The Grand Order of Oddfellows was a friendly Society founded in Manchester in 1798. It began in Australia in 1844 with the first Victorian branch established in 1854. The first mention of the Eaglehawk group was in 1868.Small ceremonial apron for the "Grand United order of Odd Fellows" on white/cream silk cotton sateen with blue tape border. Centre to screen print main panel has large printed crest showing quartered shield (top left) hour glass (top right) crossed keys (bottom right) dove with olive branch (bottom left) Noah's Ark. In centre of shield is a right hand palm forward with heart symbol. Supporters to shield, woman left holding sword and scales next to seated lion, woman on right holding mirror and flaming torch next to seated sheep. In centre above the shield is a seated women with four children, one at breast. Banner at base of women and shield reads "Amicitia Amor et Veritas". Long tapes top left and top right corners. At base of print are two hands joined in a handshake in a panel surrounded by flowers.In pen and ink on back "George Braysher"?grand united order of odd fellows, ceremonial apron

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981Here we see a creation of the type whose beauty is said to have astonished the celebrated sixteenth-century tea master Sen no Rikyu. Originally, confections of mochi (steamed and pounded rice) filled with bean jam were wrapped in chigaya, a species of reed, and came to be called chimaki. We are told that a shopkeeper named Kawabata Doki used bamboo leaves to wrap the chimaki he presented to the emperor Gokashiwabara (1464-1526) and that thereafter the use of bamboo leaves for wrapping such confections became predominant. In fact, the bamboo-wrapped chimaki seen here are known as Doki chimaki after the pioneering shopkeeper, and it is small wonder that this product of Kyoto should have an air of refinement and dignity suggestive of the imperial court. The two different flavours of the contents are indicated by exposing either the upper sides or the undersides of the leaves. The cord used to bind the chimaki together is made of rushes, and ceremonial gift cords (mizuhiki) are attached. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981Here we see a creation of the type whose beauty is said to have astonished the celebrated sixteenth-century tea master Sen no Rikyu. Originally, confections of mochi (steamed and pounded rice) filled with bean jam were wrapped in chigaya, a species of reed, and came to be called chimaki. We are told that a shopkeeper named Kawabata Doki used bamboo leaves to wrap the chimaki he presented to the emperor Gokashiwabara (1464-1526) and that thereafter the use of bamboo leaves for wrapping such confections became predominant. In fact, the bamboo-wrapped chimaki seen here are known as Doki chimaki after the pioneering shopkeeper, and it is small wonder that this product of Kyoto should have an air of refinement and dignity suggestive of the imperial court. The two different flavours of the contents are indicated by exposing either the upper sides or the undersides of the leaves. The cord used to bind the chimaki together is made of rushes, and ceremonial gift cords (mizuhiki) are attached. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving

This former King's Colour was originally authorised by King George V in 1919 in recognition of services of 44th Battalion (AIF) during the Great War. Presented by HE the Governor General Sir Ronald Munro-Ferguson, PC, CGMG at a parade in King's Park on 2 October, 1920, however was not passed on to any AMF counterpart unit of the Citizen Forces, as one did not exist at the time. 44th Battalion (AMF) was formed in 1921 from elements of 16th and 51st Infantry Regiments and was presented with this colour by the Governor of Western Australia Sir Robert Furse McMillan at the Anzac Day parade on the Esplanade, Perth on 25 April 1922. The colour was subsequently consecrated by the Chaplain General, Archbishop COL Riley, OBE, VD, DD at a parade on the Esplanade, Perth, 15 November 1924. At the time of presentation this colour was a plain union flag with no central devices or other distinctions included on it. Following Military Board approval given in 1925 the centre circle and Crown were later added, in accordance with the approved design for a King's Colour. With the re-activation of the Citizen Military Forces (CMF) following the Second World War, the 11th/44th Infantry Battalion (The City of Perth Regiment) was raised as a linked battalion in 1948 to carry on the identity and traditions of the pre-war 11th and 44th Battalions respectively. The King's and Regimental Colours formerly held by these two battalions were passed on to the new battalion who paraded them in rotation on ceremonial occasions. With the accession of HM Queen Elizabeth II to the throne in 1953, all Colours that had originally been presented as King's Colours, and were still carried by units on the current Order of Battle, were automatically deemed to be Queen's Colours. Under major reorganisation of the CMF in 1960, all individual infantry battalions that existed at the time within each State were amalgamated to form State regiments, taking effect from 1 July 1960. Thus from that date the 11/44th, 16th and 28th Infantry Battalions were amalgamated to form The Royal Western Australia Regiment. In September 1960, at a ceremonial parade held at Northam Camp, the Colours carried by all former battalions were handed over for safe keeping by the new regiment. These former colours were subsequently laid up in the undercroft at the State War Memorial, King's Park on 29 November 1964. These were transferred to the Army Museum of WA in 1988 as part of the Bicentenary Colours Project. Union flag with gold fringes. In the centre the Arabic numeral "44" on a red background within a circle inscribed "FORTY FOURTH INFANTRY ", surmounted by the Imperial Crown.

This card is one that was given to those who were designated to hold the tassels of the pall at a funeral conducted by Beattie and Phillips of Warrnambool. A pall was a cloth used to cover a casket or coffin at a funeral. The pall often had four or more tassels on the edges and these people, usually men, would hold the tassels when the coffin was being carried into the church and out of the church. The pall was removed before burial. It was also in some services unfolded and folded in a ceremonial manner when it was placed on the coffin and when it was removed. Other men would have been designated as pallbearers to carry the coffin to and from the church. The firm of Beattie and Phillips was commenced in Warrnambool in the 1860s, by Christopher Beattie and Henry Phillips, initially in Koroit Street and after 1928 in Fairy Street. James Beattie, the son of Christopher, was the proprietor from 1896 to 1945 when James Leahy took over but traded for some years as Beattie and Phillips. The business was sold in 2000 and an undertaking business still operates from the same premises. The other two cards relate to part of the main mourning party who would have been allocated seats in the funeral vehicles These are very interesting cards as it is a great example of funeral practices 70 to 80 years ago. The practices may in many cases be the same today but cards such as these are no longer in use. It is also important as items connected with Beattie and Phillips, one of the two best-known undertaking businesses in Warrnambool’s history.This are three small buff-coloured lightweight cards given to those at funerals who were designated p[laces or parts in the service. (.1)to hold the tassel ends of the pall covering the coffin, .2 Seating in second coach .3 Seating in third coach The card has black printed material on both sides and a band of black across the top right hand corner. There is a small crease on the card and it is a little smudged. .1Side One: ‘Supporter of the Pall, Front Tassel-Right, Beattie & Phillips, Undertakers, Warrnambool, (J.C. Beattie), Phone 165 Day and Night, over’ Side Two: ‘Kindly show this card to Funeral Director when pall is being used and keep as a Memento’. .2 Second Coach Beattie & Phillips Undertakers Warrnambool . 'Phone 165 Day and night. On back 183 written in pencil .3 Third Coach Beattie and Phillips Undertakers Warrnambool. 'Phone 165 Day and night. On back 183 written in pencil warrnambool, beattie & phillips, james beattie warrnambool, james leahy warrnambool, warrnambool undertakers

