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Bendigo Military Museum
Photograph - PHOTOGRAPH, FRAMED WW1, Wayne Eels, c2008/09
Refer Cat No. 1280. "Single Photos Group 1 (Start of Show): Jack Grinton. "Jack Grinton No. 1038" 38th Bn - refer cat no. 1280 for service history.Photograph - framed. Photograph - black and white photograph on paper depicts an informal seated portrait of a soldier (Jack Grinton). Background of handwritten numbers and letters ("E BAKER/ BRIET") on wall board. Frame - timber, light varnish finish, Perspex front, cardboard backing."Single Photos Group 1 (Start of show): Jack Grinton".framed accessories, camera on the somme, ww1, 38th bn, grinton -
Bendigo Military Museum
Photograph - PHOTOGRAPH, FRAMED WW1, Wayne Eels, c2008/09
Refer Cat No. 1280. "Single Photo Group 1 (Start of show): Bert Grinton" "BERT GRINTON No. 5024" 38th Bn - Refer Cat No. 1320P, for Service History.Photograph - framed. Photograph - black and white photograph on paper depicts an informal full-length portrait of a soldier - "Bert Grinton" - standing in grass with water and trees in the background. Frame - timber, light varnish finish, Perspex front, cardboard backing."Single Photos Group 1 (start of show): Bert Grinton"framed accessories, camera on the somme, ww1, 38th bn, grinton -
Flagstaff Hill Maritime Museum and Village
Photograph - Glass plate, circa 1860
This glass plate photograph shows good detail of uniformed and armed members of the early Volunteer Corps posing for their photograph in front of a young township. There are other well-dressed citizens behind them. Perhaps this was a special ceremony or event. It is likely that the subject of the photograph was the Warrnambool Volunteer Rifle Corps from Warrnambool in the 1860s if the following assumptions are made - - The Warrnambool Volunteer Rifle Corps was established in 1858 - the firearms held appear to be 1853 pattern Lee Enfield muskets used by the British army in Crimea at this time and in Australia, rather than the later Martini Henry cartridge rifles - The uniforms match other photos of the Warrnambool Garrison Militia and Band in our Collection, taken up until the 1880s - The three storey building in the photograph is alike to Warrnambool’s Manifold & Bostock flour mill, built in 1854 near the ‘cutting’ in Merri Street, which was one of the main streets at the time. If one faced the building’s front from a vantage point and looked south to south-east, the hills around Flagstaff Hill and Cannon Hill would be behind that mill, and the Harbour behind the hills. This is the area of the Fortifications - The glass plate method of photography was widely used during the mid-19th to early-20th century - The donor of the photograph is unknown but most likely to be a local family member Around this time the citizens of Victoria were prospering from the gold rush but felt isolated and uneasy about their security in the colony. In 1854 the Volunteer Act was passed to provide some military defence. In 1858 the Warrnambool Volunteer Rifle Corps was established, disbanded in 1863, then a new Warrnambool Detachment was formed in September 1866. Legislation was passed in 1884 that replaced the volunteers’ corps with a partly paid, permanent Militia Defence Force. The batteries manning the coastal forts of Victoria were termed Garrison Artillery Companies. When the Army was federated in 1901 there were eight Militia Companies in Victoria. Warrnambool and Port Fairy together were known as 8 Coy AGA (Australian Garrison Artillery). Changes to formation and name continued into the 20th century. This photograph is a record of the very early volunteer defence force in Victoria, showing the Militia Volunteers from the mid-19th century, likely to be the Warrnambool Volunteer Rifle Corps, which was established in 1858. The photograph signifies the connection of the colony in Victoria to the growing need for security due to the unrest in Europe at the time around the Crimean War. The photograph is also locally significant to the industry of the young township of Warrnambool, showing what is likely to be one of the first flour mills in the town. The photograph is also the only example of the early methods of glass plate photography in our collection. Photograph, rectangular glass plate, positive sepia image. Photograph has brass framed edges that fold over to the back with mitred corners. The front edges are pressed with a decorative floral pattern. The photograph shows a group of thirty military men, standing or kneeling, in dark uniforms with pillbox forage caps, round-collared jackets with light buttons, light sashes worn from top left shoulder to bottom right side of waist belt, and long, straight-legged trousers. Three of these men have light braid around the buttons on the front of their jackets, light frogging on their sleeve cuffs and stripes on the outside seams of their trousers. The other twenty-seven men have plain uniforms and are holding firearms in their right hands, steadied with their left hands. Other figures are standing behind this group of soldiers, including three or four men wearing top hats, jackets and ties. In the background is a row of buildings. The central building is three stories high. Bare hills are in the far background. The foreground is uneven ground with patches of short grass. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, glass plate, photography 19th century, colonial forces, military defence, volunteer act 1854, volunteer rifle, garrison artillery, volunteer corps, militia, militia garrison band, pillbox forage caps, 8 coy aga (australian garrison artillery), 1860, helpmann, manifold and bostock, 1853 lee enfield musket, tintype -
