In 1949 the HELLENIC PRINCE with its 3 hospitals, 2 cinemas, and air conditioned accommodation was chartered by the International Refugee Organisation to transport displaced persons from Europe to Australia. Its first trip was to Sydney where it arrived with 1000 passengers on 5 December 1949. On the third trip it left Naples on 23 March 1950, and arrived in Fremantle on 20 April 1950, and in Melbourne on 25 April 1950. The men and women were separated for the voyage with my father sleeping on a hammock in a large room with other men, while my mother, my brother, and I had bunks in a shared cabin. On board were displaced persons ex Bagnoli Camp Italy, some of whom later built their bungalows on the grassy and rocky paddocks near Sunshine Victoria, and began to establish a new life in a new country. A few of the families that arrived on the third trip and purchased land in the Dunkeld Ave - Sandford Ave area of North Sunshine (Birmingham Estate) were Janczak, Kolanowicz, Mroz, Pawlak, Rasztabiga, Skrobalak, Szydlowski, Witkowski, and Zielinski. Some friends settled elsewhere in Sunshine. The family Tabaka went to West Sunshine just over the Derby Rd Bridge, while the family Wojcik went to Ardeer. The ship first started service in 1929 for the Royal Australian Navy as the HMAS ALBATROSS. It had a standard displacement of 4,800 tons and was 443 feet 7 inches (135.2 metres) long, and its top speed during trials reached 22 knots (41 km/hr). It was built at Cockatoo Island Dockyard as Australia's first Aircraft Carrier (seaplanes), but the aircraft that it was designed for were retired just before the ship went into service. A new plane specifically designed to work with the Albatross began operations after the ship was decommissioned in 1933, and placed into reserve in Sydney Harbour. Seaplanes continued to operate from the anchored ship. (Click on the Link 'HMAS Albatross (1)' situated above the Object Registration number to view pictures of the HMAS Albatross on the Navy web site). In 1938 the ship was recommissioned and transferred to the Royal Navy as part payment for the light cruiser Hobart. The ship then did military service for the Royal Navy during World War 2. It did patrol and escort duties in the southern Atlantic, and from mid 1942 in the Indian Ocean. By early 1944 the ship was converted so that it could repair landing craft and other support vessels off Sword and Juno beaches. The ship managed to return 132 craft into service and to save 79 others from total loss. On 11 August 1944 Albatross was torpedoed with the loss of either 50 or 66 personnel, but was able to be towed back to Portsmouth. After repairs she did a short service as a minesweeper depot ship, and following that was placed into reserve on 3 August 1945. In August 1946 the ship was sold for commercial use but the plans to convert it into a luxury liner or a floating cabaret fell through. The ship was again sold on 14 November 1948 to the British-Greek Yannoulatos Group, who renamed it HELLENIC PRINCE in recognition of the birth of Prince Charles and his Greek heritage. After conversion into a passenger ship the Hellenic Prince made several trips to Australia transporting displaced persons, however apparently not all trips were pleasant for the passengers. In the on board newsletter 'Kangaroo' dated 5 January 1951, the ship's master P. C. King expressed his indignation about the behaviour of passengers and made accusations of mutiny. According to some immigrants the conditions were appalling and overcrowded with 1200 passengers. Passengers were supposedly required to work and were paid with Woodbine cigarettes. The drinking water ran out, the freezer broke down, and fresh food that was brought on board went to the crew. Sea sickness was rife because the ship was rarely level due to malfunctioning pumps. (The newsletter 'Kangaroo' can be viewed at the Museum Victoria web site by clicking the Link 'Newsletter - Kangaroo'). In 1953 during the Mau Mau uprising the Hellenic Prince was used to transport troops to Kenya, and in 1954 the ship came to an end in a scrap yard at Hong Kong. THE ABOVE INFORMATION WAS COMPILED FROM; (1) http://en.wikipedia.org/wiki/HMAS_Albatross_(1928) (accessed 11/2/2013), (2) An article by Graeme Andrews found at http://www.afloat.com.au/afloat-magazine/2011/july-2011/The_boat_people_of_the _forties_and_fifties#.UuYY6ou4apo (accessed 27/1/14), (3) http://museumvictoria.com.au/collections/items/273166/newsletter-kangaroo-hellenic-prince-5-jan-1951 (accessed 27/1/14), (4) National Archive search starting at; www.naa.gov.au/collection/search/index.aspx (accessed 27/1/14), (5) http://www.flickr.com/photos/[email protected]/3864781978 (accessed 29/1/14). Hellenic Prince has a significance to Sunshine Victoria because some of the displaced people from Europe, who arrived in Melbourne on Anzac Day 1950, were among the first people to settle in the grassy and rocky paddock areas of North Sunshine. These settlers established a residential suburban area out of the paddocks. In those early days there were no services and the planned roads were basically just drawings on a map. The ship is also significant because it was named in recognition of the birth of Prince Charles. In the ship's former life as the HMAS Albatross the significance is that it was built in Australia as our country's first Aircraft Carrier (seaplanes).New photograph made from a scanned copy of a circa 1950 Post Card featuring the ship on calm water.Hellenic Prince / Hong Konghellenic prince, migrant ship, displaced persons, refugees, international refugee organisation, bagnoli camp, hmas albatross, yannoulatos group

Many displaced people who migrated to Australia after World War 2 brought similar tubs with them as part of their luggage. The tubs were valued by the migrants because they were used for washing clothes and other laundry items, and for bathing children and even adults. The tub in our possession was brought out to Australia in 1950 by the Pierzak family who eventually settled in North Sunshine, Victoria. The following story about the Pierzak family has been provided by the daughter Halina Wlodarczyk (nee Pierzak). The father Stanislaw Pierzak was born on the 26th of July 1916 in Zbrza, and the mother Teodozja (Teodozia) Szalas on the 5th of March 1919 in Goleciny, both villages in the Kielce district of Poland. In 1940 they were both taken by the German Army to work as slave labour on farms in Germany. Stanislaw worked in the Saxonia area and Teodozja near Dillingen. The work was hard, and when Teodozja contracted pneumonia she was told that she would not be given any food if she did not work. After the war the displaced persons, as they were called, were settled in various barracks and camps organised by the United States Army. Stanislaw and Teodozja married in Gablingen, Bavaria, Germany, and Halina was born in the camp at Gablingen in 1949. The displaced people were given the choice of several countries if they wanted to migrate from war torn Germany, and so the Pierzak family chose Australia. The Pierzak family set sail from Naples, Italy aboard the ship General M. B. Stewart and arrived in Sydney on the 17th of April 1950. The men and women had to stay in separate quarters, and many passengers were so sick that they did not think they would survive the journey. In Australia they lived in migrant camps in NSW at Bathurst, Orange, Parkes and Cowra. To pay off their fares to Australia migrants were required to work under contract for 2 years. Stanislaw Pierzak worked in Broken Hill NSW returning to visit his family every 3 to 4 months. The son John was born in the Red Cross building at the Parkes camp in 1952. In 1953 the whole family moved to Melbourne and lived in a converted garage in Victor Street, North Sunshine. In 1954 the family bought a bungalow on a block of land in Compton Parade, North Sunshine, where eventually they built a house. Stanislaw Pierzak worked at Steelweld in Ashley Street, Braybrook travelling there on his bicycle, while Teodozja Pierzak found work at Smorgon in West Footscray. Stanislaw and Teodozja Pierzak lived in North Sunshine for the rest of their lives, and Mrs Pierzak always said that Sunshine was the best place in the world.Tubs like this which belonged to displaced people were highly valued possessions and are of historic significance. They were brought out to Australia after World War 2 by many migrating displaced families. The tubs were used for washing activities in the camps in Germany, and the migrant camps in Australia, and also when people lived in bungalows in Australia before they built houses with laundries and bathrooms.Oval shaped galvanised iron tub with two rigid handles, one at each end. The top of the tub is larger than the base. The galvanising is deteriorating in some parts which show a whitish appearance. There are some small dents, and a few chips in the galvanising where surface rust has appeared.The number 70 is stamped on both sides.washing tub, galvanised tub, laundry, bath, displaced persons, immigration, general m. b. stewart, galvanized tub, pierzak, galvanised wash tub

Public art commission located at Progress Park on the Black Rock Foreshore.beacon, sculpture, faustas sadauskas, bayside coastal trail, marble, public art, black rock, foreshore, beach road, progress park, ship, rudder

it was given by Red Cross to the Polish family with one child in the displaced persons camp in Paderbonn, Germany, 1950 prior to migration to Australiaone of a few items of this kind which has survived to present daysglass"made in USA 3 A 45" mark on the bottom of the bottlebaby milk bottle, refugee, red cross

this item belongs to the Polish family; it was home made in the displaced persons camp in Paderbonn, Germany; the family arrived in Australia in 1950 and settled down in Melbourneone of a few items of this kind which has survived to present dayssteel, sharp perforations, rustedgrater, migration, displaced person camp