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The black swan cloak refers to the black swan of Geelong and Ballarat were the swan has had its own fight to survive during the early colonial years where white swans were introduced by colonisers and the black swan fought back as they do not naturally get along. The wave pattern is taken from a traditional shield pattern held in the Melbourne Museum, South Eastern archive collection of shields. The wave refers to the water and travelling across water to fish, hunt and survive. This cloak is about survival, water, and the swan living on the water. It also refers to a contemporary dance of Kunuwarra the black swan, which was performed by a group Wadawurrung women (including artist Deanne Gilson) for Tanderrum (Melbourne – Naarm) in 2016. The dance is available to watch on youtube.Black swan, heart motif with water design on outer cloak, female figure and red native flower design on lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, first nations art, wadawurrung dja

The Freedom of Entry to the City was an honour conferred by the Bendigo City Council to the Army Survey Regiment in 1970. 1980 was the third time the unit exercised its freedom of marching into the city with swords drawn, bayonets fixed and drums beating. The honour is usually bestowed upon local regiments, in recognition of their dedicated service, and it is common for military units to periodically exercise their freedom by arranging a parade through the city. Led by the Regiment’s CO – LTCOL Bob Skitch, the unit marched down View St in the CBD, along Pall Mall and up Gaol Rd to the Queen Elizabeth II Oval. The ceremonial parade followed with a march past the guests of honour, Mayor of Bendigo Councillor Paul Tomkinson and military dignitaries. The parade concluded after formal inspections of the troops. The Regiment also exercised its Freedom of Entry with anniversary parades in 1977, 1980, 1985, 1990 and 1995. Some photos in this set were also printed on photo paper and catalogued under item 6021.25P. Photos of the march are catalogued under item 6491.19P. Photos of the Freedom of Entry parade rehearsal are catalogued under item 6479.38P.These black and white photographs of the Army Survey Regiment were taken on the occasion of the Freedom of Entry parade to the City of Bendigo in 1980. The photographs are on 35mm negative film and scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) to .7) - Photo, black & white, 1980. Squadrons formed up at beginning of parade. .8) & .9) - Photo, black & white, 1980. 3rd Military District Band marches to their parade position. .10) to .11) - Photo, black & white, 1980. Squadrons formed up parade with 3rd Military District Band playing music. .12) to .14) - Photo, black & white, 1980. Officers formed up before taking posts. L to R: MAJ Peter Eddy, LT Brendon Jaego-Banks, CAPT Peter Searle - UK Exchange, unidentified, ADJT CAPT John Harrison, MAJ Sam Schwartz US Exchange, unidentified, MAJ Robin Blackburn, remainder unidentified. .15) - Photo, black & white, 1980. Officers march to their posts. L to R: MAJ Peter Eddy, LT Brendon Jaego-Banks, CAPT Peter Searle - UK Exchange, unidentified, ADJT CAPT John Harrison, MAJ Sam Schwartz US Exchange, unidentified, MAJ Robin Blackburn, remainder unidentified. .16 - Photo, black & white, 1980. Officers march to their posts. .17 - Photo, black & white, 1980. Army Svy Regt awaits the arrival of the Mayor – Councillor Paul Tomkinson. .18 - Photo, black & white, 1980. CO LTCOL Bob Skitch escorts the Mayor – Councillor Paul Tomkinson and unidentified guest to the dais. .19) to .25) – Army Svy Regt salutes the Mayor – Councillor Paul Tomkinson. .26) - Photo, black & white, 1980. CO LTCOL Bob Skitch escorts the Mayor – Councillor Paul Tomkinson to Headquarters Squadron to inspect its personnel. .27) - Photo, black & white, 1980. Headquarters Squadron inspection. L to R: OC MAJ Paddy Strunks, RSM WO1 Aub Harvey, Mayor – Councillor Paul Tomkinson, SPR Chris ‘Charlie’ Brown, unidentified, SGT John Grove (orderly room), unidentified, SPR Jeff Ruiz, WO2 Max Neil, unidentified, SGT Alan Brown, SGT Tim Allanson. .28) - Photo, black & white, 1980. Headquarters Squadron inspection. L to R: OC MAJ Paddy Strunks, Mayor – Councillor Paul Tomkinson, unidentified, SGT Rick Warren, unidentified, CPL Andy Wilson, WO2 Ted Burgess. .29) - Photo, black & white, 1980. Headquarters Squadron inspection. L to R: OC MAJ Paddy Strunks, RSM WO1 Aub Harvey, unidentified civilian, Mayor – Councillor Paul Tomkinson, unidentified, SGT Rick Warren, unidentified, CPL Andy Wilson, WO2 Ted Burgess. .30) - Photo, black & white, 1980. Cartographic Squadron’s OC CAPT Bob Roche salutes the Mayor – Councillor Paul Tomkinson. L to R: unidentified civilian, CO LTCOL Bob Skitch. In background L to R: SSGT Bob Scaddan, unidentified, CPL John Tempest, CAPT Simon Lemon, SSGT Colin Cuskelly, CPL Trevor Bottomley, SPR Bob Sheppard, WO2 Bob ‘Stretch’ Hayden, unidentified, CPL Ian McKenzie, FLTLT Ron Aitken, SPR Ian Fitzgerald, SPR Greg Else. .31) - Photo, black & white, 1980. Cartographic Squadron’s OC CAPT Bob Roche salutes the Mayor – Councillor Paul Tomkinson. L to R: unidentified civilian, CO LTCOL Bob Skitch. In background L to R: CPL Terry Danger, SPR Rod Skidmore, SSGT Bob Scaddan, unidentified, CPL John Tempest, CAPT Simon Lemon, SSGT Colin Cuskelly, CPL Trevor Bottomley, SPR Bob Sheppard, WO2 Bob ‘Stretch’ Hayden, unidentified, CPL Ian McKenzie, FLTLT Ron Aitken, SPR Ian Fitzgerald, SPR Greg Else. .32) - Photo, black & white, 1980. Cartographic Squadron inspection. L to R: OC CAPT Bob Roche, Mayor – Councillor Paul Tomkinson. In background L to R: SGT Stu Thaxter, unidentified, SSGT John Barrie, CPL Roger Pearson, SGT Doug Carswell, SPR Peter Main, WO2 Bob ‘Stretch’ Hayden. .33) - Photo, black & white, 1980. Cartographic Squadron inspection. L to R: CO LTCOL Bob Skitch, OC CAPT Bob Roche, unidentified civilian, SGT Doug Carswell, Mayor – Councillor Paul Tomkinson, WO2 Bob ‘Stretch’ Hayden. .34) - Photo, black & white, 1980. Female Contigent inspection L to R: unidentified, SPR Gae (Amato) Robinson, SPR Scheryl Delforce, unidentified officer, unidentified civilian, Mayor – Councillor Paul Tomkinson, CPL Marrianne (Van De Zee) De Groot, SPR Cathy Regan, SPR Ginny (Turner) Rowe, SPR Ilen Isaac, SPR Penny Knott, SPR Santina (Argetto) Straube, SPR Gina (Coore) Neilson, WO2 Pat Lumsden. .35) - Photo, black & white, 1980. Female Contigent inspection L to R: SPR Scheryl Delforce, unidentified officer, CO LTCOL Bob Skitch, unidentified civilian, Mayor – Councillor Paul Tomkinson, SPR Ginny Turner, SPR Ilen Isaac, SPR Penny Knott, SPR Santina (Argetto) Straube, SPR Gina (Coore) Neilson, WO2 Pat Lumsden. .36) - Photo, black & white, 1980. Female Contigent inspection L to R: SPR Scheryl Delforce, unidentified officer, CO LTCOL Bob Skitch, unidentified civilian, Mayor – Councillor Paul Tomkinson, SPR Cathy Regan, SPR Ginny Turner, SPR Ilen Isaac, SPR Penny Knott, SPR Santina (Argetto) Straube, SPR Gina (Coore) Neilson, WO2 Pat Lumsden. .37) - Photo, black & white, 1980. Female Contigent inspection L to R: SPR Scheryl Delforce, unidentified officer, CO LTCOL Bob Skitch, CPL Marrianne (Van De Zee) De Groot, unidentified civilian, Mayor – Councillor Paul Tomkinson, SPR Ilen Isaac, SPR Penny Knott, SPR Santina (Argetto) Straube, SPR Gina (Coore) Neilson, WO2 Pat Lumsden. .38) - Photo, black & white, 1980. Air Survey Squadron’s OC MAJ Peter Eddy salutes the Mayor – Councillor Paul Tomkinson. L to R: unidentified civilian, CO LTCOL Bob Skitch. In background L to R: WO1 Jim ‘Triple J’ Jefferies, SPR Allan Choat, SPR Geoff Havelberg, CPL Alan Hawkins, CPL Dave Cook, LT Brendon Jaego-Banks, SGT Jim Beard, SSGT Russell ‘Rusty’ Williams, SGT Cam Chapman, SSGT Alan Derby, SSGT Greg Buckingham. .39) - Photo, black & white, 1980. Air Survey Squadron inspection. L to R: back of CAPT Kym Weston, OC MAJ Peter Eddy, Mayor – Councillor Paul Tomkinson, unidentified civilian. .40) - Photo, black & white, 1980. Air Survey Squadron inspection. L to R: CAPT Peter Searle - UK Exchange, unidentified officer, unidentified civilian, Mayor – Councillor Paul Tomkinson, unidentified, SSGT Alan Derby, LCPL Paul Hopes, SPR Peter Jones, SPR John Lane, WO2 Brian Meade, CPL Mick Hogan, CPL Greg Byers, SGT Cliff Webb. .41) - Photo, black & white, 1980. Air Survey Squadron inspection. Centre rank L to R: SGT Bruce ‘Stretch’ Gordon, WO2 Chris Parkinson. Rear rank L to R: SPR Allan Choat, unidentified, SPR Jamie McRae, SSGT Russell ‘Rusty’ Williams, SSGT Greg Buckingham, CPL Greg Byers, CPL Roger Rees, SPR Gary Ames, SGT Greg Gilbert, SSGT Peter Warwick, WO2 Mick Dempster. .42) - Photo, black & white, 1980. Air Survey Squadron inspection. Rear rank: SSGT Russell ‘Rusty’ Williams. Centre rank L to R: SPR Geoff Havelberg, CPL Peter Treble, SGT Jim Beard, SPR Peter Hardy, SPR Steve Hilton, SPR John Lane, CPL Mick Hogan, Mayor – Councillor Paul Tomkinson, OC MAJ Peter Eddy. .43) - Photo, black & white, 1980. Air Survey Squadron inspection. Centre rank L to R: SGT Bruce ‘Stretch’ Gordon, WO2 Chris Parkinson. Mayor – Councillor Paul Tomkinson, OC MAJ Peter Eddy. Rear rank L to R: SPR Allan Choat, unidentified, SPR Jamie McRae, SSGT Russell ‘Rusty’ Williams, SSGT Greg Buckingham, CPL Greg Byers, CPL Roger Rees, SPR Gary Ames, SGT Greg Gilbert, SSGT Peter Warwick, WO2 Mick Dempster. .44) - Photo, black & white, 1980. Lithographic Squadron’s OC MAJ Robin Blackburn salutes the Mayor – Councillor Paul Tomkinson. L to R: unidentified civilian, CO LTCOL Bob Skitch. In background L to R: WO1 Manfred Panknin, SSGT Peter Coombes, CPL Frank Lenane, SPR Per Andersen, CPL John ‘Flash’ Anderson, unidentified, MAJ Sam Schwartz US Exchange, CPL Warren ‘Waldo’ Shirley, SPR Warren ‘Wah’ Hall, unidentified, SPR Neville Carr, SPR Paul Davis, SPR Paul Baker, CPL Mick ‘Buddha’ Ellis, SPR Martin Van De Maele, CPL Bill Jones, SPR Greg Rowe. .45) - Photo, black & white, 1980. Lithographic Squadron inspection. L to R: RSM WO1 Aub Harvey, SPR Warren ‘Wah’ Hall, CO LTCOL Bob Skitch, SPR Paul Davis, unidentified civilian, unidentified, OC MAJ Robin Blackburn, CPL Lance Strudwick, Mayor – Councillor Paul Tomkinson, SPR Neville Carr, SPR Roy Hicks, SSGT Trevor Osborne, SPR Paul Baker, CAPT Stan Vote, CPL Bill Jones, SGT Greg Francis-Wright, SGT Ralph Chant, CPL Garry Drummond, WO2 Noel ‘Nesty’ Coulthard. .46) - Photo, black & white, 1980. Lithographic Squadron inspection. Front rank L to R: SGT Greig Kidman, SPR Garry Hudson, SPR Gary Tremain, CPL Steve Egan, SPR Greg Rowe, CPL Mick ‘Buddha’ Ellis, remainder unidentified. Centre rank: SSGT Kevin Macquire. Inspection party L to R: CO LTCOL Bob Skitch, OC MAJ Robin Blackburn, unidentified civilian, Mayor – Councillor Paul Tomkinson. Rear rank L to R: unidentified (x5), CPL Warren ‘Waldo’ Shirley, SPR Neville Carr, SPR Paul Baker, CPL Bill Jones, CPL Garry Drummond, SGT Graeme Jeffers, WO2 Tom Pattison. .47) - Photo, black & white, 1980. Lithographic Squadron inspection. Front rank L to R: SSGT Trevor Osborne, SGT Greig Kidman, SPR Garry Hudson, SPR Gary Tremain, CPL Steve Egan, SPR Greg Rowe, CPL Mick ‘Buddha’ Ellis, remainder unidentified. Centre rank: SSGT Kevin Macquire, SGT Ralph Chant. Inspection party L to R: OC MAJ Robin Blackburn, RSM WO1 Aub Harvey, unidentified civilian, Mayor – Councillor Paul Tomkinson. Rear rank L to R: SPR Paul Baker, CPL Bill Jones, CPL Garry Drummond, SGT Graeme Jeffers, WO2 Tom Pattison. 48) - Photo, black & white, 1980. Lithographic Squadron inspection. Inspection party L to R: OC MAJ Robin Blackburn, Mayor – Councillor Paul Tomkinson, CO LTCOL Bob Skitch, unidentified civilian. Rear rank L to R: WO2 Tom Pattison, SGT Graeme Jeffers, CPL Garry Drummond, CPL Bill Jones, CPL SPR Neville Carr, Warren ‘Waldo’ Shirley, unidentified. Rear supernumery: WO1 John McCulloch. 49) - Photo, black & white, 1980. Lithographic Squadron inspection. Inspection party L to R: OC MAJ Robin Blackburn, CO LTCOL Bob Skitch, Mayor – Councillor Paul Tomkinson, unidentified civilian, RSM WO1 Aub Harvey. Rear rank L to R: WO2 Tom Pattison, SGT Graeme Jeffers, remainer unidentified. 50) - Photo, black & white, 1980. 3rd Military District Band inspection. L to R: unidentified band master, CO LTCOL Bob Skitch, Mayor – Councillor Paul Tomkinson. 51) - Photo, black & white, 1980. CO LTCOL Bob Skitch delivers his speech. 52) & .53) - Photo, black & white, 1980. Army Svy Regt squadrons stand at ease during CO LTCOL Bob Skitch’s speech.There are no personnel identified. royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

