Colour slide in a mount. Drawing: US Consulate at Tabriz (circa 1960), Iran. (Architect: Edward Larrabee Barnes .)Made in Australia / Encircled 3 (Handwritten) / Consulate in Tabriz, Iran (Handwritten) / Edward Larrabee Barnes (Handwritten)slide, robin boyd

Painting by Franz Korbler. Architect/artist, born Vienna Austria, arrested Teheran Persia September 12941. Interned Loveday Camp SA and Tatura Camp Victoria 1945-1947.Water colour of brick wall, with stone entrance. Lady standing in doorway, pot to right of her. Man standing centre of picture just in front of the entrance. Blue sky at top of picture.franz korbler

Index, ill, p.314.non-fictionThis book focuses on America's journey to disaster in its interactions with Iran, over the years since the end of WWI, but more so since FDR's stance on Iran in WWII. iran - foreign relations - 20th century, iran - hostage crisis

Black and white photograph of ambulance interior viewed from open back doorsBUILT TO THE ORDER OF THE ANGLO IRANIAN OIL CO. FOR SERVICE IN PERSIAlomax ambulances

A 10-week "respectful relationships" soccer program was held in Bundoora for recently arrived Iranian community members.News clipping, black text, colour image.bundoora, social work, respectful relationships

This stencil was used as a location stamp for the transportation of wool bales. Khorramsha is a city in Iran. Wool bales marked KHORRAMSHA would have been transported to Khorramsha by sea.Wool bale stencil - KHORRAMSHAKHORRAMSHAwool sales, wool transportation, wool export

Hardcover w/ Dust Jacketbiography, iran, travel, walsh st library

Dr Frederich Kaempfe, a Chemist, was interned in Camp 3. He was captured in Iran on 15/09/1941 and transferred on the Rangitiki to Loveday South Australia. Transferred to Tatura in Feb 1945 and released to Sydney on 20 July 1946.Pastel drawing of a large gum tree surrounded by smaller gum tress in an undulating paddock.Blue hills in the background. F. Kaempte 1945camp 3, tatura, painting, gum tree, pastel, art work, kaempfe, chemist

On the night of August 24, 1941 HMS Kanimbla, with 300 Indian troops on board led a flotilla in a surprise attack on the Iranian port of Bandar Shahpur capturing eight German and Italian merchant vessels all containing valuable cargoes, as well as two Iranian gunboats and a floating dock. Kanimbla went alongside the burning Italian tanker Bronte and fought the fires while engaging a train with her main armament and with her 3-inch guns. She remained in the region until October 11, supervising the port and carrying out salvage work on the captured vessels, including salvage work on the German freighter Hohenfels. After further work in Indian waters during the latter part of October and November, Kanimbla proceeded to Singapore and escorted the first convoy out of that city after the Japanese attack on Malaya. She arrived in Melbourne on Christmas Day. She carried out further convoy work off the Australian coast and in both the Indian and the Pacific Oceans. At the end of the war HMAS Kanimbla was employed in repatriating Australian servicemen from the Pacific Islands and also in returning Dutch dependents to the East Indies (Indonesia). Between October 1946 and June 1948 she sailed between Australia and Japan transporting British Commonwealth Occupation Forces. MS Kanimbla was unique for many reasons, she was the only passenger liner in history to have a fully operational radio broadcasting station built into the ship at the time of construction. The equipment was manufactured by AWA in Australia and had been shipped to Ireland for installation whilst the ship was still under construction.Brown timber frame housing white mount and dark blue print with grey ship in the centre above list of names below and top right and left corners.THE GREAT GREY RAIDER Captured 22 Ships, / Floating Dock, / 1Train Ships captured: Weissenfels, Wildenfels, V. Mayakovsky, Sheng Wha, Marienfels, Karakoram, Hathor, Winford, Sturmfels, Hohenfels, Store Nordiske, Tonjer, Chahbaaz, Barbara, Talisman, Corona, Carboto, Dah Pu, Sygna, Gabon, Bronte, Agnes Pre War: M.V. Kanimbla, McIlrath McEachern Line, 12000 Tons War: Commissioned as H.M.S. & Later H.M.A.S as armed Merchant Cruiserkanimbla, great grey raider, hohenfels, bronte, ww2, 1941

