The exhibition was held in the Royal Exhibition Building from 25 August to 3 September 1955. The proceeds went to the the Mission.The magazine is one the many fundraising efforts from the Mission.A4-sized magazine of multiple pages. Front cover of magazine is in blue, white and black ink. At the top of the cover is a stylised depiction of the world globe linked to a gear by a drive chain. The lower part of the cover depicts a stylised abbreviated city and seaside scene. Inner pages are monochrome and detail ship model builds, with pictures.'1955 All models exhibition, International trade fair' 'August 25 - September 3' 'All proceeds to Missions to Seamen'trade fair, 1955, probus club, ship models, fundraising

The photograph taken on the Saturday 12 November 1932 was published in November 1932 in a newspaper. (clipping in the MTSV Collection) with the following capture: "Show Boat Committee: Members of the Victorian Chamber of Manufactures yesterday inspected the Nieuw Zeeland, the sister ship of the Nieuw Holland, which is the proposed Show Boat for the advertisement and exhibition of Australian products in the East. Watching flour being loaded for the East."The ship was sent to Java with Australian products.large b & w photograph loading of goods onboard shiploading, bags, shipping, nieuw zeeland, nieuw holland, show boat, victorian chamber of manufactures, flour, eastern trade

See document 1507Information for the brochure (http://www.artdes.monash.edu.au/globe/issue8/tbtitle.html) Construction in Process VI The Bridge, Melbourne Event: March 21-31 1998 Exhibition April 1-30 1998 During Construction in Process (CIP) III at Lodz, Poland in 1991, Emmett Williams and other participating artists initiated the idea of a biannual "performance" of their project in different cities and sites around the world. In the first instance, CIP was a response to the strictures of museum contained commodification of art practices and the dissolution of communism. And with this agenda in mind, their events affirm the active participation of international artists with local infrastructure and site specific materials. The organisation of the 1998 CIP in Melbourne, titled "The Bridge", took Richard Thomas, Katherine Armstrong, Gail Davidson and the legion of others over two years of dedication. And they brought off one of the most open-ended, logistically challenging conceptual events this metropolis has witnessed. The following photo essay provides a personal survey of the "The Bridge", as I saw it transpire around me. German artist Dagmar Udhe created several art installation in Swanson Dock and the Mission. This plaque was placed either in the dome or outside the dome. It may have been forgotten or left intentionally by the artist.PerformanceUltramarine ovoid shaped perspex plaque attached to the wall in the entrance of the Mission (Flinders Street).art installation, dagmar udhe, cultural events, artwork-paintings

Production of the mugs was inspired by the interest of visitors in purchasing a mug like the ones on display created by an artist Catherine Bell in 2017 for the Sounding Histories exhibitions.This mug added to the Mission collection as a contemporary example of MTSV memorabilia and promotion and features bth current logo and image of the building complex.Pale gray ceramic drinking mug with a mid-blue lining and a large handle (1668). Colour image transfers decorating outer walls.The Mission to Seafarers logo in a blue oval with 'Caring for Seafarers since 1857' printed in blue underneath is printed on the front. On the back in dark gray is a stamped effect of a street scape with Mission buildings with 'www.missiontoseafarers.com.au . On the underside a paper lined is adhered with a printed barcode and price of $12.00. mtsv memorabillia, mug, souvenir, mtsv shop, marketing

Louise Hearman used the Norla Dome and painted a mural which had taken her around a year to complete. The exhibition called Elephant Room was shown from May 1988. The work was vandalised in June 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that timeBlack and white flyer with dual lengthways ribbings on the back side, possibly indicative of an intent to fold the flyer in three.The Elephant Room You are invited into the dome at the “Mission to Seamen” building, no. 717 Flinders St (ext), painted by Louise Hearman. Opening night Thurs May 28th 6 pm - 9 pm Visiting hours 11am -6 pm Tues to Sun from May 29th to June 11th Or by appointment ph (03) 328 1400 a.h. Sponsored by: Australian Council, Crown Hire, Art Stretchers Oliver-Davey Glass and Box Archer Emery.cultural events, exhibitions, paintings, artists, norla dome, 1988, louise hearman, elephant room, flinders street, melbourne

