shoulders or the fish in their hands. You can see, that there is some steam also coming out of the billy, which means that its hot. Court Post Card. / this space may be used for correspondence. / The address only to be written here.1900's, boiling the billy , postcards, photographers, england, hungary, america, cartes-de-visite, visiting cards, moorabbin, cheltenham, bentleigh, market gardeners, early settlers, pioneers,

Used at bushfire base campsCanvas bag shower head (no control tap)forests commission victoria (fcv), camping equipment, bushfire

Used at bushfire base campsCanvas water bag with cover and outlet hose Dept of Defence 1946 GARS makers Melbourne forests commission victoria (fcv), camping equipment, bushfire

Published: The Age, Sat 14 October 1933 Published title: A Royal Portrait Published caption: "Seen at his studio, Alphington, Mr. W. B. Mclnnes's portrait of the Duke of York, which he painted recently on commission from the trustees of the Castlemaine Gallery, at St. John’s Wood, London, impresses as a vital record of one whose natural habitat is a palace, and whose place in life is one of near relationship to the throne of England. The Duke is painted in the uniform of the admiral of the fleet, a highly ornate vesture entailing much elaboration of gold and numerous medals, in dealing with which the artist has not failed to centre his attention on the head, and has succeeded in producing what is undoubtedly a soundly painted portrait and a good likeness. During the five fittings Mr. Mclnnes, apart from the ordinary social amenities, found his Royal sitter little inclined to talk, though he spoke feelingly of his trip to Australia and the pleasure it had given him: but with the Duchess the tendency to be sociable was much more clearly pronounced. She took, and expressed, a keen interest in the social and political matters of the day with a special concern for the supremacy of England and Australia in all questions relating to sport, such as cricket, tennis and golf. She spoke well of her portrait painted by Quinn, and regretted that she would not see the two hung side by side at the Castlemaine Gallery." Description: An unframed painting of a standing, middle-aged man dressed in the uniform of a Royal Navy admiral of the Fleet with medals, sash, ornate belt, cuffs and epaulettes. His left hand rests on the handle of a sword in its scabbard and his bicorn hat and white gloves are on a table beside him. To his right is a globe of the world showing Australia. Research by project volunteer, Fiona Collyer: In 1933, Castlemaine Art Gallery trustees commissioned artist W.B. McInnes (1889-1939) to paint a portrait of Prince Albert, Duke of York as a companion piece to the portrait of his wife, the Duchess of York, that the gallery had commissioned Australian official war artist James Quinn (1869-1951) to paint in 1930. During the First World War, the Duchess’s childhood home, Glamis Castle in Scotland was used as a makeshift military hospital and convalescence home for wounded soldiers. Many servicemen from the Castlemaine area recuperated there and had fond memories of the kindness of the teenage Lady Elizabeth Bowes-Lyon (1900-2002, later Duchess of York) who spent the war years running errands and aiding in the welfare and morale of the patients. In 1927, the Duke and Duchess of York (later King George VI and Queen Elizabeth) came to Australia to formally open the newly built Parliament House in Canberra and to tour the country. While visiting Victoria in April, they embarked on a whistle-stop train journey to Bendigo, stopping at Kyneton for ten minutes and Castlemaine for 15 minutes. At Kyneton, an excited crowd of 10,000 people welcomed the couple with “three cheers and three cheers for Baby Betty” before the Duchess was presented with a bouquet of locally grown roses and the Duke a bound album of photographs of noted beauty spots of the district. Next the Royal Couple stopped at Castlemaine to the cheers of 15,000 people. There the couple were presented with a basket of prime quality Harcourt apples and a pair of cot blankets, manufactured at Castlemaine Woollen Mills, a birthday gift for baby Princess Betty. The Duchess recognised Colonel W.E. James, of the Seventh Battalion, who had convalesced at Glamis Castle in 1917, and they chatted before the train departed, while the Duke shook hands with returned soldiers. Last stop was the town of Bendigo which was colourfully decorated with bunting and flags, arches and flowers. 