Flagstaff Hill Maritime Museum and Village
Photograph - Historical, religious, mid-20th century
This photograph records the interior of St Nicholas Seamen's Church at 139 Nicholson Street, Williamstown, Victoria, which was purchased and furnished around 1943. The furniture and furnishings are now part of the St Nicholas Seamen's Church collection. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served the world's seafarers since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the orgainsation began in Williamstown in 1857. It was a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel. This item is significant through its association with the St Nicholas' Mission to Seamen Church in Williamstown, Melbourne, established in 1857.Photograph of St Nicholas Seamen's Church, Williamstown. Sepia photograph. The photograph shows the inside of the Chapel of Mission to Seamen, including organ, pews and other furniture and furnishings. There is a circular stained glass window high on the back wall depicting a sailor at the helm of a ship and a man standing behind him and pointing the way - "Christ Showing The Helmsman The Way". A Sanctuary Light is suspended from the ceiling. The Sanctuary chars are visible. This shows the St Nicholas Seamen's Church in Williamstown, the furnishings and furniture of which is now part of the St Nicholas Seamen's Church Collection’.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, st nicholas mission to seamen's church williamstown, mission to seamen williamstown, mission to seamen victoria, st nicholas mission to seamen, chapel window, christ showing the helmsman the way, stained glass window, st nicholas seamen's church, religion, religious service, sailor's rest, ladies harbour light guild -
J. Ward Museum Complex
Book - Wilmer M. Ely 1910, The Boy Chums In The Forest; or, Hunting for Plume Birds in the Florida Everglades
"The story of the boy chums hunting the blue herons and the pink and white egrets for their plumes in the forests of Florida is full of danger and excitement. In this story is fully told how the chums encountered the Indians; their battles with the escaped convicts; their fight with the wild boars and alligators; and many exciting encounters and escapes. This is the third story of the boy chums' adventures." -- 1910. A.L. Burt. https://c.web.umkc.edu/crossonm/boychums.htmIn green cloth with a pasted-on colour lithograph illustration. Black and red titles with a black and white frontispiece. 304 pages. Book is in fair the boards show some use and shelf-wear. The front and back covers are worn with some staining and foxing. Corners are worn and holes in spine. Binding tight and text unmarked. Internally there is some light soiling. No Jacket. fiction"The story of the boy chums hunting the blue herons and the pink and white egrets for their plumes in the forests of Florida is full of danger and excitement. In this story is fully told how the chums encountered the Indians; their battles with the escaped convicts; their fight with the wild boars and alligators; and many exciting encounters and escapes. This is the third story of the boy chums' adventures." -- 1910. A.L. Burt. https://c.web.umkc.edu/crossonm/boychums.htmadventures, boys -
Flagstaff Hill Maritime Museum and Village
Photograph - Historical, maritime, Brookes' Photographic Union, Warrnambool Harbour (from the battery), 1895
... This photograph shows the Lower Light at Flagstaff Hill..., a light coloured picket fence, the harbour with a moored vessel ...This photograph shows the Lower Light at Flagstaff Hill, Warrnambool, in 1895, part of the Lady Bay Lighthouse Complex. The photograph is part of the Western Victoria collection produced in 1891 by Brookes' Photographic Union in Victoria. Brookes' Photographic Union was a collaboration of two brothers, Frederick Augustus Brookes and his brother Albert Edward Brookes. Frederick arrived in Victoria in the early 1880's. He and Albert formed the organisation to produce collections of photographs including the districts of Geelong, Gippsland and the Western Victoria. This photograph was taken and published just after the construction of the Warrnambool Breakwater. The image records a snapshot of the construction of the Warrnambool Breakwater, a construction that changed the history of the Port of Warrnambool, It is also a record of the Flagstaff Hill area and at that time.Photograph, sepia coloured rectangular shape, mounted between two sheets of cream card. Border of photograph is decorated