Showing 66 items matching josef%20brabec
-
Tatura Irrigation & Wartime Camps Museum
Photograph, Matriculation Class Camp 1
"Arbiturienten Klasse" Matriculation. Camp 1. Back: ?, ?, Manfred Ritter, Karl Meier, ?, ?, ?, Josef Friedrich Front: Raymond "Pigi" Kaufmann, Theo Habenstein, Dr Neumann (headmaster), Heinz Mayer, ?. foam back duplicate in fileSephia photograph of a group of 13 men (8 men standing, 5 men sitting) with bushes behind.106 centre frontmatriculation class, arbiturienten klass, camp 1 schools, manfred ritter, karl meier, josef friedrich, raymond kaufmann, theo habenstein, dr neumann, heinz mayer -
Tatura Irrigation & Wartime Camps Museum
Sketch
Josef Thum was an Austrian artist in Camp 13 as a POW. Ken Hill was a member of AAAS - Mobile Cinema unit 36 around 1046-47 and based at Murchison. After hostilities ceased, Thum was permitted to assist in the presentation of "Pictures" as was the common term of the period, each time there was a screening at Murchison.Black and white pencil sketch of a gorilla's facegorilla, sketch, thum j, hill k, camp 13, tatura, illustrations, pencil -
Tatura Irrigation & Wartime Camps Museum
Sketch
Josef Thum was an Austrian artist in Camp 13, as a POW. Ken Hill was a member of AAAS - Mobile Cinema Unit 36 around 1946-47 and based at Murchison. After hostilities ceased, Thum was permitted to assist in the presentation of "pictures" as was the common term of the period, each time there was a screening at MurchisonBlack and white pencil sketch of a dog. Head and shoulders. A piece of tissue paper is attached, to cover the sketch.dog, thum j, hill k, camp 13, tatura, illustrations, pencil -
Tatura Irrigation & Wartime Camps Museum
Sketch - Dog
Josef Thum was an Austrian artist in Camp 13 as a POW. Ken Hill was a member of AAAS - Mobile Cinema Unit 36, around 1946-47 and based at Murchison. After hostilities ceased, Thum was permitted to assist in the presentation of "pictures" as was the common term of the period, each time there was a screening at MurchisonBack and white pencil sketch of a dog, head and shouldersdog, thum j, hill k, camp 13, tatura, illustrations, pencil -
Tatura Irrigation & Wartime Camps Museum
Sketch - Pencil
Josef Thum was an Austrian artist in Camp 13, as a POW. Ken Hill was a member of AAAS-Mobile Cinema Unit 36, around 1946-47 and based at Murchison. After hositilities ceased, Thum was permitted to assist in the presentation of "pictures" as was the common term of the period, each time there was a screening at MurchisonBlack and white sketch of head and shoulders of a man about to throw a large ballman and ball, thum j, hill k, camp 13, tatura, illustrations, pencil -
Tatura Irrigation & Wartime Camps Museum
Sketch - Pastel
Josef Thum was an Austrian artist in Camp 13, as a POW. Ken Hill was a member of AAAS - Mobile Cinema Unit 36 around 1946-47 and based at Murchison. After hostilities ceased Thum was permitted to assist Hill, in the presentation of "Pictures" as was the common term of the period, each time there was a screening at MurchisonBlack and white pastel sketch of "Head of Christ". A pieceof tissue paper is attached to cover the sketchhead of christ, sketch, thum j, hill k, camp 13, tatura, illustrations, pastel -
Tatura Irrigation & Wartime Camps Museum
Sketch, 1943
Josef Thum was a Austrian artist in Camp 13, as a POW. Ken Hill was a member of AAAS - Mobile Cinema Unit 36 around 1946-47 and based at Murchison. After hostilities ceased, Thum was permitted to assist Ken Hill in the presentation of "pictures" as was the common term of the period, each time there was a screening at MurchisonBlack and white pencil sketch of a bridge, Church Spire and building in Melbourne. Dated 17.8.43. A piece of tissue paper is attached to cover the sketch."melbourne", sketch, thum j, hill k, aaas, camp 13, tatura, illustrations, pencil -
Tatura Irrigation & Wartime Camps Museum
Sketch, 1942
Josef Thum was an Austrian artist in Camp 13 as a POW. Ken Hill was a member of AAAS - Mobile Cinema Unit 36 around 1946-47 and based at Murchison. After hostilities ceased, Thum was permitted to assist Ken Hill in the presentation of "pictures" as was the common term of the period, each time there was a screening at Murchison.Black and white pencil sketch of a portrait of a lady. Dated 23.1.1942"australien" 231942, sketch, thumj, hill k, camp 13, tatura, illustrations, pencil -
