Belt issued to Japanese Naval Officers up until the end of WW2Black leather belt with a two piece brass buckle. The centre of the buckle has an embossed anchor and lotus flower and the two parts of the buckle appear to have been gilded. It comes with a black leather sword hanger which has brass clips at each end. One end is missing the brass securing rivet whilst the rivet at the other end has a hook attached to it. Attached to this hook is a brass S shaped snake with a brass ring around the body. The inside of the belt has four eyelets and a hook on each end to allow for adjustment. It's missing one sword hanger, a belt loop on the LH side and two loops on the inside that the hangers attach to.world war 2, japanese navy

flight, aeroplane, bromley, gatty, japanese navy, tacoma

The hat was picked up at sea by a German Sailor serving on the blockade runner RAMSES. It was giver to RAN sailor A. Tarr when HMAS Adelaide rescued survivors after the sinking of the RAMSES. The Japanese Ministry of Health, Labour and Welfare provided some information about Shigeyoshi Higuchi. He was a sailor but did not serve on a ship. After WWII, he returned safely home to his family.This hat is significant as a tangible connection to wartime service by Japanese sailor Shigeyoshi Higuchi.A dark blue circular velvet hat lined with black cotton on the inside with four studs. A square label with printed and hand written Japanese characters is attached to the underside of the hat.Part of the label has been translated from Japanese into English. It indicates the owner of the hat was Shigeyoshi Higuchi, who was based in Nagasaki Sasebo. His military number was (some kanji) and 1274. The hat was made in April 1943.japanese imperial navy, ramses, hmas adelaide, shigeyoshi higuchi, nagasaki sasebo

Soft cardboard cover, yellow, red & black print on cover over silhouette of Japanese Sailor over Japanese Flag & warship on blue background. 398 plain cut pages, illustrated black & white photographs, maps & illustrations.Handwritten in black ink on front flyleaf: Donated by Bgo Y Men Club In black ink stamp on front fly leaf: RSL Clubbooks- military, military history-navy-japan

Japanese Captain during ww11.shoulder board, on black velvet sewn onto leather strip. gold strip. with two flowers and anchor on top button.

Colour photo of two Japanese Naval vessels at Station Pier 29.06.2003 . Jos Hamayuki . Siawagiripiers and wharves - station pier, japanese navy

Produced as a souvenir from the ballast of two Japanese Midget submarines sunk during attacks on Sydney Harbour in WWII. This souvenir was produced to raise funds for the RAN relief fund and King George's Fund For Sailors. It was sold as a souvenir as part of a touring exhibition around the country accompanying a composite midget submarine constructed of the two sunken vessels raised from Sydney Harbour.The souvenir submarine has tangible connections to the Japanese Midget Submarines sunk during attacks on Sydney Harbour in 1942. It is historically significant for its links to defending Australia and for its connections to tourism and fund raising relating to war time efforts.A small lead model submarine made from a 2 piece mould produced from the ballast of two submarines sunk during attacks on Sydney Harbour in 1942."Made from Ballast Jap Midget Sub" "Sunk in Sydney Harbour May 31 1942"wwii, imperial japanese navy, sydney harbour attack, midget submarine, souvenirs wwii, ran relief fund, king george's fund for sailors

LIEUTENANT GENERAL (LT GEN) FUSATARO TESHIMA, COMMANDER-IN-CHIEF, JAPANESE SECOND ARMY, SURRENDERED TO GENERAL SIR THOMAS A. BLAMEY, COMMANDER-IN-CHIEF, ALLIED LAND FORCE, SOUTH WEST PACIFIC AREA. A SURRENDER CEREMONY WAS HELD ON SEPTEMBER 9 1945 AT 1 CORPS SPORTS GROUND ON MOROTAI. LT GEN TESHIMA WAS ACCOMPANIED BY CAPTAIN TOYIMA, WHO SIGNED FOR THE JAPANESE NAVY. The surrender of Imperial Japan was announced on August 15 and formally signed on September 2, 1945, bringing the hostilities of World War II to a close. There were a number of surrender ceremonies including Morotai on September 9 1945,Black plastic frame containing cream coloured paper documents x 3 on black background.Donated by Jean Hughes of Wangaratta on behalf of her husband ROWLAND J HUGHES VX 51510morotai, japanese surrender, ww2