with pen lines and design in corners. Subject is the Warrnambool Harbour, with a lighthouse on a hill in the foreground, a light coloured picket fence, the harbour with a moored vessel and a jetty. Produced by the Brookes' Photographic Union, and with the heading of Western Victoria. Inscriptions are on the reverse, on two stickers, a printed white label and a handwritten name.Stickers: "F.PA 60/2-74" "138" Label: "WESTERN VICTORIA / BROOKES' PHOTOGRAPHIC UNION / WARRNAMBOOL HARBOUR / (FROM THE BATTERY) Hand written in black: "B. Fisher"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, western district, western victoria, brookes' photographic union, frederick brookes, albert brookes, photograph, warrnambool harbour, warrnambool history, lady bay, port of warrnambool, b. fisher, 1895, maritime history, breakwater, warrnambool jetty -
Warrnambool and District Historical Society Inc.
Legal record - Two documents regarding purchase and sale of land, George Barber, Port Fairy solicitor, early 1850s
Thes two documents deal with the purchase and sale of land near Warrnambool by Thomas Simpson. The first document, called a Grant by Purchase, is dated 1852 and shows that Thomas Simpson purchased from the Crown, Allotment 146 (22 acres two roods) adjoining the property of Wollaston on the Merri River and the Mortlake Road, north of Warrnambool. The cost was 90 pounds. The second document is dated 1853 and shows that Thomas Simpson sold this Merri River allotment of 22 acres to Eliza Bromfield, in conjunction with her husband, John Davenport Bromfield, for the sum of 110 pounds. The property of Wollaston was owned by the Manifold family and in the 1850s was leased to William Simpson, the brother of Thomas who had an adjoining property called Wooramoota. John Davenport Bromfield was a Colac farmer who played a prominent part in the early history of that town. His brother James Astley Bromfield, an early chemist in Warrnambool is important in Warrnambool's history.These two items are of considerable significance because they are amongst the earliest legal documents we have connected to Warrnambool's history and because they concern three early pioneers of the district. They also have a connection to Wollaston, an important early property in the Warrnambool district..1 A piece of light parchment paper, stained with age and folded in three places. It contains printed and handwritten material, a copy of a signature and a white seal. .2 A piece of parchment paper folded in half and then folded again in two places. It contains ruled red lines, handwritten material in black ink and the remains of a red seal. The top of the first page has a cut-out fluted pattern.wollaston, john davenport bromfield, thomas simpson, eliza bromfield, george barber solicitor -
Melbourne Legacy
Photograph, National War Memorial of Victoria, 1928
A photo of a model produced by Hudson and Wardrop, Architects, who had won the contest for the design of the Shrine. This photo shows their model of the Shrine as seen from the North. It is with their Brochure on the First Premiated Design (see 01208) which goes into detail of the plans for Rock of Remembrance, the eye of light, the porticos, the tympanums, the inner Shine, and materials it will use, etc. It says: 'The theme is Remembrance, and the doing is indicative of Remembrance. It is Australian in feeling, in that is stands fo rate highest of Australian ideals - ideals we fought for - Patriotism, Sacrifice, Justice and Freedom.' Messrs Hudson and Wardrop were also returned servicemen. This photo could have been used to inform the public of the plans whilst fundraising for the building project. In 1928 the Governor asked for the public to contribute approx £100,000 towards the project, while the State Government had already guaranteed £80,000. Item was in an envelope with other photos and programmes from different items relating to the Shrine of Remembrance - including discussions on its location and design. Labelled 'Shrine of Remembrance S1 - S14' it was part of an old archive numbering system, that showed there has been efforts in the past to collect, order and save items of Legacy's history. (01181 - 01190, 01206 - 01211).A record of the planning for the Shrine of Remembrance with details from the architects who had won the design contest. There was an effort to record historical events for the "Archive Committee" which collected this and other documents relating to the Shrine together in a file (see items 01181 - 01190, 01206 - 01211).Black and white photo of the architects model of the Shrine of Remembrance.memorial, shrine of remembrance -
Stawell Historical Society Inc
Photograph, St. Matthew’s Presbyterian Church Stawell
Coloured photo St. Matthew’s Church taken by local photographer Mick Walsh Patrick St Stawell. Photo was taken after 1965. Telephone number on back of photo shows automatic phone number. Coloured photo of St Matthew's Church showing brick fence with entrance pillar with light on top. Mick Walsh 52 Patrick St. Stawell Phone 953-58 1737stawell religion -
Warrnambool and District Historical Society Inc.