3000 pigeons were released on their arrival and the liberated birds circled overhead for several minutes as if to welcome the Royal Couple. A crowd of 50,000 cheering people lined the streets in bright sunshine as the couple drove by. From an arch over Hargreaves Street, pretty girls showered the pair with rose petals. The Duke was presented with a gold nugget and an album, handsomely bound in morocco, of a history of the Bendigo mining industry, while the Duchess received a bouquet of prize winning white chrysanthemums. After 75 minutes in Bendigo they journeyed back to Melbourne for a State reception. While the couple were in Melbourne, the Duke often played lawn tennis at the Government House courts with three times Grand Slam champion Norman Brookes, who declared that while he considered the Duke a second class player whose serve lacked sting, he had a fine backhand and with time and practice he could become a first class player. The federal Parliament had previously been situated in Melbourne, but Canberra was chosen as the location for Australia’s capital as a compromise between fierce rival states, Victoria and NSW. It is written in the Constitution that the federal capital would be in “the State of NSW... distant not less than one hundred miles from Sydney.” The word Canberra is thought to derive from the local Ngunnawal word “Kanbarra” meaning “meeting place”. The Provisional Parliament House was a large, white, three storey building facetiously dubbed “The Wedding Cake”, plonked down in a bare, former sheep paddock. It was decorated for the event with Union Jacks and Australian red ensign flags. On 9 May, the day of the opening, the expectant crowd assembled in front of the building. Only two of the spectators were Aboriginal. One was Jimmy Clements (1847-1927, aka Nangar or Yangar, but popularly known as “King Billy”), accompanied by his three dogs. (The title “King” or “Queen” was often given by white settlers to Aborigines who were seen as allies and could maintain good relations between First Nations groups and the colonists. Some were given inscribed brass breastplates or gorgets to wear.) Jimmy was an excellent horse breaker and expert tracker for the police. He was also the nephew of “Queen” Nellie Hamilton (1842-1897) of the Canberra-Queanbeyan region, home of the Ngambri and Ngunnawal people. Nellie was the oldest surviving full-blooded Aboriginal woman in the district. The other was George John Noble (1840s-1928, aka Ooloogan, also “Marvellous” due to his regular use of the word). Both were initiated Wiradjuri walamira elders: “clever men” believed to have the ability to heal physical and spiritual ailments. They were also travelling showmen, skilled at boomerang and spear throwing and often performed at country agricultural shows and football matches. They had walked barefoot for three days from the Brungle Mission, near Gundagai. 11 May 1927, The Argus reported that “King Billy... claims sovereign rights to the Federal Territory” which the National Archives of Australia describes as “possibly the first recorded instance of Aboriginal protest at Parliament House in Canberra.” 10 May 1927, The Argus reported on Jimmy Clements: “During the wait great interest was taken in the appearance near the east stand of an aborigine, a member of the Gundagai tribe, and a well known character in the district. He was very old and grey and ruggedly picturesque. He was determined to go his own way in spite of the arguments of two inspectors and one sergeant of police. Immediately and instinctively the crowd in the stands rallied to his side. There were choruses of advice and encouragement for him to do as he pleased. A well-known clergyman stood up and called out that the aborigine had a better right than any man present to a place on the steps of the House of Parliament and in the Senate during the ceremony. The old man’s persistence and the sympathy of the crowd won him an excellent position and also a shower of small change that must have amounted to 30/ or 40/ [shillings].” At 10.30 am, Australia’s eighth Prime Minister, Mr Stanley Bruce (1923-1929) welcomed the Royal couple onto the crimson carpeted portico. Unfortunately, Dame Nellie Melba’s rendition of “God Save the King” and the greater part of the Duke’s reply was drowned out by the roar of squadrons of aeroplanes circling overhead. A brief religious service followed, conducted by leaders of the Methodist, Presbyterian and Anglican churches. Interestingly, there was no Roman Catholic representation at the ceremony even though around one quarter of Australians were Catholic at the time. The Duke unlocked the front doors with a golden key, then unveiled a statue of his father King George V by sculptor Sir Bertram Mackennal in the King’s Hall. Then the official party, Senators, members of the House of Representatives and invited guests entered the Senate chamber where the Duke read a message from the King, establishing Canberra as the seat of the Federal Government, watched on by Australia’s elite. The conclusion of the ceremony was announced by a gay fanfare of trumpets from the entrance of Parliament House and a 21 gun salute and answered by cheers from the crowd. The dignitaries then feasted on a luncheon of turtle soup, poached schnapper, fillets of beef, roast chicken and ham, straw potatoes, green peas, Canberra Pudding (a pudding made with dripping, dried fruit and jam), fruit, ices, coffee and cheese. They toasted the King with non-alcoholic fruit punch as the Federal Capital Territory (later ACT) was a “dry” area and no speeches were made. The diary entry that day of Ethel Baird, Lady Stonehaven, the wife of the Governor-General, is brief and to the point: “To P.H. & waited for Yorks. Ceremony went off without a hitch. Ghastly Banquet Lunch.” Later that day, the Duke mounted a coal black mare, police horse Number 303 which had been hastily re-named “Black Bess” for the occasion, to receive the final salute from the assembled troops and returned soldiers dressed in mufti. The RAAF squadron were flying overhead in “V” formations when suddenly, one of the planes, piloted by Flying Officer Francis Charles Ewen, left the formation, nose-diving 900 metres from Parliament House and landing behind the Y.W.C.A. refreshment marquee. Francis, aged only 28, tragically died of his wounds later that day. The Federal Capital Commission contracted Sargent’s Pies of Sydney to supply 5000 meals for the event. They supplied pies, sausage rolls, scones and sandwiches with the agreed price of 3 shillings a head. Only 1200 meals were served and the uneaten remainder dumped, with the Commission bearing the cost of the unsold food. An estimated crowd of 20,000 attended the opening, far fewer than the expected 100,000. Many visitors travelled long distances, bringing their own hampers of food and camping in tents as there was very limited accommodation available. Thousands of people around Australia listened to the ceremony broadcast on the wireless, with receiving sets installed in schools, public halls and workplaces and it was also filmed for posterity. The next morning, the Royal couple, along with Prime Minister Bruce and Mrs Bruce held an informal public reception on the steps of Parliament House where early settlers, residents and visitors to Canberra filed past them. The Press widely reported Jimmy Clements’ encounter with the Duke and Duchess. The Sun-Pictorial reported 11 May 1927: "MET THE DUKE. ABORIGINE KING HE APPROVED Sugarbag: Sports Suit. John Clements, otherwise King Billy, a full blooded aborigine king, aged 86, was among the 2000 who filed past the Duke and the Duchess at the public reception at Canberra to day. “How you likem Duke and Duchess Billy?” he was asked afterwards. “I think they are both very nice.” he replied in good English. King Billy was a very bedraggled figure, with tangled locks and a beard which almost hid his wrinkled and black face. He wore an old sports suit and carried a sugarbag. Passing the Duke and Duchess he turned full towards them. The crowd cheered, and the Duke and Duchess smiled. The Duke was particularly amused.” The Canberra Times reported 13 May 1927: "A REAL AUSTRALIAN. A quaint but pathetic figure stood in broad relief in the queue of ranks at the reception. Where his dusky forbears have gathered in native ceremonial for centuries past, a lone representative of a fast vanishing race saluted visiting Royalty. Despite the grotesque garb and untamed mane the aborigine comported himself not without dignity. With his three faithful dogs, he made an immediate target for a battery of cameras.” "The Argus reported 11 May 1927: "...an ancient aborigine who calls himself King Billy and who claims sovereign rights to the federal Territory walked slowly forward alone and saluted the Duke and Duchess. They cheerily acknowledged his greeting. The old aborigine, with his long, matted beard and nondescript clothing, is a popular identity of Canberra, and must be one of the most extraordinary figures who has received a Royal salute.” The Sun (Sydney) reported 10 May 1927: “Suddenly, in the midst of the forest of green and white colored hats of women, appeared a head with a shaggy leonine mane and a patriarchal beard. Jacky, the aboriginal, an identity of the district, who is also known as the King of Canberra, had arrived to testify to his loyalty. He saluted the Duke with an excellent dash, and shambled past with his faithful sheep dog aide-de-camp at his heels. The Duke and Duchess were highly amused at this quaint figure moving along with a sort of bodyguard of shrieking young boys and girls.” The Sydney Morning Herald 11 May 1927 mistook Jimmy for his friend “Marvellous”: “...the appearance of an aged aboriginal widely known in the district as “Marvellous, the uncrowned king of Queanbeyan." His beaming black countenance was almost hidden beneath a shock of hair and beard. Bare-footed and carrying a sugar bag in one hand and a tiny Australian flag in the other, he at first mistook a policeman at the foot of the steps for the Duke. To his great embarrassment and to the vast amusement of the onlookers, the policeman became the object of a hearty salutation. However, "Marvellous" was quickly shepherded back to a position in the procession and as he passed along brought his hand up to an approved military salute for the benefit of their Royal Highnesses. The Duke returned it with a special wave.” The Labor Daily 11 May 1927 irreverently reported on the scene: "People March Past. Some 400 people, old identities of