Louise Hearman used the Norla Dome and painted a mural painted which had taken her around a year to complete. The exhibition called Elephant Room was shown from June 1988. The work was vandalised in 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that timeBlack and white copy of a newspaper article, printed on A4 paper.The sky’s the limit for modern Michelangelo Because it was there . . . Melbourne artist Louise Hearman in the domed gymnasium of the Mission to Seamen - Picture: ROSS DUNCAN THE dilapidated pool halls of Melbourne’s Mission to Seamen are an unlikely setting for a budding Michelangelo. But when Louise Hearman came across the one-time mission gymnasium she could not resist the urge to create a fresco. It did, however, take a little persuading for the Anglican Church, which still owns and operates a mission in the 61-year-old building, to agreee to house a minor Sistine Chapel on their premises. A year of labour later, Hearman has had no complaints about the great swirling sky or huge oil paintings which now adorn the empty 11-sided room. Instead she is constantly visited by old sailors and passers-by who are thrilled to discover the unusual architecture and artwork. “When peoiple come here it’s a real discovery. It’s something they find for themselves,” she said. Her pictures are neither religious nor symbolic, merely outpourings to create an atmosphere. “THere are lots of things I’d like to say but I’m not saying them in my paintings. “There are no messages, they don’t have any political statement. Life was a little more comfortable for Hearman than her renaissance predecessors. After struggling with cumbersome scaffolding to reach her “canvas” she discovered the modern wonders of the scissor lift. She does not look on the work as a huge achievement. However, it may all be for nought. Unless money is spent to restore the building the paintings she has created will crumble and die - Deborah Stone The Australian Tuesday 10 May 1988louise hearman, elephant room, norla dome, exhibitions, 1988, melbourne, flinders street, ross duncan, cultural events

Louise Hearman used the Norla Dome and painted a mural painted which had taken her around a year to complete. The exhibition called Elephant Room was shown from June 1988. The work was vandalised in 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that time.Black and white copy of a newspaper article, printed on A3 paper.louise hearman, exhibitions, 1988, norla dome, flinders street, cultural events, melbourne, elephant room, ian hunter

Louise Hearman used the Norla Dome and painted a mural painted which had taken her around a year to complete. The exhibition called Elephant Room was shown from June 1988. The work was vandalised in 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that time.Black and white copy of a newspaper article, printed on A3 paper.It’s Louise’s masterpiece, come heaven, hell or high water Report: SARAH TURNER PICTURE: LEIGH HENNINGHAM When her Little Bourke St studio was pulled down to make way for a carpark, artist Louise Hearman, above, contacted The Seamen’s Mission in Flinders St to see whether she could use their cottage. They agree. But neither knew what it was going to lead to. When Hearman saw ‘the Elephant Room’ at the mission, a big domed room, she felt she “just had to do something with it”. She applied for and was granted a $3250 grant from the Australia Council, with which she was able to buy the necessary scaffold and paint, and then set about transforming the room. Now, a year later, her masterpiece is complete. Hearman emphasised the the mural doesn’t represent “heaven and hell”. Rather, she said, “people should make their own interpretations”. She said it was “not particularly heaven and hell, it’s not particularly anything”. And there is “no narrative” to the mural. It “just developed with the building”, out of whatever images and feeling Hearman had at the time. Sadly though, Hearman said the mural was likely to fall off the walls and domed ceiling unless the room was waterproofed - water damage is a serious problem at the mission. louise hearman, norla dome, exhibitions, 1988, elephant room, flinders street, melbourne, leigh henningham, cultural events

HUMBLE BEGINNINGS The Mission to Seafarers, which was originally known as the ‘Bethel Union’, was established in London in 1835, a recognition of the spiritual needs of seafarers who live a lonely life at sea. In 1857, the Bethel Union began a mission in Victoria aboard the Emily, a large hulk vessel donated by the government, with the object of establishing a floating church for sailors moored in Hobson’s Bay. The first chaplain, his wife and their eight children, three servants and livestock called the Emily home for two and a half years. Each week, sailors were taken to the Emily via a longboat to join in the Sunday services. Today following the same custom, seafarers are transported by bus to and from the docks by a volunteer bus service run from the Mission building at 717 Flinders Street. This window, named ‘On the Seas’, was installed in 1980 and represents the origins and history of the Mission to Seafarers through the symbols of a cross, maritime and Masonic imagery.Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. This frame is showcasing the window by Greg Cummins with a photograph of seamen in front of a van and a view of Port Melbourne.Framed and mounted on black cardboard of black and white and colour reproductions from the MTSV collection for the exhibition Reflections of the Sea with brief label signageon label: ABOVE: View of the Princes Pier from the Port Melbourne Mission windows in 1928. BELOW: A group of visiting seafarers standing in front of the Mission bus during an outing to the beach, circa 1950s.reflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, creative victoria, prov, mission to seafarers, stained glass windows, justine m. philip, greg cummins, flinders street, catherine mclay, arthouse