Journal - Diary, Diary of Augustus Bostock 1862-1870, Circa 1860
Augustus Bostock was the 9th child of Robert & Rachael Bostock of Vaucluse Epping Forest, Van Diemen’s Land. He was only 4 years old when his mother died. He was inspired by his father to seek his fortune in the Western District of Victoria. He arrived around 1850. He married Margaret Aitkin in July 1865. Augustus owned several properties in the district and leased others. He sat on the court of Warrnambool, Mortlake or Hexham as required. He resided at Marramook in Hawkesdale and later moved to Vaucluse in Hopetoun Road Warrnambool, where he died in 1920 at the age of 87. He was involved in many aspects of life in the Western District, racing, cricket, and social activities to name a few. This diary shows the daily entries over a long period of time with activities ranging from fencing, visiting neighbours and weather details. It mentions many local people and many properties he visited. Augustus Bostock along with a number of his brothers was one of the earliest pioneers in the Western District of Victoria. This diary sheds considerable light onto the life of Augustus and people of his era. There is a wealth of information on a range of topics relating to early life in Warrnambool and district.Physical Description: Dark grey stippled cloth hard cover with tan leather corners and spine. Brown and gold coloured paper inside front and back covers. Pages written in black pen.Title page has A Bostock Grasmere. Diary from June 10th 1862.warrnambool, bostock, augustus bostock, bostock diary, augustus bostock 1862 -
Glenelg Shire Council Cultural Collection
Painting, Helen Fergusson, Pat's Joy, 1998
1998 Portland Rotary Art ShowScene of a cottage in a wild garden. There is a mountain in the background of the right. Blue sky with light clouds. Mounted in cream and dark gray double matt, framed under glass in gold-coloured wooden frame.Front: (no inscriptions) Back: (no inscriptions)landscape, garden, flowers, rotary -
Glenelg Shire Council Cultural Collection
Photograph, Portland Lifeboat Going to the Rescue, n.d
Displayed at History House.Portland LifeboatSeries of 4 photos, sepia. 1. Shows building housing lifeboat - flag flying. Group of people. Gas light. 2. Lifeboat being lowered - crew on board. 3. Lifeboat in water - men wearing life jackets and using oars to push off. Man on pier. 4. Lifeboat and others rowing boat under way. Crowd on pier.Front: Portland Lifeboat. Going to the Rescueportland lifeboat, admella, portland, vessel -
Glenelg Shire Council Cultural Collection
Functional object - Horvex Light Meter and Box, 1960s
Metrawatt of Germany made the Horvex line of meters, of which there are three major versions. The original came out just before the war. The Horvex 2 is from the mid-50s, and this Horvex 3 showed up around 1960.a) 'Horvex 3' light or exposure meter made in Germany. Cream bakelite enclosing metal meter. 'Horvex 3 ' on front panel b) Brown leather case for the 'Horvex 3 ' embossed on front loops for strap on backphotography, light meter, exposure, german, 1960 -
Southern Sherbrooke Historical Society Inc.
