Built 1910This photo, a souvenir from Kula Lumpar, Malaysia 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). According to Bill's neice Valerie Waller (nee Feldbauer, daughter of Violet and Theodore 'Curly' Feldbauer), her Uncle Bill would always bring some sort of souvenir home from his travels for family members. The item ( along with a series of postcards from Japan of the Great Kanto Earthquake of 1 September 1923) 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 through 'Curly' Feldbauer 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, kuala lumpur railway station, malaysia

University of Ballarat is a predecessor of Federation universityCollection of Photographs on CD from the Kuala Lumpur Graduation 2004kuala lumpur, kerry cox, graduation, university of ballarat, graduates, 2004

This stencil was used on bags and possibly other packaging containing grain processed and packed at Anderson's Mill. The stencil would have indicated the destination of, or origin of the grain.Rectangular; two pieces of iron welded together. Extensive rusting. Letters ANK 299 inside trapezoidal pattern. Kuala Lumpur cut out along bottom of stencil."ANK 299 / KUALA LUMPUR"

Department of Health – National Fitness Office (Sports & Recreation) – Historical Press Release Photo - Empire Youth Day & Royals on Tour CollectionDepartment of Health – National Fitness Office (Sports & Recreation) – Historical Press Release Photo - Empire Youth Day & Royals on Tour Collection

Rectangular pewter plaque framed in wood with plaque on the front bottom.With Best Compliments From Human Resources Development Fund Ministry of Human Resources Kuala Lumpur, Malaysiapewter plaque, kuala lumpur, ministry of human resources, malaysia, human resources development fund, kl pewter, souvenir

Robin Boyd travelled to Malaysia, Macau and Singapore in 1970, after a visit to Expo 70 in Osaka, where he was Exhibits Architect of the Australian Pavilion.Colour slide in a mount. Buildings, probably Kuala Lumpur, MalaysiaMade in Australia / 30 / MAY 70M3expo 70, osaka, robin boyd, slide

Robin Boyd travelled to Malaysia, Macau and Singapore in 1970, after a visit to Expo 70 in Osaka, where he was Exhibits Architect of the Australian Pavilion.Colour slide in a mount. Angkasapuri building (on the far right),1968, Kuala Lumpur, MalaysiaMade in Australia / 27 / MAY 70M3expo 70, osaka, robin boyd, slide

Robin Boyd travelled to Malaysia, Macau and Singapore in 1970, after a visit to Expo 70 in Osaka, where he was Exhibits Architect of the Australian Pavilion.Colour slide in a mount. National Mosque of Malaysia on far right, Kuala Lumpur, MalaysiaMade in Australia / 32 / MAY 70M3expo 70, osaka, robin boyd, slide

Colour slide in a mount. Old Subang Airport Terminal One, Kuala Lumpur, MalaysiaMade in Australia / 22 / JUL 69M2slide, robin boyd

Architectural perspective drawing featuring aerial view of the Chancery at the Australian High Commission, Kuala Lumpurink, acetate

Robin Boyd travelled to Malaysia, Macau and Singapore in 1970, after a visit to Expo 70 in Osaka, where he was Exhibits Architect of the Australian Pavilion.Colour slide in a mount. Stadium Negara, Kuala Lumpur, Malaysia, 1962. (Architect: Stanley Edward Jewkes.)Made in Australia / 31 / MAY 70M3expo 70, osaka, robin boyd, slide

Robin Boyd travelled to Malaysia, Macau and Singapore in 1970, after a visit to Expo 70 in Osaka, where he was Exhibits Architect of the Australian Pavilion.Colour slide in a mount. Old Subang Airport Terminal One, Kuala Lumpur, Malaysia (see also S1426)Made in Australia / 34 / MAY 70M3expo 70, osaka, robin boyd, slide

Robin Boyd travelled to Malaysia, Macau and Singapore in 1970, after a visit to Expo 70 in Osaka, where he was Exhibits Architect of the Australian Pavilion.Colour slide in a mount. Parliament House, Kuala Lumpur, Malaysia, 1963. (Architect: Ivor Shipley from Malaysian PWD.)Made in Australia / 25 / MAY 70M3slide, robin boyd

Robin Boyd travelled to Malaysia, Macau and Singapore in 1970, after a visit to Expo 70 in Osaka, where he was Exhibits Architect of the Australian Pavilion.Colour slide in a mount. National Mosque of Malaysia, Kuala Lumpur, Malaysia, 1965. (Architects: Howard Ashley, Ikmal Hisham Albakri and Baharuddin Abu Kassim.)Made in Australia / 29 / MAY 70M3slide, robin boyd

Ornate Kris sword/knife and sheath in black frame.Plaque with: Unity College International and University of Ballarat, Graduation Celebration OCT 2005, Kuala Lumpur, Malaysiaunity college international, kris, sheath, sword, knife, ornamental knife

Account of the author's capture by the Japanese forces in Malaya in 1941, and experiences in prisoner of war camps in Kuala Lumpur, Changi and Thailand.18 x 11 cmprisoner of war camps, world war 2. malayan campaign

A large, round silver-plated salver with a raised geometric design around the rim. Thirteen crests have been engraved around the tray text and coat of arms.Inscription on face of salver. "PRESENTED TO FACULTY OF ANAESTHETISTS ROYAL AUSTRALASIAN COLLEGE OF SURGEONS BY MALAYSIAN ANAESTHETIC SOCIETY ON THE OCCASION OF 1ST MALAYSIAN CONGRESS OF ANAESTHESIOLOGISTS 3rd & 4th MAY. 1973 KUALA LUMPUR"salver, commemorative, anaesthetist, malaysia

Medal with green and yellow fabric with a silver coloured medallion hanging off of it. Medallion features anchor design on one side and muslim crescent moon and star on the other. Sitting in green felt box with gold-coloured hinges.on box "WMA 70" "Malaya trading Co/ Medallists/ Kuala Lumpur" "PMA 0217/2" On medallion "Ulang Tahun Yang Ka Sepuloh/ 1 hb Julai 1973" "PMA 0217/1"

John TESCHENDORFf (1942- ) Born Richmond, Melbourne, Victoria John Teschendorff studied at the Caulfield Institute of Technology (now Monash University), the Royal Melbourne Institute of Technology and the Royal College of Art London. In 1995 he was selected for Australian Ceramics 1830-1995 a major survey exhibition presented at the Museo Internazionale della Ceramiche, Faenza Italy. Since the early 1980s John Teschendorff has been working with constructed forms and works on paper whilst holding a number of senior academic appointments in Melbourne (Melbourne State College), Perth (Curtin University) and Kuala Lumpur (Malaysian Institute of Art & Limkokwing Institute of Technology). Black ceramic of slab construction item in a perspex box.john teschendorff, ceramics, jan feder memorial ceramics collection, gippsland campus, john teschendorf, strezleckie sptkanie

Twelve page, full colour, gloss paper, centre stapled pamphlet titled "Light Rail Yes Ahead" Provides details of the Metropolitan Transport Authority - The Met consulting services, with Foreword by Tom Roper, Minister, information on Light Rail, technology, the Hong Kong, MTCS consultancy, consulting services and contact details. C1987 - 1988. See Also Reg Item 456 for a similar pamphlet - this one seems to be the next edition, as Hong Kong (Tuen Mun) and a contract for Kuala Lumpur. Also has a photo of the St Kilda light rail being built. 2nd copy added 23-10-2016trams, tramways, minister for transport, metropolitan transit authority, hong kong

International time clock with different time zones of the world. Inside is a key for tuning. Blue with gold design of city and plane.PORT OF YOKOHAMA/ 1859/ GMT/ LONDON/ AZORES/ BUENOS AIRES/ RIO DE JANEIRO SAO PAULO/ SANTIAGO/ TORONTO / WASHINGTON / NEW YORK / BOGOTA, LIMA / MEXICO CITY / CHICAGO / NEW ORLEANS / DENVER / VANCOUVER / SAN FRANCISCO / LOS ANGELES/ HONOLULU/ ANCHORAGE/ MIDWAY/ DATE LINE / AUCKLAND/ MELBOURNE/ SYDNEY, GUAM/ TOKYO, OSAKA, SEOUL/ BEIJING/ TAIPEI, MANILA/ HONG KONG/ SINGAPORE/ KUALA LUMPUR/ BANGKOK/ JAKARTA/ CALCUTT/ BOMBAY/ NEW DELHI/ KARACHI/ MUSCAT/ TEHERAN/ KUWAIT/ MOSCOW/ JOHANNESBURG/ ATHENS, BEIRUT/ CAIRO, TRIPOLI/ BERLIN, ROME/ PARIS, MADRID/ AMSTERDAM/ LORD KING/ JAPAN" "PMA 0346"

Penelope Aitken lives and works in Melbourne, Australia. She makes paintings and installations about relationships: between people, between things and between people and things. Recurring subjects include friendship, genealogy, romantic liaisons, and cross-cultural exchange as well as gardening, craft and landscape design. 'I am interested in the social, psychological and aesthetic motives behind organisation, belonging and displacement and I often make work that investigates such arrangements.' She has held regular solo exhibitions since 1995 and has been represented in group exhibitions since 1989. These have included shows in public and commercial galleries, artist run spaces, outdoor projects and festivals in Melbourne, Sydney, Perth, Brisbane, Bundaberg, Kuala Lumpur, Taipei, Tokyo and Famagusta, Northern Cyprus. Aitken has previously worked at the Australian Centre for Contemporary Art and at Asialink at the University of Melbourne. From 2006 - 2009 she was a board member of the Melbourne artist run gallery, West Space and she has also curated and coordinated numerous exhibitions and written and edited catalogues, articles and essays. She holds a Bachelor of Arts and a Bachelor of Education (Visual Arts) both from The University of Melbourne and completed her Masters of Fine Art at the Victorian College of the Arts in 2004. In 1997 Aitken was selected to be a studio artist for two years at Gertrude Contemporary Art Spaces, Melbourne and in 2000 she undertook an Australia Council Studio at the Taipei National University of the Arts, Taiwan. More recently she spent two months in 2007 at the Laughing Waters Residency, Birrarung, in Eltham, Victoria. There she began her current interest in the rocks used in the landscape designs of Gordon Ford. Paintings of Ford's rocks made since 2007 as well as glacial erratics, meteors, and other natural and displaced rocks were exhibited in March 2011 at the Light Factory Gallery in Eltham in a show called My History of here, and Second Nature, one work from this exhibition, was awarded first prize at Eltham Masterworks 2011. Other work made about rocks in nature and culture include: the project, A dark archive, as well as in two installations: You seem so settled for one that doesn't belong held at West Space in 2009 and Gathering these things to remind me of home shown in 2010 at the Bundaberg Regional Art Gallery, Queensland. In July and August 2007 Aitken undertook an arts recidency at Birrarung, a house and garden designed by Gordon Ford and managed as the Laughing Waters Artist in Residence Program by the Shire of Nillumbik Victoria. The rocks depicted in the painting 'Mapping Mass & Void 10' are all taken from the garden at Birrarung. Aitken has made reference to those rocks and the way in which Ford thought of the rocks as individuals that need to be handled and placed with consideration to show off their best aspects.oil and acrylic on linen ek prac 2015

Used by the Mah Meri people, Kuala Langat, Selangor (Malaysia), 1936. While Malaysian, this blow-gun is analogous to that used by Indigenous groups from South America with curare. The gun is of bamboo, with a highly polished inner tube of the same. The darts are reeds, made directional by knobs of a tudor wood, with poison made from the ipoh tree and the Strychnos vine The blowpipe examined in this report consists of a long bamboo tube with engraved floral motifs on the outside and a second bamboo tube inside. The mouthpiece is attached to the inner tube and the whole piece can be removed from the outer casing. There is a quiver, filled with darts, a small poisons receptacle, and a single dart and hollow bamboo tube, stored outside the quiver. The objects were donated as a whole to the museum in 1948 by Dr Thomas Edward Marshall. The engravings on the outer case originate from the Mah Meri community in Kuala Langat, Selangor, Malaysia. The floral ‘motif is of a vine with small incisions to reflect the properties/identity of the plant (poisonous/harmful)’. These motifs are generally handed down through the generations and can be used for kinship identification. They are also believed to enhance the performance of the blowpipe. The outer casing is made up of several pieces of bamboo fused together. Broken or damaged blowpipes were not discarded. Broken sections of a pipe could be removed and replaced as required, and the observably different bamboo sections suggest this has taken place at some point. Sap from the perah tree is used to seal or glue the pieces together and the glue is reversible by heating. The Mah Meri created a poison from the ipoh tree for use in hunting. The poison acted swiftly to kill the animal and did not result in secondary poisoning. The way in which the Mah Meri hunted is analogous with other blowpipe hunting practices elsewhere in the world. Blowpipe hunting practices represent a starting point for the introduction of standardised muscle relaxants into surgery during the 20th Century. In parts of South America, plant poisons were used to tip the darts and kill prey. These poisons are known as curare. The crucial ingredient in curare was Chondrodendron tomentosum root. Raw curare formed the basis for Intocostrin, the first standardised, mass produced muscle relaxant. The introduction of muscle relaxants dramatically changed surgery, allowing for more precise surgery and better patient outcomes. Bamboo blowpipes can be found in many museum and heritage collections, particularly those with strong colonial origins or influence. Blowpipes from Borneo seem to be well represented, along with those from Guyana. Blowpipes from Malaysia appear to be less common. More research is required to establish the rarity or representativeness of the blowpipe. Ownership of the blowpipe can be traced back from the museum to Dr Thomas Marshall. It has also been established the blowpipe’s point of origin is among the Mah Meri people of Kuala Langat, near Kuala Lumpur. There is no information regarding the way in which Marshall came into possession of the blowpipe. Provenance cannot be fully established. Despite these difficulties, the blowpipe represents a full set of hunting implements. It is accompanied by a quiver, also decorated with a floral motif, a set of bamboo darts, and a poison receptacle. The quiver also has a waist strap which enabled the owner to strap it to themselves, preventing its loss while hunting. Each object within the set is in good condition, although the inner tubing is beginning to split lengthwise and should not be removed from its outer casing. While the blowpipe and accompanying objects are not of South American origin, the techniques and poisons used are analogous and this object has high interpretative capacity. Hollow bamboo blowpipe with mouthpiece at one end. Two different types of organic fibre have been used at difference points along the shaft to secure different segments of the blowpipe. The item consists of two tubes a thin and unpolished inner tube that has degraded and can no longer be removed, and a polished and decorated outer casing. The outer casing is made up of different sections of polished bamboo, some pieces have developed a deep red hue which is likely the result of prolonged polishing and regular heating over many years, other sections are a lighter yellow indicating that they are newer pieces of bamboo. The entire outer tube is covered in a varied sequence of genomic patterns. The exact meaning of these patterns is unknown however they are passed down through family lineage, the exact family of origin is unknown. Connected to the mouthpiece if it is removed from the inner casing is a piece of cloth with the numbers 2241 written in black ink, their purpose is unknown.curare, malaysia, bamboo