James Dawson (1806-1900), pastoralist, friend to First Nations people, environmentalist, patron of the Arts and author of "Australian Aborigines" (1881). He married Joan Alexander Park in 1877. Joan was the niece of the famous African explorer, Mungo Park. James Dawson came from Bonnytoun, near Linlithgow, Scotland and arrived in Melbourne with his wife on 2 May 1840. They made their first home in the colony farming in Port Phillip, near Anderson's Creek on the Yarra River, where their daughter, Isabella was born in 1842, then from 1844, moved to 'Kangatong' station on the Moyne River, east of Macarthur. In 1866 the Dawsons left the Port Fairy district and lived in various residences in Melbourne. By 1868 the family had settled in Camperdown at 'Wuurong', on the banks of Lake Bullen Merri. Unlike most people at the time, the Dawson's shared a deep interest in, and respect for First Nations people. In 1876 James Dawson was appointed local Guardian of the Aborigines in the Camperdown district. He was a prolific letter writer and an early advocate for indigenous rights and was dedicated to exposing injustice and the maltreatment of First Nations people. He had befriended Wombeetch Puyuun (Camperdown George) who was the last of the local Djargurd Wurrung living on Country when he died in February 1883. In 1885 James Dawson erected the Wombeetch Puyuun Monument at Camperdown Cemetery in his memory. His friend's remains were reburied at the foot of the obelisk and the two dates, 1840-1883, mark the 43 years it took for European settlement to displace the Djargurd Wurrung from the Camperdown District.Studio portrait of James and Joan Dawson taken in Australia. cdhs, isabella dawson, camperdown cemetery, djargurdwurrung, cdhsfirstnations

James Dawson (1806-1900), pastoralist, friend to First Nations people, environmentalist, patron of the Arts and author of "Australian Aborigines" (1881). Dawson came from Bonnytoun, near Linlithgow, Scotland and arrived in Melbourne with his wife, Joan Alexander Park, on 2 May 1840. They made their first home in the colony farming in Port Phillip, near Anderson's Creek on the Yarra River, where their daughter, Isabella was born in 1842, then from 1844, moved to 'Kangatong' station on the Moyne River, east of Macarthur. In 1866 the Dawsons left the Port Fairy district and lived in various residences in Melbourne. By 1868 the family had settled in Camperdown at 'Wuurong', on the banks of Lake Bullen Merri. Unlike most people at the time, Dawson and his daughter shared a deep interest in, and respect for First Nations people. In 1876 James Dawson was appointed local Guardian of the Aborigines in the Camperdown district. He was a prolific letter writer and an early advocate for indigenous rights and was dedicated to exposing injustice and the maltreatment of First Nations people. He had befriended Wombeetch Puyuun (Camperdown George) who was the last of the local Djargurd Wurrung living on Country when he died in February 1883. In 1885 James Dawson erected the Wombeetch Puyuun Monument at Camperdown Cemetery in his memory. His friend's remains were reburied at the foot of the obelisk and the two dates, 1840-1883, mark the 43 years it took for European settlement to displace the Djargurd Wurrung from the Camperdown District.Side portrait of an elderly James Dawson. cdhs, isabella dawson, camperdown cemetery, djargurdwurrung, cdhsfirstnations

"'Wuurong'' homestead (originally 'Basin Banks') was built c1867 by Donald McNicol (1812-1903) shepherd, store owner and pastoralist. The property was leased c1870 by James Dawson (1806-1900) Guardian of the Aborigines, pastoralist and environmentalist. James Dawson renamed the property 'Wuurrong'. His daughter, Isabella Park Dawson (1842-1929), recorded the languages and customs of Western Victorian First Nations people and together with her father, published the book "Australian Aborigines" (1881).Black and white photograph of ''Wuurong'' homestead Front: An Early Photograph of "Wuurrong" Built By Donald McNicolcamperdown, cdhs, wuurong, djargurd wurrung, djargurdwurrung, cdhsfirstnations