THE HOME OF THE MISSION TO SEAFARERS By 1907 the Mission to Seafarers Victoria had moved from providing its services aboard a floating vessel, the Emily, to three different bases in Melbourne locations: Williamstown, Port Melbourne and the North Bank of the Yarra - opening a central home in 1907, and finally at 717 Flinders Street in 1917. The Mission to Seafarers Victoria complex, includes the landmark domed gymnasium, which opened in 1920. The State heritage listed buildings of the Mission are considered architecturally significant urban examples of two distinct architectural styles: the external Spanish Mission Revival and the Arts and Crafts influence of the interior. This window, titled ‘Missions to Seamen’, was installed in 1980 and depicts a cargo ship, tug and lighthouse representing the working seaman, and is further supported by the Flying Angel emblem of the Mission to Seafarers ministry.Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June-July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. This frame is showcasing the window depicting a ship and tugboat, two photographs of the Flinders Street building and seamen departing for a picnic.Framed and mounted on black cardboard of black and white and colour reproductions from the MTSV collection for the exhibition Reflections of the Sea with brief label signageon label: ABOVE: A photograph of the Mission to Seafarers complex on Flinders Street with horse drawn carts going by, taken in 1927 BELOW: Visiting seafarers gathered in front of the Mission entrance prior to a picnic on Boxing Day 1926reflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, justine m. philip, flying angel flag, tugboat, mission to seafarers, flinders street, creative victoria, prov, stained glass windows, catherine mclay, arthouse

A GLOBAL PERSPECTIVE Before the increase of air transport, everything that arrived or departed from Australia did so via the ports and wharves. The Mission to Seafarersis not a Victorian initiative, but rather a global network that currently operates in over 260 ports worldwide, assisting over 1.3 million seafaring men and women each year. The importance of the Mission’s role is demonstrated in the Chaplain’s Report 1947, which notes that ships and their crews are: “...inextricably linked with the well-being of Australian industrial and economic life... This, in turn, means that you cannot escape some share in responsibility for their welfare.” This window, titled ‘Noli Me Tangere’, was installed in memoriam of Moira Oliver, the wife of the Reverend Frank Oliver, chaplain at the Mission 1930-60, and whose dedication in life and service to the welfare of seafarers was inspirational to many.Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. This frame is showcasing the memorial window to Moira Bird Oliver, wife of Padre Oliver , a photograph of Padre Oliver listing a ship and a photograph of sailors playing tug-of-war during a picnic.Framed and mounted on black cardboard of black and white and colour reproductions from the MTSV collection for the exhibition Reflections of the Sea with brief label signageon label: ABOVE: Mission to Seafarers' chaplain Frank L Oliver, visiting a ship whilst in port, c1950s BELOW: The crew of the motor ship Nyhaugin a tug-of-war with the crew of the SS Madgeburg at the 1926 Boxing Day picnicreflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, creative victoria, prov, mission to seafarers, stained glass windows, justine m. philip, moira bird oliver, moira bird oliver (nee good), padre frank leslie oliver, picnic, tug-of-war, flinders street, catherine mclay, arthouse