The Polish born artist, designer and filmmaker, Stanislaus Ostoja-Kotkowski (1922-1944), who arrived in Melbourne in 1949 on the 'Fairsea', a ship carrying displaced persons from Europe and the Baltic States. He sought employment in architectural and design practices, and also enrolled in classes at the National Gallery School. From 1952 until 1953 Ostoja-Kotkowski had a brief, but productive, period working as a designer in the Prestige Fabric Design Studio in Melbourne. Ann Carew, 2017The textile design has aesthetic significance as an example of the early Australian work of noted emigre artist, designer and filmmaker, Stanislaus Ostoja-Kotkowski, and it has historical significance for its association with the Prestige's Textile Design Studio, and the studio's art director, Gerhard Herbst. Small sample of pale green rayon fabric with a bold, repeating geometric pattern printed in black and white.emigre, polish, design, textile design, rmit design archives

This book provides in chronological order the development of the Kiewa Hydro-electricity scheme from the first concept (1911) to final construction work (1961). It covers the first attempt to utilise the power of the Victorian Alps water system. It started from a private syndicate and developed to the current State Electricity Commission of Victoria. The incentive for the Hydro scheme was to make money and not as an alternative to the carbon producing coal fired power plants. These coal fired power plants were increasing in numbers to service an ever increasing demand made by population expansion, especially in cities and large rural settlements. This demand spiraled up after World War II when there was a tremendous spike in immigration numbers due to refugees and displaced persons in Europe. The ability to utilise the untapped water provided by the winter snow fields, for a higher yield in electricity, was a powerful incentive to overcome the physical hardships in this remote Alpine region. Future power requirements may initiate the re-installation of the other two power stations(Pretty Valley and Big Hill) covered in original Scheme. This publication not only covers the development of the Kiewa Valley region with respect to population (within a socio-economical framework) but also the subtle but yet strong physical changes of a relatively pristine alpine region. The demands that an ever growing regional population places on the environment is clearly documented in print and black and white photographs. The working and living conditions of those who constructed and gave life to this hydro scheme is well documented in this book. It may be viewed as spartan now but was relevantly good at that moment in time, especially for those workers fleeing a devastated European environment. The successful planning and consideration to minimising any intrusion upon the natural alpine forests and high plains can viewed as an example (compared to the Tasmanian Hydro schemes) of how future hydro schemes (an inevitable requirement) will proceed. Most rural towns (in the early 1900s) were built by unencumbered rural based citizens, with the exception of Mount Beauty and Falls Creek. These two settlements were brought into life by a State (Victorian) Authority for a specific function and program. They were a gated community, that is, only open to construction workers involved with the hydro scheme. All facilities within these communities were provided by the State Electricity Commission of Victoria. The impact on the social, financial and individual independency of the community, by the transition from the S.E.C .environment to one of local government (Shire of Bright), had in some cases a severe impact.This hard covered book has a green cover with pictures on the front and back covers. The front cover has a coloured picture of a snow covered Mount Bogong taken from the opposite mountain range. The valley between both ranges has a whisk of mist over it. At the bottom of this picture are three black and white photographs covering the construction of the Kiewa Hydro - Electricity Scheme. On the back cover is a photograph, (black and white) detailing the Bogong village and Junction dam containing lake Guy. The inside front cover is a black and white photograph which details the construction of the West Kiewa tailrace tunnel during April 1951. The inside back cover is a black and white photograph of the concrete pour at the Clover Dam circa 1952. All photographs and sketches are in black and white. The pages are approximately 160 g/m2 and those which have photographs are on gloss paper.Book spine: "The Kiewa Story Graham Napier Geoff Easdown" alongside this is a white framed circle with white spokes radiating out and underneath in white lettering SECkiewa valley, hydro scheme, victorian alpine region, electricity generators, graham napier, geoff easdown

In 1955 the Polish Community in Chile wanted to Commemorate the 10th Anniversary of the ending of the 2nd World War but, since it was not a happy occasion, as Poland had been betrayed and placed in the Soviet sphere of influence, they chose to create a Pennant with a plea for the Patron Icon of Eastern Poland - Our Lady of the Sharp/Morning Gate (Matka Boska Ostrobramska/Zaranna) in Vilnius (Wilno) - to give them a new Miracle on the Vistula, in reference to an epic battle which took place on 15th August 1922 on the banks of the Vistula (Wisla) River in which the Polish troops defeated the Soviet Army and turned back the march of Communism to the West. This particular Pennant was purchased by Stanislawa Zamecznik (nee Zakrzewska), while living in Chile after deportation from her birth place in Sianozatki near Bychov (Bychow) to Schweningen in Germany from which they emigrated to South America as Displaced Persons. It was brought to Australia when the Zakrzewski Family emigrated from Chile in 1956, first to Port Augusta and then subsequently to Sydney.It is significant in that it tells the story of the aspirations of the Polish Diaspora displaced from it's Homeland in the Kresy Region and scattered throughout the World, including the Americas and Australia.Pennant of red cloth with screen printing in white, mustard yellow and black hung on copper wire with gold cord Front: Polish inscription "KROLOWO POLSKI / BLAGAMY CIE O NOWY / CUD NAD WISLA / SANTIAGO DE CHILE / 15.VIII.1955" Back: Spanish inscription "LA CASA DE BANDERIN AHUMADA 61"polish pennant polski proporczyk orzel eagle matka boska ostrobramska zaranna our lady of vilnus santiago chile cud nad wisla miracle on the vistula

