This is a trophy awarded at a camp of the 4/19 Light Horse Regiment. This regiment appeared to have been based in the Corangamite region of the Western District and included regiment members from Warrnambool. It is not known exactly what type of competition was an ‘Officers Flutter’. Light Horse regiments were cavalry regiments that were established at the time of the Crimean War in the 1860s. During the First World War the 4th Light Horse served with distinction in France, Gallipoli and Palestine. In 1948 the 17th Prince of Wales Light Horse, the 19th Yarrowee Light Horse and the 4th (ex 20th ) Corangamite Light Horse amalgamated to form a revived 4/19 Light Horse. This regiment kept alive the tradition of the original Light Horse units, becoming part of the Australian Army Reserve and members served in Vietnam and East Timor. This cup is of interest as an example of the trophies awarded for competition at a Light Horse regiment camp in the 1930s. This is a metal cup (silver amalgam)) with two side handles and a narrow stem attached to a silver base. The cup is attached to a brown Bakelite stand. The inside of the cup has some white paint streaks and the cup itself is much stained and pock-marked. ‘Westminster’ 4/19 L.H. Camp 1938 Officers Flutter light horse regiments. warrnambool district, history of warrnambool

These Union Jack flags are believed to have been used in the celebrations in Warrnambool on the occasion in 1953 of the Coronation of Queen Elizabeth 11 (oral tradition only). Warrnambool celebrated with street parades, shop decorations and displays, concerts, church services and dinners. It was customary at the time to use the British flag more than the Australian one. These flags are retained because of their possible connection to mid 20th century Warrnambool celebrations (1953 Coronation of Queen Elizabeth 11).These are seven Union Jack flags made of cloth with red, white and blue colouring. The flags are pasted on to thin circular-shaped wooden sticks. The flags are a little worn, especially near the pasted sections and some of the colours are rubbed. coronation of queen elizabeth 11, history of warrnambool

This hat has the brand name or model, ‘The Solent’ which is the name of the strait that separates the Isle of Wight from mainland England. Boater hats such as these were mostly worn for informal occasions and were usually associated with sporting events such as boating and sailing, particularly in Britain. Hats of this type were also part of the school uniform of some Australian schools, usually prominent private schools with a British tradition, in the first half of the 20th century and there may be some schools still using the style today. This boater is of interest as an example of the informal head gear worn by men in the late 19th and early 20th centuries. It will be useful for display.This is a cream straw boater hat with a flat circular crown and round brim. The straw is stiffened and plaited. There is a black material band ending with a black bow around the base of the crown. The hat has brown leather internal lining with a cream cord insert for altering the inside size of the hat. Inside the hat is a printed shield with the maker’s details and some gold ornamentation with printed material. The Criterion Brand Reg. No. 15094 The Solent Extra Quality Copyright. vintage headware, history of warrnambool

Summary For over 250 years the Withers family of Birmingham worked as tailors, sometimes also as butchers. During the Georgian era, English society changed and the Withers family with it. First came a gentleman amateur artist in the form of Edward Weston Withers, grandfather of Walter Withers. Then Edwin Withers, Walter Withers' father, took to tobacco, rope and twine manufacturing which put an end to the traditions of butchery and tailoring.The origins of Walter's painterly ambitions are explored. There was a physical altercation between Walter and his father, Edwin. That fight emerged out of contradictory expectations between Walter's father, Edwin and his grandfather Edward. Those expectations and the societies which kindled them contributed to Walter's character and art. Up until now there has been no family history about Walter Herbert Withers (1854-1914) a notable Australian landscape artist of the Heidelberg school and friend to Tom Roberts, Frederick McCubbin, Arthur Streeton and Clara Southern. Walter, the son of a rich Victorian businessman, married Fanny Flinn, the daughter of a commercial salesman who also owned part of a Birmingham brewery. In No Place Quite Like It, Walter, his wife Fanny and his family are depicted against the social contexts in which they each grew up. Our appreciation of Walter Withers' art is expanded: by knowing those forces which helped shape his early years and how he responded to them; by gaining new insights into his origins and how he grew into the man he was. We also gain a fresh appreciation of his wife Fanny, and the influence she had upon him, their children, and upon the society in which she lived. Includes 200 pages of text, Prefaces by Andrew Mackenzie OAM (art historian), and Eileen Mackley AM (President, Victorian Artists Society), Bibliography and an Index, extensive images, maps, charts and family trees, provide a visual porthole through which an insight might be had into the lives and times of Walter Withers and his family history.walter withers, fanny withers (nee flinn), family history