THE CHAPLAINCY Although fostered by the Anglican Church since 1906, the work of the Mission to Seafarers’ is inter- denominational and is not limited by the physical space of its buildings. When the old Melbourne wharves and their moorings were still in use, chaplains would also visit ships to look after the welfare of those who could not visit the Mission. Today, the Mission’s ‘Ship Visitors’ provide a similar service. The Flinders Street central complex was purpose built to meet with seafarers’ needs: “...the first thing a sailor would see before the traps and temptations of the city would be the Institute and its comfortable rooms.” (The Argus, ND). Today, the Mission continues to offer its comfortable, safe spaces and a friendly ear to seafarers, alongside other services that extend well beyond those traditionally offered - including TV, phone cards, and access to the internet. This window, titled ‘Light of the World’, was installed in 1935 in memory of a former ‘M.V. Manunda’ captain and represents chaplaincy support to the seafaring community.Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. his frame is showcasing the memorial window to Captain Robert Sunter and a photograph of a chaplains conférence in the 1950s.Framed and mounted on black cardboard of black and white and colour reproductions from the MTSV collection for the exhibition Reflections of the Sea with brief label signageon label: Taken in the courtyard at Flinders Street in the early 1950s, this photo shows eighteen individuals, fifteen of whom are wearing white clerical collars, illutsrating the integral relationship between the Mission to Seafarers ministry and the Anglican Churchreflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, captain robert sunter, chaplaincy, conference, mv manunda, creative victoria, prov, mission to seafarers, stained glass windows, justine m. philip, flinders street, catherine mclay, arthouse

THE HARBOUR LIGHTS GUILD The ‘Ladies Committee’ was formalised in 1906 to assist the chaplain with the social demands of the Mission, and was renamed the ‘Ladies Harbour Lights Guild’ the following year. According to former members, it operated with all proper decorum and with precise guidelines that restricted women from coming into contact with seafarers outside of Mission activities. With some 1,600 Victorian members during its early years, these volunteers gave their prayers, money, handiwork time and considerable energy in order to assist in providing for the welfare needs of visiting seafarers. The heritage chapel of St Peter, often referred to as the Mariners’ Chapel, features many examples of stained glass. Commemorating the service of Mercantile mariners, the funds to build the chapel were raised by the ladies of the Harbour Lights Guild. This window, titled ‘Faith’, was installed in 1933 to commemorate the devoted service of Miss Ethel Godfrey, a founding key member of the Ladies Harbour Lights Guild.Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. This frame is showcasing the memorial window to Ethel Godfrey, and two photographs of ladies from the Harbour Lights Guild.Framed and mounted on black cardboard of black and white and colour reproductions from the MTSV collection for the exhibition Reflections of the Sea with brief label signageon label: ABOVE: a member of the Harbour Lights Guild dancing with a Tongan man at a social event during the 1960s. BELOW: A group photo of the ladies of the Harbour Lights Guild in front of the stage at the Mission to Seafarers Victoriareflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, ethel augusta godfrey 1861-1935, lhlg, harbour lights guild, ladies harbour lights guild, dance, creative victoria, prov, mission to seafarers, stained glass windows, justine m. philip, catherine mclay, arthouse

ENTERTAINMENT AND SOCIAL EVENTS The Ladies of the Harbour Lights Guild played a central role in everyday functions of the Mission to Seafarers. Concerts and social events were held nightly all the year round, as were special events on Cup Day, the King and Queen’s Birthdays, Christmas Day, Boxing Day and New Years Eve. Ladies of the Guild and other friends of the Mission contributed greatly to the organisation of such occasions, which provided great comfort to seafarers so far removed from home and their loved ones. As one seafarer remarked: “Ah miss, it is not so much the concerts and picnics that does us men so good, but that you ladies will come and talk to us”. This window, titled ‘Hope’, was installed in 1933 in memoriam of one of the founders and long- standing members of the Guild, Miss Alice Tracey, who passed away in 1932. She is remembered as a much- loved leader and key member of LHLG.Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. This frame is showcasing the memorial window to Alice Sibthorpe Tracy, a photograph of ladies pin the kitchen in the Flinders Street building, and seamen dressed up during a picnic.Framed and mounted on black cardboard of black and white and colour reproductions from the MTSV collection for the exhibition Reflections of the Sea with brief label signageon label: ABOVE: Volunteers preparing meals for a social event, circa 1950s BELOW: Seafarers dressed for the "final heat"of the costume race at the 1926 Christmas Day picnicreflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, creative victoria, prov, mission to seafarers, stained glass windows, justine m. philip, alice sibthorpe tracy, social events, kitchen, lhlg, picnic, fancy dress, seamen, sailors, catherine mclay, arthouse