Canberra marched past. They were mostly aged ladies with memories faithfully preserving the traditions of other days and curtsied reverently. The younger generations, who speedily joined the procession, behaved differently however. Surely it was the most motley collection that ever passed before Royalty. Men without collars jostled others well dressed. Fat women, young women, children of all heights and ages were there. The oldest inhabitants, in the persons of the abo, "Marbly", and his companion were present. The poor old fellows evidently were keen to get closer to the Duke than the procession dared go, but they were overawed by the stern glances of military men.” The Canberra Times reported 13 May 1927: "...and towards the end of the procession, a full-blooded aboriginal, bareheaded and barefooted, and carrying an old swag on his back, made a picturesque figure as he several times saluted the Royal couple, his old eyes beaming inexpressible delight.” The Register reported 11 May 1927: "PUBLIC MARCH PAST. Old “Jacky”, an aboriginal identity of the district, who has been following the proceedings of the various ceremonies with apparently great interest, appeared in the march past. He halted in front of the steps and raised his hand to his shaggy grey locks in an attempt at a salute. Smiling, the Duke returned the salute, and the Duchess bestowed a charming smile on the figure of mingled pathos and comedy.” Tweed Daily reported 12 May 1927: “King Billy” WAS THERE. Appropriately enough, the inevitable “King Billy” with his refreshing impression of possum and gum-leaves, was present at the dedication of the Federal capital at Canberra. Bare-footed, in a dingy old suit and battered felt hat, he wandered on to the empty stand after the illustrious assemblage had passed into Parliament House. A desolate figure in all that he stood for, he proved, an amiable representative of the dispossessed race. He cheerfully waved a Union Jack for the camera man, and grinned into the very eye of a movie man’s camera without flinching.” Footage of Jimmy filmed that day features in the film “The Birth Of White Australia” produced in 1928 and shows him enthusiastically waving a small Union Jack flag in front of Parliament House with his three dogs at his feet. The caption reads " "King Billy" calls for cheers for the son of the great white King across the seas. “Mine tinkit that pfellers father budgeree King liket me” supposedly says Jimmy." Jimmy told the Daily Telegraph, 13 May 1927 “I have opened your Parliament House on my own ground, now you can go and look at it." Jimmy died on 28 August 1927, aged 80. The Herald newspaper on 30 August 1927, published an illustration depicting Jimmy’s dog standing on his grave, his customary chimney pot hat leaning on his headstone. The caption reads: “The Dead King — His Only Mourner. Drawn by Will Dyson (King Billy, last of the Canberra aborigines, lived just long enough to see the Duke of York open Australia’s capital on the site where his tribe once roamed. He died in the Queanbeyan Hospital yesterday morning.)” A letter published in the Sydney Morning Herald, 19 September 1927 reported: "Old King Billy... Sir, ...I would like to mention... the passing away of one, if not the last remaining aboriginal chieftains. He may be called “Old King Billy,” and his death occurred here in Queanbeyan a few weeks ago. The removal of this well-known black has left another big gap in all that remains distinctively Australian in character. He was one of the last remaining tribe of the Monaro district, and one of the most predominant personalities throughout the Commonwealth. ...he had lived through 80 years all told. He was on many occasions sought by artists for his splendid physique and personality as a model, and many a journey he has had to make to Sydney on that account. A more striking and pronounced type could not be found. ...A very fine cast in lifelike form is to be seen in the Australian Museum, Sydney ...his last important appearance in public was at the Commonwealth celebrations at Canberra, to which territory he partly belonged. ...we have no aborigine statue chiselled to the memory of their race, a more fitting and lasting memorial could not be undertaken than to have one modelled from this fine figure and erected to the memory of his race at Canberra... It would be a fitting adornment if planted with the Australian gumtrees for any avenue or garden. [King Billy] ...a very intelligent fellow, responding readily to kindness and common sense. Hoping yet to see a befitting testimonial and a lasting memorial to a race that is rapidly and I may say, unfortunately, disappearing, I am etc., SYDNEY R.OAKLEY, Queanbeyan." The “lifelike form” referred to by the correspondent was a sculpture that Jimmy Clements had posed for: “The Wunderlich Aboriginal Group” for The Australian Museum in Sydney. In 1925, Mr Ernest Wunderlich, director of Wunderlich Limited, manufacturer of building materials and President of the Board of Trustees at The