Complete DPSU Pack. Including entrenching tool and sleeping gearequipment, 2000, army

Grey woollen blanket, thick. The edges are stitch hemmed. There are three blue stripes, running length wise. Width of stripe is approx 50mm.Label has "V325. Made in Australia 1942".ww2, sleeping gear, equipment, blanket

Collection re "Paul Denis Ahearn", No. 331325. Refer Cat No. 11108P for his service details.This piece of sleeping gear was once a lightweight nylon blanket. It has been converted to a simple sleeping bag by the addition of a large plastic zip across the bottom and up one side. The original design tabs with press studs have been removed. There is no drawstring on the opening. The original label has faded out.sleeping equipment, army

Mannequin of SAS soldier fitted out for patrol wearing - US Army camo uniform, replica armalite rifle, replica 40mm grenade launcher, spare 40mm replica grenades, ammo pouches, water bladder on chest, M26 grenade, compass pouch, smoke cannister, bayonet, water bottles, , backpack with rations, sleeping gear, sweat rag on head, GP boots.sas, sas soldier, mannequin

An irregular cloissonne medallion Yellow with gold illustrations and red and gold writing on one side and silver gun, bayonet and fist on a black background with red and silver writing Crucible Enter recruits 54 hours 48 miles 49 lbs of gear 36 stations 29 problem solving exercises 8 hrs sleep 3 MRE’s Exit Marines One mind any weapon the military mint, military medal

Rohan Robinson is an artist born in Geelong, and attended “the Mill” part of Deakin University in 1980-82, studying Fine Art. In 2010-11, he was the manager of Kayili Artists Aboriginal Corporation, at Patjarr in the Gibson Desert W.A., where he oversaw the development and marketing of artworks of the corporation’s members. The community is the remotest in Australia and averaged 25 people, mostly consisting of elderly people and part of the Ngaanyatjarra region, with some members not having any consistent contact with white fellas up to the mid 1960’s. During his time it was common for all the community members to go out hunting and having a visit to important areas, where members would get some tucker of rabbits and lizards and honey ants and perhaps some “meow meow” and have a nice sleep in the shade on the warm sand. Robinson would often take his painting gear along and do some work on unstretched linen on the desert ground, he would paint for a while and then perhaps lie around with the elders or follow one of the expert hunters and observe from a distance [several meters] the skills of elderly women casually walking through some recently burned spinifex knocking cowering bunnies on the head with a steel rod. It was on one of these occasions, when this particular painting was being conceived, that after returning from the hunting mission, he was informed by some of the mob, that an elder had been spending time looking at this work in it’s infantile stage...”You know the old fella over there, he been looking at that painting of yours” It was later in the day, when returning to Patjarr, that the elder Arthur Robertson approached Robinson, and demanded/asked that Robinson paint his stories for him. Mr Robertson was suffering from Parkinson’s disease, and was having trouble painting, but had been doing some brilliant work with Posca markers. It was with a certain reluctance that Robinson agreed, as he felt this to be a “political hot potato in some quarters” but also respected a relationship between artists beyond the cultural divide. Mr Robertson demanded that they start immediately and armed with pencil and paper they created the notes for several paintings under Mr Robertson’s direction. The painting that you are viewing is signifcant in that it was the catalyst for this relationship between the two artists. Mr Arthur Robertson died later that year 2011.Gold framed blue and earth tone painting. Painting depicting four circles with mountain and sky in the background.