HMAS Orion (S 71) was an Oberon class submarine of the Royal Australian Navy (RAN). One of six submarines ordered by the RAN during the 1960s, Orion, named after the constellation in a break from ship-naming tradition, was built in Scotland and commissioned in 1977. Orion was decommissioned in 1996, marked for disposal in 2003, and broken up for scrap in 2006. Several sections of the submarine remain intact as memorials and museum piecesWooden Plaque 15cm x 13cm with insignia of H.M.A.S. Orian H.M.A.S. Orian

The origins of the rising sun badge are disputed. Rising sun designs had appeared on early Australian colonial coins and military insignia decades before the federation of the Australian colonies in 1901, and may have represented the image of Australia as 'a young nation' and a 'new Britannia'.[2] As early as the 1820s, the symbol of a 'rising sun' was used by various progressive organisations, loosely characterised under the banner "Advance Australia". The rising sun crest used in the New South Wales colonial and State crests was taken from the crest used on the first Advance Australia Arms, circa 1821, and consistently since then.[3] The oldest known example is the 'Advance Australia' coat of arms. The 'Advance Australia Arms' (named because of the motto inscription) became widely used in New South Wales and the neighbouring colonies by private corporations and individuals. Although they never had any official status, they formed the basis for several official coats of arms, including the New South Wales coat of arms. The representation below was reputedly painted for Thomas Silk, the son of the captain of the Prince of Orange, a convict ship that visited Sydney in 1821. The symbol struck a chord with the pre-federation population and many examples still exist on colonial architecture.[4] Proudly worn by soldiers of the 1st and 2nd Australian Imperial Force in both World Wars, the 'Rising Sun' badge has become an integral part of the digger tradition. The distinctive shape of the badge, worn on the upturned side of a slouch hat, is commonly identified with the spirit of Anzac.Glass covered Rectangular Picture Frame showing the Evolution of the Rising Sun Badge of the Australian Army.Gives a brief rundown on the Evolution of Rising Sun Badge with 12 examples and explanatory notes

HMAS Mk11 endeavours to give something of a picture of this world wide fabric of sea power and the threads therein woven by the Royal Australian Navy. These threads are coloured by experience and tradition of the centuries of the Naval history.Personal recounts from NAVY service personnel by way of stories, poems, cartoons, illustrations and portraitsHMAS - Printed 1951. Inside front and back hardcover is a green background and illustrations of ships and words of places of Navy service. Photographs, illustrations, cartoons, portraits.hmas mk11, naval history

The 8th Battalion was an infantry battalion of the Australian Army. Initially raised in 1914 for the First Australian Imperial Force during the First World War the battalion was completely recruited from Victoria and formed part of the 2nd Brigade, 1st Division. During the war it fought at Gallipoli and in France and Belgium on the Western Front. It was disbanded in 1919, before being re-raised as a Militia battalion in 1921. During the Second World War the 8th Battalion was used primarily as a garrison unit before taking part in the Bougainville campaign late in the war. It was disbanded again in 1946 during the demobilisation process, although it was reformed again in 1948 when it was amalgamated with the 7th Battalion. Today, its honours and traditions are perpetuated by the 8th/7th Battalion, Royal Victoria Regiment.Rectangular shaped black and white photograph.THE AUSTRALIAN, May 3, 1941. THE 8TH BATTALION IN CAMP AT ELCHO FARM, GELONG IN 1934. 8th battalion, ww1, australian infantry, lara r.s.l.