Australian Museum, commissioned renowned sculptor George Rayner Hoff (sculptor of the Anzac Memorial in Hyde Park, Sydney, National War Memorial in Adelaide, and “Lion” the original Holden Motor Company car emblem) to sculpt a life sized Aboriginal family group diorama as a gift to the Museum. There was much concern at this time that the Aboriginal population and especially the “full blooded” were fading into oblivion so fast that they may soon become extinct. Three “full blooded” Aborigines were chosen for models. An article in The Australian Museum magazine, July/September 1926 about The Wunderlich Aboriginal Group explained “...it will not be many years before the aborigine, in New South Wales and Victoria at least, will be an entity of the past. Every year sees a shrinkage in their number, and the coastal tribes that once roamed the Sydney district are, unfortunately, no longer with us. ...the man, who is hurling a boomerang, is Yangar, or “Jimmy Clements,” son of Gayan-Bleuet-Galoom, the late “King of Orange,” western New South Wales. “Jimmy” is an old man, but well preserved. He has a very retentive memory and recollects the various tribal customs and initiation ceremonies, but regarding these he is extremely reticent and will not communicate his “honoured secrets.” The female figure is “Nellie Walker,” a daughter of Geri-Bungel, and a native of Bombala, Monaro district, southern New South Wales. The boy is Harold Marsh, aged nine years, who was born at Kinchela, Macleay River, northern New South Wales. He is now living at the Brewarrina settlement... In the selection of aborigines great care had to be taken to ensure that the individuals were pure bloods, and to the Aborigines’ Protection Board and the Police Department of this State thanks are due for the valuable assistance rendered by them.” Ngarigo woman, Nellie Bungil Walker (1867-1932) had five children, two died as babies and her remaining children were taken from her. She worked as a domestic and was living at La Perouse Aboriginal Community, Sydney at the time of her sculpture’s creation. In the years after the sculpture was made, Nellie and Rayner remained friends. Yaegl boy Harold “Harry” Marsh was from the Kinchela Aboriginal Training Home for boys near Kempsey, (1924-1970), an agricultural training institution under the jurisdiction of the Aboriginal Protection Board to house Aboriginal boys forcibly removed from their families “in the interest of the moral or physical welfare” of the boys. The boys at Kinchela were aged 5-15 years old and referred to as numbers, not names and any connection to Aboriginal culture or language was forbidden. Brutal and cruel physical punishment and sexual assaults were rampant. Survivors recall being flogged and chained naked to a huge Morton Bay fig tree overnight or “sent down the line” where every boy was ordered to punch the “wrong doer” as hard as possible for fear that they would be next. The Kinchela children are acknowledged as part of the Stolen Generation. In 1925, Rayner Hoff created a terracotta bust “Harry Marsh” which is in the collection of the Art Gallery of New South Wales. The figures of the trio were modelled in clay before being cast in plaster and hand-coloured by Museum artist Miss Ethel A. King. The finished figures were completed with wigs and fur pelts and with Jimmy hurling a boomerang and Nellie holding a dilly-bag. They were placed in a glass cabinet in the Australian Ethnology Gallery. The subjects were not named. The Sydney Morning Herald 1 July 1926 critiqued the sculptures. "A GROUP OF STATUARY. MUSEUM’S ACQUISITION. Artistically the group is very fine, for the sculptor has caught his subjects in attitudes that reveal all the stalwart athletic lines of their bodies... The man, who is depicted as about 60 years of age, is bearded, immense, and savagely primitive-is throwing a boomerang, and beside him a boy, aged about 11 years is following beneath a shading hand, the flight of birds at which the hunter aims. Behind them, patient, obedient, stand(s) the woman waiting with her dilly bag to gather the spoils.” In 1996, Nellie’s daughter, Victoria Kempsey née Walker, happened to visit The Australian Museum and saw the sculpture of her mother, displayed semi-naked in a glass cabinet, alongside glass cabinets of taxidermied animals. She had last seen her mother 62 years previously when Nellie was dying from tuberculosis. Greatly distressed, Victoria wrote to the Museum requesting that they remove the sculpture, which they did. In 2023, a documentary was produced called “Her Name Is Nanny Nellie” which follows the journey of Nellie Walker’s great-granddaughter Auntie Irene Ridgeway discovering Nellie’s story, honouring her life and restoring her sculpture. Irene told Refinery29 Australia that “It was about reclaiming her life, reclaiming her history and who she really was as a real person. She was not a naked and unnamed lady standing in a museum. It's giving them back their families, they weren't just there to be looked at