The Battle of Sunda Strait was a naval battle which occurred during World War II in the Sunda Strait between the islands of Java, and Sumatra. On the night of 28 February – 1 March 1942, the Australian light cruiser HMAS Perth and the American heavy cruiser USS Houston faced a major Imperial Japanese Navy task force. After a fierce battle of several hours duration, both Allied ships were sunk. The sinking of HMAS Perth at the Battle of Sunda Strait 28 February -1 March 1942 cost 357 Australian lives. A further 324 crewmen fell into enemy hands. Two and a half years of brutal captivity claimed the lives of 106 of these men - 53 on the Thai Burma Railway alone.Framed cuttings of newspaper articles,13 photographs and 7 flags As Portrayed to the Australian Public 1942-1945 BATTLE OF JAVA SEA & SUNDA STRAIT 27 FEB - 1 MAR 1942 The first and only battle fought by a combined American Australian British and Dutch Naval Force against the Japanesesunda strait, hmas perth

George Bradshaw MORRISS No 23670 enlisted in the RAN on 23.10.1939 aged 17 years. He was posted to Australian light cruiser, HMAS Perth. HMAS Perth was torpedoed & sunk by the Japanese Navy in the Battle of the Sunda Strait, between the islands of Java & Sumatra in late February 1942. Approximately half of the crew were lost & the remainder taken into captivity. 106 died as POWs. George died at Sandakan on 29.5.1945. He is rembered on the Sandakan Memorial in Bendigo, Victoria.Black / white photo of sailor, George Bradshaw MORRISS in uniform including hat.On hat band in white: “H.M.A.S. PERTH”photograph, ran, perth, pow, sandakan

Taken during World War I from the forecastle of a navy ship, the photograph depicts an eruption of water and smoke as a result of an underwater submarine being bombed from above.The naval war of World War I was a conflict unlike any previous one with the exception of the brief Russo-Japanese War (1904-1905), with naval warfare in World War I being mainly between the German forces and the Great Britain forces. The naval war of World War I proved largely a disappointment to officials on both sides as it did not produce the decisive fleet actions envisioned in the pre-war years. Nevertheless, the war at sea was a crucial part of World War I overall. The German use of the submarine against commerce not only threatened the Allied war effort, but also drew the United States into the conflict. In addition, the British economic blockade of Germany afforded by the Royal Navy’s command of the sea inflicted great damage on the war effort of Germany. Finally, the naval war held great ramifications for the future since many practices employed in the First World War were those pursued in the Second World War.Black and white rectangular reproduced photograph on matte photographic paperReverse: 6527/ (Crown copyright notice from the Imperial War Museum)/ Naval 23/ 23/ A99/ burke museum, world war 1, world war i, ww1, wwi, submarine, submarine warfare, navy, naval vessels

Schematics and details of Navy ships manufactured during WW2. First HMAS YARRA which was a Yarra Class sloop, commissioned Jan 1936 and sunk by Japanese on 4th March 1942. Second ship was HMAS WARRAMUNGA, a Tribal Class Destroyer Commissioned No. 42 and scrapped Jan 1963.1. Drafting drawing of HMAS YARRA March 1941 from side profile and top down profile on white paper stapled to cardboard. Includes description of all details of ship. 2, Drafting drawing of HMAS WARRAMUNGA March 1943 with side profile and top down profile.1. Headed 'HMAS YARRA March '41: Scale 1 inch = 16 feet. 2. Headed 'HMAS WARRAMUNGA" March '43: Scale 1 inch = 24 feet.hmas yarra, hmas warramunga