These images capture for all time Light Horsemen travelling through Geelong on their way to camp at Torquay for the last Group meeting in Australia . information following - details obtained from .........https://torquayhistory.com/light-horse-brigade/ On Australia Day, 1997, Sir John Young unveiled this plaque on Point Danger, Torquay. Torquay history, Light Horse Training Camp, WW2 Plaque at Pt. Danger Note----- (See images to view plaque) The plaque identifies a significant event in Torquay’s history and the sentiments of ‘change’ for the Light Horse Brigade – from horses to machines. In 1940 the four Light Horse Regiments (4th, 8th, 13th and 20th), some 5000 Light Horse and 2000 horses camped and trained at Torquay. Three other regiments, formerly mounted on horses, were also at Torquay ‘mounted’ on privately owned trucks and cars. Division troops included Artillery, Engineers, Signals, Field Ambulance and other branches of the Army necessary to enable a Division to function. It wasn’t just the sheer numbers of men coming to this little town that made the event significant, it was also the fact that the men of the Light Horse were dramatic, almost glamorous figures and it is easy to see their exploits as some splendid adventure. Horses have played a special role in the story of Australia. They were the only means of transport across this huge country, so it was necessary for everyone to have the ability to ride a horse. When war broke out in 1899 between Britain and the Boers of South Africa (“Boer” was Dutch for “farmer”) Australia sent troops to fight. At first Britain was wary of using untried, unprofessional colonial cavalrymen but soon saw that the slouch-hatted Australian “bushmen” were a match for the fast-moving and unconventional mounted commandos of the Boers. The Australians proved themselves to be expert rough-riding horsemen and good shots. Bush life had hardened them to go for long periods with little food and water. They also showed remarkable ability to find their way in a strange country and use its features for cover, in both attack and defence. By 1914, when Australia joined the war against Germany, there were 23 Light Horse regiments of militia volunteers. Many men from these units joined the Light Horse regiments of the Australian Imperial Force (AIF). Men were given remounts (if not using their own horses) – army horses bought by Commonwealth purchasing officers from graziers and breeders. These were called “walers” because they were a New South Wales stockhorse type – strong, great-hearted animals with the strains of the thoroughbred and semi-draught to give them speed, strength and stamina. On 1st November, 1914, Australia’s First Infantry Division and the first four Light Horse regiments sailed for England in a fleet of transport ships. The first of the Light Horse arrived at Gallipoli in May without their horses. Back with their horses after Gallipoli, they were formidable combatants across the Sinai and Palestine. Some British commanders observed that the light horseman moved with a “lazy, slouching gait, like that of a sleepy tiger” but described how the promise of battle “changes that careless gait, into a live athletic swing that takes him over the ground much quicker than other troops”. They had Light Horse, Torquay, training campdeveloped a reputation as formidable infantrymen. The Turks called them “the White Ghurkas” – a reference to their deadly skill with the bayonet. The Arabs called them “The Kings of the Feathers”. The plume had originally been a battle honour of the Queensland Mounted Infantry for their work in the shearer’s strike of 1891. During WW1 it was adopted by almost all the Light Horse Regiments. It was the proud badge of the light horseman. The most famous of their battles was the attack on Beersheba- the charge of the 4th Light Horse Brigade. Mounted infantrymen and their superb walers had carried out one of the most successful cavalry charges in history – against what seemed impossible odds. They surprised the Turks by charging cavalry-style, when they would normally have ridden close to an objective then dismounted to fight. The fall of Beersheba swung the battle tide against the Turks in Palestine; and changed the history of the Middle East. While 19 men from the Surf Coast Shire served with the 4th Light Horse over the course of WW1, only four were involved in the charge of Beersheba- John GAYLARD, Philip QUINN.