This suit was tailor-made for Latvian dancer, choreographer and dance teacher Vija Vetra, who lived at the Old Hall, 93-95 Bay Street, Brighton and ran a dance academy at 97 Bay Street during the late 1950s and early 1960s. Born in Riga, Latvia in 1923, at the age of sixteen Vija ran away from home in order to study classical, character and modern dance at the Vienna Academy of Music and Performing Arts. She spent several years performing on European stages. When Latvia was annexed by the Soviet Union in 1944, more than 100,000 Latvians fled, seeking refuge in neighbouring countries. Vija's sister, mother and aunt were among them, managing to join her in Vienna. The following year, all four had to flee again when the Soviets moved into Austria. Escaping to Bavaria, they spent three years in displaced person camps before emigrating to Sydney as refugees in 1948. Vija found success as a dancer in Sydney. She toured Australia and New Zealand with the Bodenwieser Ballet, formed a Latvian folk dancing group and established a dancing school. By the mid-1950s she had gained recognition as a recitalist in her own right. She developed a passion for Indian classical dance. In the late 1950s she moved to Victoria. She opened a dance school in Bay Street, Brighton, while continuing to perform on stage in productions such as the musical 'Kismet' and the ballet 'Corroboree'. In 1959 she starred in the four-part live ABC television program 'Music and Dance'. She left Australia in 1964 for a tour of the United States and Canada, ultimately settling in New York City. Interviewed in the 'ABC Weekly' in 1957, Vetra described her taste in clothing as minimalist, saying she preferred to own as few clothes as possible to save the trouble of deciding what to wear: "And no bows or extravagances, but always a simple line."Two-piece women's suit made of maroon corded silk; comprising fitted jacket (.1) and straight skirt (.2). Jacket fastens with one large black faceted glass button. Jacket lined with pink satin; skirt unlined. vija vetra, migration, brighton, refugee, dancer, 1940s

This pair of milk bottles, produced for the Model Dairy in Cotham Road, Kew, were donated by Vik Sabaliauskas. They belonged to his father who worked at Model Dairy in the 1950s and 1960s. Vik wrote about his father: "As for my father, his whole life story is interesting. He was part of the big immigration program after WW2. He was a displaced person in Germany like lots of others who came out looking for a new life. Our family name is actually SABALIAUSKAS which is of Lithuanian descent. My Dad was also named Vik (Viktoras). He was known as Big Vik and I was little Vik. He arrived in Australia in 1947 and then did his 2 years of work organised by the Government and then he came to Melbourne. We lived in Tyler St Preston and he rode his pushbike to and from Kew every working day for years. In my estimation that was about 13 kms for about 6 or 7 years. Imagine that happening today. Freezing Winter mornings and hot Summer afternoons. His English was poor but he had a great work ethic like all European immigrants. His duties related to maintaining and operating all the machines. One story that he told me about was that after I was born (in 1959) he made friends with one of the drivers who delivered milk to the dairy. He asked him to get a container of milk from the farmer everyday which was just for me. I remember going to the Model Dairy Family Christmas parties which were always well patronised. I also remember visiting him in the PANCH Hospital (Bell Street Preston) where he was treated for kidney stones caused by drinking very creamy milk. He wasn't happy when he was told by the doctor to cut back on milk. My Dad was one month short of his 95th birthday when he died and he lived a pretty healthy life." (2019)Kew was a major milk producing district in the Nineteenth and early Twentieth centuries, with three major dairy farms lining the Yarra between Studley Park in the west and Burke Road in the east. In addition to these dairy producers, there were also a number of accredited dairy retailers in the suburb. The largest and most enduring of these was the Model Dairy founded by the Kew pioneer James Venn Morgan. Milk bottles that include the name of the producer or retailer are historically significant as they represent a period in Kew's history before the mass production of milk in the second half of the Twentieth Century. A number of these named bottles have the additional attribute of rarity.Pair of plastic milk bottles, designated on the front as to be used in the refigerator on on picnics. One bottle has a red screw on lid and the other a green lid. The bottles are semi-transparent. [The record also includes a photograph of Vic Sabaliauskas, provided by his son. The photograph dates from the period when he was employed at the Model Dairy].Impressed on the front of both bottles: "Unbreakable picnic and refrigerator bottle made expressly for Model Dairy Pty Ltd Cotham Rd Kew"dairies - kew, model dairy - cotham road - kew (vic)