The Freedom of Entry to the City was an honour conferred by the Bendigo City Council to the Army Survey Regiment in 1970. 1980 was the third time the unit exercised its freedom of marching into the city with swords drawn, bayonets fixed and drums beating. The honour is usually bestowed upon local regiments, in recognition of their dedicated service, and it is common for military units to periodically exercise their freedom by arranging a parade through the city. Led by the Regiment’s CO – LTCOL Bob Skitch, the unit marched down View St in the CBD, along Pall Mall and up Gaol Rd to the Queen Elizabeth II Oval. The ceremonial parade followed with a march past the guests of honour, Mayor of Bendigo Councillor Paul Tomkinson and military dignitaries. The parade concluded after formal inspections of the troops. The Regiment also exercised its Freedom of Entry with anniversary parades in 1977, 1980, 1985, 1990 and 1995. Some photos in this set were also printed on photo paper and catalogued under item 6021.25P. Photos of the parade are catalogued under item 6490.53P. Photos of the Freedom of Entry parade rehearsal are catalogued under item 6479.38P.This set of 19 black and white photographs of the Army Survey Regiment were taken on the occasion of the Freedom of Entry to the City of Bendigo March in 1980. The photographs are on 35mm negative film and scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) - Photo, black & white, 1980. L to R: MAJ Don Swiney MBE, LTCOL Bob Skitch, WO1 Aub Harvey, ADJT CAPT John Harrison, photographer in foreground – SGT Garran Hill .2) to .4) - Photo, black & white, 1980. L to R: MAJ Don Swiney MBE, LTCOL Bob Skitch, WO1 Aub Harvey, ADJT CAPT John Harrison. .5) - Photo, black & white, 1980. Headquarters Squadron marches left wheels into Pall Mall followed by 3rd MD Band. L to R: WO2 Ted Burgess, WO1 Dave Thomson, WO2 George Graham, CPL Andy Wilson, unidentified (x2), SPR Jeff Ruiz, unidentified, SGT Rick Warren, remainder unidentified. .6) - Photo, black & white, 1980. Headquarters Squadron marches down Pall Mall followed by 3rd MD Band. Right file L to R: WO1 Alex Cairney, WO2 Ted Burgess, CPL Andy Wilson, unidentified, SGT Rick Warren, remainder unidentified. Centre file L to R: unidentified (x2), SGT Bruce Hammond, CPL Phil McGuire. .7) - Photo, black & white, 1980. 3rd MD Band marches down Pall Mall. .8) - Photo, black & white, 1980. Dignitaries on dais next to Soldiers Institute Memorial Hall. L to R: Colonel Commandant COL J.L. Stedman (Retd), Commander 3MD BRIG Geoffrey Cohen AM, unidentified aide de camp, Brigadier Lawrence Fitzgerald OBE (Retd), Mayor – Councillor Paul Tomkinson, CAPT Don Maskew. .9) - Photo, black & white, 1980. Lithographic Squadron marches down Pall Mall towards the dais. L to R: CPL Josh Degroot, CPL Rhys De Laine, unidentified, SPR Per Andersen – right marker, MAJ Sam Schwartz US Exchange, CAPT Stan Vote, OC MAJ Robin Blackburn. .10) - Photo, black & white, 1980. Headquarters Squadron salutes on the march past the dais. L to R: CPL Cliff Webb, unidentified officer, SGT Bob Croxton, unidentified, SGT Syd Davis, CAPT Bob Cooper. .11) - Photo, black & white, 1980. 3rd MD Band marches down Pall Mall towards the dais. .12) - Photo, black & white, 1980. 3rd MD Band marches past the dais. L to R: Colonel Commandant COL J.L. Stedman (Retd), Commander 3MD BRIG Geoffrey Cohen AM, unidentified aide de camp, Brigadier Lawrence Fitzgerald OBE (Retd), Mayor – Councillor Paul Tomkinson, CAPT Don Maskew, unidentified officer. .13) - Photo, black & white, 1980. 3rd MD Band salutes on the march past the dais. L to R: unidentified aide de camp, Colonel Commandant COL J.L. Stedman (Retd), Commander 3MD BRIG Geoffrey Cohen AM, CAPT Don Maskew, Brigadier Lawrence Fitzgerald OBE (Retd), Mayor – Councillor Paul Tomkinson, unidentified officer. .14) - Photo, black & white, 1980. 3rd MD Band salutes on the march past the dais. L to R: Colonel Commandant COL J.L. Stedman (Retd), Commander 3MD BRIG Geoffrey Cohen AM, Mayor – Councillor Paul Tomkinson, CAPT Don Maskew. .15) - Photo, black & white, 1980. Squadrons march past the dais. .16) - Photo, black & white, 1980. Female Contingent salutes on the march past the dais. L to R: Colonel Commandant COL J.L. Stedman (Retd), Commander 3MD BRIG Geoffrey Cohen AM, CAPT Don Maskew, Brigadier Lawrence Fitzgerald OBE (Retd), Mayor – Councillor Paul Tomkinson. .17) - Photo, black & white, 1980. Cartographic Squadron led by CAPT Bob Roche salutes on the march past the dais. L to R: Colonel Commandant COL J.L. Stedman (Retd), Commander 3MD BRIG Geoffrey Cohen AM, CAPT Don Maskew, Brigadier Lawrence Fitzgerald OBE (Retd), Mayor – Councillor Paul Tomkinson. .18) & .19) - Photo, black & white, 1980. Air Survey Squadron salutes on the march past the dais. L to R: Colonel Commandant COL J.L. Stedman (Retd), Commander 3MD BRIG Geoffrey Cohen AM, CAPT Don Maskew, Brigadier Lawrence Fitzgerald OBE (Retd), Mayor – Councillor Paul Tomkinson.There are no personnel identified. royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