as flora and fauna or as 'natives'." The documentary was written and directed by Irene’s son Daniel King and premiered at the 2023 Adelaide Film Festival and broadcast on NITV. The restored sculpture of Nellie, dressed in 1920s style clothing was displayed at The Australian Museum, Sydney in The Bayala Nura Gallery in 2023. Irene wanted Nellie to be depicted in the way she actually was when she posed for the sculpture in 1925. The other two sculptures were not displayed due to ongoing conversations with family members and the fragility of the sculptures. It is anticipated that they may be displayed in the future. Melbourne born William Beckwith (Bill) McInnes (1889-1939) studied drawing at National Gallery School in Melbourne from the age of 14 under the tuition of artist Frederick McCubbin before succeeding his former teacher as Master of Drawing at the School from 1916-1934. He was acting Director of the NGV and Head of the National Gallery School from 1934. In 1927, Bill and official war artist H. Septimus Power were commissioned to paint the opening of the new federal Parliament House in Canberra. Septimus painted the general scene of the arrival of the Royal entourage in front of Parliament House, while Bill depicted the ceremony inside the Senate chamber. Bill was widely acclaimed for his landscapes and lauded as the heir to great Australian landscape artist Arthur Streeton. He won the Archibald Prize seven times (including the inaugural, a portrait of architect Desbrowe Annear) which made him a highly sought after portrait painter and he earned kudos for his commission to paint the Duke of York. During the breaks in painting the portrait, the pair chatted and Bill was surprised by the Duke’s wide knowledge of Australian affairs. The Duke was particularly interested to hear how the rabbit crisis was being handled. Bill’s work is held in major Australian galleries including the NGV, which has 12 of his paintings in their collection. Bill was married to fellow artist Violet McInnes and they lived at “The Poplars” in Alphington with their six children. Violet painted still life of flowers and portraits. In 1941, she entered her portrait of fellow artist Sybil Craig into the Archibald Prize and in 1945 Violet was appointed an official war artist. Defending his traditional style Bill said “...we in Australia have not been bitten by Cubism or Futurism or other of the “isms”...and I am glad of it”. References: THE DUCHESS OF YORK. (1931, December 7). The Argus (Melbourne, Vic. : 1848 - 1957), p. 8. Retrieved April 3, 2025, from http://nla.gov.au/nla.news-article4427568 WAR NURSE (1930, March 11). The Sun (Sydney, NSW : 1910 - 1954), p. 1. Retrieved April 3, 2025, from http://nla.gov.au/nla.news-article223714728 The Royal Visit. (1927, April 29). The Age (Melbourne, Vic. : 1854 - 1954), p. 9. Retrieved April 4, 2025, from http://nla.gov.au/nla.news-article205813465 Canberra. (1927, April 30). Advocate (Burnie, Tas. : 1890 - 1954), p. 5. Retrieved January 10, 2025, from http://nla.gov.au/nla.news-article68233606 Australian Dictionary of Biography, Nangar, https://adb.anu.edu.au/biography/nangar-33736 Australian Dictionary of Biography, Jimmy Clements, https://en.wikipedia.org/wiki/Jimmy_Clements Wikipedia, George John Noble, https://en.wikipedia.org/wiki/George_John_Noble PARLIAMENT AT CANBERRA. (1927, May 14). The Australasian (Melbourne, Vic. : 1864 - 1946), p. 37 (METROPOLITAN EDITION). Retrieved December 25, 2024, from http://nla.gov.au/nla.news-article140733921 CANBERRA CEREMONY (1927, May 10). The Argus (Melbourne, Vic. : 1848 - 1957), p. 19. Retrieved November 3, 2024, from http://nla.gov.au/nla.news-article3853643 CANBERRA. (1927, May 11). The Argus (Melbourne, Vic. : 1848 - 1957), p. 20. Retrieved November 24, 2024, from http://nla.gov.au/nla.news-article3853897 THE FINAL SCENES (1927, May 11). The Labor Daily (Sydney, NSW : 1924 - 1938), p. 5. Retrieved January 10, 2025, from http://nla.gov.au/nla.news-article236614453 TWIN SONS (1927, May 10). The Sun (Sydney, NSW : 1910 - 1954), p. 11. Retrieved April 4, 2025, from http://nla.gov.au/nla.news-article223616143 National Archives of Australia, Aboriginal [Jimmy Clements, a Wiradjuri elder] on steps of Parliament House (King Billy), https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/ViewImage.aspx?B=3050026 Sydney Morning Herald, The chant of Jimmy Clements: I’ll do the honours on my ground, thanks, https://www.smh.com.au/national/the-chant-of-jimmy-clements-i-ll-do-the-honours-on-my-ground-thanks-20241023-p5kkt5.html MET THE DUKE (1927, May 11). The Sun News-Pictorial (Melbourne, Vic. : 1922 - 1954; 1956), p. 14. Retrieved November 3, 2024, from http://nla.gov.au/nla.news-article275177101 PUBLIC MARCH PAST. (1927, May 11). The Register (Adelaide, SA : 1901 - 1929), p. 11. Retrieved April 2, 2025, from http://nla.gov.au/nla.news-article54271512 A REAL AUSTRALIAN (1927, May 13). The Canberra Times (ACT : 1926 - 1995), p. 12. Retrieved December 18, 2024, from http://nla.gov.au/nla.news-article1213124 