Booklets are the; "OFFICIAL JOURNAL/ BCOF (JAPAN) ASSOCIATION OF/ AUSTRALIA (INC) Since 1972/ (Navy, Army, Air Force, Women's & Auxilliary Forces)" Please note - "SHINBUN - SHIMBUN" - name change on some booklets. Shinbun and Shimbun - is the correct spelling of the word for newspaper in Japanese. Booklets - Items in the collection of Richard William McGILVERY, RAAF. Refer Cat No. 7287P for his service details, photo, awards.SOFT COVER BOOKLET. ALL BOOKLETS - PAPER WITH BLACK PRINT ON FRONT AND BACK. CHRISTMAS ISSUES HAVE DECORATIVE TRIM IN GREEN AND/OR RED PRINT. ILLUSTRATED WITH " BRITISH COMMONWEALTH FORCES" WITH CROWN ON FRONT COVER. All booklets 32 to 50 pages, cut, plain, white paper. Illustrated with black and white photographs, maps and cartoons. 1. No. 111 Christmas 2003. 2. No. 112 March 2004. 3. No. 113 Winter 2004. 4. No, 115 Christmas 2004. 5. No. 116 March 2005. 6. No. 117 June 2005. 7. No. 118 September/Spring 2005. 8. No. 125 June 2007. 9. No. 126 Sept 2007'. 10. No. 129 June 2008. 11. No. 130 September 2008. 12. No. 131 No. December 2008. 13. No. 132 March 2009. 14. No. 133 June 2009. 15. No. 134 September 2009. 16. No. 135 December 2009. 17. No. 136 March 2010. 18. No. 137 June 2010. 19. No. 138 September 2010. 20. No. Front cover - Handwritten notes in black ink. 2/3/4/5/14/15/19/20. 2. "BCOF Memorial shown Peter Valence". 3. "Ron H ??.d Bede Wall writes about". 4. "BCOF Memorial shown to Peter Valence/ S.C.A.P. means/ Supreme Commander of Allied Powers" 5. "Fraternisation Page to Rob". 6. "The Atom Bomb Poem". 14. "BCOF Memorial to show Peter Valence". 15. "Peter Fraser story given to Rob". 19. "19 mags in this lot". 20. 5 mags full of reference/ most of this book". history, booklets, bcof

Booklets are the - "OFFICIAL JOURNAL/ B.C.O.F. (JAPAN)/ ASSOCIATION OF/ AUSTRALIA (INC)/ Since 1972/ (Navy, Army, Air Force, Women's & Auxilliary Forces)" Please note - name change from "SHIBUM to SHIMBUN' on these booklets. Shinbun and Shimbun - is the correct spelling for the word for newspaper in Japanese. Booklets - items in the collection of Richard William McGILVERY, RAAF. Refer Cat No. 7287P for his service details, photos, awards.SOFT COVER BOOKLET. ALL BOOKLETS - PAPER WITH BLACK PRINT ON FRONT AND BACK. CHRISTMAS ISSUES HAVE DECORATIVE TRIM IN GREEN AND/OR RED PRINT. ILLUSTRATED WITH " BRITISH COMMONWEALTH FORCES" WITH CROWN ON FRONT COVER. All booklets 20 to 36 pages, cut, plain, white paper. Illustrated with black and white photographs, maps and cartoons. 1. No. 140 March 2011. 2. No. 141 June 2011. 3. No. 142 September 2011. 4. No. 143 December 2011. 5. No. 144 March 2012. 6. No. 145 June 2012. 7. No. 146 September 2012. 8. No. 147 December 2012. 9. No. 148 March 2013. 10. No. 149 June 2013. 11 No. 150 September 2013. 12. No. 151 December 2013. 13. No. March 2014. 14. No. 153 June 2014. 15. No. 154. September 2014. 16. No. 155 December 2014. 17. No. 156 March 2015. 18. No. 157 June 2015. 19. No. 158 September 2015. 20. No. 159 March 2016. 21. No. 160 September 2016. 22. No. 161 March 2017. 23. No. 161 March 2017. 24. No. 162 September 2017. 25. No. 163 March 2018. 26. No. 164 September 2018. Front cover, handwritten notes, blue or black ink. 1. 2. 3. 4. 8. 13. 1. "All of this book". 2. "Pages 3,5,7,8,9,13,16,17,19 to 24." 3. "Pages 3,4,12,13, to 23." 4. On paper "Pages 3-8, 10, 16, 19 to 24" 8. "26 mags altogether/ the 2 you have already read" 13. "Jane/Danny/ 9915/ 48/ 04". 19. " Lorraine 0353920942=/Willa McGilvery, PO Box 132/Donald/ 3480/ 03 5497 1724". 20. "My letter to sacked MP Stuart Robert". 21. "Please return Willa". 22. "Buloke Times write up". history, booklets, bcof