Photograph - Joy, Lynette and John Hermon on the occasion of Lynette's 2nd birthday
B&W photo of Joy, Lynette and John Hermon at Menzies Creek on the occasion of Lynette's 2nd birthday. Photo shows the children sitting on the front door step. There is a wooden framed chicken wire fence to the left, a screen door behind them, and on the right is what appears to be a wooden display stand with two shelves and turned legs. Joy is wearing a dark skirt with shoulder straps over a light, collared blouse, and a bow in her hair. She is holding a doll in front of her. Lynette is dressed in a smocked patterned dress. John has a shirt and tie, and shorts with braces. A doll is also sitting on the ground in front of him. Dated 24th November 1952. -
Ballarat Tramway Museum
Slide - 35mm slide/s, Dave Simpson, late 1960's early 1970's
Yields information about the Ballarat Railway Station and the adjacent level crossing.Set of two 35mm slides - Hanimex light blue grey plastic mount of a the view from No. 1 platform at Ballarat Railway Station looking towards the Lydiard St level crossing. Shows the crossing gates, signals and tracks. A goods train with a Z van at the rear is in the platform.tramways, trams, railway station, victorian railways -
Mission to Seafarers Victoria
Photograph - Photograph, Black and white, Bill Doyle (Reverend C.J. Eldridge-Doyle), Dancing at the Mission club, 1960
The photograph indicates that in c.1950, dances were held at the Mission to Seafarers Victoria main hall.The photograph shows one of the many dances (literally) held at the Missions to Seamen during the 1950s. These events were organised by the Ladies Harbour Lights Guild with many of these members participating in the dances with seafarers. This image is significant as it documents a point in history, in part, the services provided to visiting seafarers in the 1950s.Black and white photograph, with a white border, in the main hall at Missions to Seamen Victoria. The photograph shows a number of couples dancing in the main hall. Two couples are visible in the foreground. The ladies are to the right of the men, with one arm around each other. The couples seem to be doing a 'progressive' dance around the hall in a circle. The lady at the front right of the photograph is looking back at the couple behind, is wearing a light cardigan and has short, light coloured hair. There is in arch in the background that is one of the doorways out to the courtyard. A couple in the background appear to be moving towards the left of the photograph, while the couple visible in the foreground appear to be moving toward the right. This would suggest the dance is moving in an anticlockwise direction.dance, suit, mission-to-seafarers, missions-to-seamen, ladies-harbour-lights-guild, main-hall, wainscote, cardigan, arch, progressive, hardwood-timber-flooring -
Mission to Seafarers Victoria
Photograph - Photograph, Sepia, Just married, Harry and Dora, 14 February 1928
The Marriage Register lists Harold Priestley Simpson and Amy Dora Walker as the bride and groom, and the wedding date as 14th of February 1928. The photograph uses the personal Harry and Dora, instead of the formal Harold and Amy. In the Register, Amy started signing her name as Dora. before correcting it. The photograph shows that weddings took place at the Chapel during the late 1920's, and the style of weddings at the time. This includes the type of outfits worn, such as the length of the veil and the type of bouquet carried. Dora's Bridesmaids are depicted in 2 other images in the MTSV collection also an image of the chapel decked with flowers for the occasion. The article in the Herald of the day describes the event: "WEDDING AT SEAMEN'S CHAPEL Reception at Hotel Windsor The pretty little chapel at the Sea men's Institute was packed with interested friends this afternoon, when Miss Dora Walker, one of the Mission's most enthusiastic and efficient voluntary helpers, chose it as the setting for her marriage with Mr H. P. Simpson, son of Mr and Mrs J. H. Simpson, of Mornington. A group of her fellow workers decorated the chapel with lovely pink and white gladioli, carnations and roses. The ceremony was performed by the Rev. J. R. Weller, chaplain of the Mission, and the bride was given away by her father, Mr A. W. Walker, of Manning road, East Malvern. She wore a lovely ivory georgette frock, the finely tucked skirt being fashioned with a deep transparent hem of Chantilly lace. Over it fell a beautiful Honiton lace veil mounted on tulle and arranged to give the ef fect of a train. Fragrant white roses composed her bouquet. Two attendants followed her down the aisle — her sister, Miss Molly Walker, and Miss Ella Kendall — both wearing