(Winchelsea); Wallace FINDLAY (Anglesea); Harry TRIGG (Bambra). After the war, Light Horse units played a key role in the Australian Government’s compulsory military training programme. The Citizen Military Forces (C.M.F.) thrived on the glamour of the wartime Light Horse tradition, ignoring the possibility that motor vehicles would soon replace the horses. When training was no longer compulsory, the C.M.F. regiments declined and horses became more of a luxury during the 1930s depression years of poverty and unemployment. Some regiments were motorised. Then, in 1939, Australia joined Britain in another world war. Training was increased for the militia at both home bases and regional training camps. The camp at Torquay in 1940, commanded by Major General Rankin, was at Divisional strength. By the end of the camp some felt that the Division was ready for active service. Gradually, over the next four years, the Australian Light Horse units were mounted on wheels and tracks and the horses were retired. Six men enlisted at the Torquay camp and another 57 men and women enlisted at Torquay for service in WW2. Those who served in the Militia provided valuable Officers and NCOs and men for the armed services during the war. Each infantry division of the 2nd AIF had a Light Horse regiment attached to it. But the day of the Australian mounted soldier hadn’t quite passed. During World War II, Australia’s 6th Cavalry Regiment formed a mounted unit they called “The Kelly Gang” which did valuable scouting work. In New Guinea, a mounted Light Horse Troop did patrol duty and helped carry supplies. Some fully equipped walers were flown into Borneo for reconnaissance in rugged mountain country. But by the end of the war, in 1945, the horse had disappeared from the Australian Army. References: Australian Light Horse Association www.lighthorse.org.au National Australia Archives Australian War Memorial Surf Coast Shire WW1 memorials www.togethertheyserved.com The Light horse- a Cavalry under Canvas Light Horse, Training Camp, Torquay, WW2 Late in 1939 it was decided to set up a Lighthorse training camp in Torquay to train both men and horses for the battles of the Second World War. Horses, men and equipment came on special trains from all over Victoria and NSW, and as you would expect horseman came from areas such as Omeo and Sale, the Wimmera and the Western District. They arrived at the Geelong racecourse for watering in the Barwon River and then were ridden across the ford at the breakwater and began their 11 mile trek to Torquay. Light Horse, Training Camp, Torquay, WW2 Tent city By the end of January 1940 the camp at Torquay accommodated some 5000 men and 2500 horses of the Second Cavalry Division. The rows of horses, tents and huts near Blackgate Road were quite a sight. While the cavalrymen engaged in exercises on the land and on the beaches, many of the troops took over the Torquay School for special training of men and officers. Mr Bob Pettit local farmer and Councillor for the Barrabool Shire, wrote about the Light horse in the Surf Coast Community News in 1985 saying “They used to travel about the district riding four abreast in one long convoy. To my annoyance they went through my property and shut all the gates behind them. I had certain gates open to let stock in to the water holes and it would take me three -quarters of an hour to follow the horsemen up and put all the gates right again” he continued “the men from the Light Horse were here when the fire went through in March 1940. He recalled an incident when early one morning, as some one blew the bugle, a soldier putting a white sheet on the line frightened the horses. They panicked and ran off in all directions. Six went over the cliff near Bird Rock, five were never found, and the rest were gathered up after nearly a fortnight in the bush around Addiscott and Anglesea" Light Horse, Training Camp, Torquay, WW2, Geelong Parade Geelong parade The training camp culminated in a parade through the streets of Geelong on March 12th 1940. The salute was given at the Town Hall and the troops continued on a route to the You Yang’s for a training exercise. Note-----(see media section for photograph) The Camp was abandoned in mid 1940 as it was deemed unsuitable for training during winter and the cost of a permanent camp could not be justified if it could not be used all year. Historic.......Rare,,,Interpretive.Sepia photographs.set of four ....post card size ....Horses &LighthorsemenNo 1, Lighthorsemen Regiment Geelong 1940......No 2 Light Horse at Breakwater Geelong 1938 to 1940....No 3 Light Horse at Breakwater Geelong 1938 to 1940.....No 4 Light Horse crossing Breakwater camped at Geelong Showgrounds. These markings are on reverse of photographs.light horsemengeelong 1940., world war 2