This former King's Colour was originally authorised by King George V in 1919 in recognition of services of 11th Battalion (AIF) during the Great War. Presented by HE the Governor General Sir Ronald Munro-Ferguson, PC, CGMG at a parade in King's Park on 2 October 1920 and handed over to 2nd Battalion, 11th Infantry Regiment (Perth Regiment) of the Citizen Forces. In 1921 this unit became re-designated 11th Battalion (The Perth Regiment) (The title was changed to "The City of Perth Regiment" in 1933). Subsequently consecrated by the Chaplain General, Archbishop COL Riley, OBE, VD, DD at a parade on the Esplanade, Perth, 15 November 1924. At the time of presentation this colour was a plain union flag with no central devices or other distinctions included on it. Following Military Board approval given in 1925 the centre circle and Crown were later added, in accordance with the approved design for a King's Colour. With the re-activation of the Citizen Military Forces (CMF) following the Second World War, the 11th/44th Infantry Battalion (The City of Perth Regiment) was raised as a linked battalion in 1948 to carry on the identity and traditions of the pre-war 11th and 44th Battalions respectively. The King's and Regimental Colours formerly held by these two battalions were passed on to the new battalion who paraded them in rotation on ceremonial occasions. With the accession of HM Queen Elizabeth II to the throne in 1953, all Colours that had originally been presented as King's Colours, and were still carried by units on the current Order of Battle, were automatically deemed to be Queen's Colours. Under major reorganisation of the CMF in 1960, all individual infantry battalions that existed at the time within each State were amalgamated to form State regiments, taking effect from 1 July 1960. Thus from that date the 11/44th, 16th and 28th Infantry Battalions were amalgamated to form The Royal Western Australia Regiment. In September 1960, at a ceremonial parade held at Northam Camp, the Colours carried by all former battalions were handed over for safe keeping by the new regiment. Battle Honours for the Second World War were promulgated under Australian Army Order 135/1961 and the 10 selected honours approved for emblazoning on the Queen's Colour were subsequently added in 1962 These former colours were subsequently laid up in the undercroft at the State War Memorial, King's Park on 29 November 1964. These were transferred to the Army Museum of WA in 1988 as part of the Bicentenary Colours Project. Union flag with gold fringes. In the centre the Arabic numeral "11" on a red background within a gold circle inscribed "ELEVENTH INFANTRY - PERTH REGIMENT", surmounted by the Crown. Emblazoned on the colour are the following Second World War Battle Honours:- BARDIA 1941, CAPTURE OF TOBRUK, DERNA, BRALLOS PASS, RETIMO, LIBERATION OF AUSTRALIAN NEW GUINEA, MATAPAU, ABAU-MALIN, WEWAK, WIRUI MISSION

Postcard with coloured photograph of King Edward VII in a red ceremonial uniform with gold and pale blue trim. Parts of the uniform have been glittered and sequins used on the medals. There is a 7mm cream coloured border at the bottom and a 3mm cream coloured border at the top and sides. On the bottom border left hand side is printed 61 Z. In the middle of the border are the words H.M. King Edward VII. On the right hand side J Beagles & Co E.C. Diagonally across the lower right hand corner of the photograph is printed in yellow Russell & Sons. Postcard has been attached to another piece of card of equal size, however has become largely unstuck. On the reverse across the top appear the words Portrait Bas-Relief Card, The J.B. & Co. Series. Card has been addressed to Miss Dean McKenzie Street Golden Square. A 1 penny stamp with a postmark of Golden Square 27 August 1907 is in the top right corner.J Beagles & Co Londonpostcard

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The circle and diamond pattern are ancient symbols used by Wadawurrung people dating pre-colonisation on possum skin and kangaroo skin cloaks, other artefacts like spear heads (carved), wooden shields, stone tools and caves were painted with blood, ochre and bound with grass tree sap, black wattle tree sap and kangaroo fats. The diamond pattern was a strong design used by men on shields and women on baskets and adornments. Shields were taken from the tree in the colder months when the tree was cold as the wood came off cleaner. Ochre colours of red, white, yellow and charcoal were often used to colour in and decorate the skin side of possum skin cloaks, wooden shields, spear heads, baskets and some coolamon bowls.The design for this cloak has been simplified from the original artefact design.Cloak with black and white diamond and circle design on outer cloak and coral and white line pattern within lining. Trimming is solid black. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung, first nations, cloak

This item of military uniform was worn by Squadron Leader (SQNLDR) Bernard Farley during his period of Full Time service in the Royal Australian Air Force (RAAF) between 27 January 1976 and 02 March 1997. Bernard joined the RAAF as an Airmen was trained and employed as a Clerk Supply (CLKSPL) between 1996 - 1977. He undertook officer cadet training at the Army Officer Cadet School in 1978 and was commissioned into the Ground Defence Category on the 09 December 1978, where he served for 18 years and rose to the rank of SQNLDR. Royal Australian Air Force (RAAF) 1A Service Dress Uniform 1A - Tunic (Jacket - Blue Grey). This uniform was in the period 1966 - 2001 as the primary uniform. Service Dress is approved for wear as either ceremonial dress or working dress when employed in office or business type environments. The Tunic consists of a jacket has a lapel collar, with two external chest pockets and exposed pocket flaps, two side jacket pockets with external flaps and two internal jacket pockets positioned just below the external chest pockets. There is a crescent shaped cloth badge 'AUSTRALIA' sown at the side/top of each sleeve and Squadron Leader - rank stripes sown around each sleeve on the upper wrist area. The Tunic is closed with four gold buttons down the front. Each button is inserted through a small round hole sewn into the right side of the tunic front and held in place at the rear with a safety pin. There are four corresponding button holes sewn into the left front of the tunic to fasten the jacket in the normal closed position when worn. Maker: Australian Government Clothing Factory (A.G.C.F.) - Coburg Victoria The Tunic has two military decorations attached above the exterior left chest pocket. The decoration are: 1. Conspicuous Service Medal - Yellow and Green right sloping diagonal strips 2.. Defence Service Medal (with one clasp) - Blue and Gold upright stripes and round metal clasp positioned centrally. The DSM is awarded for 15 years service and a clasp is awarded for each additional 5 years service.

This former King's Colour was originally authorised by King George V in 1919 in recognition of services of 28th Battalion (AIF) during the Great War. Presented by HE the Governor General Sir Ronald Munro-Ferguson, PC, CGMG at a parade in King's Park on 2 October 1920 and handed over to 2nd Battalion, 28th Infantry Regiment of the Citizen Forces. This colour was passed on to 28th Battalion, which was created, from other units in 1921. The colour was subsequently consecrated by the Chaplain General, Archbishop COL Riley, OBE, VD,DD at a parade on the Esplanade, Perth, 15 November 1924. At the time of presentation this colour was a plain union flag with no central devices or other distinctions included on it. Following Military Board approval given in 1925 the centre circle and Crown were later added, in accordance with the approved design for a King's Colour. With the re-activation of the Citizen Military Forces (CMF) following the Second World War, the 16th/28th Infantry Battalion (The Cameron Highlanders of Western Australia) was raised as a linked battalion in 1948 to carry on the identity and traditions of the pre-war 16th and 28th Battalions respectively. The King's and Regimental Colours formerly held by these two battalions were passed on to the new battalion who paraded them in rotation on ceremonial occasions. The above battalion became unlinked in March 1952 and 28th Infantry Battalion (The Swan Regiment) became an independent battalion within its own right. The former colours of 28th Battalion were handed back at a parade at Northam Camp on 24 August 1952. With the accession of HM Queen Elizabeth II to the throne in 1953, all Colours that had originally been presented as King's Colours, and were still carried by units on the current Order of Battle, were automatically deemed to be Queen's Colours. Under major reorganisation of the CMF in 1960, all individual infantry battalions that existed at the time within each State were amalgamated to form State regiments, taking effect from 1 July 1960. Thus from that date the 11/44th, 16th and 28th Infantry Battalions were amalgamated to form The Royal Western Australia Regiment. In September 1960, at a ceremonial parade held at Northam Camp, the Colours carried by all former battalions were handed over for safe keeping by the new regiment. Battle Honours for the Second World War were promulgated under Australian Army Order 135/1961 and the 10 selected honours approved for emblazoning on the Queen's Colour were subsequently added in 1962 These former colours were subsequently laid up in the undercroft at the State War Memorial, King's Park on 29 November 1964. These were transferred to the Army Museum of WA in 1988 as part of the Bicentenary Colours Project. Union flag with gold fringes. In the centre the Arabic numeral "28" on a red background within a circle inscribed "TWENTY EIGHTH INFANTRY ", surmounted by the Crown. Emblazoned on the colour are the following Second World War Battle Honours:- DEFENCE OF TOBRUK, DEFENCE OF ALAMEIN LINE, QATTARA TRACK, EL ALAMEIN, LAE-NADZAB, BUSU RIVER, FINSCHHAFEN, SIKI COVE, BORNEO, LABUAN