THE PEOPLE'S DAY (1927, May 13). The Canberra Times (ACT : 1926 - 1995), p. 3. Retrieved April 3, 2025, from http://nla.gov.au/nla.news-article1213105 KING BILLY" WAS THERE. (1927, May 12). Tweed Daily (Murwillumbah, NSW : 1914 - 1949), p. 2. Retrieved November 27, 2024, from http://nla.gov.au/nla.news-article190193273 A BUSY DAY. (1927, May 11). The Sydney Morning Herald (NSW : 1842 - 1954), p. 15. Retrieved November 3, 2024, from http://nla.gov.au/nla.news-article16374845 Nothing Wrong With Canberra Opening, Says "King Billy" (1927, May 13). The Daily Telegraph (Sydney, NSW : 1883 - 1930), p. 2. Retrieved November 3, 2024, from http://nla.gov.au/nla.news-article245750627 THIS IS MARVELLOUS! (1927, May 11). The Sun News-Pictorial (Melbourne, Vic. : 1922 - 1954; 1956), p. 16. Retrieved December 9, 2024, from http://nla.gov.au/nla.news-article275177155 Mildenhall's Canberra, Royal Visit, May 1927. Canberra citizens passing the Royal Party on the front steps of Parliament House at the Civic Reception 1927 [photograph], https://mildenhall.moadoph.gov.au/rephoto/62 Australian Dictionary of Biography, 1927 - Jimmy Clements, John Noble, and the Opening of Parliament House, https://adb.anu.edu.au/the-quest-for-indigenous-recognition/jimmy-clements YouTube, The Birth of White Australia (1928), amateurish racism on the big screen [Jimmy Clements at 11.12 minutes in], https://www.youtube.com/watch?v=OByX4iPsTgo YouTube, We Were Just Little Boys, https://m.youtube.com/watch?v=u4Hw9d91k2E WASTE AT CANBERRA. (1927, May 20). The South Eastern Times (Millicent, SA : 1906 - 1954), p. 1. Retrieved April 4, 2025, from http://nla.gov.au/nla.news-article200058308 YouTube, Museum of Australian Democracy at Old Parliament House, Whispers in the Corridors-An Aboriginal Presence, https://www.youtube.com/watch?v=fwifXP61M5Y History Snoop, Air Fatality in Canberra Scars an Historic Day in Australia, https://www.historysnoop.com/air-fatality-in-canberra/ YouTube, NFSA Films, The Opening Of Canberra, Australia's Capital City, https://www.youtube.com/watch?v=pOA8llA0iE0 Pauline Conolly, Pudding & Pies at Parliament House, https://paulineconolly.com/2022/pudding-and-pies-at-parliament-house/ THE MENU (1927, May 5). The Sun (Sydney, NSW : 1910 - 1954), p. 13 (FINAL EXTRA). Retrieved April 2, 2025, from http://nla.gov.au/nla.news-article223623278 PROMISING (1927, May 7). The Sun (Sydney, NSW : 1910 - 1954), p. 2. Retrieved December 15, 2024, from http://nla.gov.au/nla.news-article223616208 The Dead King -- His Only Mourner (1927, August 30). The Herald (Melbourne, Vic. : 1861 - 1954), p. 6. Retrieved November 3, 2024, from http://nla.gov.au/nla.news-article244196114 The VOICE of the CITY (1927, August 31). The Daily Telegraph (Sydney, NSW : 1883 - 1930), p. 4. Retrieved December 26, 2024, from http://nla.gov.au/nla.news-article246406061 THE LAST OF HIS TRIBE. (1927, September 2). Bairnsdale Advertiser and Tambo and Omeo Chronicle (Vic. : 1882 - 1946), p. 6. Retrieved December 24, 2024, from http://nla.gov.au/nla.news-article269318935 GONE WEST. (1927, September 17). The Irwin Index (Mingenew, WA : 1926 - 1956), p. 1. Retrieved December 23, 2024, from http://nla.gov.au/nla.news-article251554113 King Billy Dead. (1927, September 10). The Port Macquarie News and Hastings River Advocate (NSW : 1882 - 1950), p. 5. Retrieved December 1, 2024, from http://nla.gov.au/nla.news-article112534982 DEATH OF KING BILLY OF CANBERRA. (1927, September 16). Huon Times (Franklin, Tas. : 1910 - 1933), p. 5. Retrieved December 23, 2024, from http://nla.gov.au/nla.news-article136428435 OLD KING BILLY. (1927, September 19). The Sydney Morning Herald (NSW : 1842 - 1954), p. 5. Retrieved November 19, 2024, from http://nla.gov.au/nla.news-article16404722 "Marvellous" is Dead. (1928, March 30). The Gundagai Times and Tumut, Adelong and Murrumbidgee District Advertiser (NSW : 1868 - 1931), p. 2. Retrieved December 8, 2024, from http://nla.gov.au/nla.news-article122748136 LAST OF LACHLAN RIVER TRIBE (1926, May 3). Evening News (Sydney, NSW : 1869 - 1931), p. 7. Retrieved December 18, 2024, from http://nla.gov.au/nla.news-article117289515 Coal Strike Effects (1926, June 11). The Daily Telegraph (Sydney, NSW : 1883 - 1930), p. 14. Retrieved November 30, 2024, from http://nla.gov.au/nla.news-article245759732 SBS On Demand, Her name is Nanny Nellie, https://www.sbs.com.au/ondemand/movie/her-name-is-nanny-nellie/2300137539512 The Australian Museum Magazine, Vol. 2, No. 11, July-Sept 1926, The Wunderlich Aboriginal Group, https://shorturl.at/uViTe ABC News, King Billy and Marvellous were not invited to the 1927 opening of Parliament House — but that didn't stop their fight for sovereignty, https://shorturl.at/HGpjC Museum of Australian Democracy at Old Parliament House, The thieving diva: behind the scenes of the opening ceremony at Parliament House, https://www.moadoph.gov.au/explore/stories/heritage/the-thieving-diva-behind-the-scenes-of-the-opening-ceremony-at-parliament Refinery29, Beyond a museum