This menu appears to have been produced for the 1947 Maiden Voyage of the S.S. Athenic travelling between London and New Zealand via Curacao and Panama. This was possibly the first voyage on this vessel early in his career for engineer G. W. Duncan and therefore a souvenir. The commander of the vessel was D. Aitchinson. Also of interest given that the UK was still very much governed by post WW2 rationing, is the range of food available for the farewell dinner listed.Mariner Duncan had a particular regard for the Mission to Seafarers. This plate for display on a commissioned new table at the MTSV chapel acknowledges his bequest and the material donated. Collectively the G W Duncan material includes: photographs, professional data memorabilia and written and commercially printed resources. The memorabilia relates to his career at sea and in particular the role of an engineer, including a handwritten manual of notes and references relating to the mechanical and engineering aspects and areas of responsibility for maintenance. Single fold card menu cover with typed paper menu listing adhered to inside cover. The cover features an imaginary asian design featuring water lilies , willow leaves and a misty sun, colours are gold green pink.see images 1 and 2 attachedmenu, ss athenic, shaw savill line, george winfield duncan (1922-2017), sailors, seafarers, passenger ships, ship engineer

Appears to have been taken mid 20th C. the trig point is similar to those found around Australia but location yet to be confirmed.Mariner Duncan had a particular regard for the Mission to Seafarers. A plate for display on a commissioned new table at the MTSV acknowledges his bequest and the material donated. Collectively the G W Duncan material includes: photographs, professional data memorabilia and written and commercially printed resources. The memorabilia relates to his career at sea and in particular the role of an engineer, including a handwritten manual of notes and references relating to the mechanical and engineering aspects and areas of responsibility for maintenance. small b & w photograph depicting male figure in casual shirt and trousers standing next to a Trig point on rocks near a coast. ID of figure tbc.trig points, navigation, george winfield duncan (1922-2017), ship engineer, s.s. athenic

Collectively the G W Duncan material donated in 2017 and includes: photographs, professional data memorabilia and written and commercially printed resources from the mid 20th C.Mariner Duncan had a particular regard for the Mission to Seafarers. The memorabilia relates to his career at sea and in particular the role of an engineer, including a handwritten manual of notes and references relating to the mechanical and engineering aspects and areas of responsibility for maintenance. small b&w photograph depicting head and shoulder of two men in uniform george winfield duncan (1922-2017), seamen, ship engineer, s.s. athenic

The SS Athenic was one of 2 vessels of the Shaw Savill Line. One became a whale factory ship and the second a passenger ship built and launched by Harland and Wolff in1944 and had maiden voyage 1947 between London and New Zealand. Donor of this document Mr GW Duncan sailed on the maiden voyage and has also gifted sample menus from that trip.Mariner Duncan had a particular regard for the Mission to Seafarers. A plate for display on a commissioned new table at the MTSV acknowledges his bequest and the material donated. Collectively the G W Duncan material includes: photographs, professional data memorabilia and written and commercially printed resources. The memorabilia relates to his career at sea and in particular the role of an engineer, including a handwritten manual of notes and references relating to the mechanical and engineering aspects and areas of responsibility for maintenance. Double sided colour flyer with 'collaged' arrangement of various reproduced photographs of SS AthenicAt lower right edge on one side: " SS Athenic launching on November 6th, 1946 / From the Harland & Wolff Archive"shaw savill line, ss athenic, harland and wolff, george winfield duncan (1922-2017), ship engineer, 1946

Included in the G W Duncan collection this item of memorabilia from 1948 may have been acquired quite early in the donor's career as a ship's engineer. The menu provides a glimpse of shipboard diet and especially celebratory food.Mariner Duncan had a particular regard for the Mission to Seafarers. This plate for display on a commissioned new table at the MTSV chapel acknowledges his bequest and the material donated. Collectively the G W Duncan material includes: photographs, professional data memorabilia and written and commercially printed resources. The memorabilia relates to his career at sea and in particular the role of an engineer, including a handwritten manual of notes and references relating to the mechanical and engineering aspects and areas of responsibility for maintenance. Single fold heavy card menu with colour cover featuring birds of Australia: King parrot, Rifle bird, Leadbetter's cockatoo. Inside cover typed sheet of paper with menu listing adhered to card.see imagesmenu, birds, australian, christmas, ss athenic, shaw savill line, george winfield duncan (1922-2017), ship engineer