The certificate was issued by the City of Bendigo to AHQ Survey Regiment awarding the Regiment "Freedom of Entry" on ceremonial occasions. The certificate recognises the long service and close association between the Regiment and the City. Three certificates with seals were produced. One held by the City of Bendigo, one held by the Regiment and one was held by Ian Wallace who produced the certificates when he was part of the City's Engineering Department. The Freedom of Entry to the City was first conferred by the Bendigo City Council to the Army Survey Regiment in 1970. The unit then exercised its freedom by marching into the city with swords drawn, bayonets fixed and drums beating. The honour is usually bestowed upon local regiments, in recognition of their dedicated service, and it is common for military units to periodically exercise their freedom by arranging a parade through the city. The parade generally concluded after formal inspections of the troops. Regiment members were often treated to a civic reception at the City Hall after the ceremony. The Regiment also exercised its Freedom of Entry with anniversary parades in 1977, 1980, 1985, 1990 and 1995.The Regiment copy of the certificate was sent to the Army Military Museum at Holsworthy when the unit was disbanded and this copy (6409.1) held in the Bendigo RSL Museum is the copy that was originally held by the City of Bendigo. 6409.2 is a photograph of Gary Warnest, President ExFortuna Survey Association (left) holding the certificate 6409.1 and Mr Ian Wallace the certificate producer (right).Large framed certificate. Wooden frame, glass protecting the certificate.royal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr

Images of the contents of a Photo Album presented to Capt GW Kenney by members of the ASR Officers Mess on leaving Army Survey Regiment, Fortuna in 1978 are particularly important as a snapshot set of many members of the Army Survey Regiment in 1978. These photos are particularly interesting as members are photographed in their workplaces. Unfortunately, not all workplaces have been represented, however a large number have been. The majority of individuals in these photographs who were serving at the Army Survey Regiment at the time have been named. The images have been converted into MPEG - 4 video file format that runs for 3.5 minutes and is stored on a memory stick. The 69 individual still images have been saved in compressed JPEG (.jpg) format and are also stored on the single 16Gb USB memory stick. 39156 Capt GW Kenney served in the Australian Army from 6 Jan 67 till 1 Aug 2000. He commenced his career within the RASvy Corps until 1978 and after completing his religious training went on to serve as an Army Chaplin for the remainder of his 30yr Army career. He officiated at many significant Survey Corps ceremonial and social occasions in his Chaplin capacity. Capt Kenney gave his permission for the scanning of the Album by the ExFortuna Survey Association Inc.Images of the contents of a Photo Album presented to Capt GW Kenney by members of the ASR Officers Mess on leaving Army Survey Regiment, Fortuna in 1978. Images are 300 dpi scans of the colour and black and white photographs from the Album. The 69 images are mainly colour with a few being black and white. The individual still images have been saved in compressed JPEG (.jpg) format and stored on a single 16Gb USB memory stick. The images have also been converted into MPEG - 4 video file format and also stored on the memory stick. The 10.7Mb video runs for 3.5 minutes. A hard copy colour print of the Album cover is included.royal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The colours of this cloak refer to natural pink ochre and indigenous flowering plants on Wadawurrung Dja. The pink ochre is sourced by Deanne Gilson at Black Hill in Ballarat, Victoria. Men also made woven dilly bags to hold their possessions in. The basket making was an ongoing aspect of daily life for Wadawurrung people and often done in cooler months when the weather was too bad to go outside. Many women and family groups had their own style and techniques that were traded amongst other groups. Wadawurrung women had a particular stitch they used and incorporated elaborate symbols into the basket designs. Tammy Gilson’s weaving represents this stitch. This cloak pays homage to them and the changing seasons as they created, particularly the cooler months leading into the warmer season when several gum blossom flower. This cloak was worn once by artist Deanne Gilson at a formal opening at the Art Gallery of Ballarat in 2022. A Welcome to Country ceremony was performed while wearing it.Pink native flower in baskets motif on a pink background on outer cloak, pink and white diamond and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art

Name on drycleaning ticket - "SHARPE".RAN Winter ceremonial uniform Officers. 1. Jacket, black colour wool/polyester fabric. Double breasted with six buttons, collar, two inset lower pockets with flap. Shoulder patches/flashes at top - black fabric, gold lettering "AUSTRALIA". in middle of sleeve black fabric with gold thread embroidered Queen's Crown, with real inserts and crossed anchors. Attached below are three gold stripe chevrons on black fabric. indicates Petty Officer with years of service. Buttons - gold colour metal buttons with shank with raised lettering and emblem - Queen's Crown, Anchor and "AUSTRALIA" (one missing). Lining - black colour polyester/ cotton fabric. Two concealed pockets. Sleeves - two gold buttons. Right sleeve - shoulder patch - black colour fabric with gold embroidery "S" in six pointed star surmounted by Queens crown with red inserts. Petty Officer - Steward. 2. Trousers - black colour wool/polyester fabric with fob pocket, two inset side pockets, one inset back pocket. Black and white colour buttons for waist adjustment and braces. cream colour cotton fabric lining waistband and pockets. Black colour ribbon stripe down outside seam. Metal zipper fly. Manufacturers information - gold embroidery. 1. "C.G.C.F.", on back of metal buttons "STOKES & SONS/ MELB".ran, uniform, steward

Bendigo Operatic Society ''Annie Get Your Gun'' At the Capital Theatre View Street Bendigo for a Six Night Season Commencing Thursday 18th November,1971. Producer: Max Collis. Assistant Producer, Bellet and Wardrobe Mistress: Madge Welch. Society Pianist: Ruth Gorman. Musical Director: Gwen Grose. Cast: Kerry Lorenz as a Small Girl - Ferd Lorenz as Charlie Davenport - Shane Brennan as Mac (Property Manager) - Douglas Sayle as Foster Wilson - Ann Ball as Dolly Tate - Annette Beckwith as Winnie Tate - Terry Carr as Tommy Keeler - Len Carr as Frank Butler - Heather Lindhe as Annie Oakley - Mark Edebone, Peter Miller as Little Jake - Debbie Moyle, Rosemarie Favaloro as Nellie - Jennifer Carr, Cathy Johnson as Jessie - Judith Hall, Suzanne Hartley as Minnie - Brian Thomas as Col.Wm F. Cody - Valerie Griffith as Mrs. Little Horse - Wilma Baldwin as Mrs. Black Tooth - Kerry Hogan as Trainman - Bridgette Agnew as Waitress - John Tonkin as Conductor - Bernard Keogh as Major Gordon Lillie (Pawnee Bill) - Fred trewarn as Chief Sitting Bull - Ann Rundall as Wild Horse Ceremonial Dancer - Jan Lovett as Sylvia Potter Porter - Jill James as Mrs. Adamsprogram, theatre, bendigo operatic society