Tatura Irrigation & Wartime Camps Museum
Photograph, Camp 1 German internees
Camp 1 Group 149 Back: 35004 Gordon Asleben; 35326 Georg Spahn; 35235 Walter Vesper; 35122 Raymond "Pigi" Kaufmann; 335282 Erich Mueller; 35134 Josef Friedrich. Front: 35291 F Laumen; 35274 J Laumen; 35276 Hans Muelhaus; 35308 Alfred Spiess. Foam backed duplicate on file.Black and white photograph of a group of 10 men (6 standing, 4 sitting) in front of a couple of huts.149 to the leftgordon asleben, georg spahn, walter vesper, raymond kaufmann, erich mueller, josef friedrich, f laumen, j laumen, hans muelhaus, alfred spiess, german internees -
Tatura Irrigation & Wartime Camps Museum
Photo
Ken Hill was a member of the Australian Army Amenities Service - AAAS Mobil Cinema Unit No. 36 around 1946-47. He was based at Murchison Camp 13 where Josef Thum, an artist, was a Prisoner of War. Hill was a Mobile Cinema Operator during this period, after hostilities had ceased and Thum was permitted to assist in the presentation of "Pictures", to use the common term of the period, each time pictures were screened.Black and white photo of an army truck which was used by Australian Army Amenities Service around 1946/47 which was based at Murchison Camp 13photography, photograph, slides, film -
Duldig Studio museum + sculpture garden
Furniture, Sigmund Jaray et al, Viennese bedroom suite manufactured by Sigmund Jaray Kunstmobelfabrik 1931, 1931
The Wiener Werkstätte (Viennese workshops) established by Josef Hoffman and Kolomon Moser in 1903 are today celebrated for their work in promoting the involvement of artists, designers and craftspeople in the manufacture of home furnishings; however Sigmund Járay’s firm was also an important, although today lesser-known, Viennese manufacturer of Kunstmöbel (art furniture). An Austro-Hungarian designer of Jewish descent, Sigmund Járay (1838-1908) established his Kunstmöbelfabrik (art furniture factory) in Vienna in the 1870s in partnership with his brother Sándro Járay (1845-1916), a sculptor. The firm with its team of cabinet makers, modellers, sculptors, upholsterers, painters and gilders, manufactured bespoke furnishings and decorated interiors for public and private clients, including the Imperial court. Such was the prominence of the work of this factory, that in 1899 one of the first purchases of the newly formed Austrian Museum of Applied art was a suite of furniture designed by Sigmund Járay for a married worker. In commissioning the furniture, Slawa was adopting the custom of Viennese couples to furnish their homes with bespoke furniture from the interior design firms that flourished in early 20th century in Vienna. Comparative material is held in the National Gallery of Victoria collection; a suite of furniture by Josef Hoffman commissioned by the Gallia family in 1912; and a suite of furniture by Adolf Loos commissioned by the Langer family in 1903. Ann Carew 2016The bedroom suite is aesthetically significant for the quality of its craftsmanship and design. It is a significant example of domestic interior design in Vienna during the 1930s. The bedroom suite is intact, and has been preserved in its entirety – double bed and side tables, wardrobe and linen press, stool and day bed. It has the potential to be displayed in situ in the place where it was last in use. It is of historical significance. Many Jewish families had all their possessions lost or destroyed during the war years. The story of the furniture’s journey from Austria to Australia is relevant to the study of the experience of émigré families during the Holocaust, and the importance of return of their property. It is rare, as it and the furniture in the living and dining room, are the only known examples in Australia of furniture manufactured by the firm of Sigmund Jàray. The provenance of the furniture is excellent, and is demonstrated by photographs taken in Vienna; correspondence with the donor’s sister, Rella; and the quotation from Sigmund Járay Kunstmöbelfabrik. It is in excellent condition. Ann Carew 2016Bedroom suite consisting of a double bed, two side tables, an upholstered stool and upholstered day bed, and a wardrobe and linen press. Made of Maple and Rosewood. Designed by the firm of Sigmund Jaray with Slawa Horowitz-Duldig. -
RMIT Design Archives
Photograph - Photographs, Students from RMIT School of Art display their works with paper
