Square bronze plaque depicting a tiger amongst rushes. Inscribed on reverse MS. Sticker on reverse containing "Tyger, Tiger, Burning Bright/Aus 12"matcham skipper, bronze, plaque, tiger

Wood relief depicting a tiger's head emerging from the rushes.Nonematcham skipper, relief, wood, tiger

The cast of a captive male Sumatran Tiger aged 5 months was made by David Pepper-Edwards at Taronga Zoo, Sydney, NSW. David Pepper-Edwards used a number of plaster cast footprints for comparison of unidentified field casts.Two plaster casts of a five month old male Sumatran tTiger footprint. These casts were used in the identification of photographs and sightings of large cats in the Australian Bush. Australian Animal Folklore Collectionverso: TZ, Sumatran Tiger, males, 5 months, 3/04australian animal folklore collection, david pepper edwards, pepper edwards, big cat, cat, sumatran tiger, plaster cast, footprint, mythical, myth, folklore

In the early 1880s a small circus travelled between Millicent and Mt Gambier, South Australia. After camping overnight they discovered their Bengal Tiger at escaped and disappeared into dense scrub. After searching for hours they continued to Mt Gambier and reported the loss of the tiger to police. Police and local volunteers continued the search for the escaped tiger, but no sighting were made. In the early 1890s sheep in the Tantanoola area started to disappear with the still unsighted tiger being blamed. In 1893 reports of an unusual animal in the Tantanoola area started, with many describing the animal as the missing tiger, or a large dog. One eye witness claimed to have seen the animal carrying a full grown sheep in its mouth. The reports grew in number and exaggeration with sightings from Robe to Bendigo. In the Tantanoola district children were escorted with shotgun guards to and from school, with many homes keeping guns at the ready in case the tiger suddenly appeared. In August 1895 Tom Donovan shot the "Tantanoola Tiger" on Mt Salt Station, around 20 kms south of Tantanoola. The corpse was taken to Marks, a Mount Gambier taxidermist, at which time the animal was identified as an Assyrian or Northern Russian Wolf. Donovan displayed the animal far and wide. Despite the animal's death sheep continued to disappear from properties in the district over many years. It was of particular concern between 1909 and 1910. At that time Herbert Allchurch, an Adelaide detective, was sent to solve the mystery. A few days after his arrival Allchruch went to the front bar of the Tiger Hotel and arrested local rabbit shooter and trapper, Charlie Edmunson, with sheep stealing. After his 1911 trial Edmunson admitted to stealing over 4,000 sheep during the previous 20 years. He was gaoled for six years with hard-labour in January 1911. Edmunson had been selling the skins of the stolen sheep, leaving the carcusses to rot. He earned around five pounds per week during the 1990s and early 1900s, a time when the economy was depressed. It is not known had the animal known as the Tantanoola Tiger came to Australia, but it is believed it survived one of three ships wrecked of the coast between 1890 and 1893, making it to shore along with some of the shipwrecked passengers. (From a card produced by the Tantanoola Tiger Hotel, where the 'tiger' is on display.)A collection of Newsclippings from 1892 - 1895 photocopied onto A4 white paper. The clippings relate to the Tantanoola Tiger. Clippings include: * Border Watch 1892 - Tantanoola Tiger Reward * Sydney Morning Herald, 04/07/1857 - Animals in Zoological Gardens, including a number of large cats. * Claims the Tantanoola Tiger was an escaped circus animal (ie The Advertiser [Adelaide], 31 October 1893) * Search parties for the Tantanoola Tiger (ie Barrier Miner 19/05/1893; Barrier Miner 03/1081893) * Thylacine claim (ie Morning Bulletin [Rockhampton] 11/03/1895 * Afghan and Indian Hunters (ie Barrier Miner 07/02/1895) * Sighting by John Bird of Scarsdale - Wanganui Herald 15/12/1900. " ... Mr Bird was travelling on foot along a lonely track through very dense scrub, when he was stricken with amazement to see a full-grown tiger standing in a small dam about 30ft away, and holding in its jaws the carcass of a newly-killed lamb. He remained long enough to thoroughly take in the animals appearance, and then beat a hasty retreat unmolested. His description of the animal is as follows: A tawny-coloured creature, with a dirty mottled skin; in general appearance like an immense cat; body 4ft long, and of a uniform thickness from shoulder to hindquarters; in bulk equal to a very large pig. The legs were hidden in the water. A similar animal is reported to gave been seen near Canico, some miles away. ..." * Victorian country sightings # Bullarto - Argus 06/05/1905 # Dean - Launceston Examiner 28/01/1895 # Bendigo - Hobart Mercury 15/03/1895 # Ballan - Launceston Examiner 03/08/1895 * South Australian register 17/06/1885 " There is a tiger or panther wandering at large in Victoria, according to a rumour. It has taken the place of the Bunyip, whom hundreds have seen but none captured. This tiger is supposed to have broken loose from a travelling menagerie in the North-eastern district. At the beginning we should like it roved that such an escape ever took place. Perhaps the showmen were afraid to report the fact to the police; at any rate they did not do so. The first story about the tiger being seen came from the neighborhood of Wangaratta, 60 miles from the place where it is said to have commenced business on its own account. He was followed, but vanished among trees. Next we hear of a strange animal, bigger than a St Bernard's dog, but shorter legged, having appeared at least 150 miles from Wangaratta. Between Lilydale and Wangaratta there is a dividing range 2,000 feet high in the lowest past, besides several large rivers. An finally, the tiger - changed from a panther - is reported as having been seen within the suburban circle, about 8 miles from the general Post Office. They show you footprints, and point to the carcasses of mangled cows and calves. Casts have been taken of the footprints for examination by scientific men, who pronounce them doglike, and yet not doglike, but panther-like, which gives a nervous turn, for the panther may take up killing children and grown-up people. One tiger will not account for so many apparitions. There must have been a general strike among the menageries, and a breaking-up companies. ... * Research article by Philip A. Clarke "Indigenous Spirit and Ghost Folklore of 'Settled' Australia. australian animal folklore collection, tantanoola tiger, tom donovan, herbert allchurch, charles edmunson, sheep, charlie edmunson, mythical, myth, folklore