Cr. Mary Grant of Hurstbridge served as the North Riding Councillor for the Shire of Eltham. First elected in 1990 and required to retire by 1995. She was the Shire President at least 1992-1993. Source: Shire of Eltham 1993 Handbook. It is believed that this photograph was taken after Cr. Grant's term as President. EDHS Newsletter No. 216, May 2014, p4 Mayoral Chain of Office R.C. McLellan and family donated a Chain of Office to the Shire of Eltham to be worn by the Shire President on formal occasions. With the amalgamation of councils in 1994 this was transferred to the Shire of Nillumbik to be used during the mayoral year. Eltham had a Shire President whereas Nillumbik has a Mayor. Many municipalities have a collar or chain of office for ceremonial purposes. Traditionally these symbolise or denote the formal leadership role of office. This chain is part of the Visual Art Collection held by Nillumbik Shire Council and is now on display in the Council Chamber area in the Civic Centre at Greensborough. Matcham Skipper and Myra Skipper were commissioned by the McClellan family to create the gold-plated silver chain shown being worn by Eltham Shire President Peter Graham in 1990, with Bob McLellan and Matcham Skipper (centre). Nillumbik Shire Council has asked that the following credit information is used when the chain is displayed, or images reproduced. Matcham SKIPPER (1921-2011) and Myra SKIPPER (1920-1996) Mayoral (Presidential) Chains of Office 1976 Gold plated silver 60cm x 32cm x 1cm (variable) © The Estate of Matcham and Myra Skipper Donated by RC McLellan and Family Visual Art Collection: Nillumbik Shire Council [Picture: Nillumbik Mayoral Chain of Office] [Picture: Bob McLellan, Matcham Skipper and Eltham Shire President Peter Graham -1990]The Presidential Chain of Office is now a significant part of the Nillumbik Shire Council's art collection.Colour photograph Councillor Mary Grant in Shire President Regaliacouncillors, eltham shire council, shire presidents, mary grant, nillumbik shire art collection, presidential chain of office

Presented, together with a new King's Colour, by Major-General JS Whitelaw, CB, CBE at a parade of the 16th/28th Infantry Battalion (The Cameron Highlanders of Western Australia) held on the Esplanade, Perth, 26 August 1951. (Refer to item 7 for specific details relating to these new colours and for details of previous colours presented to 16th Battalion). 16th/28th Infantry Battalion became unlinked in March 1952 with both 16th and 28th becoming independent battalions within their own right Under major reorganisation of the CMF in 1960, all individual infantry battalions that existed at the time within each State were amalgamated to form State regiments, taking effect from 1 July 1960. Thus from that date the 11/44th, 16th and 28th Infantry Battalions were amalgamated to form The Royal Western Australia Regiment. In September 1960, at a ceremonial parade held at Northam Camp, the Colours carried by all former battalions were handed over for safe keeping by the new regiment. These former colours were subsequently laid up in the undercroft at the State War Memorial, King's Park on 29 November 1964. These were transferred to the Army Museum of WA in 1988 as part of the Bicentenary Colours Project. The battle honour for South Africa has incorrect year dates and should be "SOUTH AFRICA 1902". Reasons supporting this are:- • The Battle Honour "SOUTH AFRICA 1902" was originally granted under Military Order 123/1908 to the Goldfields Infantry Regiment of Western Australia. • Under 1921 reorganisation of the Citizen Forces, the existing units in the Goldfields area were formed into 16th Battalion (The Goldfields Regiment) to maintain the identity and traditions of 16th Battalion (AIF). This unit inherited the above battle honour. • All editions of the Australian Army List since 1927 have shown this battle honour for 16th Battalion as "SOUTH AFRICA 1902". Dark green with gold fringes. In the centre the battalion colour patch of a white over blue rectangle within a circle inscribed "SIXTEENTH BATTALION", surrounded with a wreath of Australian wattle and surmounted by the Imperial Crown. Below the wreath a scroll inscribed with the regimental motto "VINCENS". In the upper canton the Arabic numeral "16". Battle Honours emblazoned on the Colour: SOUTH AFRICA 1899-1902 , POZIERES, BULLECOURT, MESSINES 1917, YPRES 1917, POLYGON WOOD, HAMEL, AMIENS, HINDENBURG LINE, LANDING AT ANZAC, SARI BAIR

With the re-activation of the Citizen Military Forces (CMF) following the Second World War, the 16th/28th Infantry Battalion (The Cameron Highlanders of Western Australia) was raised in 1948 to carry on the identity and traditions of the pre-war 16th and 28th Battalions respectively. The King's and Regimental Colours formerly held by these two battalions were passed on to the new battalion who paraded them in rotation on ceremonial occasions It was decided in 1950 that a new set of Colours would be presented to 16th Battalion. For reasons that still remain unclear, these were manufactured under local arrangement by "cannibalising" the original 1933 set of colours and transferring the devices and battle honours (in the case of the Regimental Colour) to the new Colours. (Reported by Western Command to the Adjutant General -reference file A 107/1/11 dated 30 April 1952). These new colours were presented by Major-General JS Whitelaw, CB, CBE at a parade of the 16th/28th Infantry Battalion held on the Esplanade, Perth, 26 August 1951. (For details of Colours previously presented to 16th Battalion see separate section below). 16th/28th Infantry Battalion became unlinked in March 1952 with both 16th and 28th becoming independent battalions within their own right. With the accession of HM Queen Elizabeth II to the throne in 1953, all Colours that had originally been presented as King's Colours, and were still carried by units on the current Order of Battle, were automatically deemed to be Queen's Colours. Under major reorganisation of the CMF in 1960, all individual infantry battalions that existed at the time within each State were amalgamated to form State regiments, taking effect from 1 July 1960. Thus from that date the 11/44th, 16th and 28th Infantry Battalions were amalgamated to form The Royal Western Australia Regiment. In September 1960, at a ceremonial parade held at Northam Camp, the Colours carried by all former battalions were handed over for safe keeping by the new regiment. Battle Honours for the Second World War were promulgated under Australian Army Order 135/1961 and the 10 selected honours approved for emblazoning on the Queen's Colour were subsequently added in 1962 These former colours were subsequently laid up in the undercroft at the State War Memorial, King's Park on 29 November 1964. These were transferred to the Army Museum of WA in 1988 as part of the Bicentenary Colours Project Previous Colours presented to 16th Battalion The designation "16th" was allocated to several different infantry battalions that had been raised at different stages during changes to organisational structure of the Citizen Forces during the 1920's and 1930's. The original King's Colour awarded for service of 16th Battalion (AIF) and received in 1920 by the Citizen Force unit 2nd Battalion, 16th Infantry Regiment was later passed on to 16th Battalion (The Goldfields Regiment) which had been raised in the Kalgoorlie area in 1921. This unit became inactive and this Colour was later laid up in the Kalgoorlie Council Chambers. In order to maintain the identity of 16th Battalion as a Citizen Force unit, in 1930 11th Battalion (The Perth Regiment) was reformed as a linked battalion under the designation 11th/16th Battalion. As the 11th Battalion had already received its set of colours in the 1920's, it was decided that a set of King's and Regimental Colours be presented for 16th Battalion. These were presented by HE the Lieutenant-Governor Sir James Mitchell, KCMG at a parade of 11th/16th Battalion held at Perth Oval on 15 October 1933. The colours were consecrated by the Chaplain General, Archbishop COL Riley, OBE, VD, DD. In 1936 16th Battalion was re-established as a separate battalion within its own right, being formed as 16th Battalion (The Cameron Highlanders of Western Australia). The colours presented in 1933 were passed on to this new battalion and were also initially carried by the post-World War Two unit 16th/28th Infantry Battalion (The Cameron Highlanders of Western Australia) as already mentioned. Union flag with gold fringe. In the centre the Arabic numeral "16" on a red background within a circle inscribed "SIXTEENTH BATTALION", surmounted by the Crown. Emblazoned on the colour are the following Second World War Battle Honours:- NORTH AFICA 1941, SYRIAN FRONTIER, THE LITANI, SIDON, WADI ZEINI, DAMOUR, KOKODA TRAIL, BUNA-GONA, LIBERATION OF AUSTRALIAN NEW GUINEA, BORNEO