dainty shrimp pink georgette frocks and large crinoline straw hats in the same shade with a dainty edging of tulle. They carried bouquets of pink cactus dahlias nnd delphiniums. Mr Louis Buscombe was best man, and Mr George Thompson grooms man. After the ceremony Mr and Mrs Walker entertained about 50 guests at the Hotel Windsor."The photograph shows St. Peter chapel was being used for weddings in 1928. The Anglican church has been used for weddings since being finished in 1917. The Marriage Register shows that these weddings were legal in the Commonwealth of Australia, and lists Church of England as the denomination for this wedding. Miss Amy Dora Simpson (nee Walker) had a long association with the Mission, first as a young Volunteer with the Ladies Harbour Light Guild circa WW1, and through to her wedding in early 1928 and beyond. Square sepia, glossy photograph of a bride and groom, taken as they leave a building. Guests are throwing rice at the newlywed. The groom is turned towards the camera, while the bride is looking ahead, carrying a bouquet. There is a white border around top, bottom and left edges, the photograph seems to have been cut in half along the right edge.On the reverse: handwritten in blue pen JUST MARRIED!/DORA & HARRY/28/2/28. 618 is stamped in blue ink . (date is incorrect as wedding took place on 14/2/28)bride, wedding, groom, 1928, dora simpson, dora walker, st peter chapel, harry simpson, lhlg, flinders street, harold priestley simpson, valentine's day, amy dora walker, ladies harbour lights guild, mr and mrs a.w. walker, malvern, manning road, reverend j.r weller, molly walker, ella kendall, david simpson -
Mission to Seafarers Victoria
Postcard, c.1918
The postcard shows how the Mission to Seafarers, then known as the Seamens Institute, looked early in its operation - probably circa 1920. It also documents the types of activities were offered to visitors, and how the visitors used the facilities.The postcard records the fittings and furnishings of the Mission to Seafarers, then known as the Seamens' Institute: tables, chairs but also the paintings which were often donated. The largest one on the main wall above the stage is "Start Point Light, Devonshire" (see item 0230), painted and donated by Miss Madeline R. Lewellin (1854-1944) in 1918. A sepia-toned postcard, of the main hall/club room of the "Seamens Institute" Mission to Seafarers. The image shows the arrangement of tables, pool table and bar in the club room, as well as the decorations and fitting of the room.On front: INTERIOR OF SEAMENS INSTITUTE, FLINDERS STREET MELBOURNE VALENTINES SERIES M. 4968 printed in black. On reverse: VALENTINES / REAL PHOTO SERIES logo in the middle of the top of the postcard. Along the left-hand edge: PUBLISHED BY THE VALENTINE PUBLISHING CO. PTY. LTD / QUEEN ST., MELB. printed in black.postcard, seamens-institute, club-room, bar -
Sir Reginald Ansett Transport Museum
Booklet - Lookbook, Teamstyle
This booklet is a lookbook of male and female flight attendants uniforms designed by David Weiss for the period 1984-1986. It shows the different options and combinations of accessories, tops and bottoms presented on mannequin and also photographed on models. It also explains the presentation standards expected from the in flight staff in regards to grooming, jewellery, make-up, hairdo.This lookbook contains the vision of designer Peter Weiss for this collection. Landscape format catalogue with light blue background and colour pictures of uniforms for male and female flight attendants. It contains david weiss, 1984-1986, uniform, flight attendant, stewardess, steward, hostess, clothing, accessory, hat, ansett, lookbook, ansett australia -
Mission to Seafarers Victoria
Artwork, other - Stained glass window, Brooks Robinson & Co, Hope, 1926
This window, in memory of Alice Sibthorpe Tracy, was unveiled on 31 October 1933 by the Right Reverend R. Stephen D.D. along with the brass tablet in the Williamstown building, and a sectile tablet in the Port Melbourne building. (AR 1933). "A scheme has been set in operation to raise funds so that a memorial may be erected to Miss A. Sibthorpe Tracy, who has done so much for the Victoria Missions to Seamen. It has been decided that a companion window to that of "The Light of the World" will be placed in St. Peter's Chapel, the design being that of a figure of Hope with her hand on a ship's anchor. The window will show a foreground of beach and pebbles, backed by breaking rollers and a flecked sky. Mrs J. W. Begg, of Stonehaven Avenue, East Malvern, S.E.5, is the honorary treasurer of the fund." (Article published in the Herald, 29 August 1933)Arched windows depicting the female figure of Hope with her hand on a ship's anchor in a foreground of beach and pebbles, backed by breaking rollers and a flecked sky. altar, st peter chapel, flinders street, mission to seafarers, seamen's mission, mission to seamen, st peter, sailors, seamen, anchor, stained glass windows, win, memorial chapel, hope, alice sibthorpe tracy -