Customs and traditions are important factors in the growth of maintenance of our esprit de corps.Red imitation leather booklet with gold lettering for title. Above title is gold Army symbol. Bound with centre stapling. Pages 90gsm. Contains amendments 1 and 2A Guide to Customs of the Army....Title.On reverse cover...7610/66/118/7012........RM83/30184......Cat.No.84 3209 1....ISBN 0 644 00589 0....HAND WRITTEN 0004.dominion press, military, booklet, royal australian army, australian government publishing services, customs, army, customs of the army

HMAS Mk11 endeavours to give something of a picture of this world wide fabric of sea power and the threads therein woven by the Royal Australian Navy. These threads are coloured by experience and tradition of the centuries of the Naval history.Personal recounts from NAVY service personnel by way of stories, poems, cartoons, illustrations and portraitsHMAS - Printed 1943 has a paper dust jacket with the white ensign. Inside front and back hardcover is a green background and illustrations of ships and words of places of Navy service. Photographs, illustrations, cartoons, portraits.hmas mk11, naval history

Cafe Chantant is a type of musical establishment associated with the Belle Époque in France. The music was generally lighthearted, sometimes risqué, even bawdy but, as opposed to the cabaret tradition, not particularly political or confrontational. This event was possibly associated with the Ballarat School of Mines as a fundraiser for the Red Cross during World War One.A card with silk screen design and a Red Crossred cross, craig's hotel, world war one

Margaret Woodward is a an artist and an an associate professor of design at Charles Sturt University. Artist statement: "The Sea is All Around us is a multi-layered event which creates a memorable experience for those visiting the Dome Gallery and the Mission to Seafarers in Melbourne’s Docklands. The event acknowledges and raises awareness of the often difficult and dangerous working lives and journeys of seafarers by making visible their role in transporting commodities, materials and objects to and from Australia’s shores. This installation at the Dome Gallery in the Mission to Seafarers in Melbourne’s Docklands marks the third stage of an ongoing research project which seeks to reveal the ‘social life’ of souvenirs. Beyond their representational role souvenirs also trigger intangible, affective qualities – reminders of journeys and places, new associations with tastes, sounds and people, and thereby becoming objects which focus and hold memories. This installation invites seafarers and visitors to participate in a global project which aims to witness sea journeys and trace the mobile life of seafarers and souvenirs. For a fortnight in May 2015, the Dome Gallery became an architectural large scale compass, with the circular floor marking the intersection of its latitude and longitude (37 º 49'21" S 144º 57'03"E). Over these two weeks the Dome Gallery was inscribed with marks recording journeys made by seafarers, recording destination and departure ports, home lands and waterways, and in doing so making visible a small segment of the global patterns of seafaring. Custom-made souvenirs designed for the installation are given to seafarers as gestures of welcome and a memento of their visit. The souvenirs originating in Poland continue their journey by sea, to destinations beyond the Dome becoming part of the global network of seafaring, with an invitation for seafarers to record their future journeys using QR code scanning technologies. It is hoped that by releasing the 200 limited edition souvenirs accompanying the seafarers the mobile life of souvenirs and seafarers will also become visible. Like messages in bottles they leave our shores, becoming ambassadors, representing the Dome Gallery at the Mission to Seafarers, the waters of Port Phillip Bay, Australia’s red soil and vegetation, and carrying memories of visiting Melbourne." The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Orange enamel and teal mug created for the art installation by artist Margaret Woodward at the Mission to Seafarers. On one side it is decorated with a compass and a latitude and longitude; on the opposite side, a leaf, a QR code on the bottom takes you to the website.Written at the bottom of the mug: Please scan to map the journey of this souvenir * www.sensingtheremote.net *2015cultural events, norla dome, mso, 2015, art installation, margaret woodward

Conference paper comparing the natural Australian landscape with the influence of English landscape traditions.Photocopy of transcript of conference paper, 15 pages.plenty river, plenty valley, flora, landscapes

On 6 December 2018, a recurring event was organised at the Mission. From the Multicultural website: "Meeting at the Seafarer’s bridge on the Yarra, you will be welcomed into a little-known site nearby, a sanctuary for seafarers for the last 100 years and a symbol of old-world generosity amidst the rapidly shifting landscape of the Docklands. A journey through the quirky spaces at Mission to Seafarer’s site through a compelling contemporary ritual performance. The Echoes Projects artists evoke fragments of stories embedded in this site through mesmerising live soundscapes, movement and imagery. Ria Soemardjo, Janette Hoe and Pongjit (Jon) Saphakhun collaborate to create an ongoing exploration of contemporary rituals in response to urban sites in Australia. Based in Melbourne, their contemporary performance work draws deeply from their personal connections to Thai, Chinese and Indonesian ceremonial traditions. Featuring Intricate rhythmic compositions inspired by the rich heritage of Indonesian and Middle Eastern musical traditions, performed by Ron Reeves and Matt Stonehouse – two of Australia’s foremost world music percussionists. Note: 7 PM and 8 PM sessions include delicious vegetarian Indonesian food. 9 PM session includes Indonesian and Thai cakes and sweets. You are invited to stay and eat after the performance, drinks available for purchase at the venue. Performers: Janette Hoe – dance artist Pongjit (Jon) Sekhukhune – actor Ria Soemardjo – musician Ron Reeves – musician Matt Stonehouse – musician /instrument maker Supported by the City of Melbourne Arts Grants Program Details: 6 Dec 2018 (Thursday) Sessions: 7 PM, 8 PM & 9 PM The Mission to Seafarers Audience Meeting point – next to the entrance of the Seafarer’s Bridge, Siddeley St, Docklands. Wheelchair accessible venue. Bookings essential. Tickets: $10 – $15 via Eventbrite. Ticket price is purely to pay for the food element. Companion Card ticketing available. Please contact Multicultural Arts Victoria for ticketing options. Companion ticket will allow admission only. The Seafarers Welcome is presented as part of Mapping Melbourne 2018."The Mission has always welcomed artistic events Colour programme of events with illustrationstop right corner: Multicultural Arts Victoria lower left corner: MAPPING MELBOURNE/1-15 DECEMBER 2018arts, events, multicultural arts victoria, the seafarer welcome, echoes project, 2018, cultural events, community