De Havilland made DH 5220 original fitment. The de Havilland DH 82 Tiger Moth is a 1930s biplane designed by Geoffrey de Havilland and was operated by the Royal Air Force (RAF) and others as a primary trainer. The Tiger Moth remained in service with the RAF until replaced by the de Havilland Chipmunk in 1952 http://en.wikipedia.org/wiki/De_Havilland_Tiger_MothWooden propeller for Tiger Moth Aircraft with brass bound leading edgesTiger Moth No.43propeller, tiger moth, dh 5220, dh 82

The Methodist Inland Mission Tiger Moth aircraft was dedicated at Maylands, Western Australia, before flying to the Wiluna and Meekatharra districts of Western Australia. The aircraft was named after the Rev Barclay.B & W gloss photograph of Rev A J Barcley of the Methodist Inland Mission, Rev P Clark, President of the Methodist Conference, Rev S Jenkins, Director of Home Missions, and Rev D McCaskill, pilot of the plane, at the dedication of the Tiger Moth aircraft for the Methodist Inland Mission rev d mccaskell, rev p clark, methodist inland mission, rev s jenkins, rev r j barclay

Curtis Commando C46. One of a collection of 25 model aircraft made by Brian Anthony DOWD The Curtiss C-46 Commando is a twin-engine transport aircraft. It was used as a military transport during World War II by the United States Army Air Forces and also the U.S. Navy/Marine Corps. The C-46 served in a similar role to its Douglas-built counterpart, the C-47 Skytrain. Large white minature model plane with blue stripe down the sides. Flying Tiger Linemodel airplanes, curtis commando c46.

Manual - fawn cover, with folded clip silver binders, approx. 80 pages titled "Leyland Spare Parts List - Tiger OPS4/1", Lists all parts involved with the Tiger type chassis Two copies held.Copy 1 - Has on the front cover in ink "No. 1 - Mr. Westrup" Copy 2 - ditto "No. 4 - Mr Sharp CBG Store"trams, tramways, leyland, buses, catalogue, instructions

Blue front cover with photograph of Rod Wells, title in green print at top and in the middle, a building at the bottom, authors name bottom right. Back page has description of book over a backdrop of a tiger.Book telling the Story of Rod Wells and his survival as a POW in WW2. Written by his wife Pamela Wells.