Mission to Seafarers Victoria
Article, New Light on the Light of the World
Abstract William Holman Hunt's Light of the World (1851-53) was a remarkable painting that depicted an idealised vision of his conversion to Evangelical Protestantism. The derogatory critics and fierce debates that greeted the Pre-Raphaelite paintings at Royal Academy exhibitions from 1850 in no way abated when the Light of the World and other PRB works were hung in 1854. Acceptance of the Light of the World was gradual, significantly aided by a long explanatory letter from John Ruskin published in The Times (5 May 1854 p. 9) that explained the symbolism in great detail, championing the work as the principal Pre-Raphaelite picture in the Exhbition and one of the noblest works of sacred art ever painted. Curious Londoners flocked to see it, but there was no inkling then of its influence on religious art, poetry and illustration that would continue well into the twentieth century; no less influential was its impact on stained glass. Almost immediately it was embraced as a new subject for church windows of all denominations. The global tour of Hunt's larger copy of the Light of the World reached Australia in 1906 where, preceded by clever pre-publicity, it generated huge interest in cities and country centres here and in New Zealand. The effect of the 'blockbuster' tour was far-reaching, with hundreds of stained glass windows appearing in churches across the country for the next fifty years. This paper explores William Holman Hunt's co-option of illumination as metaphor and reality, the factors behind the longevity of the Light of the World as a stained glass phenomenon in Australia, and its universal appeal to Protestant church-goers.non-fictionAbstract William Holman Hunt's Light of the World (1851-53) was a remarkable painting that depicted an idealised vision of his conversion to Evangelical Protestantism. The derogatory critics and fierce debates that greeted the Pre-Raphaelite paintings at Royal Academy exhibitions from 1850 in no way abated when the Light of the World and other PRB works were hung in 1854. Acceptance of the Light of the World was gradual, significantly aided by a long explanatory letter from John Ruskin published in The Times (5 May 1854 p. 9) that explained the symbolism in great detail, championing the work as the principal Pre-Raphaelite picture in the Exhbition and one of the noblest works of sacred art ever painted. Curious Londoners flocked to see it, but there was no inkling then of its influence on religious art, poetry and illustration that would continue well into the twentieth century; no less influential was its impact on stained glass. Almost immediately it was embraced as a new subject for church windows of all denominations. The global tour of Hunt's larger copy of the Light of the World reached Australia in 1906 where, preceded by clever pre-publicity, it generated huge interest in cities and country centres here and in New Zealand. The effect of the 'blockbuster' tour was far-reaching, with hundreds of stained glass windows appearing in churches across the country for the next fifty years. This paper explores William Holman Hunt's co-option of illumination as metaphor and reality, the factors behind the longevity of the Light of the World as a stained glass phenomenon in Australia, and its universal appeal to Protestant church-goers.jesus, stained glass windows, bronwyn hughes, pre-raphaelite, william holman hunt (1827-1910) -
Bendigo Military Museum
Photograph - PHOTOGRAPH, FRAMED WW1, Wayne Eels, c2008/09
Refer Cat no. 1280. Left to Right: Jack Grinton, Fred Lehmann "MM", Dick Verso, Bert Grinton , ..........Poppin. "Jack Grinton No. 1038," 38th Battalion - Refer Cat No. 1280 for service history. "Bert Grinton No. 5024" - Refer Cat No. 1320 for service history. Photograph - framed. Photograph - black and white photograph on paper depicts an informal group, full length portrait of six men. Background - wall of stone and timber building. Frame - timber, light varnish finish, Perspex front, cardboard backing."Single photos Group 2 (end of show): 38th Battalion Reunion".framed accessories, camera on the somme, ww1, 38th bn, grinton -
Marysville & District Historical Society
Photograph (Item) - Colour photograph, Unknown
