Tactile map of Australian states and territories, as well as various countries and islands in the South Pacific region, including Papua New Guinea, Indonesia and the Malay peninsula. 1 paper map with tactile metal markers in red and brown framesqueensland braille map and model club, r.f. tunley

Illustrated book with dustjacket. Book is bound in front cover, with image of a Polynesian mask embossed on the front. Title, author's and publisher's names are stamped in gilt on spine. Front cover of dustjacket has a black and light brown illustration of a raft at sea, along with title and author's name printed in white. The spine has similar information plus publisher's name in light brown print along with another illustration of a raft and a Polynesian mask. The back of the dust jacket (again in black and light brown) is a route map and labeled diagram of a raft (the Kon-Tiki) non-fictionThe story of a daring voyage by the author and five companions on board a primitive raft from the coast of Peru to the Pacific Islands. Mr. Heyerdahl was convinced that the original Polynesians had come by sea from South America, and to prove that such a voyage was possible at that remote period, he and his party built the 'Kon-Tiki', similar to the rafts then used and embarked on it. After a voyage full of danger, but packed with interest they reached the islands where the Kon-Tiki was recked on a coral reefthor heyerdahl, kon-tiki expedition, ethnology-polynesia, ahnl

Booklet. ALEC H CHISHOLM COLLECTION. 30 page booklet about the meanings of 2000 Australian aboriginal words by H. M. Cooper, Assistant in Ethnology at the South Australian Museum. Published in 1949 by the South Australian Museum and printed by K. M. Stevenson, Govt. Printer, Adelaide. Catalogue sticker ''2236 COO'' on front cover.H. M. Cooperbooks, collections, ethnology, alec h chisholm collection, h.m.cooper, aboriginal words, ethnology

Brochure from the Peabody Museum of Salem, Massachusetts, dated 1934.Photo of the building on the front of the brochure. Founded in 1867. Brochure contains notes on the Entrance Corridor, Marine Room, John Robinson Hall, Academy Hall Corridor, Hall of Natural History, Hall of Ethnology and the Weld Hall. The back page contains a list of the Trustees and Officers.sciences, instruments - general, scalebuoy, bill ashman collection - correspondence, peabody museum of salem, george peabody, elihu thomson, william c endicott, richard whetland, francis h appleton, john c phillips, ward thoron, dudley l pickman, frank w benson, warren k moorhead, george a vickery, lawrence w jenkins, albert p morse, stephen w phillips, william e northery, s gilbert emilio, miss jessie s ives, j russell treadwell, john w stromberg, albert f hall, dr charles goddard weld

The outrigger gives greater stability and seaworthiness to the canoe. Outrigger canoes were originally developed by the peoples of the islands of Southeast Asia for sea travel, and were used to transport these peoples eastward through to Polynesia and New Zealand more than 2000 Years ago. Today they are still in use. This item possibly came to Orbost with Reverend Alexander Morton . Morton was the minister at the Presbyterian church about 1890. He had spent time in new Hebrides and went on to New Zealand.This item is an example of a handcrafted artefact from the New Hebrides.Detailed model of an outrigger canoe from the Polynesian islands. It isa handmade wooden (possibly breadfruit wood) model of an outrigger canoe - one outrigger attached to the main hull. Bound with string. It has two wooden paddles.handcraft morton-alexander model-outrigger-canoe

The Japanese government-issued Oceanian Pound was one of several issues of Japanese invasion money used during World War II. Consisting of only four denominations, the Oceanian Pound was the shortest set (i.e., total number of denominations) issued. Geographically, the region of Oceania comprises numerous islands across the vast South and Central Pacific which includes the islands of New Zealand.[1] Certain descriptions may or may not include Australia.[2] Oceania has also been defined by island groupings: Melanesia, Micronesia, and Polynesia.[1][3] However, from a numismatic perspective (i.e., the issuance of Japanese invasion money), Oceania consisted of the occupied territories of Guam, Gilbert and Ellice Islands, Caroline Islands, Marianas Islands, Solomon Islands, Palau, and the now defunct Territory of New Guinea.[4] [5] Although officially called "Oceania" the region was considered a financial and currency union under Japanese colonial dominion that included several political jurisdictions rather than a single polity.A blue coloured paper note with picture of fruit and an island beach on the front.On the front reads "Japanese Government One Shilling" and on the reverse the number 1. On the front in red are the letters "OC".money, paper, currency, japanese, wwii, japan, oceania, shilling, one, occupation, japanese government, blue