"THE TIGER MAN OF VIETNAM/ THE HILL TRIBES MADE HIM A DEMI-GOD/ THE CIA WANTED TO KILL HIM/ THE REMARKABLE TRUE STORY OF/ AUSTRALIAN WAR HERO BARRY PETERSEN"Soft cover book. Soft cover - cardboard, gold and black print on front, spine and back. Illustrated, front montage photo of sepia toned soldier with jungle scene behind. Back - sepia toned photograph - portrait of a man with an animal skin. 356 pages, paper, cut, plain, white. Illustrated - black and white photographs.books, history, biography, vietnam conflict

Hard cover, dark grey background, white print on spine. Dust cover with plastic covering, dark grey colour background, front illustrated tiger head badge, coloured cloth, back illustrated medal set in colour. 245 pages cut plain, illustrated with black and white photographs, maps Front fly leaf - handwritten blue ink - "Francis W Dean BEM:. First title page - owners stamps in black ink "Frances W Dean/"Coval"/ 20 Strickland Road, Bendigo, 3550.books-military-history, vietnam

Tapestry wall hanging made in China featuring a fluffy woollen tiger on a background of looped wool. The background features mountains, sky, foliage and ground. Chrome rod hanger with three looped sections of blue wool over the rod and a red, white and black hanging cord. Blue fringe lower edge.

Leslie DUMBRELL (14 October 1941 - ) Born Melbourne, Victoria Leslie Dumbrell was a pioneer of geometric abstraction in Australia. After completing a Diploma of Art (Painting) at the Royal Melbourne Institute of Technology (RMIT) in Melbourne in 1962, Leslie Dumbrell adopted the international style of colour field and hard-edged abstraction. She taught alongside Peter Booth, James Doolin and Alun Leech-Jones at RMIT and Prahran College of Advanced Education. In 1966 Dumbrell was appointed to the Prahran College of Advanced Education teacing with Alan Leach-Jones and Jim Doolin. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Geometric AbstractionA large painted canvas with precise, brightly coloured geometric patterns on a black background. Dumbrell uses colour and line to create optical effects which often convey the illusion of movement. art, artwork, dumbrell, hard-edged abstraction, colour field, leslie dumbrell

This image is one from a series of portraits taken by Rob Elliott to record the character of the Border District through the faces if its identities. Born on 10 July 1931 in Walwa, Joseph Gordon (Joe) Drage operated a timber mill and earthmoving business, but his great passion was aviation. After obtaining his pilot’s licence at the age of 19, Mr. Drage set about buying vintage aircraft that he feared would be sold overseas. He bought his first aircraft, a Tiger Moth in 1965. In 1972 he established Drage Historical Aircraft Museum on about 60 ha of land in Wodonga, with 5 planes. Over time this grew to 21 planes which Joe maintained so that they were all in flying order. His museum was the location for several air shows which included fly-ins by members of the Antique Aeroplane Association. The land occupied by the Museum was compulsorily acquired by the Albury-Wodonga Development Corporation and Wangaratta council bought the aircraft collection for about $2 million. They opened Drage Airworld in 1984. The cost of maintaining the collection became too much for the council which closed it down in 2002. Joe Drage died on 9 August 2017.This portrait depicts a person who made a significant contribution to the Wodonga community.A portrait of Joe Drage sitting on the wheel of his Tigermoth. The photo has been mounted in a metal frame.joe drage airworld, aircraft museum wodonga, joe drage

Index, ill, p.208.non-fictionA history of the development of submarine technologysubmarine warfare, submarine technology

Index, ill, p.144.non-fictionDescribes the evolution of warships in the 20th century by vessel type.naval ships - history, warships - development

Index, ill, p.208.non-fictionAn informed analysis of current naval technology, the forms and functions of weapons and warshipsnaval art and science - history, naval strategy and tactics

Index, ill, p.144.non-fictionA detailed guide to the infantrymans weapons of the twentieth century.firearms - history, small arms - history

Index, ill p.284.non-fictionPhotographic essay of victory in France. world war 1939-1945 - history, world war 1939-1945 - campaigns - france

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.