In 1936, the old Port Melbourne building dating from 1888 was too small and not longer suitable for the purpose of the mission. So architects were asked to design a new building. Harry Morris 's project was chosen.Louis Reginald Williams (1890–1980) was s sought after ecclesiastical architect in Australia. He designed churches throughout the country, particularly in Victoria. The Anglican Church was his major client but he also Methodists, Presbyterians, Lutherans and Christian Scientists churches. Williams was probably the major church architect in Australia in the Arts and Crafts tradition from the 1920s to the 1970s.Plans port melbourne, louis reginald williams, louis reginald williams (1890–1980), arts and crafts, art deco, harry norris

On the 21st of July 2018, Clare McCracken boarded the ANL Wahroonga container ship to travel to China mirroring her great-great-grandmother's journey from Australia to Asia in 1874. Artist statement from the back of the flyer: "In 1874, my great-great-grandmother, Elizabeth Amy Cathcart Payne, sailed unaccompanied from Australia to Asia, writing a detailed journal of her experiences. This exhibition weaves together sections of her diary with my own voyage from Australia to the world's busiest port, Shanghai. In doing so, The Place Between, is a meditation upon the social and political nature of international trade, the mobility and the place between Australia and the rest of the world in the 19th and 21st century." The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Postcard size flyer advertising for an exhibitionthe place between, clare mccracken, cultural events, sea voyage, andrew ferris, arun munoz, video installation

Margaret Woodward is a an artist and an an associate professor of design at Charles Sturt University. Artist statement: "The Sea is All Around us is a multi-layered event which creates a memorable experience for those visiting the Dome Gallery and the Mission to Seafarers in Melbourne’s Docklands. The event acknowledges and raises awareness of the often difficult and dangerous working lives and journeys of seafarers by making visible their role in transporting commodities, materials and objects to and from Australia’s shores. This installation at the Dome Gallery in the Mission to Seafarers in Melbourne’s Docklands marks the third stage of an ongoing research project which seeks to reveal the ‘social life’ of souvenirs. Beyond their representational role souvenirs also trigger intangible, affective qualities – reminders of journeys and places, new associations with tastes, sounds and people, and thereby becoming objects which focus and hold memories. This installation invites seafarers and visitors to participate in a global project which aims to witness sea journeys and trace the mobile life of seafarers and souvenirs. For a fortnight in May 2015, the Dome Gallery became an architectural large scale compass, with the circular floor marking the intersection of its latitude and longitude (37 º 49'21" S 144º 57'03"E). Over these two weeks the Dome Gallery was inscribed with marks recording journeys made by seafarers, recording destination and departure ports, home lands and waterways, and in doing so making visible a small segment of the global patterns of seafaring. Custom-made souvenirs designed for the installation are given to seafarers as gestures of welcome and a memento of their visit. The souvenirs originating in Poland continue their journey by sea, to destinations beyond the Dome becoming part of the global network of seafaring, with an invitation for seafarers to record their future journeys using QR code scanning technologies. It is hoped that by releasing the 200 limited edition souvenirs accompanying the seafarers the mobile life of souvenirs and seafarers will also become visible. Like messages in bottles they leave our shores, becoming ambassadors, representing the Dome Gallery at the Mission to Seafarers, the waters of Port Phillip Bay, Australia’s red soil and vegetation, and carrying memories of visiting Melbourne." The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Small flyer in PDf for the art installation by artist Margaret Woodward at the Mission to Seafarerscultural events, norla dome, mso, 2015, art installation, margaret woodward