Chris HEADLEY Born in York, England Chris Headley studied at York School of Art before majoring in ceramics at the Central School of Art in London, learning to throw with (the late) Michael Casson and hand-build with Gordon Baldwin. Chris graduated in 1973 and travelled overland across Europe and Asia, through Turkey, Afghanistan,and Iran arriving in Australia. A year after leaving England, he arrived in Australia, where he has lived and worked ever since. He undertook his Master’s degree at the Australian National University, graduating in 1991, and in 1999, with Dr Owen Rye as his supervisor, gained his PhD from Monash University, Victoria. Sculptural form on wheels black fired with three gold fish hanging. This work forms part of the Jan Feder Memorial Collectionjan feder memorial collection, jan feder, ceramics, artwork, artist, gippsland campus, chris headley, jan feder memorial ceramics collection

Christopher HEADLEY Born York, England Arrived Australia 1974 Chris Headley studied at York School of Art before majoring in Ceramics at the Central School of Art in London, learning to throw with (the late) Michael Casson and hand-build with Gordon Baldwin. Chris graduated in 1973 and set out for Australia. He travelled overland across Europe and Asia, through Turkey, Afghanistan and Iran. He was invited to attend a traditional wedding in Pakistan by someone he made friends with on the bus trip from Isfahan to Teheran, got lost several times in India and ran out of money in Thailand. Eventually, a year after leaving England, he arrived in Australia, where he has lived and worked ever since. He undertook his Master’s degree at the Australian National University, graduating in 1991; and in 1999, with Dr Owen Rye as his supervisor, gained his PhD from Monash University, Victoria. (http://www.christopherheadley.net/#!about) While artist-in-residence at the Arts Academy, Federation University in 2009 Chris was spotted dragging his ceramic figures and photographic equipment across mullock heaps near Ullina, around Lake Wendouree and inside the Art Gallery of Ballarat where he was photographing Mount Warrenheip. These figures were used in the photographs. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Two white earthenware glazed ceramic figures, one with a kangaroo head.art, artwork, christopher headley, ceramics, sculpture, artist in residence, figures

Bernhard Gerstle & his family (parents & siblings) were German nationals working in Tehran, Iran upon the outbreak of World War II. In 1941, after the installation of a pro-British ruler to the Persian throne, all German nationals were targeted as threats to national security. The women and children evacuated to Stuttgart, Germany via Turkey, while the men were handed over to British forces. Bernhard was taken by ship (the SS Rona) to Bombay & then to Australia (on the SS Rangitiki). He was then marched in to Loveday internment camp 10, South Australia. In January 1945 the German & Italian internees at Loveday were transferred to Tatura Camp 1. Bernhard remained there until after the war & his eventual release, on 29th August 1946. Bernhard chose & was granted permission to remain in Australia post-war, as did many civilian internees, after their examination by a Committee of Inquiry which investigated their political leanings & other criteria for their supposed suitability as Australian residents. The biography also recounts his employment post-war, marriage in 1952 & his later naturalisation as an Australian citizen. Other material includes Gerstle family history from the perspective of Bernhard's sister & family, who remained in Stuttgart; background on the Gerstle family's Russian origins; and a biography of Oskar Speck, famous kayaker, amongst other things, who was interned along with Bernhard & who became good friends with the family; a brief historical background of the Allied forces/Persia invasion; and extracts of Tatura Camp 3 internee Helga Griffin's book, "Sing Me That Lovely Song Again". Black plastic A4 display folder. CD soft case with CD. Folder contains printed biographical information regarding Bernhard Hermann Gerstle. CD contains copies of same documents and also copies of photographs of Bernhard & the Gerstle family. Folder: Bernhard Hermann Gerstle/ Gerstle Family/ Loveday and Tatura Internment Camps 1941-1946/ Sydney 1946-1978/ Compiled by Mary Henderson 2013 CD: BH Gerstle; 1941 - Interned by British/ 1941-1946 - Internee at Loveday SA, Tatura VIC/ Sydney 1946-1978. camp 1, tatura, loveday, world-war-two, internment-camps