Artist is not known. Comments recorded at the time of purchase are that it is possibly by 'Plimer'. Andrew Plimer, 1763-1837 and his brother Nathaniel Plimer, 1757-1828, were notable British miniaturist portrait painters.William Henry Bacchus was one of the first British colonists to arrive in the Waddawurrung and Wurundjeri first nations peoples country 55 kilometers west of Melbourne in 1838. He established a large sheep property and built a notable large Georgian style home which still stands in the town of Bacchus Marsh today. From shortly after his arrival the area became known to the colonists as Bacchus's Marsh, and was later officiaslly named 'Bacchus Marsh' in his memory.Small framed painting of William Henry Bacchus. On the reverse is a label which reads: Captain William Henry Bacchus who arrived in the district of Bacchus Marsh early in 1838, was born in Suffolk, England, 1782, and died at Bacchus Marsh on 26 February 1849. His remains were interred in the graveyard of Holy Trinity Church which during his lifetime he had richly endowed with a gift of land. He was a Captain of the 2nd Royal Surrey Militia and formerly Captain of the 18th Light Dragoons.bacchus family, william henry bacchus 1782-1849

This postcard is part of an album of postcards which date from late 19th century to mid 20th century. It depicts Hanging Rock, a large rock formation sacred to First Nations people for thousands of years prior to European settlement. Hanging Rock became a recreational place for settlers during the 19th century and then became famous through the novel 'Picnic at Hanging Rock' (1967) and the subsequent movie (1975) of the same name. The photograph appears to be c1900s-1920s.This postcard is in an album of postcards dating from the late 19th century to mid 20th century. It reflects the popularity of collecting postcards in Australia which reached a height in the early 1900s until around 1920. Photographic black and white postcard of Hanging Rock c1900s-1920sOn front, printed: 'THE ROSE SERIES, P.1558 THE HANGING ROCK NEAR KYNETON, VICTORIA / Copyright' On back, printed: 'Post Card / The "Rose" Series De Luxe Produced in Australia On extreme left side of back, printed:'[unclear word] By "THE ROSE STENOGRAPHS" / Armadale, Victoria'postcard, photography, 1900s, hanging rock, 1920s, "green postcard album"

This ring belonged to Captain William Henry Bacchus who was one of the first British colonists to establish a farming property on Wurundjeri and Wadawurrung First Nations people lands 55 kilometers west of Melbourne. The land occupied by Bacchus in 1838 came to be known by the early colonists as Bacchus’s Marsh before later changing officially to Bacchus Marsh. The ring is believed to have been made to commemorate the death of Captain Bacchus’s father Wm (William) Bacchus in Somerset, England in 1788.This ring has significance because it is an object associated with a significant historical person in the history of the region of Bacchus Marsh. It is a rare, probably unique example of an 18th century mourning ring connected to the local community. It also has aesthetic value as an object and is in excellent condition.Gold ring with blue and black coloured inlay. Contains writing on the outsideWM Bacchus Esq OB: 10th JUNE 1788 Æ: 38 bacchus family, rings, william henry bacchus 1782-1849

Aunty Marlene Gilson is a Wathaurong (Wadawurrung) Elder who lives on Country in the Ballarat area. A self-taught artist, Gilson has received considerable acclaim and attention for her painting of historic encounters, in particular with regard to the retelling of events in which early colonial depictions excluded First Nations people. Marngrook Football depicts the first game of Australian Rules football played between Ballarat and Geelong while a parallel game of Marngrook takes place within view.