This brand of starch was first manufactured before 1966 and covered the period when Australian made was the preferred clothing due to limited imports from England. This was a period when the demand for "home grown" produce was at its peak. This was in a time when by necessity and ease of supply and not by the "Buy Australian" campaign (of later years), was the major factor for the demand of these type of laundry goods. It was in a time when starch was used in formal clothing to put a "crisp" or fresh new appearance for clothes. This product was in the era and importantly the social more of "clothes make the person" in which starched shirts and dresses was the fashion vogue. Formality of dress was a strictly British "class" up-man-ship which from the 1950's onwards became less and less visible. The Australian "Ocker" or fair "dink'm" bloke became more entrenched after World War II. The national identity was slowly developing.This box of starch is very relevant to the Kiewa Valley because this box highlights the differences ,in this period, between city and rural social standards. Rural areas were deeply entrenched into colonial and the pioneer family structure viz- a-vie social and dress fashion standards. British values and norms lingered on well beyond the changes happening in city fashion. Tradition and English "ties" were the backbone of early colonies and it was only after World War II that these "ties" were becoming irrelevant. Early traditions lingered well past the independence sought by Federation, colony to statehood and trade with other nations eg. USA and Asia. The idea that a change in "status" would automatically change the social mores of Australians, especially in rural ares, was not fully grasped by the "law makers" and those wanting change.This box (capacity 12 ozs) has white(aged into cream) and blue printing and a "white star" on five sides, the sixth side has a laundry scene with two ladies, in early 1900's fashion. The package is made from 200 gsm thick cardboard. As manufacture was made before and during the two World Wars 1914 to 1945 the promotion was heavily focused on Australian made and Australian grown maize. One side of the box has instructions of use and all the other sides are promotional, detailing "the best in the world and won't stick to the iron""SILVER STAR", "THE BEST IN THE WORLD", "WON'T STICK TO THE IRON", "REQUIRES NO BOILING", INSTRUCTIONS FOR USE", "ROBERT HARPER AND COMPANY LIMITED", "INCORPORATED IN VICTORIA, AUSTRALIA", "NET WEIGHT 12 OUNCES", "LARGE BOX 12 OZS"domestic laundry essentials, cotton clothing preparations, household starch "crisp and neat appearances.

N. J. Tillings Timber Factory was part of the Brougham Street, Light industrial area, Eltham. Brick bulidings includes signage: Wakefield Pr... (printer?) No 17 Building C. This is one of 7 B/W 8x10 inch photos with notes on obverse by Dick Crichton. Accompanying letter from Florence Chrichton 2013 : "Originally sent to Shire of Eltham Engineer, Mr. McDonald. [These photographs were part of their campaign to the Shire of Eltham in 1975] claiming that the zoning regulations were being breached by the occupants of various factories in the nearby light industrial zone [Brougham Street, Eltham] - to the detriment of those living in adjoining residential zones, and that, despite .. earlier objections and complaints, nothing was done about it."1 black and white photograph printed with white borderInscribed on back: "Photo taken from corner Bolton and Brougham Streets showing undeveloped light industrial land used as storage (of portable toilets!). In the best tradition of Robin Boyd's 'Great Australian Ugliness.' Infringement of zoning regulations." industrial estate, brougham street, eltham, portable tiolets, 1975, bolton street, dick crichton, n.j. tillings, timber factory, shire of eltham

Hardcover Book of Australian Army Guidons and Colours up to 1972ISBN 0 858870 08 8book, colours, heraldry, guidons, battle honours, army ceremonial, banners, traditions, festberg

Hardcover book on the customs and traditions of the Australian ArmyISBN: 9780980325164 (hbk)army traditions, army history, customs of the service, army traditions, army history, customs of the service

The Royal Australian Navy Uniforms are based on the uniform of the Royal Navy. They reflect traditions that can be traced back to the Royal Navy (England) and demonstrate the relationship between the two. This bib is one of four parts to a Naval Ratings Uniform which was presumably owned by J.M. Parsons.This bib is one part of a naval ratings uniform which consists of four parts. The uniform is representative of the Royal Australian Navy uniform and can be traced to the Royal Navy (England). The complete uniform shows the connection between Australia and England since European settlement.Cream cotton twill with navy blue trim around neck and over shoulders and narrow tie fastener.label of maker "Made in Australia Berlei Berlie Ltd Size 1" navy, ran, royal australian navy, naval bib, naval ratings bib, naval ratings uniform, military uniform, j.m. parsons, parsons, j parsons