A colour photograph of the Marysville Patisserie in Marysville in Victoria.A colour photograph of the Marysville Patisserie in Marysville in Victoria. The Marysville Patisserie was established in Falls Road in 2002. The Patisserie was known for its delicious light lunches, European-style cakes, and Yarra Valley fudge, all of which were made on the premises. The Patisserie, along with most of the businesses in Marysville, was destroyed in the 2009 Black Saturday bushfires.MARYSVILLE/ PATISSERIEmarysville patisserie, marysville, victoria, 2009 black saturday bushfires -
Marysville & District Historical Society
Ephemera (Item) - Calendar page, Isobel Gregory, Marysville Patisserie, Unknown
A page from a calendar showing the Marysville Patisserie in Marysville in Victoria.A page from a calendar showing the Marysville Patisserie in Marysville in Victoria. The Marysville Patisserie was established in Falls Road in 2002. The Patisserie was known for its delicious light lunches, European-style cakes, and Yarra Valley fudge, all of which were made on the premises. The Patisserie, along with most of the businesses in Marysville, was destroyed in the 2009 Black Saturday bushfires.marysville patisserie, marysville, victoria, isobel gregory, 2009 black saturday bushfires -
Marysville & District Historical Society
Photograph (Item) - Colour photograph, Unknown
A colour photograph of the Marysville Patisserie in Marysville in Victoria.A colour photograph of the Marysville Patisserie in Marysville in Victoria. The Marysville Patisserie was established in Falls Road in 2002. The Patisserie was known for its delicious light lunches, European-style cakes, and Yarra Valley fudge, all of which were made on the premises. The Patisserie, along with most of the businesses in Marysville, was destroyed in the 2009 Black Saturday bushfires.marysville patisserie, marysville, victoria, 2009 black saturday bushfires -
Marysville & District Historical Society
Photograph (Item) - Colour photograph, 17-01-2007
A colour photograph of the Marysville Patisserie in Marysville in Victoria.A colour photograph of the Marysville Patisserie in Marysville in Victoria. The Marysville Patisserie was established in Falls Road in 2002. The Patisserie was known for its delicious light lunches, European-style cakes, and Yarra Valley fudge, all of which were made on the premises. The Patisserie, along with most of the businesses in Marysville, was destroyed in the 2009 Black Saturday bushfires.132 17 JAN 2007marysville patisserie, marysville, victoria, 2009 black saturday bushfires -
Marysville & District Historical Society
Photograph (Item) - Colour photograph, Unknown
A colour photograph of the Marysville Patisserie in Marysville in Victoria.A colour photograph of the Marysville Patisserie in Marysville in Victoria. The Marysville Patisserie was established in Falls Road in 2002. The Patisserie was known for its delicious light lunches, European-style cakes, and Yarra Valley fudge, all of which were made on the premises. The Patisserie, along with most of the businesses in Marysville, was destroyed in the 2009 Black Saturday bushfires.MARYSVILLE/ PATISSERIE/ ROTUNDAmarysville patisserie, marysville, victoria, 2009 black saturday bushfires -
Marysville & District Historical Society
Photograph (Item) - Colour photograph, 17-01-2007
A colour photograph of the Marysville Patisserie in Marysville in Victoria.A colour photograph of the Marysville Patisserie in Marysville in Victoria. The Marysville Patisserie was established in Falls Road in 2002. The Patisserie was known for its delicious light lunches, European-style cakes, and Yarra Valley fudge, all of which were made on the premises. The Patisserie, along with most of the businesses in Marysville, was destroyed in the 2009 Black Saturday bushfires.marysville patisserie, marysville, victoria, 2009 black saturday bushfires -
Trafalgar Holden Museum
Functional object - Weymouth bridle, Circa 1900
Bridle used on horses that pulled light carriages.ReplicaBlack leather straps, with metal fittings as neededS C, SHOW CRAFTbridle, leather, equine -
City of Kingston
Photograph - Black and white, c. 1950
The image shows a line of traffic travelling along South Road in response to traffic light signlas while an increasing number of cars are banking up along Nepean Highway, also in response to traffic light signals.This image provides a strong contrast to images from earlier eras of the same intersection. The amount of traffic has increased enormously as well as commercial development.Black and white photograph with an aerial view of the intersection of Nepean Highway and South Road, taken from above the Moorabbin Council Chambers.Handwritten in black ink Pic [indecipherable] / 1000 Handwritten in red ink: 150%moorabbin, traffic lights, cars, nepean highway