FRIENDS OF THE MISSION The Mission has always relied heavily on the patronage of its volunteers and sponsors who are kind enough to donate much-needed funds, time and expertise. In its first year, the Mission had only 99 pounds to its name, 90 pounds of which was taken up by the chaplain’s salary! Today the Mission is overseen by a Board of Directors and is run by a dedicated team of employees and volunteers. Even though developments such as containerisation in the shipping industry have meant that the number of seafarers on each vessel and their time spent in port has been drastically reduced, the needs of seafarers are just as pressing today as they were when the Mission first began. This window, titled ‘Jesus in the House of Martha and Mary’, was installed in 1947 in memory of Karen Brady, a volunteer and friend of the Mission, dedicated to providing for the needs of seafarers. This window is symbolic of the continuation of such needs in modern times.ontextual or historic information Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. This frame is showcasing the memorial window to member of the Guild, Karen Brady, who died during a black out hit by a car while she was on her way back home from the Mission, and two photographs of social activities organised for seafarers.Framed and mounted on black cardboard of black and white and colour reproductions from the MTSV collection for the exhibition Reflections of the Sea with brief label signageon label: ABOVE: Ladies handing out light refreshments to seafarers during an outang at the Melbourne Zoo in 1907 BELOW: A full house awaiting New Years Eve dinner followed by entertainment in 1927reflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, creative victoria, prov, mission to seafarers, stained glass windows, justine m. philip, flinders street, karen brady, lhlg, picnic, social events, catherine mclay, arthouse

A KEY MELBOURNE LANDMARK Although primarily dedicated to providing for the welfare of visitors from abroad, the Mission has always been a community-based organisation, and its doors are always open to the general public. Today, the Flinders Street complex lends its ample space to a variety of community pursuits – including yoga classes, religious sermons and gallery exhibitions. The Mission also continues as a popular venue for weddings and other social events, mainly due to the endearing historical connections and unique architecture and ambience. It is a distinctive and significant feature of Melbourne’s riverside streetscape. This window, titled ‘Thou of Little Faith’ is part of a pair that were installed at around the time the Mission was built in 1917. It is dedicated to a prominent family member of the ‘Forges of Footscray’ store fame, who were great supporters of the Mission’s work.Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. This frame is showcasing the window in memry of James Leslie Forge, a photograph during a service in the chapel and a wedding photograph.Framed and mounted on black cardboard of black and white and colour reproductions from the MTSV collection for the exhibition Reflections of the Sea with brief label signageon label: ABOVE RIGHT: Sunday services in St Peter the Mariner's chapel, attended by seafarers and the public, circa 1950s BELOW RIGHT: Mr and Mrs Lee under the arches after their wedding at the Mission on May 1st, 1967reflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, creative victoria, prov, mission to seafarers, stained glass windows, justine m. philip, flinders street, james leslie forge, weddings, service, chapel of saint peter, catherine mclay, arthouse

THE SEAS IN WARTIME During WWII, as many as 27,000 men of the merchant and the King’s navy perished during active service. Dedicated to seafarers’ wellbeing, the Mission’s spiritual roots also make it a place for reflection on the loss of human life at sea. The Mission to Seafarers’ ministry offers its support in hundreds of seaports around the world, and has played an important role in supporting those who have lost friends and family at sea during wartime. Many of the stained glass windows in the chapel are dedicated to these people, and represent many close maritime community relationships. This window was installed in 1947 in recognition of the heroism and courage of those who have served in the Merchant Navy, and in particular to those who lost their lives aboard the armed merchant cruiser, ‘Jervis Bay’. This vessel was attacked by an enemy packet battleship whilst leading an escort from Nova Scotia to the UK in 1940.Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. This frame is showcasing the memorial window to the Jervis Bay crew, a group photograph of the seamen from the SS Siltonhall and a group photograph of seamenFramed and mounted on black cardboard of black and white and colour reproductions from the MTSV collection for the exhibition Reflections of the Sea with brief label signageon label: ABOVE: VThe crew of the SS Siltonhall found refuge at the Mission in October, 1929, after their ship had caught fire and was abandoned in the Indian Ocean BELOW: A group of seafarers enjoying refreshments at the docks provided by volunteers from the Missionreflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, hms jervis bay, ss siltonhall, siltonhall, ww2, creative victoria, prov, mission to seafarers, stained glass windows, justine m. philip, flinders street, catherine mclay, arthouse

MIGRATION Travel is a luxury for most people, and although seafarers undoubtedly face hardships as part of their profession, they are also able to experience parts of the broader world than that of friends and family at home. The stories and experiences of seafarers - together with the work of the Mission to Seafarers ministry - contribute to the archive of ongoing global links and narratives of world trade and migration. As an example of this, in 1917 alone the Mission directed almost 6,000 letters written by visiting seafarers home to their families abroad, and received almost 3,000 letters in return. After experiencing Melbourne through the Mission, many seafarers later chose to make the city and Australia their home, and some chose to marry their partners at the Mission’s chapel. This pair of windows, titled ‘Baptism’ and ‘Holy Spirit’, was installed during 1933 and represents the integral links between seafaring and the world.Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. This frame is showcasing the lancet windows in the baptistry ad a photograph of the Eiffel Tower taken by Allan Charles Quinn during one of his voyages.Framed and mounted on black cardboard of black and white and colour reproductions from the MTSV collection for the exhibition Reflections of the Sea with brief label signageon label: A snapshot of the Eiffel Tower with Australian seafarer Allan Charles Quinn in the foreground, taken during a voyage to France in 1956reflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, creative victoria, prov, mission to seafarers, stained glass windows, justine m. philip, flinders street, allan charles quinn, eiffel tower, france, travel, migration, baptistry, paris, catherine mclay, arthouse

This photograph is part of reproductions of images from the MTS archive collection.Framed and mounted black and white reproduction of photograph from the archivemission to seafarers, mission to seamen, flinders street, melbourne, seafarers, seamen, padre oliver, crew, ships, seafaring life, sailors, early origins, 2016

This is a reproduction of the original 1897 Captains' petition to build a Central Institute on the Yarra river. "To the Executive Committee of the Victorian Seamen's Mission, Melbourne. "Ladies and Gentleman, "We, the undersigned captains of several ships now lying at the Melbourne wharves think it most desirable that the Victorian Seamen's Mission, being the mission that has for so many years shown a most part their interest in the spiritual, moral, and social well-being of the seamen of all nationalities, shall him on the banks of the Yarra an institute such as that at Port Melbourne, where sailors of every grade could profitably and pleasantly spend their evenings. At almost every other seaport in the world such institutions are being provided for seamen, and we are satisfied from our opinion of the Melbourne public that the matter needs only to be prominently brought under their notice to be accomplished. We are confident that the good work of the mission is being hampered by its not having such a place near the shipping at the Melbourne wharves. Our crews are at present placed at a great dis advantage through not having an institute more convenient to the scene of their labours than that at Port Melbourne, which, on a very wet or a very hot, is not easily reached. If a site could be obtained immediately above the Gasworks but on the other side of Flinders street extension, that is to say, on the lower part of the land on which the Harbour Trust offices are built, it would be most convenient for the shipping on both the north and south side of the river. Trusting that it may be possible to do some thing to meet this long felt want, We suscribe ourselves, Yours respectfully, Geo.H Steven, master ship Dharwar; Thos. Curd, master ship Narcissus; James Horne, master ship Loch Garry; T.Tait, master ship Loch Ryan; T. Nilsen, master ship Hebe; G. Ch Christian, master ship Anna; R.E. Peasley, master ship Seminole; Wm. Martin, master ship Loch Ness; T.C. Martin, master ship Loch Tay; W.H. Bennett, master ship Loch Vennachar; J. Raglan Brodie, master s.s. Warrnambool; James E. Coles, master ship Mermerus; J. H. Walker, master ship Hinemoa; R.J. Johns, master ship Ariel; D. Gorchem (sic. Gerckens), master ship Matador; H. Petersen, master ship Nesaia; Wm. J. Reid, master s.s. Star of New Zealand; A. F. Svhanstrom, master ship Hermes; Alex. Smith, master ship Sophocles; W. Y. Bunn, master ship Carmanian; William Anderson, master ship Loch Katrine."Framed and mounted reproduction of Captains' petitionpetition, seamen's mission, yarra river, captains, victoria, melbourne, ships, australia-wharf, signatures, 717-flinders-street-docklands, maritime welfare services, mission to seafarers, mission to seamen, mermerus, captain coles, sir john coode, loch line, loch ness, loch gary, loch ryan, ss warrnambool, loch tay, loch vennachar, matador, nesaia, d. gerckens, h. petersen, a.f. svhanstrom, hermes, ariel, loch katrine, william anderson, dharwar, narcissus, hebe, anna, hinemoa, sophocles, carmanian, early origins, 2016, exhibitions