In 1969 RMIT lecturer Gerard Herbst arranged an exhibition the work of his Industrial Design students at the NGV’s Design Centre. In ‘Design with Paper' the students explored the characteristics of a sheet of paper, an exercise based on similar ones set by Josef Albers at the Bauhaus, Germany and Black Mountain College, USA. The exhibition attracted press attention, Bulletin critic Brian Hoad noting You are told that in the tradition of Gropius and his Bauhaus experiments of the ‘twenties they are attempting to bridge the gulf between the fine arts and the technical crafts to produce one day from among their numbers a new type of creative thinker. Photograph featuring students in 'Designs Performing' exhibit. Students are from the RMIT Industrial Design course.design, rmit university, bauhaus, industrial design -
Tatura Irrigation & Wartime Camps Museum
Photograph - copy, Lanzinger Brick, Original brick 1941
The inscription in the brick was made by Lanzinger a German internee who escaped several times from Camp 1, recaptured and placed in Camp 4 gaol. The brick was recovered by the Stanhope Museum, where it is now on display. The curator of the Museum contacted Tatura Museum for information about Lanzinger, and was advised that Lanzinger's daughter ( Ann Flegel) had visited Tatura Museum and Camp 1, from Canada. A photo of the brick was forwarded from Stanhope to Flegels, who in turn forwarded it to Josef Friedrich whom she had made contact with through the Tatura Museum. Friedrich then forwarded a copy of the photo to Tatura Museum.Colour photo of common red brick with inscriptions carved by and named Lanzinger, a date in 1941,and two swastikas.lanzinger escape, camp 1, camp 4 gaol, photography, photograph, slides, film -
Flagstaff Hill Maritime Museum and Village
Furniture - Bentwood Chair, Mundas Furniture Manufactures, 1907 to 1920
Bentwood furniture is a type of furniture made by bending wooden rods into the required shape after they have been heated with steam. Mundus bentwood chairs are among the most successful examples of early mass-produced furniture. Mundus furniture was a manufacturing company, active in several places in the Austro Hungarian Empire, at the end of the 19th century and early 20th century. Factories seem to have existed in multiple locations, as the products carry diverse labels, such as "Budapest", "Borlova", "Czechoslovakia", etc. Some of the furniture was co-signed with "Jacob and Josef Kohn". In 1914 Mundus merged with J. & J. Kohn, and in 1922 with Gebrüder Thonet the inventor of the bentwood chair.The item is significant as it is an early example of mass-produced manufactured furniture from a company in Austria that pioneered this type of furniture around the turn of the 19th century. The item is now a collector's piece giving it additional significance.Bentwood ChairMundus Vienna Austriashipwreck coast, flagstaff maritime museum, flagstaff hill village, bentwood chairs, mundus furniture company, furniture, manufactured furniture, vienna austria -
Australian Gliding Museum
Machine - Glider – Sailplane, 1959
This aircraft was designed by Edmund Schneider as a single seat medium performance sailplane. Originally designated as the Grunau 3b but later named the Grunau 4. However, it was a new design with fully enclosed cockpit. The main point of difference to earlier Schneider Grunau designs was the tapered wings with the Gottingen 549 aerofoil. This design feature gave the Grunau 4 a better speed range compared to the Grunau Baby 2b or the Grunau 3. The prototype flew on 6 December 1953 and it went to the Waikerie Gliding Club. A second was delivered to the Dubbo Gliding Club in October of the next year and a third (the Australian Gliding Museum’s exhibit) built for the Adelaide Soaring Club in 1959 (registered as VH-GLX on 21 October 1959). Another was built by Josef Brabec from a Schneider supplied kit from 1954 to 1956. The log book indicates that the glider recorded 2362 flying hours over approximately 40 years of active service. There are many long flights recorded. The registration was cancelled on 30 July 2014 as a result of a decision by the Museum to withdraw the glider from service. The exhibit represents the final development of the "Grunau" single seat type by Edmund Schneider Ltd in Australia. Viewed together with the Grunau Baby gliders in the ATO Collection (Two Grunau Baby 2, and a Grunau Baby 3A), the changes to this glider type over a 30 year period can be recognized. Single seat wooden sailplane with fabric covering. Fully enclosed cockpit. The aircraft is white with Linden Green on the wing tips, tailplane and underside of the fuselage and also on the central wing cover. Identification Plate in cockpit showing that glider is serial number 37 built by Edmund Schneider Ltd in 1959 australian gliding, glider, sailplane, grunau, grunau 3a, grunau 3b, grunau 4, schneider, waikerie gliding club, dubbo gliding club, adelaide soaring club, josef brabec -