The Royal Australian Navy Uniforms are based on the uniform of the Royal Navy. They reflect traditions that can be traced back to the Royal Navy (England) and demonstrate the relationship between the two. The Royal Australian Navy Uniforms are based on the uniform of the Royal Navy. This collar is part of a Naval Ratings Uniform which was presumably owned by J.M. Parsons.This collar is one part of a naval ratings uniform which consists of four parts. The uniform is representative of the Royal Australian Navy uniform and can be traced to the Royal Navy (England). The complete uniform shows the connection between Australia and England since European settlement.Navy cotton Collar with three narrow cream stripes around neck and over shoulders. Two side pieces and two loops. One middle piece. The collar fits over the head with side pieces and middle secured with tie fasteners through loops. Owners name printed three times in capitals on reverse side of collar "J.M.PARSONS"navy, naval ratings uniform, naval ratings collar, collar, ran, royal australian navy, j.m. parsons, j parsons, parsons, military uniform

The Royal Australian Navy Uniforms are based on the uniform of the Royal Navy. They reflect traditions that can be traced back to the Royal Navy (England) and demonstrate the relationship between the two. This shirt is one of four parts to a Naval Ratings Uniform which was presumably owned by J.M. Parsons.This shirt is one part of a naval ratings uniform which consists of four parts. The uniform is representative of the Royal Australian Navy uniform and can be traced to the Royal Navy (England). The complete uniform shows the connection between Australia and England since European settlement.White cotton short sleeved shirt with blue trimming around a square neckline. There are two slits on either side of the base of the shirt with rounded edges. There is a label stitched in the top/centre of the interior back of the shirt.Owners name printed in capitals on the lower part of the back exterior fabric: "J.M.PARSONS"navy, naval ratings uniform, ran, royal australian navy, j.m. parsons, j parsons, parsons, military uniform, naval ratings shirt, shirt

The Royal Australian Navy Uniforms are based on the uniform of the Royal Navy. They reflect traditions that can be traced back to the Royal Navy (England) and demonstrate the relationship between the two. These drill trousers are one of four parts to a Naval Ratings Uniform which was owned by J.M. Parsons.These trousers are one part of a naval ratings uniform which consists of four parts. The uniform is representative of the Royal Australian Navy uniform and can be traced to the Royal Navy (England). The complete uniform shows the connection between Australia and England since European settlement.Khaki long bell bottom trousers with seven quick release metallic buttons. Four of the buttons are lined up horizontally along the pelvis and another three fasten the trousers together in a liner pattern at the centre of the pelvis. There is a white square label sewn to the back/centre interior of the waistband with printed and written inscriptions. There is also a written inscription directly on the trouser fabric to the right of this label.Printed inscriptions on the label: KHAKI DRILL TROUSERS / FALL (indecipherable word) / Size: (indecipherable symbol) / Waist (indecipherable symbols) / INSIDE LOG: (indecipherable inscription) / H. R. (Indecipherable inscription) PTY LTD / indecipherable inscription Written inscription on label: JM PARSONS / (indecipherable inscription) 362 Written inscription on trouser fabric: J.M.PARSONS 14/362navy, naval ratings uniform, naval ratings collar, j.m. parsons, ran, royal australian navy, j parsons, parsons, military uniform, drill trousers, trousers

The Royal Australian Navy Uniforms are based on the uniform of the Royal Navy. They reflect traditions that can be traced back to the Royal Navy (England) and demonstrate the relationship between the two. This bib is one of four parts to a Naval Ratings Uniform.This bib is one part of a naval ratings uniform which consists of four parts. The uniform is representative of the Royal Australian Navy uniform and can be traced to the Royal Navy (England). The complete uniform shows the connection between Australia and England since European settlement.Cream cotton twill bib with navy blue trim around neck and over shoulders in square shape. Fastened at the waist with two long ribbons which are attached to both the front and reverse of the bib.Inscribed on both the front and reverse of the interior bottom hem: “D. HILL”navy, ran, royal australian navy, naval bib, naval ratings bib, naval ratings uniform, military uniform, j.m. parsons, parsons, j parsons