Digital copy of an artistic event catalogue 142 pages.non-fictionCatalogue for an artistic discovery Ttail during Open House 2022.open house melbourne, 2022, ying-lan dann, circular temporalities, norla dome, exhibitions, video installation, cultural events

Take Hold of the Clouds is a curated exhibition featuring two key works by renowned international contributors – Forensic Architecture’s Cloud Studies (2021) and Cauleen Smith’s Sojourner (2018) – along with six, newly commissioned, responsive works from local and national creative practitioners. The experimental exhibition is distributed across seven of the city’s most significant buildings and urban spaces, with each temporal creative work adding a new layer to how we understand these spaces in relation to the world around us. Embedding the work within the city itself rather than a traditional gallery, the exhibition models best practices for high-impact yet sustainable and resource-sensitive exhibition-making. Created in partnership with Monash University, Take Hold of the Clouds navigates the Weekend’s theme of Built/Unbuilt through a series of thoughtful encounters in which artists reveal the invisible stories and issues in corners of the city. The exhibition is conceived by Tara McDowell, Director of Curatorial Practice at Monash Art, Design and Architecture, and co-curated with Fleur Watson, Open House Melbourne’s Executive Director. To create this poster, the artist used a copy of of one of Walter Butler plans for the 7171 building held in the archives as an homage to the architect. The sketch was then retouched to make it loo like a blueprint. The Mission is one of the sites open every year during Open House. A3 size Blue print type plan print on glose paper.open house melbourne, 2022, ying-lan dann, circular temporalities, norla dome, blueprint, plans, walter richmond butler (1864–1949), cultural events

Open House 2022: "Like many Melburnians, Ying-Lan Dann has long been fascinated by the Mission to Seafarers, in Docklands. When she was invited to create a work in response to a building as part of this year’s Open House Melbourne, she knew immediately which it would be. Taking a peek behind the closed doors of some of Melbourne’s finest and most interesting buildings is a core premise of the weekend event, now in its 15th year. During that time, the program has grown from half a dozen buildings to a 200-plus strong list that extends to Ballarat and Bendigo. “[It’s] much more expansive and citizen-led,” says Fleur Watson, Open House Melbourne’s executive director. “As a public festival, it has always had a spirit of generosity, this gesture of opening up and allowing visitors to come and look and experience things.” Swinging open their doors at the end of the month will be some of the city’s finest mansions, including Villa Alba in Kew and Brighton’s Billilla, the Cairo flats in Fitzroy, the newly renovated Jewish Museum designed by Kerstin Thompson, the Melbourne Quakers Centre, the Albanian Mosque in Carlton North and many more. Considering how to approach the event this year, held remotely for the past two, Watson decided to explore beyond the traditional, with associate professor and director of curatorial practice at Monash University Tara McDowell. The two have co-curated an exhibition of works to run concurrently with the Open House program, called Take Hold of the Clouds. That’s where Dann’s work, Circular Temporalities, comes in, one of seven commissions around town in which local and international artists respond to chosen buildings or sites. A lecturer in interior design at RMIT as well as an artist, she is interested in time and finding different mediums to show things in flux and, having grown up on Phillip Island, she often uses water as a theme. When she started spending time at the Mission, Dann found there was an oculus at the top of the dome, known as the Norla Dome. She thought about how that small but significant opening related to where sailors spent so many months of the year, the sky being the only thing they would see much of the time, stars guiding the way in times gone by, and of the recent stories she’d heard about sailors being trapped at sea during COVID. Built in the Arts and Craft style between 1916 and 1919 and designed by architect Walter Butler, the Mission includes a chapel, clubroom, Chaplain’s house, a small cottage and the Norla Dome, which was apparently inspired by the Pantheon. The Mission was funded by the government and the Ladies Harbour Lights Guild, who Dann was also intrigued by. “One of the things those women identified is that life at sea is very dangerous [and they] wanted to give them a space of sanctuary and support,” she says, adding that for many years, the dome was used as a gymnasium. Her work inside the dome includes a 35-minute loop film, recorded from the ferry during the crossing from Queenscliff to Sorrento. The horizon takes up about a third of the shot and moves as the waves rise and fall, mirroring the journeys made by the sailors who found refuge at the mission over the years; it will be projected onto a gauze-like fabric, allowing glimpses of the building behind. Dann also plans to activate the site over the course of the weekend and will read a poem by Justin Clemens.The articles gives an insight of the création of the artwork by Ying-Lan Dann. digital copy of an article with photographs published in the Ageopen house melbourne, 2022, ying-lan dann, take hold of the clouds, norla dome, exhibition, the age, cultural events

Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June-July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip.For over 150 years the Mission to Seafarers in Victoria has continued to meet the welfare needs of seafarers who arrive on Australian shores from around the world. This exhibition presents a selection of stained glass windows and historical photographs from the Mission, to capture a glimpse of some of the people and scenes integrale to this relationship.Cream colour, medium size poster on foamboard with title of the exhibition, a quote by Walt Whitman, an illustration, a quote by Kverndal, statement, ackowledgement and sponsorsreflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, justine m. philip, mission to seafarers, flinders street, creative victoria, prov, stained glass windows, arthouse, catherine mclay

Artist Louise Hearman visited the Mission on the 15th of September 2011 and brought photographs in colour of her artwork painted in 1987/88 in the Norla Dome. She shared some background information about how she created the artwork: Louise arranged with O'Brien Glass to have the glass panes donated to replace the steel plates once covering the skylight. She painted the entire ceiling of the Dome precariously balancing on scaffolding. The walls were made as canvas panels and then put in place. She angled some of them to create openings so when you entered the Dome you were totally encased in her work.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that time.Series of 7 colour photographs scannedlouise hearman, exhibitions, cultural events, norla dome, 1988, cottage, flinders street, melbourne, elephant room

Louise Hearman used the Norla Dome and painted a mural painted which had taken her around a year to complete. The exhibition called Elephant Room was shown from June 1988. The work was vandalised in 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that time. Vogue Living published an article about the artwork in the Dome. This is one of the few colour images of the artwork.Laminated A4 colour photograph published in Vogue Living in November 1987Vogue Living November 1987 135cultural events, exhibitions, paintings, artists, norla dome, 1988, louise hearman, elephant room, flinders street, melbourne

For several years Sam Angelico and his partner, Rosanna used the Norla Dome for their show, Illusionaire. In 2019, due to the renovations works, the show ended at the Mission.The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Colour flyer (postcard format) for a magic showcultural events, magic show, illusionaire, sam angelico, norla dome, flinders street

The Pirate Experience by The Queens of the Damned is a cabaret show that was held at the Mission to Seafarers every week ends for several months in 2022.The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Double sided colour flyer for a cabaret show with actors in pirate costumes on a black background.cultural events, norla dome, flinders street, cabaret, shows, pirate experience, queens of the damned, 2022

In 1934, the Shiplover's Society of Victoria organised an exhibition of 170 maritime artefacts, photographs and paintings on the barque Shandon berthed on the Yarra river to celebrate the Centenary of the foundation of Melbourne. The exhibition was opened on the 10th of October 1934 by the Lord Mayor, Sir Harold Gengoult Smith and ended on the 17th of March 1935. The catalogue lists all the items on display. The Jottings from our Logs from 1934 mentions that "should there be any surplus after expenses are paid, the Shiplovers has promise that (the Mission) shall benefit."Photocopies on A4 paper printed in BW of the catalogue held at the SLV.barque shandon, shiplovers' society of victoria, centenary, melbourne, centenary maritime exhibition, charles dickson gregory, george frederick gregory (1821-1887), ss bangalore

This photograph is part of reproductions of images from the MTS archive collection. Framed and mounted black and white reproduction of photograph from the archive depicting an aerial view of the funnel of a ship. A crew member is checking something on the funnel. In the background we can see 4 men playing tennis on the deck3" Deepmission to seafarers, mission to seamen, flinders street, melbourne, seafarers, seamen, padre oliver, crew, ships, seafaring life, sailors, funnel, ship, tennis, early origins, 2016, life onboard