Duldig Studio museum + sculpture garden
Sculpture, Karl Duldig, Mask by Karl Duldig 1921, 1921
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 -
Duldig Studio museum + sculpture garden
Fabric, Mathilda Flogl, Falter designed by Mathilda Flogl 1924-31, 1924-31
This piece of fabric, known Fälter (butterfly), was designed by Mathilda Flögl (1893-1958), who worked in the textile department of the Wiener Werkstätte in Vienna. It is a remnant of the fabric that was used to make a bedspread for Karl and Slawa’s bed in their Vienna apartment where it lay decoratively over a gold brocade eiderdown. The purchase demonstrated Slawa’s interest in and knowledge of modern design and her commitment to the idea of enriching everyday life with beautiful objects, a principal of the Viennese Secession. Following the Duldigs removal from Vienna, the original bedspread and remnant were safeguarded and preserved by Slawa’s sister, Rella, in the basement of her Paris apartment. In 1948 the bedspread and this remnant were sent to Australia. The bedspread was a much-loved item but deteriorated over the years. In 1955 it was made into curtains, which are held in the Duldig Studio Collection. The Photographs of the bedspread in its original location are also held in the collection. The remnant is in pristine condition. The Wiener Werkstätte (Vienna Workshop) was a guild of designers and craftsmen that was founded by the architect Josef Hoffman (1879-1956) and the designer Koloman Moser (1868-1918). The firm manufactured a range of interior furnishings between 1903 and 1932. The textile department opened in 1900, and produced about 1,800 designs, mainly for printed fabrics for furnishings and apparel. The designs were characterised by simplified forms and vivid colours, and inspired by Eastern European peasant art and geometric motifs in contemporary painting. The workshop had a profound impact of European art and design, and its work is still celebrated today. Mathilde Flögl was born in the Czech Republic in 1893, and studied at the Kunstgerwerbeschule in Vienna. In 1916 she began working at the Weiner Werkstätte, and where she designed more than 120 textile patterns. This fabric Fälter or Butterfly was designed in 1924. The butterfly was a favourite motif of Flögl. In this design she plays with a variety of whimsical abstractions and arrangement of both the butterfly and the snail on a background of abstract colour stripes and blocks. Ann Carew 2016The fabric is of great aesthetic interest as an example of the work of the Viennese workshops, and the noted designer textile designer Mathilde Flögl. The original pencil drawings, pencil and gouache designs, and fabric swatches for Fälter are held in the MAK Museum in Vienna, and the Victorian and Albert Museum in London have a sample of piece of the silk fabric in an alternate colour wave. The Museum of Applied Arts in Sydney holds a swatch book of textiles from the Wiener Werkstätte, however Flögl’s work is not represented. The National Gallery of Victoria holds a similar swatch book. The remnant has an excellent provenance, is associated with a powerful personal narrative, and is significant and rare item relating to history of the Wiener Werkstätte in Vienna, and the oeuvre of Matilda Flögl. Ann Carew 2016Remnant of a block-printed silk fabric used to make the bedspread for Karl Duldig and Slawa Horowitz-Duldig's bed in Vienna. -
Flagstaff Hill Maritime Museum and Village
Furniture - Chair, early 29th century
The Bentwood chair has been called ‘the world’s most popular chair’. The original Bentwood chair, was designed by German-Austrian cabinet maker and Master Joiner, Michael Thonet (b.1796 - d.1871) and introduced to the market in 1859. Thonet started his business in his home town of Boppard as an independent cabinet maker in 1819. In the 1830’s he began trying to make furniture from glued (laminated) and bent wooden slats. Over the next few years his attempts to patent this process failed in Germany, Great Britain, France, and Russia. He then began using lightweight, strong wood and bending it into elegant, comfortable furniture. The Bentwood technology took Thonet years to perfect. In simple terms, the wooden rods or lengths were wet by soaking or steaming, bent into shape and then held in place until they hardened into the moulded curved shape or pattern. The wood usually chosen for the bentwood chairs was maple or beech. Thonet had revolutionised an older process by industrialising the process. The dowels of wood were cut and prepared as components of furniture, treated by the ‘bentwood’ process, then ready immediately for assembling with very little extra workmanship needed. Thonet held 2 patents for this process, the second one ended on 10th July 1869 and was non-renewable. At the Trade Fair at Koblenz of 1841 Prince Klemens Wenzel von Mettemich was very impressed with Thonet’s furniture, especially the chairs. In 1842 Thonet sold his Boppard business and emigrated to Vienna, and began working, along with his sons, on the interior decoration of the Palais Leichtenstein, for the Carl Leistler establishment. In 1849 he began his own business again, the Gebruder Thonet to include his sons (translated “Brothers Thonet”). He produced the “No. 1” Bentwood chair. He received a bronze medal for his Vienna bentwood chairs at the World Fair in London in 1851, and a silver medal in Paris in 1855. In 1856 he opened a new factory in Koritchan (Moravia), where there were extensive woods of beech trees available for his enterprise. In the next years, five more Eastern European production sites were established in Bystritz (1862), Nagy-Ugrócz (1866), Wsetin (1867), Hallenkau(1867) and Nowo-Radomsk(1880). Thonet’s 1859 No. 14 “chair of chairs” (or “Konsumstuhl Nr. 14” – coffee shop chair no. 14) was the most famous of all of Thonet’s Bentwood chairs. In 1867 he received a gold medal at the Paris World Fair. This new style of furniture making became very popular. Up until 1830 50 million of these chairs had been produced. By the 1870’s Thonet owned offices in almost 20 countries, with sales locations across Europe, in Chicago and New York. In 1889 he set Thonet set up a head office in Frankenberg, Hesse. Bentwood models designed in the mid to late 19th century featured hand-caned or laminated wood seats and were usually stamped with the country of origin. The Bentwood elements were the backrest, seat rim and legs. Typically the seat was covered with ‘bucket’ leather. After the Patent ran out in 1869, companies such as Jacob & Josef Kohn began the production of bentwood furniture.The popularity of the Bentwood chair that was introduced by Michael Thonet in the 1850s is due to its versatility and timeless quality. Its style, whether varnished or painted, suits any room in the house. The lightweight chairs are also popular for café and restaurant seating, as well as for public gatherings. They can be easily moved around and grouped in a variety of ways to suit any occasion.Chair, bentwood, pair of two. Backrest has full length inverted U inside frame. Support rail and wire reinforcing between legs. 3692.01 seat has floral pattern pressed into wood 3692.02 seat is plain (replacement seat). Made by Harnison & Co.3692.01 chair's marks; Label ""HARNISON & CO./ NEUSOL / BUDAPEST" and "WIENER NOBEL" and "(symbol) N inside circle, under Crown" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, domestic furniture, dining furniture, bentwood chair, harnison & co., neusol, budapest, wiener nobel -
Federation University Historical Collection
Photograph - Photograph - coloured, Certificate IV in Occupational Health and Safety , intake 36, 2006
Victorian Institute of Occupational Safety and Health (VIOSH) Australia is the Asia-Pacific centre for teaching and research in occupational health and safety (OHS) and is known as one of Australia's leaders in the field. VIOSH has a global reputation for its innovative approach within the field of OHS management. Federation University VIOSH Australia students are safety managers, senior advisors and experienced OHS professionals. They come from all over Australia and industry. Students are taught active research and enquiry; rather than textbook learning and a one-size fits all approach. VIOSH accepts people into the Graduate Diploma of Occupational Hazard Management who have no undergraduate degree – on the basis of extensive work experience and knowledge.black framed photograph with title and names of students underneath, red backgroundFramers - Creative Framing Galleryviosh, viosh australia, occupatonal health and safety, paul adams, leo aguirre, gaynor baker, maree baker, tamara ball, ruzica baric, ray belli, jim brambly, graeme clough, james cox, rebekah hansard, fletcher hayllar, karen heber, wayne karleusa, pascalle keane, penny leemhuis, glenn poroissien, lee pearson, juan piraz, colin raynor, murray richardson, darren robertson, nicole robinson, vaughan rose, richard smith, james tatlock, josef tettmann -
Federation University Historical Collection
Booklet, John Marrynore Don Juan
Purple soft covered booklet with information on Warner Brothers Don Juan as played by John Barrymore. Includes many photographic images. don juan, john barrymore, nigel de brulier, montagu love, lionel braham, josef swickard, helen lee worthing, myrna loy, estelle taylor, phyllis haver, jane winton, mary astor, helene costello, warner brothers -
Port Melbourne Historical & Preservation Society
Audio - Oral History, Ken Turner, Chris Raeburn and Jo Swartz, Glen Stuart, 8 Jan 2001
Oral History of (1) Ken Turner, (2)Chris Raeburn, (3)Jo Swartz; recorded by Pat Grainger on 08.01.2002. (1)Conversation between Pat Grainger (PMHPS) and Ken Turner, former PM resident discussing shops in PM (research for 2001 calendar). (2) Councillor Chris Raeburn, Mayor, being interviewed by Bill Hartley on radio 3CR c1990 discussing Coode Island. (3)Jo Swartz, Mayor being interviewed by Romona Koval on radio 3CO discussing the Bayside Proposal. Recording duration 35:20.industry, built environment, town planning, oral history, bayside proposal, coode island, ken turner, josef (jo) szwarc, chris raeburn -
Port Melbourne Historical & Preservation Society
Document - Report, City of Port Melbourne staff planning workshop, Jun 1990
City of Port Melbourne staff planning workshop. Report 1990local government - city of port melbourne, city engineers, town clerks, shirley alexander, michael anderson, neil beddoe, beris campbell, murray cocks, tony de fazio, ray donchi, trevor bennett, bruce gray, ian henderson, bob maker, norm mcclelland, pat mckay, bruce mckeon, kate minas, wendy morris, des odgers, chris raeburn, bill richards, janie rowlands, josef (jo) szwarc, marisa tramontana, david graham, phillip lang -
Port Melbourne Historical & Preservation Society
Document - Newsletter, City of Port Melbourne, Port Council News, 1987
Set of newsletters issued by the City of Port Melbourne, Vol 3 No 3 Spring 1987local government - city of port melbourne, city engineers, neil beddoe, josef (jo) szwarc, perce mcguire white, perce white -
Port Melbourne Historical & Preservation Society
Document - Newsletter, City of Port Melbourne, Port Council News, 1987
Set of newsletters issued by the City of Port Melbourne, Vol 4 No 4 Summer 1987/1988 (2 copies)local government - city of port melbourne, town planning - proposals shelved - bayside, city engineers, neil beddoe, josef (jo) szwarc, perce mcguire white, perce white -
Port Melbourne Historical & Preservation Society
Document - Newsletter, City of Port Melbourne, Port Council News, 1989
Set of newsletters issued by the City of Port Melbourne, December 1989local government - city of port melbourne, josef (jo) szwarc -
Port Melbourne Historical & Preservation Society
Document - Newsletter, Issue 7, Bayside Bulletin, 1989
Bayside Bulletin, a set of newsletters issued by the City of Port Melbourne to keep residents informed about the Bayside development: Issue 7, June 1989town planning - proposals shelved - bayside, wendy morris, josef (jo) szwarc -
Port Melbourne Historical & Preservation Society
Document - Newsletter, Issue 10, Bayside Bulletin, 1990
Bayside Bulletin, a set of newsletters issued by the City of Port Melbourne to keep residents informed about the Bayside development: Issue 10, May 1990town planning - proposals shelved - bayside, josef (jo) szwarc, robert peck, evan walker -
Port Melbourne Historical & Preservation Society
Document - Coffee/Tea order form, Port Melbourne Council meetings, City of Port Melbourne, 1986