Ten unique hand painted poles (wooden telegraph poles) reflect the surroundings of Lake Wendouree and tell First Nations' peoples stories. Tom Clark created the Koori Totem Poles prior to the establishment of the North Garden Indigenous Sculpture Park. The work is a set of 10 poles decorated and carved with ‘Koorie’ motifs and references and was commissioned originally for Ballarat’s Begonia Festival. These poles were shifted from the Ballarat Botanical Gardens main area in 2015 to their present site guarding the northern entrance to North Gardens.The artworks are of aesthetic and cultural significance to the people of BallaratTen hand painted wooden telegraph polestotem poles

Warning: This object includes historical language referring to First Nations Peoples which is no longer appropriate but has been recorded for historical purposes. Produced in 1853, this map shows the land holdings of European families. While the majority of holdings are small there are also large land holdings as can be seen with Henry Dendy's Special Survey. Of particular note is the "Reserve for Aborigines" which was established in approximately 1841 and consisted of over 830 acres. This area is the current location of Mordialloc township and Attenborough Park, in Mordialloc, is the last remnant of the reserve. An Alfred Sikes, possibly the surveyor/cartographer who drew this parish plan, purchased land in Berwick in 1854.A handrawn map on fabric, with blue markings representing the coastline to Port Phillip Bay, red markings representing a proposed train line to Mordialloc, major roads and street, as well as a "Reserve for Aborigines", which constituted approximately 830 acres. In the bottom right hand corner, the map has been signed and dated.Handwritten in ink: Alfred Sikes / 38 Collins St East / June. 1853moorabbin, mordialloc, dendy, port phillip bay, aboriginal reserve, attenborough park

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

Charles Griffith was born in Kildare, Ireland in 1808. He studied at Trinity College, Dublin acquiring a B.A. in 1829 and an M.A. in 1832 before being admitted to practice as barister. In 1840 he emigrated to Australia arriving in the Port Phillip District in November 1840. Soon after arriving he and his friend James Moore formed a business partnership and acquired land in the Parwan Valley near Bacchus Marsh. This land had been in the possession of a Mr. McKenzie who agreed to sell his land and sheep to Griffith and Moore. The property they acquired came to be known as Glenmore. The partnership with James Moore lasted until 1848. In 1846, whilst in Ireland, Griffith married Miss Jane Catherine Magee, then returned to Glenmore and later took his nephew, Molesworth Richard Greene, into partnership, which arrangement proved to be long and prosperous. In 1857, they bought runs at Mount Hope and Mount Pyramid, which they kept until the days of free selection. Griffith led an active and successful public life. He was a member of the new Victorian Legislative Council in 1851, and was later an elected representative of the Legislative Assembly 1853-1859. He occupied many important public positions, including that of magistrate for Bacchus Marsh. Griffith was a devout Anglican and hosted Bishop Charles Perry at his station near Bacchus Marsh in 1849. He died in 1863 at his home in South Yarra. The diary is a detailed account of Griffith's voyage from Ireland to Australia and of his early months in Melbourne. After this it covers his early months establishing himself on his property, Glenmore, near Bacchus Marsh. The timeline of the diary stretches across 1840 and 1841. Griffith was an educated gentleman who made detailed observations about the environment he found himself in. The diary is particularly notable for Griffith's commentary about his interactions with people from first nations, and reveals some of his thinking about Colonial policies directed at first nations people. The diary also includes some sketches of individual first nations people along with some sketches of flora and fauna. The final part of the diary includes a glossary of Aboriginal words Griffith was familiar with. Digital file. PDF format. Digitised by State Library Victoria from photocopied pages of a hand-written transcription of the original diaries written by Charles J. (James) Griffith in 1840 and 1841.charles james griffith 1808-1863, diaries bacchus marsh, glenmore station, wadawurrung people, aboriginal australians bacchus marsh region history