A hair fashion accessory for 20thCentury ladies. Plastic is a material consisting of any of a wide range of synthetic or semi-synthetic organics that are malleable and can be moulded into solid objects of diverse shapes. Due to their relatively low cost, ease of manufacture, versatility, and imperviousness to water, plastics are used in an enormous and expanding range of products. They displaced many traditional materials, such as wood, stone, horn and bone, leather, paper, metal, glass, and ceramic, in most of their former uses including jewellery. Parkesine is considered the first man-made plastic. The plastic material was patented by Alexander Parkes, In Birmingham, UK in 1856.The world's first fully synthetic plastic was bakelite, invented in New York in 1907 by Leo Baekeland who coined the term 'plastics'. After World War I, improvements in chemical technology led to an explosion in new forms of plastics, with mass production beginning in the 1940s during World War 11 due to shortages of silk and ivory.A plastic, tortoise shell pattern, lady's hair-comb in the mantilla style with diamante decoration.hair fashion, hairdressing, coiffure, plastic, personal effects, jewellery, moorabbin, bentleigh, cheltenham, early settlers, world war 1 1914-1918, world war 11 1939-1945, silk, ivory, bakelite,

Carnation Corn Caps Tin painted predominantly in white, with red, green and black text and illustration of carnation flower. Has hinged lid.Printed on the lid in ink 'CARNATION / CORN CAPS / No proprietary rights are claimed in / the manufacture of this preparation / AN EFFICIENT AND PAINLESS CORN REMOVER' Verso, printed in black ink: 'CARNATION CORN CAPS. / Reg. Vic. 4802. When firmly affixed these caps cannot be displaced from their proper position. Simply apply the red cap over the centre of the corn and fix firmly with the straps; the red circle relieves boot pressure. After three days the corn may easily be removed. / Active ingredient Ac. Salicyl 40% in Ointment Base. On the front side of the tin's lid: 'MUIR & NEIL PTY. LTD., SYDNEY & MELBOURNE' On the back side of the tin's lid: 'CUXON, GERRARD & CO. LTD.'personal effects, health, carnation corn caps

This photograph was taken by Karl Duldig when he and Slawa visited Slawa's sister Rella Laisne in Paris in 1968. They went to Paris as part of a world trip on the occasion of the unveiling of Karl's sculptural monument, Dawn, at the Maccabiah Village, Ram Gat, Israel. Commissioned by Hakoah and World Maccabi Union his monument commemorates the sportsmen and women of Hakoah Sports Club who were among the victims in the Holocaust. Karl had played for Hakoah in his youth. This is one of a large collection of photographs taken by sculptor Karl Duldig, documenting his art, life and family. The collection is of historical and aesthetic significance as a personal record of the work, cultural and social milieu of an Austro- Australian sculptor and his family from the early to late 20th century. it is also a record and representative of the experience of those people who came to Australia at this time, displaced by the upheavals of the Second World War.

This work pays homage to Solomon J. Solomon’s Ajax and Cassandra. Andrew Potter’s painting tells of the subsequent event. Cassandra is undoubtedly a Trojan War casualty, symbolizing the personal pain of widows and rape victims. The flow of the fabric is the allegory of bloodshed, while the empty jar suggests displacement of refugees. Cassandra’s body, as mother earth, is a metaphor for the peaceful landscape that is desecrated by acts of war. The artist uses these iconic figures to exemplify and demonstrate why peace is always better than war. This work was awarded second prize in the 2009 Lucato Peace Prize. During that year Andrew Potter was undertaking the first year of a Bachelor of Visual Arts (Fine Arts) at the University of Ballarat’s Arts Academy. This item was runner up in the Lucato Peace Prize, and is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Painted canvas depicting a naked woman lying on the round beside a glass jar.art, artwork, andrew potter, potter, lucato peace prize, mythology, available

non-fictionIn this book the author discusses the effects of one-time Minister for Immigration Arthur Calwell's approach to chose fair-haired people from the Baltic countries to persuade Australians to accept non-British migrants who were housed at Bonegilla.bonegilla migrant reception centre., arthur calwell, immigration australia, bonegilla, post-war immigration policy