A song composition by Helen Ellis, of Kew, first known to have been performed in 1942 at the BBC for the 'Shipmates Ashore Programme it was then published 1943. A copy of this song and one other composition the composer Helen Ellis is held by the National Library of Australia. Promotional text also indicates that the song was performed by the notable Australian singer Peter Dawson. The song "The M.N. ships get through" carries an important acknowledgement of the oft forgotten vital role of the Merchant Navy as carrier of goods and supplies, and especially so in wartime. The publication is of special significance to the MTSV as an example of the many skilled and creative women who have supported the Missions to seafarers.Commercially printed single fold music score for a 2 verse song and chorus. Front cover with blue band at top and lower edge features the Merchant Navy insignia at top left with depiction in half tone blue of a Merchant ship convoy and at right a sketched depiction of head and shoulders of a Merchant Navy officer with binoculars in hand. Music score and full text printed on p.2 and 3. The back cover features text of chorus and a handwritten notation in blue ink with reference to performance of the song on a BBC programme, 'Shipmates Ashore'.Back cover-handwritten notation in blue ink: "Sung by Raymond ?(indecipherable) in the B.B.C. London / 'Shipmates Ashore' programme,1942." This inscription is found after the printed sample of chorus words accredited to Helen Ellis, Central Club, Victoria, Mission to Seamen. See images for design and printing.peter dawson, music, sheet-music, composers australia, merchant navy, mn, helen ellis, ww2, shipmates ashore, bbc, 1942

Photograph of the horse "Cock Robin" owned by Robert Whatmough. Mr Robert Whatmough operated an orchard and commercial nursery on the property 'Willis Vale' at Greensborough and was related to Charles Partington by marriage. [Reference: The Argus - Wednesday 9 January 1850 Page 4... The River Plenty Races. – These races came off yesterday. The Plough Inn Cup of £25 was won by Mr. Beale’s Wallaby, beating three others. A pony race was won by Mr. Whatmough’s Cock Robin. A purse of £10 was won by Mr. Haye’s Gazelle.] The Whatmough family were Greensborough pioneersDigital copy of colour photograph.Photograph has printed caption: Celebrated Cock Robin aged 30 years. The property of Mr Robert Whatmough, Greensborough River Plenty. Date is illegible.cock robin, robert whatmough

This is one of a dozen or so pictures of very early Ararat held by Langi Morgala Museum, and can be compared to a succession of later photographs to illustrate the growth of the town of Ararat. The date suggested by the inscription on the front is probably a reference to some other occurrence, since the street seems far to built-up for 1856-1860. The date is more likely the 1870s, or even the 1880sThis photograph, though not in good condition, is one of the few in the possession of Langi Morgala Museum that shows very early Ararat. It is of regional significance, which would be enhanced if a firmer date could be established. This cardboard-mounted large photograph is not in very good condition, but some parts of the image are still clear. There are permanent inscriptions on both front and back, not done in sympathy with the age and importance of the item.On front: "Note hitching posts and the old Turf Hotel, Barkly Street cont[illegible] / 1856-60". On back: museum stamp and photo numbers.barkly-street, ararat, horse, horse-driven, early-ararat, business, commercial

This item relates to methods of reproducing photos on all forms of material in an era of physical offset printing.The offset method is being replaced by digital transfer direct to the final product,(paper or other porous and non porous surfaces). Newspapers and other "paper" information publications are still producing "hard copies" but these are slowly being phased out. This item was used Circa 1920s in the peek period of paper based media. From the 1940s radio and then television stepped into the mass media revolution.This book was produced when all printing, Government and private enterprise, was using the "off set" method. This method was used to a great degree in all schools within the Kiewa Valley. It was in an era before "photo-copying machines" were available. This was a period when printing inks for larger printing machines had to be purchased from specialised outlets and printing presses required to be washed after each "run" of printing before the next plate(aluminium) could be fastened onto the "off sett" machinery. Heat infusion now used in large machines and domestic printers has superseded this task. Faded green cloth covered book with green papered front and back sleeve pages.Photos and sketches are throughout the book. Gloss paper used from page 1 one to page 400. Pages 401 to page 432 are not gloss paper. The type of paper varies throughout the book until final advertisement and index pages, from page 833 to page 846, are on gloss paperThe spine cover is badly worn and wording is faded. Front cover has"Commercial Engraving And Printing" Author and publisher details written by Charles W. Hackleman. Published by Commercial Engraving Publishing Company, "A Manual of Practical Instruction and Reference Covering" Commercial Illustrating and Printing by all Processes.technical book, reference for engraving and printing

This is a telephone directory of the telephone numbers and addresses of residents and businesses in Melbourne in 1933. There had been several early attempts in the second half of the 19th century to link places and homes in Victoria by locally-made telephone systems with a commercial telephone system in the same year successfully linking a business in Melbourne to a branch office in the same city. The first telephone exchange in Australia was established in Melbourne in 1880. This 1933 telephone directory shows the growing number of private residents and businesses to have the telephone installed but the installations were still confined mostly to the more affluent private residents and to businesses. This book is of considerable interest as a reference guide as it provides the names and addresses of those who had a telephone installed in Melbourne in 1933. This will be of great use to researchers, especially those compiling their family tree. This is a soft cover book of 364 pages. It has a buff-coloured cardboard cover with the title and other printed information on the front cover and four multi-colour advertisements for Melbourne businesses (Barnet Glass Tyres, Renown Dry Cleaners, C.O.R. Motor Spirit and Edward Dyason, Sharebrokers), also on the front cover. The back cover has a colour advertisement for Gilbey’s Gin. The pages listing the householders’ telephone numbers and addresses in alphabetical order are white with black printing and there are 20 pink pages at the back (business and professional listings). The book has been bound with glue. The cover is somewhat crumpled and the pages are dog-eared. melbourne history, telephone installation history in victoria, warrnambool, history