This work is from a series centred around the Chinese proverb “to hold a book in one’s hand is to hold a house of gold” in which the artist positions himself within sites of colonial power. Set within the National Wool Museum gallery, the artist references the pose of an exhausted shearer after a long day of arduous labour. However he is reclining while reading The Fire Stick by Wulla Merrii, a novel set against the 1891 Queensland Shearer’s Strike, questioning cultural stereotypes and how they pertain to concepts of work and leisure. Dressed in sub fusc, his official uniform as an Oxford scholar, Thompson is a defiant intellectual challenging past and continued misperceptions of First Nations people, while embracing both the intersections of his identity and his ancestral heritage. Dr Christian Thompson AO is a Bidjara man of the Kunja Nation with Irish and Chinese heritage. His practice spans across video, photography, sculpture, textiles, performance and sound, evolving through a process of auto – ethnography. While employing various modes of research, he connects his own experience to larger social, political, cultural meanings and understandings. His doctoral research and art practice has had a critical impact on International and Australian art, making global history as one of the first Australian Indigenous students at Oxford University. In 2018 he was made an Officer of the Order of Australia for distinguished services to the visual arts and as a role model to young indigenous artists in the Queen’s Birthday honours list.Framed photograph showing a man dressed in an academic gown, laying on their back holding a book. The setting is a reconstructed shearing shed, inside the galleries of the National Wool Museum.dr christian thompson, first nations, artwork, photography, oxford, heritage, national wool museum

These Message Sticks acknowledge the return of Dja Dja Wurrung Cultural material held by the Burke Museum. The Burke Museum is the current custodian of a significant collection of First Peoples’ cultural material from across South-Eastern Australia. These objects were sold to the Museum by Reynold Everly Johns in 1868. We recognise the harm caused by dispossession of cultural material, and by any inappropriate display and interpretation of this collection over the past 150 years. The Burke Museum is continuing to build relationships and collaborate with traditional owners, Aboriginal communities and the museum sector to ensure culturally appropriate outcomes for the collection, including repatriation of objects to communities of origin. Message sticks are a form of communication between Aboriginal nations, clans and language groups even within clans. Traditional message sticks were made and crafted from wood and were generally small and easy to carry (between 10 and 20 cm). They were carved, incised and painted with symbols and decorative designs conveying messages and information. Some were prepared hastily, like you might create a note left on a friend’s desk or a quick text message; others were prepared with more time to make the markings neat and ornate. There were always marks that were distinctive to the particular group or nation sending the message and often marks identifying the relationship of the carrier to their group. This way it could be identified and authenticated by neighboring groups and by translators when the message stick was taken long distances. Two solid cylindrical shaped pieces of wood bound together with black, red and yellow string. Each stick has etchings with angular lines and dots. dja dja wurrung, message sticks, burke museum, beechworth, beechworth museum, repatriation, reynold everly johns

This book, a 2006 second edition of a book first published in 2004, includes additional material in the second edition. It has been meticulously compiled from a variety of official war records and local information and is the most comprehensive work available on the records of World War One enlistments from Warrnambool and district. Australia’s military involvement in World War One was highly significant and a most important event in the history of our growth as a nation and our newfound place on the world stage. This book is very important as it gives a comprehensive coverage of the people from Warrnambool and district who enlisted in World War One. It is an essential reference for researchers of those times and for family history recorders. This is a soft-cover book of 270 pages. It is the 2016 second edition of the book by Blair & Affleck of Great War Enlistments from Warrnambool and District. It has a blue cover with an image of a World War One battle scene in the background covering both the front and the back cover. The front cover has an inset colour photograph of the soldier figure from the Warrnambool War Memorial and the back cover has a colour photograph of the World War One Honor Roll from Christ Church, Warrnambool. The titles etc on the cover are printed in yellow. The book has a contents page, acknowledgements and introduction, an index, lists and descriptions of soldiers who died in the war and those who returned home, information on local Honour Boards and appendices.Front Cover: ‘For King & Country, Great War Enlistments from Warrnambool and District, Ron Blair and James Affleck, 2nd edition, 2016’ Spine: ‘For King and Country – Great War Enlistments from Warrnambool and District, Ron Blair and James Affleck’ world war one, enlistments in world war one from warrnambool and district., blair and affleck, warrnambool, history