"I am an Australian of German parents born in Persia. I was taught by Peter Rushforth, with a very strong Japanese influence. My work attempts to incorporate these four elements of my history. For form, my influence comes from Art Nouveau, or Jugendstil as it is called in Germany. Techniques are informed by pottery from Japan, China, Korea and Germany. My colours are inspired by the Australian landscape. Using the language of woodfiring, I create a personal vocabulary with new subjects, grammar and syntax, which make each pot a one-off object containing all my diverse influences." (Roswitha Wulff)Roswitha WULFF (1941- ) Born Tabrize, Iran. Arrived Austrqalia c1949 Roswitha Wulff spent her early childhood with her mother, potter Helma Klett, in Germany. In 1964, she obtained a ceramics certificate from the East Sydney Technical College. From 1964-65, she worked with Robin Welch and Ian Sprague at Sprague's Mungeribar Pottery in Upper Beaconsfield, VIC. In 1966 she worked at the Sturt Pottery in Mittagong, NSW under Les Blakebrough. Between 1967 and 1969 Roswitha Wulff travelled overseas, spending 6 monthe with Robin Welch after his return to England and 9 months as a full-time thrower at Briglin Pottery, London, as well as working in potteries in Denmark and Germany. From 1969-70, she worked in North-West Pakistan as a research scholar for the Smithonian Institute and the University of NSW. Returning to Australia in 1970, she set up a workshop in Paddington, NSW, with the help of an Australia Council grant and taught part-time at the East Sydney Technical College and the Willoughby Workshop Art Centre. Since then she has been a lecturer and Head of Ceramics in many institutions, including the National Art School. In the 1990s she moved her studio to Botany Bay, NSW.. While working with the vessel form, she sees her pots as abstract landscapes. Recently she has also been working with wall tiles. During a residency at the Canberra School of Art in 2002, she developed tiles that looked like woodfired pillows with soft rounded rims. In 2007, she used such tiles to create a mural commemorating the Sesquicentenary of St Vincent's Hospital in Paddington. Woodfired stoneware bowl with flay ashSigned on baseroswitha wulff, jan feder, jan feder memorial ceramics collection, woodfire, ceramics, gippsland campus, botany bay studio pottery

Hoda Afshar's 2018 body of work, "Remain," offers a forthright and unapologetic political commentary on Australia's border protection policy, shedding light on its impact on human rights. This collection comprises a film and a series of photographic portraits that chronicle the stories of stateless men who chose to stay on Manus Island, Papua New Guinea, even after the closure of the immigration detention centre in October 2017. In the accompanying film, the experiences of these men are conveyed through episodic fragments, narrated with a mix of lyrical and brutal voiceovers. Some express themselves through poetry, others through song, while some recall the riots and suicides. Set against the backdrop of a picturesque landscape featuring lush foliage and crystal-clear water—a stark contrast to the harsh realities described—the emotional impact of the work is intensified. It creates a simultaneous sense of beauty and horror. The photographic portraits of the same individuals are equally compelling. Positioned prominently against a dark backdrop, these subjects assert their presence, emphasizing their right to be seen. The deliberate simplicity of these portraits serves as a powerful political statement, countering the invisibility imposed by the act of detention. Afshar metaphorically acknowledges the struggles faced by these men, depicting them contending with the elements—fire, water, and earth—yet never questioning their inherent humanity. Here we see Behrouz Boochani, the Kurdish Iranian writer whose memoir ‘No Friend but the Mountains: Writing from the Manus Prison’ won the Victorian Premier’s Prize for Literature and the Prize for Non-Fiction in 2019. Boochani was held in detention on Manus Island from 2013 until the centre’s closure in 2017 and was forced to remain on the island in a stateless condition.

Index, bibliography, ill, maps, p.309.non-fictionA history of the conflict between Iraq and Iran know as the first gulf wariran iraq war - 1980-1988, persion gulf - strategic aspects

Index,notes, p274.non-fictionhe presence of Osama bin Laden and his terrorist bases in Afghanistan has brought the Taliban into sharp focus as the most radical and extreme Islamist movement in the world today. Little is known about the Taliban because of the deep secrecy that surrounds the organization, its leaders and aims." "The Taliban has become a major player in the new 'Great Game' - harking back to the late-nineteenth-century British and Russian confrontation in the region - involving competition between Western oil companies, manipulation from Pakistan, Saudi Arabia and Iran, and covert operations by the CIA. Taliban sheds new light on a shadowy movement which poses a real threat to world peace.afghanistan - politics and government, afghanistan - islam and politics