Letter written on blue paper and dated 27 Feb 1866. Another letter from Jas Thos Holl in reference to Bro Salter and the money that is owed to them so Holl can pay Salter his sick pay.societies, aof, correspondence, ancient order of foresters no. 3770 collection - correspondence, court king of the forest, commercial hotel, bro salter, jas thos holl, court foresters house

Handwritten 'Notes' re various Bendigo buildings (no author, no date) - for a talk or article? References to: Sandhurst Brewery (Havelock Street); Bendigo Brewery (Vine Street); Mr J Armstrong; Phoenix Brewery (Vine Street); Star Brewery (Bridge Street); Shamrock Hotel; Phillip Kennedy; Vahland and Getschmann; Royal Theatre; Haymarket Theatre; Scherffs Store; Abbotts Hotel and Assembly Room; Lyceum Theatre; G A Fletcher; Moore Bros Store; Lyric Theatre; H Barrow; Campaspe Inn (Runnymede)buildings, commercial, breweries

A damaged dark green hard covered book. On the spine it is titled, 'Dugdale's England and Wales delineated with maps & plates. Price 6s 6d. Vol. 1.' On the inside cover are the words, ' Curiosities of Great Britain. England & Wales Delineated, Historical, Entertaining & Commercial. Alphabetically arranged by Thomas Dugdale, Antiquarian, assisted by William Burnett, Civil Engineer.' Warkworth Hermitage, Northumberland. 164p. (ill.)Thomas Dugdalebooks, technical, geography, books, geography, history, curiosities, england, wales, united kingdom, reference

9 copies of a Medical research paper The Electrical Factor in Metabolism (Section 1) written by W.N.Abbott and E.F.Fowler with reference to Scalebuoys, printed by Commercial Printing Company Boulcott Avenue Wellington, distributed with the compliments of Frank A Stevenson 244 Hargreaves Street Bendigo.medical

10 copies of a Medical Research Paper, The Electrical Factor in Metabolism (Section 2) by W.N.Abbott and E.F.Fowler with references to Scalebuoys, printed by Commercial Printing Company Boulcott Avenue Wellington.medical

1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

Linocut print on paper. Printer's Proof.'P/P' bottom left under printed area, 'HUNTING DHANGAL' centred under print, signed along bottom right edge.linocut, symbolism, pattern, cultural reference, astronomical, hunting

Linocut print on paper. Printer's Proof.'P/P' in bottom left under printed section, 'MARKS OF A PRINTMAKER (BODY PARTS I) centred under printed area, signed along bottom right edge. linocut, line, cultural reference, pattern, hands, making

Linocut print on paper. Printer's Proof.'P/P' bottom left under printed section, 'ILAN REGATTA' centred under printed area, signed along bottom right edge.linocut, line, pattern, cultural reference, symbolism, boats

Linocut print on paper. Printer's Proof.'P/P' under bottom left section of printed area, 'HANDLINE NGURUPAI WHARF' centred under printed section, signed along bottom right edge of print area.linocut, cultural reference, pattern, figure, fishing

Linocut print on paper. Printer's Proof.'P/P' under bottom left of printed area, 'GOI GOI' centred under printed section, signed on bottom right edge of print area. linocut, pattern, cultural reference

Linocut print on paper. Printer's Proof.'P/P' bottom left under printed area, '...AND THEY FLEW FROM THE AIRFIELD AT NGURUPAI II' centred under printed area, signed along bottom right edge of printlinocut, cultural reference, pattern, symbolism, aircraft

Linocut print on paper. Printer's Proof.'P/P' bottom left under printed image, 'Bu bu (tides)' centred under printed area, signed and dated in bottom right corner of image. cultural reference, linocut, cultural symbolism, patterns, waves, tides

Linocut print on paper. Printer's Proof.'P/P' bottom left of printed image, 'Marrkai gub (cyclone Anthony)' centred under image, signed and dated in bottom right of printed area.linocut, cyclone, patterns, symbolism, cultural reference

Commercial fishing vesselsfishing boatsCopy from Professional Fisherman pg.49 Oct.1985 re Seadays showReverse " NIL "historical references

Yields information about the history of Ballarat trams, tramways and the trammies and their stories. Has a strong association with the businesses in Ballarat.269 - Twelve page souvenir supplement to the Ballarat Courier, published the day after closure of Ballarat's SECV trams. Features many photos, sketches, items regarding the history of trams in Ballarat, and local advertisements of commercial business houses at the time. Dated 20/9/1971 . 2nd copy of 269 added 4/6/1999. 269.1 - Full copy of the Courier Newspaper containing the supplement detailed in item 269. Has a photo of tram 40 on front page in Sturt St. near Doveton street and article on front page, continued on page 2. 2nd copy added 18/06/2006. Note advertisement in the bottom right hand corner of the front page - house sale notice with reference to the horse trams. Image of front cover of newspaper and of each sheet of the supplement added 22/10/2013.trams, tramways, secv, ballarat trams, closure, advertisements