The Medal will enable the community to thank those who have made Australia’s first hundred years as a federal nation such a great success and who have laid solid foundations for Australia’s future. The award of the medal to them will be a fitting acknowledgement from the nation of their long contribution to Australia .Hans was awarded the Medal for his contribution to fund raising for R.S.L. Welfare.The Centenary Medal is an award created by the Australian Government in 2001. It was established to commemorate the Centenary of Federation of Australia and to honour people who have made a contribution to Australian society or government. It was also awarded to centenarians: Australian citizens born on or before 31 December 1901 who lived to celebrate the centenary of federation on 1 January 2001.Rectangular shaped glass covered photo frame showing presentation photo.Presentation of the Centenary of Federation Medal to Hans Van Der Horst.medals,centenary of federation medal,awards,lara r.s.l.

In March 1995 ATCV had circulated a proposal for an ‘Australia Corps’. The proposal emerged over time from ATCV board and staff through debate and experience. ATCV Board member Alan Wright had written earlier: “There is in our society a terrible vacuum for adolescents to give expression to their independence and idealism in a constructive way, a chance to try themselves out independent of their parents/teachers in adult roles.” ATCV’s Brisbane office manager Phil Harrison had first been involved with ATCV as a volunteer from UK, drew together ideas about an ‘Australia Corps’, that had been discussed with Alan Wright, John Fenton and others at the ATCV staff/board planning workshop at Sorrento in December 1993 and “…based upon our experience and participation in the LEAP program and observations of Conservation Corps around the world”. The concept of a six-month program for young people with a training wage and accredited training which encouraged both competencies and personal development emerged, with a standard format of ten participants working fopr six months under the direction of a supervisor. The ‘Australia Corps’ proposal was widely distributed to Federal, State and Territory parliamentarians and received positive feedback. The Liberal Party, then in Opposition, included the idea of a “Green Army” in their environmental policy, placing more emphasis on environmental outcomes and less on job creation than the Keating ALP Government had. A young and up-and-coming parliamentarian, Tony Abbott MP, was enthusiastic and was to visit several ATCV projects (both before and after Green Corps started) to learn about their workings direct from volunteers and CVA staff. Several times he visited projects with Ian Smith project and Ian recalls being impressed by the efforts he made to talk at length with all participants. Tony Abbott took a personal interest in the progress of Green Corps. Colin Jackson and Phil Harrison were guests of Abbott in Parliament House, Canberra, on the evening of 20 August 1996. The Federal Treasurer, Peter Costello, announced in his first Budget Speech that: - “the Government will provide $42 million over the next 3 years to establish the Green Corps. The Green Corps will be open to young Australians aged 17 to 20 to demonstrate their commitment to the environment by working on projects to preserve and restore Australia's natural environment and cultural heritage. The projects will also contribute to their career and employment prospects through training, skills development, work experience and personal development.” ATCV’s chief executive officer Colin Jackson worked with senior staff Madeline Townsend, Garry Snowden, Phil Harrison, and John Fenton to fine-tune the ATCV proposal. On the strength of unique national coverage and credible record ATCV went on to win the tender to administer and manage the day-to-day operations of the Green Corps program for five years (1997-2002). Winning a $36 million contract was a big breakthrough for ATCV. Fourteen years before, a small non-profit group had started in Ballarat in country Australia with a vision – but little else. Its key people had shaped opinion and won political support for a concept. There was about to be transformation from hand-to-mouth existence into a nation-wide business with resources to build for the long term. This documents records many positive comments about Green Corps and ATCV's implementation of it.24pp illustrated booklet printed in green and some gold.atcv green corps australia-corps tony abbott mp phil-harrison

The flag represents The Mission to Seafarers worldwide organisation. From about the year 2000 particular flag was once flown from Flagstaff Hill's masthead on top of the turret on the St Nicholas Seamen's Church but this practice ceased around 2010 for safety reasons. The Australian beginnings were in 1856 when the Church of England (Anglican Church) established the ‘Society for Promoting Missions to Seamen Afloat, at Home and Abroad. Lord Shaftesbury was the first President and Mr William Kingston was the first Secretary. Its Constitution declared: (1)) the Object is the spiritual welfare of the seafaring classes at home and abroad. (2) In pursuance of this Object, Society will use every means consistent with the principles and received practice of the Church of England. Mr Kingston’s wife and sister designed a flag to clearly depict the Society’s Objects. It depicted the first of the three angels in Revelation 14, who possessed ‘an eternal gospel to proclaim to those who dwell on the earth, to every nation and tribe and language and people. The ‘Flying Angel’ (the angel of Revelation) became the official logo of the Society and gained great popularity. In July 2000 the Missions to Seamen changed its name to the Mission to Seafarers to better reflect the group's function, an unbiased society that cares for all who earn their living at sea. The Logo was modernised and simplified, the word changed to 'seafarer' to be gender-neutral. The angel logo no longer holds a book (Bible). The organisation states: “The Mission to Seafarers is an Anglican organisation ... The Mission offers fellowship and a warm welcome in centres where seafarers can relax away from their ships, meet local people and contact their homes, from ports around the world. The Mission provides and promotes” … “The Mission to Seafarers now has a presence in 200 ports in 50 countries worldwide. This makes us the largest sea-port-based welfare organisation in the world. We provide support to seafarers 365 days per year, regardless of their rank, nationality, gender or religion” This flag was a gift from the Mission to Seafarers Victoria at the time of the organisation's change of name from the Missions to Seamen. It was flown from the Masthead on top of the turret on the St Nicholas Seamen's Church at Flagstaff Hill from the years 2000 to around 2010. The donation of this flag signifies the ongoing association between the historical organisation and St Nicholas Seamen's Church building at Flagstaff Hill', which displays an extensive collection of furniture and furnishings from that organisation's Williamstown branch. The design on the flag is an example of several updates of the flag over the organisation's lifetime.Flag, fine linen, The Mission to Seafarers. Rectangle of blue fabric with white text around white flying angel logo. Flag has a plastic hook on top of the halyard.Printed "THE MISSION TO SEAFARERS" and logo of FLYING ANGEL symbolflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, missions to seamen victoria, mission to seafarers, flying angel’s club, st nicholas seaman’s church williamstown, mission to seafarers flag, flag, missions to seamen, turret

Highlights the significant and often unheralded role of first nations people who served in Australia's wars.A large display of memorabilia connected to Reg Saunders, Australia's first Aboriginal Officer. Includes Aboriginal Flag,, Photographic images , Service Medals and Biographical details listed separately as 0355.2 etcA separate typed story of Private William Reginald Rawlings MM, killed in action in August 1918, is included in the display

The subject item is a saw blade sharpening clamp that attaches to a bench allowing the operator to sharpen the teeth on a saw with a file while keeping the saw blade in an upright position. Henry Disston (1819–1878) began his career as an American saw maker in Philadelphia. He emigrated from England in 1833 and started making saws and squares in 1840. In 1850, he founded the company that would become the largest saw maker in the world the ”Keystone Saw Works” on the Delaware River. Some five years later, Disston built a furnace possibly the first melting plant for steel in America and began producing the first crucible saw steel ever made in the United States. While his competitors were buying good steel from Britain, he was making his own, to his specification, for his own needs. Disston subsequently constructed a special rolling mill exclusively for saw blades. Over the following decade, the Disston company continued to grow, even while dedicating itself to the Union Army's war effort. In 1865, when his son Hamilton Disston rejoined the business after serving in the Civil War, Disston changed the company's name to Henry Disston & Son. Henry Disston and his sons set the standards for American saw makers, both in terms of producing high-quality saws and developing innovative manufacturing techniques. Disston also started making files in 1865. In September 1872, Henry Disston and two other men dug a part of the foundation for what was to become the largest saw manufacturing facility in the world: Disston Saw Works. This was in the Tacony section of Philadelphia. Having previously moved his expanding business from near Second and Market Streets to Front and Laurel Streets, Disston sought to establish his business away from this cramped area. It took over 25 years to move the entire facility to Tacony. This Philadelphia neighborhood seems to have been the only company town in the United States established within an existing city. At its peak of operations, Disston Saw Works employed 8,000 people and the factory covered 300 acres. The company, known as Henry Disston and Sons, Inc by the early 20th century, cast the first crucible steel in the nation from an electric furnace in 1906. The firm's Armour plate building near Princeton Avenue and Milnor Street contributed tremendously to the World War II effort. But the company's innovation and industriousness would not last forever. In 1955, with mounting cash-flow problems and waning interest on the family's part to run the firm, Henry Disston and Sons were sold to the H.K. Porter Company of Pittsburgh. Porter's Disston Division was sold in 1978 and became the Henry Disston Division of Sandvik Saw of Sweden. This division was then sold in 1984 to R.A.F. Industries of Philadelphia and became known as Disston Precision Incorporated, a maker of specialized flat steel products. In 2013, R.A.F. Industries sold Disston Precision Inc. in a private sale. Although the company has ceased making Disston handsaws, the Disston brand name still exists in this firm. A significant American company that pioneered the making of high-quality steel and saws along with other tools and accessories. The subject item is significant as it was made at a time when the company was in its hay day. Adjustable Ball & Socket Saw Sharpening vice, cast iron, with clamp to attach to a workbench. Made by Henry Disston & Co. No 1 painted greyflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, saw clamp, henry disston & sons, saw sharpening, tool accessories, wood saws

Ill, p.464.non-fictionFifty years after they served Australia in the Vietnam War, sixteen veterans of that conflict from the Yarra Valley sat down with the Mt Evelyn RSL's historian and revealed, some for the first time, their wartime experiences.Their stories tell of our nation's involvement in Vietnam and spans the period 1964 to 1972. They served with the Navy, with the Regular Army, with the CMF and as National Servicemen. Their backgrounds varied as much as their experiences 'in country' during that time.It is a story of sacrifice and endurance, bravery and loss, good times and bad times. It reveals the environment they were forced to exist in and the role they played, from the mundane to the terrifying.Surviving all of this they then returned home to a nation where many people ignored or even condemned them. For most, those decades after the war were an ongoing battle to deal with the physical and mental scars.vietnam war 1961-1975 – personal recollections – australia, veterans - victoria - yarra valley - biography

Commemorates the tenth anniversary (2012) of the independence of East Timor, achieved on 20 May 2002. The people of the first new nation of the century suffered some of the worst atrocities and trauma of modern times in their struggle for self-determination. Honours the spirit of the East Timorese people and their connection to BallaratThe artwork is of aesthetic and interpretative significance to the people of BallaratCorten metal laser cut sculpture2012 Australia East Timor Association (Ballarat) honours the spirit of the East Timorese People on the tenth anniversary of the restoration of their Independence. Artist, Marqy da Costa, Afalyca Art Baucau, East Timoreast timor, independence

This photograph was published in Church and Nation, May 8 1985. It shows Jack Sherwill (centre) at work during the last camp he cooked for - Easter 1984. Others with him from left, Wayne Minge (Dandenong), Judy Cakebread (Benalla), Terry Ellis (Benalla) and Lionel Moore (Springhurst). Mr Sherwill became chief cook at the first Wandiligong Easter Camp in 1958. The Jack Sherwill Log Cabin was officially named on April 7 1985.Colour photograph of a group of 5 people eating sausages in bread at Wandiligong Easter Camp 1984camp wandiligong, easter camp, jack sherwill, wayne minge, judy cakebread, terry ellis, lionel moore