Blank forms typed on city A5 letterhead and photocopied (3 copies): used to note tea and coffee orders for Port Melbourne Council meetings. Initials of councillors and chief officers included.One copy annotated in pencil by cataloguer with full names of those listedlocal government - city of port melbourne, frederick robert winduss, russell griffiths, phillip lang, perce mcguire white, perce white, james malcolm (jim) mitchell, chris raeburn, raymond frank julier, barry 'bomber' mitchell, josef (jo) szwarc -
Monbulk RSL Sub Branch
Book, Naval Institute, U-boat adventures : firsthand accounts from World War II, 2010
Twenty-two U-boat veterans tell their stories in this collection of their experiences, recorded by the author during several years of travel throughout Germany. While many books have been written about the U-boat war, this is one of the few that focuses on the lives of the submariners, and rarer still is its concentration on the crewmen rather than the officers. Melanie Wiggins interviewed seventeen men of the enlisted ranks, along with five commanders, to take readers into the terrifying world of underwater warfare, where every single crewman made a crucial difference in the fate of his boat. As she searched for and interviewed U-boat men, Wiggins also collected photographs from scrapbooks and archives, and consulted war-era personnel records and secret diaries. Her attendance at a reunion of the crew of U-682 netted a wealth of information as did her interviews with submarine veterans in Gؤrlitz, former East Germany. Her interviews with Admiral Otto Kretschmer just two months before his death and ninety-four-year-old Commander Jѓrgen Wattenberg in Hamburg add important dimensions to the work. Among the individual sagas included are Radioman Hans Bѓrck's description of his 1942 patrol to Aruba and the visit of Japanese submarine I-30 at Lorient; Fireman 2nd Class Josef Erben's explanation of how his boat, U-128, got stuck on a large rock and had to be hauled free; POW Ernst Gؤ:thling's memories of being wounded in a British prison camp when German planes mistakenly dropped bombs in the area.Index, bibliography, notes, ill, p.250.non-fictionTwenty-two U-boat veterans tell their stories in this collection of their experiences, recorded by the author during several years of travel throughout Germany. While many books have been written about the U-boat war, this is one of the few that focuses on the lives of the submariners, and rarer still is its concentration on the crewmen rather than the officers. Melanie Wiggins interviewed seventeen men of the enlisted ranks, along with five commanders, to take readers into the terrifying world of underwater warfare, where every single crewman made a crucial difference in the fate of his boat. As she searched for and interviewed U-boat men, Wiggins also collected photographs from scrapbooks and archives, and consulted war-era personnel records and secret diaries. Her attendance at a reunion of the crew of U-682 netted a wealth of information as did her interviews with submarine veterans in Gؤrlitz, former East Germany. Her interviews with Admiral Otto Kretschmer just two months before his death and ninety-four-year-old Commander Jѓrgen Wattenberg in Hamburg add important dimensions to the work. Among the individual sagas included are Radioman Hans Bѓrck's description of his 1942 patrol to Aruba and the visit of Japanese submarine I-30 at Lorient; Fireman 2nd Class Josef Erben's explanation of how his boat, U-128, got stuck on a large rock and had to be hauled free; POW Ernst Gؤ:thling's memories of being wounded in a British prison camp when German planes mistakenly dropped bombs in the area.world war 1939 – 1945 –naval operations - germany, germany - u-boats -
Monbulk RSL Sub Branch
Book, Hitler and Stalin : parallel lives, 1991
comparative study of the lives and careers of Hitler and Stalin. Alternate chapters on each serve both to draw contrasts and highlight parallels. The author gives his reasons for believing that the key to an understanding the character of the two is the same.Index, ill, bib, p.1189. comparative study of the lives and careers of Hitler and Stalin. Alternate chapters on each serve both to draw contrasts and highlight parallels. The author gives his reasons for believing that the key to an understanding the character of the two is the same.adolf hitler - 1889-1945 - biography, josef stalin - 1879-1953 - biography