glass case: one First Nations woman's quest to reclaim her ancestors' story, https://www.refinery29.com/en-au/my-name-is-nelly-documentary-irene-ridgeway-interview Sydney Morning Herald, Why it took 100 years to restore the dignity of Nanny Nellie, https://www.smh.com.au/national/why-it-took-100-years-to-restore-the-dignity-of-nanny-nellie-20230719-p5dpjo.html Australian Museum, Meeting Nanny Nellie, https://australian.museum/publications/explore_summer2024/nanny-nellie/ ABORIGINES. (1926, July 1). The Sydney Morning Herald (NSW : 1842 - 1954), p. 14. Retrieved November 29, 2024, from http://nla.gov.au/nla.news-article16302447 Wikipedia, Kinchela Aboriginal Boys Training Home, https://en.wikipedia.org/wiki/Kinchela_Aboriginal_Boys%27_Training_Home Art Gallery NSW, Harry Marsh by Rayner Hoff, https://www.artgallery.nsw.gov.au/collection/works/59.2000/ Art Gallery of South Australia, Lion (produced for the Holden Motor Company) by Rayner Hoff, https://www.agsa.sa.gov.au/collection-publications/collection/works/lion-produced-for-the-holden-motor-company/27253/ Wikipedia, William Beckwith McInnes, https://en.wikipedia.org/wiki/William_Beckwith_McInnes DUKE OF YORK PORTRAIT UNIVEILED IN CASTLEMAINE GALLERY (1933, December 4). The Sun News-Pictorial (Melbourne, Vic. : 1922 - 1954; 1956), p. 18. Retrieved April 4, 2025, from http://nla.gov.au/nla.news-article276125581 Castlemaine Art Museum, Portrait of His Royal Majesty the Duke of York, https://collection.castlemaineartmuseum.org.au/objects/181/portrait-of-his-royal-majesty-the-duke-of-yorkPhotographer notations on slide: "Portrait of Duke of York by W.B. McInnes 1933 B4".1930-1939, aboriginal culture, royal visits, openings (events), sculpture, land rights, museums, museum displays

Item issued to Eric MacCALLUM No VX41169, (born Scotland, enlisted Caulfield) on 26.6.40, 2/32nd Batt 9th Div AIF, age 31 years 9 months, promoted Cpl 6.8.1940, embarked 15.9.1940 for the Middle East, hospital 25.11.1940 with Haemorhoids, rejoinn unit 17.12.1940, attends Mortar and Grenade schools, hospital 16.8.1941 with PUO, taken POW 17.2.1942 at El Alamein. He served in the Seige of Tobruk, Middle East Campaigns. As a POW it appears he was interred from 1942/43 in Italy then 1943/45 in XV111Austria. He describes his conditions in the camps as fair and that he worked on road works. This is a brief description as to his treatment in his records. Embarked from England 4.7.1945 and disembarked in Sydney on 8.8.1945. Discharged from the 2nd AIF on 12.9.1945.Canvas Kit bag with stenciled name and details on side and base.In handwritten lettering - "B2 - RZABL- Q" Stencilled - "VX41169 E. MacCallum"containers, military equipment

Calico oat bag with graphic image on front showing three bears holding porridge bowls with yellow background and (faded red), white and black text. Back of bag shows an image of a Dutch Girl wearing a green dress, yellow and green check apron, white Dutch Hat and yellow clogs. IFront: Look out for further Designs of New Doll Cut Outs on all McKenzie's "Three Bears" Rolled Oats and Oatmeal Bags. THREE BEARS PORRIDGE / ROLLED OATS / SOMEBODY'S BEEN TASTING MY PORRIDGE AN' THEY'VE EATEN IT ALL UP / 7 LBS.NETLOOKOUT Back of bag: Insgtructions for making DUTCH GIRL- cut around outline of design, place both patterns face to face, stitch around the outline leaving open down the side of the dress for filling; cut notches, turn right side out, then fill with suitable filling. Sew down side of dress when filled. Copyrights and Patents Applied for - No 2272/1936 In order to complete this Doll it will be necessary to obtain the Back Design from another Bag of "Three Bears" Rolled Oats or Oatmeal. mckenzie, rolled oats, porridge, three bears, calico

The USB is a copy of a 16mm format film labelled TATURA LAGER 1942 with the name G RUFF on it. This nine minute film shows three folk dances performed by young girls at the Temple Society during their internment in Camp 3 Tatura, Victoria. Copy given to the Museum by Doris Frank when the Templers visited the Museum in November 2022 for a Templer reunion.HistoricPink covered USB with black writing on front. In a glad bag. Also sheet of paper with the story of the folk dancing.Camp 3 Folk Dancing 194216 mm film, tatura lager 1942, g ruff, camp 3 tatura, folk dancing, templers, usb, doris frank

The evening bag belonged to Miss Love who bequeathed it to Catherine Primrose Mary Mactier (nee Wilson). Miss Love died in 1950 aged 88 years.Crocheted lime green with a white metal clasp and chain. Embroidered with white metal beads in a circular pattern front and back, Beading on lower edge.

used by POW's at camp 13, made by Albert Jahn, an internee.Carved wooden miniature chess set (31 pieces). 2 kings, 2 queens, 4 bishops, 4 knights, 4 rooks, 15 pawns. A khaki bag with a draw string top for storage. 15 pieces made of dark coloured wood. 16 pieces made of light coloured wood. (1 piece missing)albert jahn, chess set, miniature chess set, pow games, internment camp board games