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

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". It looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. Paragon knitting, crochet and tatting books have been distributed throughout Australia since the 1930's, originally by "Paragon Art Needlework Pty Ltd" of Sydney, N.S.W. From 1946 these books were designed and printed in Australia from patterns provided by British and Australian thread companies. Consequently these patterns may also appear in similar British and American publications. Paragon Book No. 104 is an instruction book designed for the "beginner" whilst Paragon book No. 105 is designed for the more experienced tatter. The layout of these books was typical of the 1940s period when paper was in short supply. Most of the pattern books were approximately 18 cms wide by 24 cms high and some were smaller at about 13cm by 21 cms. The type used was small (about four lines of text per centimetre) which was difficult to read. This item is an excellent example of a needle work pattern book available to women in the 1940's in Australia.A soft covered, 16 page instruction book titled "Tatting Designs". It has black and white photographs and detailed patterns for tatted doilies, a tray mat, a chairback and arm rests, a cheval set, a luncheon set, collars and edgings for an underskirt, gloves and handkerchief. It is published by Paragon Art Needlecraft of Sydney.Front cover - "Paragon's No 105" "PRICE 1/3" "Tatting Designs" "Household Linens * Personal Wear" Plus a stylized drawing of a deerflagstaff hill maritime museum and village, great ocean road, warrnambool, shipwreck coast, tatting book, tatting patterns, craft, handiwork, handcraft, needlework, shuttle

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". It looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. Paragon knitting, crochet and tatting books have been distributed throughout Australia since the 1930's, originally by "Paragon Art Needlework Pty Ltd" of Sydney, N.S.W. From 1946 these books were designed and printed in Australia from patterns provided by British and Australian thread companies. Consequently these patterns may also appear in similar British and American publications. Paragon Book No. 104 is an instruction book designed for the "beginner" whilst Paragon book No. 105 is designed for the more experienced tatter. The layout of these books was typical of the 1940s period when paper was in short supply. Most of the pattern books were approximately 18 cms wide by 24 cms high and some were smaller at about 13cm by 21 cms. The type used was small (about four lines of text per centimetre) which was difficult to read.This item is an excellent example of a needle work pattern book available to women in the 1940's in Australia.A soft covered 16 page instruction book with black and white photographs and detailed instructions explaining how to tat and eight tatting projects including how to make a collar and handkerchief edgings, published by Paragon Art Needlecraft of Sydney.Front cover - "PARAGON BOOK NO. 104" "PRICE 1/3" "Learn to/ TAT' Back Cover - "36/D5 E/A DO2" - handwritten in pencil flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, tatting, tatting pattern book, tatting instructions, handicraft, needlework, shuttle, tatting shuttle, paragon needlecraft, paragon craft book

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. A shuttle is a small tool that looks like a small boat "sailing" in and out of the thread. Tatting is called "schiffchenarbeit" in German, which means "the work of a little boat". There are two popular types of shuttles. The first has closed ends and a removable bobbin where the thread is wound around - often made from metal or plastic. The second type has a post in the center where the thread is wound. The ends of this bobbin are open but snug. Because it is constructed in two pieces, it can be made from materials like bone, ivory or mother of pearl. Shuttles hold a larger amount of thread (as compared with needles) which means fewer ends to weave in. Fishermen in the past are thought to have used large shuttles to weave cord into certain knots whilst making their fishing nets. Their methods were copied by weavers, who innovated by using threads and smaller shuttles to make lace.Tatting Shuttle, Ivoryflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tatting shuttle, handcraft, needlework

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. A shuttle is a small tool that looks like a small boat "sailing" in and out of the thread. Tatting is called "schiffchenarbeit" in German, which means "the work of a little boat". There are two popular types of shuttles. The first has closed ends and a removable bobbin where the thread is wound around - often made from metal or plastic. The second type has a post in the center where the thread is wound. The ends of this bobbin are open but snug. Because it is constructed in two pieces, it can be made from materials like bone, ivory or mother of pearl. Shuttles hold a larger amount of thread (as compared with needles) which means fewer ends to weave in. Fishermen in the past are thought to have used large shuttles to weave cord into certain knots whilst making their fishing nets. Their methods were copied by weavers, who innovated by using threads and smaller shuttles to make lace.Tatting Shuttle, Black plastic, "ARCHER" inscribed. "ARCHER" inscribed.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tatting shuttle, handcraft, needlework

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. A shuttle is a small tool that looks like a small boat "sailing" in and out of the thread. Tatting is called "schiffchenarbeit" in German, which means "the work of a little boat". There are two popular types of shuttles. The first has closed ends and a removable bobbin where the thread is wound around - often made from metal or plastic. The second type has a post in the center where the thread is wound. The ends of this bobbin are open but snug. Because it is constructed in two pieces, it can be made from materials like bone, ivory or mother of pearl. Shuttles hold a larger amount of thread (as compared with needles) which means fewer ends to weave in. Fishermen in the past are thought to have used large shuttles to weave cord into certain knots whilst making their fishing nets. Their methods were copied by weavers, who innovated by using threads and smaller shuttles to make lace.Tatting Shuttle, tortoise-shellflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tatting shuttle, handcraft, needlework

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. A shuttle is a small tool that looks like a small boat "sailing" in and out of the thread. Tatting is called "schiffchenarbeit" in German, which means "the work of a little boat". There are two popular types of shuttles. The first has closed ends and a removable bobbin where the thread is wound around - often made from metal or plastic. The second type has a post in the center where the thread is wound. The ends of this bobbin are open but snug. Because it is constructed in two pieces, it can be made from materials like bone, ivory or mother of pearl. Shuttles hold a larger amount of thread (as compared with needles) which means fewer ends to weave in. Fishermen in the past are thought to have used large shuttles to weave cord into certain knots whilst making their fishing nets. Their methods were copied by weavers, who innovated by using threads and smaller shuttles to make lace.Tatting Shuttle, ivory, flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tatting shuttle, handcraft, needlework

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. A shuttle is a small tool that looks like a small boat "sailing" in and out of the thread. Tatting is called "schiffchenarbeit" in German, which means "the work of a little boat". There are two popular types of shuttles. The first has closed ends and a removable bobbin where the thread is wound around - often made from metal or plastic. The second type has a post in the center where the thread is wound. The ends of this bobbin are open but snug. Because it is constructed in two pieces, it can be made from materials like bone, ivory or mother of pearl. Shuttles hold a larger amount of thread (as compared with needles) which means fewer ends to weave in. Fishermen in the past are thought to have used large shuttles to weave cord into certain knots whilst making their fishing nets. Their methods were copied by weavers, who innovated by using threads and smaller shuttles to make lace.Tatting Shuttle, black plastic flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tatting shuttle, handcraft, needlework