Karl Duldig carved this marble sculpture of a mask in the Vienna Kunstgewerbeschule (School of Applied Arts) in 1921. His teacher, Anton Hanak, the Professor of Sculpture at the School, encouraged him to carve directly into the stone. It was an accomplished work for the 19 year-old student and was selected by Hanak to represent the students of the School at the Deutschen Gewerbeschau (German Applied Art exhibition) in Munich in 1922, an early accolade for the young artist. The sculpture and another Kneeling Nude were reproduced in the journal Deustche Kunst and Dekoration in 1923-24 in an article on the Hanak-Klasse. In 2011 Mask was exhibited in the National Gallery of Victoria exhibition Vienna: Art and Design. The sculpture is one of ten substantial sculptures in marble and stone, and a larger group terracotta sculptures and masks, portrait busts and small stone sculptures created by Karl Duldig in Vienna that are held in the Museum collection. These art works are complemented by an archive of contemporary documents including letters, photographs, documents and ephemera. In 1938 Duldig’s Viennese sculptures were sent to Paris in 1938 for a proposed exhibition, and were hidden in Paris by Slawa Duldig’s sister Rella, throughout the Second World War, and arrived in Australia post-war over 5 decades. Karl Duldig was a student of the Kunstgewerbeschule from 1921 until 1925, and then attended the Akademie Der Bildenden Künste (Academy of Fine Arts) from 1929 until 1933. He was accepted into the Professor Josef Mullner’s “Meisterschule” at the Academy of Fine Arts from 1929 until 1933. His teacher at the Kunstgwerebeschule was Austria’s foremost contemporary sculptor Anton Hanak, and he was a formative influence on Duldig’s work. Hanak had been a member of Viennese Secession, and worked with Josef Hoffman on architectural commissions prior to the First World War. Hanak shared both his love of the expressive quality of materials and a humanist vision with his students. Various writers have written about Duldig’s interest in masks. His interest may have been stimulated by his classical education, the Greek and Roman antiquities in the Kunsthistoriches Museum in Vienna, or the ethnological collections in Vienna’s Museum of Ethnology (now known as the Weltmuseum). The mask was a motif explored by expressionist and cubist artists whose work was exhibited at the Vienna Secession. Duldig would have been familiar with the psychological investigations of the neurologist and founder of psychoanalysis Sigmund Freud, who established his practice in Vienna. In the Duldig Studio library, Duldig’s keen interest in the arts of a myriad of visual cultures is apparent. Of particular note are two well-thumbed copies Rudolf Utzinger’s, Masken, published by Ernst Wasmuth in Berlin in 1923, depicting masks from around the world. It is likely that a multitude of influences were at play. Slawa Duldig also worked with this motif, and also carved a smaller mask in Salzburg marble as well as a remarkable mask in clay, and these are held in the collection. Ann Carew 2016The Mask has national and international aesthetic significance. It is one of the earliest works by Karl Duldig in the Studio collection, and is a subject that he would continue to explore throughout his working life. The sculpture demonstrates a high degree of technical skill and mastery at an early age. It is evidence of Duldig’s engagement with the art of his peers during this period – the mask is a motif that inspired contemporary expressionist and cubist artists. It also demonstrates his interests in portraiture, human psychology, and the creation of identity and transformation of personalities. The Mask also provides an important link to the studio practice in the Vienna Kunstgwerbeschule, the teaching of Anton Hanak, and the program of international art exhibitions in Europe during the period. It is also of historical significance: the story of its survival and eventual recovery provides a counterpoint to the story of the Nazis’ confiscation of art during the Second World War. Ann Carew 2016Carving in Salzburg Marble. Holes for eyes and mouth cut through the block. Highly polished finish at front contrasting with rough finish at back and stylised curled hair. Marble base separate (75 x 275 x 198, wt 9000) and added later by artist. Karl Duldig 1921 incised on back

Book. ALEC H CHISHOLM COLLECTION. 308 page hardcover book of the journeys by the arctic explorer Vilhjalmur Stefansson. Illustrated with B & W photos and maps. Forewords by H.F. Osborn and R. W. Brock. Published in 1924 by George G. Harrap & Co, London. Printed in Great Britain by Unwin Bros. Ltd. Catalogue sticker '2142 STE' on spine. Handwritten in ink on flyleaf ''To Alec H Chisholm with pleasant remembrances of an afternoon at the Burrellls with the platypus from Vilhjalmur Stefansson Sydney August 8 1924''. Pasted inside front cover is a newspaper obituary to V. Stefansson from the Sydney Morning Herald 28-8-1962.Vilhjalmur Stefanssonbooks, collections, ethnology, alec h chisholm collection, vilhjalmur stefansson, arctic explorer, eskimos, ethnology

One of the struggles between East and West is taking place in South Vietnam, an area whose culture has been virtually unknown to scholars. The author has used the small village of Khanh Hau, in the Mekong River delta southwest of Saigon, as a microcosm for the study of the rural physical setting, the beliefs and customs of the several religions that exist here side by side, the kinship and family pattern, the crops and agricultural methods, the economic, administrative, the legal systems, and the socioeconomic structure and mobility.ethnology -- vietnam, anthropology, cultural, mekong river, khanh hau

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.Barney Grimes, Mum, Mary Grimeswest sydney; australia; melanesia; polynesia; holiday;

B&w photographs, word lists