This is a needle book containing needles. It appears that the Army and Navy Needle books were not issued to soldiers or sailors but were made for home use in the Western World - Europe, America and presumably Australia. They were made mainly in Germany and some were made in Japan but were not sold in wartime. They were sold before and after World War Two and often featured images of well-known ships of the day. This folder has images of the Europa and the Bremen, two ships made in Germany which belonged to the Norddeutscher Lloyd Line (N.D.L.) and which were launched in the late 1920s. They were the two most advanced high speed steam turbine ocean liners of their day. The Bremen was gutted by fire in 1941. The Europa was captured by the Allies in 1945 and used as a troopship, then it went to France where it was became an ocean liner named Liberte. It was scrapped in 1963. The newspaper cutting tells of a presentation by the Warrnambool Woollen Mill to Private Les Lawlor on his embarking for overseas service. It is not known to which war the cutting refers and no reference can be found to Private Les Lawlor. No connection between the two items (needle book and cutting) has been established but they have always been together in our collection. The needle book is of social significance but has no known local provenance. The cutting contains information suitable for our files.1 This is a piece of thickened paper folded in two to make a folder containing four packets of needles. The folder is green with two images of ships on the back and the front. The images are multi-coloured and have an ornamental edging. The needles of different sizes are contained in black paper folded four times to enclose the needles (13 still in the folded paper – all rusty). It appears one needle packet may be missing. .2 This is a cutting from a newspaper regarding a soldier leaving for overseas military service. There is no date.‘The Army and Navy Needle Book’ ‘Made in Germany’ ‘Silver Steel’‘Superior Quality Royal Drilldeyd Sharps 1 Made in Germany’ ‘Superior Quality Royal Drilldeyd Sharps 1/5 Made in Germany’ ‘Superior Quality Royal Drilldeyd Sharps 5 Made in Germany’ ‘Superior Quality Royal Drilldeyd Sharps 6 Made in Germany’ needle books, ship bremen, ship europa, private les lawlor, warrnambool woollen mill

The outer envelope is addressed Mr E. Fielding which is believed to be Richard Edward (Eddie) Fielding. It is understood from Tom Fielding, that this item was collected by his Uncle Bill Teagle when visiting Japan in the 1920s whilst serving in the Navy. It is further understood that Bill always made efforts to collect souvenirs from his travels to give to family members. William George Teagle, more commonly known as Bill, was born 2 August 1899 at Sandringham, Victoria. Bill, a milk carter first attempted to enslist in the AIF in October 1917 but was rejected on the grounds of being too small. On a second attempt he was successful and his application was accepted 1 June 1918. He embarked in November 1918 for overseas with the 17th Reinforcements. He was discharged a year later in December 1918. On 6 May 1919 he enlisted in the Royal Australian Navy for a period of 7 years service with the rank of Stoker however he remained with the navy throughout till the end of the Second World War, and was finally discharged 14 November 1945 with the rank of Petty Officer. This item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection

The text on reverse translates Kikaha toilet department. There is also the printed image of a swallow on the back, which suggests that it was taken by the S. N. Banshiudo Studio in Shiba Park, Tokyo. Geisha Sakae was an extremely popular postcard model shortly after the Russo-Japanese war 1904-05, people used to line up early in the morning whenever a new postcard was released at the postcard shop in Ginza. The beauty of her gait was so widely admired that her walk inspired many of the leading Onnagata (male Kabuki actors in female roles) of the day. She went on to marry Ichikawa Sadanji II, one of the most popular Kabuki actors in Japan, who worked hard to promote new plays and revive long-forgotten classical dramas. [Ref: https://www.flickr.com/photos/blue_ruin_1/8448420741] During the Russo-Japanese War (1904–05), the Japanese government sent postcards of beautiful Japanese women, bijin ehagaki (美人絵葉書), to soldiers to motivate them. Publishers continued to print them well into the 1920s. [Ref: Duits, Kjeld (February 21, 2022). 1910s: Geisha Postcards, OLD PHOTOS of JAPAN. Retrieved on March 31, 2024 (GMT) from https://www.oldphotosjapan.com/photos/883/vintage-geisha-postcards-early-20th-century] See also: Sakae さかえ - Meiji / Taishō Era Geisha https://www.flickr.com/groups/1988804@N22/pool/ The photochrom process Photochroms are not photographs but actual prints, produced using 6 to 15 colors and the lithography printing process. The technique was invented by the Swiss Hans Jakob Schmid during the 1880s. The fascinating aspect of these prints is that they are created from black and white photographs. It required quite some work and talent to create these images. The photographer would usually make notes about the colors in the image he shot. These enabled a painter to create a painting that served as a color guide for the litho stone maker. This artisan would then create multiple exposures of the original black-and-white negative, changing the exposure time, development settings, and using dodge and burn techniques to create the required set of 6 to 15 stones that would each be used to print one specific color. By combining all these colors you get the prints [Ref: https://www.prepressure.com/printing/history/photochrome-prints]This item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, geisha sakae, japanese postcard, postcard

The text on reverse translates to Kikaha toilet department. There is also the printed image of a swallow on the back, which suggests that it was taken by the S. N. Banshiudo Studio in Shiba Park, Tokyo. Geisha Sakae was an extremely popular postcard model shortly after the Russo-Japanese war 1904-05, people used to line up early in the morning whenever a new postcard was released at the postcard shop in Ginza. The beauty of her gait was so widely admired that her walk inspired many of the leading Onnagata (male Kabuki actors in female roles) of the day. She went on to marry Ichikawa Sadanji II, one of the most popular Kabuki actors in Japan, who worked hard to promote new plays and revive long-forgotten classical dramas. [Ref: https://www.flickr.com/photos/blue_ruin_1/8448420741] During the Russo-Japanese War (1904–05), the Japanese government sent postcards of beautiful Japanese women, bijin ehagaki (美人絵葉書), to soldiers to motivate them. Publishers continued to print them well into the 1920s. [Ref: Duits, Kjeld (February 21, 2022). 1910s: Geisha Postcards, OLD PHOTOS of JAPAN. Retrieved on March 31, 2024 (GMT) from https://www.oldphotosjapan.com/photos/883/vintage-geisha-postcards-early-20th-century] See also: Sakae さかえ - Meiji / Taishō Era Geisha https://www.flickr.com/groups/1988804@N22/pool/ The photochrom process Photochroms are not photographs but actual prints, produced using 6 to 15 colors and the lithography printing process. The technique was invented by the Swiss Hans Jakob Schmid during the 1880s. The fascinating aspect of these prints is that they are created from black and white photographs. It required quite some work and talent to create these images. The photographer would usually make notes about the colors in the image he shot. These enabled a painter to create a painting that served as a color guide for the litho stone maker. This artisan would then create multiple exposures of the original black-and-white negative, changing the exposure time, development settings, and using dodge and burn techniques to create the required set of 6 to 15 stones that would each be used to print one specific color. By combining all these colors you get the prints [Ref: https://www.prepressure.com/printing/history/photochrome-prints]This item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, geisha sakae, japanese postcard, postcard

The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する　東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama

The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する　東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama

The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する　東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama

The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する　東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama

The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する　東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama

The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する　東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama

The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する　東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama

The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する　東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama