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

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

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

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

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

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

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

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

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

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

This photograph is part of reproductions of images from the MTS archive collection.Framed and mounted black and white reproduction of photograph from the archive: group photograph of Women from the Harbour Lights Guild sitting on the ground and benches in front of the stage at the Flinders Street Mission during a musical event.mission to seafarers, mission to seamen, flinders street, melbourne, seafarers, seamen, padre oliver, crew, ships, seafaring life, sailors

Art CollectionThe picture depicts a giraffe's neck sloping from the bottom right corner progressing into a giraffe's head at the top left. The background is plain, except for a yellow streak across the giraffe's neck close to the bottom. It is a front-view of the giraffe. Wood frame, thin white mount and glass.Front: 1/10 Giraffe 11 Mary MacQueen 69 (lower left centre, lead pencil) Back: Mary MacQueen "Giraffe 11" (1969) Litho (Bottom right, rectangle piece of white paper, printed)

The photograph was taken by George Silk on Christmas Day 1942 near Buna, Papua New Guinea. George Silk was a War Photographer for Australian Government, his appointment began in 1939. He was in New Guinea with the AIF when this photograph was taken.The photograph shows the work and assistance of the Fuzzy Wuzzy Angels to Australian Servicemen who were Serving in Papua New Guinea during WW2.Photograph - black and white copy of the original in a wooden frame. Statue - free standing bronze statue on a wooden block.Photograph has a information on the bottom of the frame describing the picture and who is the photographer - George Silk. The men in the photograph are Pte G C Whittington 2/10th Battalion AIF and Papuan Raphael Oimbari. The photograph was taken on Christmas Day 1942 near Buna, Papua New Guinea.ww2 fuzzy wuzzy angel, qx23902 pte g c whittington, raphael oimbari, george silk

The interest in this picture is the two ex servicemen are wearing the Gallipoli Star. This decoration was approved by King George V to be awarded to Australian and New Zealanders who landed on the Peninsula. After much controversy the medal was not issued. In 1990, however, a private issue of these medals were commissioned and 200 of the medals were given to the surviving Gallipoli veterans to commemorate the 75th anniversary of the landing of the ANZACs as Gallipoli.This photograph is of two veterans and their attendants at the Gallipoli Memorial Service 1990. The ex-serviceman are being applauded as they walk through the crowd.An oblong shape, white steel frame, colour photograph of WW1 Servicemen, attendants and spectators attending the75th ANZAC Day Memorial Services at Gallipoli 1990.The framing was completed at Northcote Picture Frames.ww1, gallipoli star, photograph

Port of Portland CollectionFront: Portland from the Bay (lower centre, printed) Back: 18 UL Pencil, 1996 UR Pencilport of portland

Sketch was done as a sample of the artist's work when a drawing was sought to be the picture of the station on the interpretive sign planted at Yendon station. Although this is an excellent interpretation of the station building, it was thought to be too detailed for the purpose.Pen and ink detailed drawing of Yendon station building, with 2 people standing on the platform. Frame is timber, 50mm wide, mat black, with an 8mm silver trim around the cut-out hole.Signed by Mervyn Hill at the bottom right hand corner.yendon railway station, hill, mervyn, ink drawing

Displayed in the Bruthen Shire office untill shire ammalgamation Localy historicaly significantPrint framed under glassPresented to the Shire of Tambo from the Bruthen Sub-Branch R.S.L.I.L.A. June 9th 1925 (RHS) Presented to the Australian Commonwealth Governement by Austin Taylor esq London (LHS) From the original picture by Charles Dixon now in the National Art Gallery Sydneyanzac, landing at anzac cove, 25th april 1915, shire of tambo, austin taylor esq london, charles dixon, national art gallery sydney

Reproduced on p21 of 'Pioneers & Painters' Mrs. R. Thornton notifies that she has taken over the Kangaroo Ground Hotel from Mr. Walker, and the house will be made attractive for weekenders, the table, wines, and spirits being A1 quality" - Advertiser 7 July, 1922" Mrs Ruby C. Thornton sold her interest in the Kangaroo Ground Hotel in September 1928 and moved away after seven years in the district. This photo is therefore dated between July 1922 and 1928. Other newspaper articles identify Mrs Thornton's first name. The lady to the left of frame appears to be taking a photograph of the car in front of the hotel. This may be Mrs Ruby Thornton taking a picture of her car in front of her hotel. A young boy with others standing near their horse and buggy look on. The property was destroyed by fire at 1.45 am on Friday 8 August 1930. The licensee was Mr Hugh Crichton who had taken over from Ruby Thornton. He and his wife just managed to escape the fire with nothing but their night attire. The property was owned by Mr Bruce Donaldson of Ivanhoe and had been erected over 60 years earlier (according to the Advertiser). In older times it was a famous hostelry at which Cobb & Co.’s coaches had a changing station on the journey from Alexandria to Melbourne.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 120 format B&W negative Print 20 x 25 cm Print 9 x 12.5 cmshire of eltham pioneers photograph collection, kangaroo ground, kangaroo ground hotel, thornton, automobile, pioneers and painters, mrs ruby thornton, cobb and co, ford model t, horse drawn carriage, hotel

This photograph frame with its decorative dragon and bamboo shoots was typical of the early 1900's when photography was in the hands of the professional artist. It was in a period before the "instant" photo and required a dark room and processing liquids for development. It was therefor in a time when photographs were "shot" only at important events, be they family or public occasions. Good quality picture frames such as this item were a part of the "reverence" of photographs per se.This photograph frame holds and protects, part of a very significant occasion, the 90th birthday photograph of the matriarch of one of the founding families within the Kiewa Valley. The frame therefore has historical significance.This silver painted aluminium photograph frame has a glass front pane within a formed inlay and a formed inlay at the back. The anchor points, at the back, for securing toggles are in place but not the toggles. These toggles were installed to allow the photograph to be securely positioned within the correct alignment of the the frame.The metal front plate has seven rivets holding the cloth covered cardboard back frame to the metal front cover. The front part of the frame has sculptured dragon and wild bamboo shoots and is boarded with a plain border pattern. The back panel to secure the photo and hold the stabiliser flap is missing. See also KVHS 0092 for a more complete frame.photograph frame early 1900's, the roper family

Cardboard white box with decorated coloured flowery sides which curve over the edge to frame the top of the box. Top of the box has a picture of a smart fashionable lady wearing a broad brimmed black hat with a pink rose and seemingly wearing a white fur shawl. Her body is not shown. The inside of the box is divided into 4 equal compartments - 1 across and 3 in a row lengthwise. 15 metal black hairpins are in 3 of the compartments and 2 brown plastic hairpins in the other. Base if the box - "Finest selected / Hairpins. / Black / Made in England hair pins, make-up, personal item, hairdressing, toiletries, bathroom

Mt Beauty Higher Elementary School commenced in 1953 as the need for a secondary school grew with the increase in population due to the Kiewa Hydro Scheme. It became the Mt Beauty High School in 1964. The blazer was worn as part of the winter uniform.Historical: Education in Mt Beauty commenced relatively late so there was less of a tradition. The decision to adopt a uniform is of interest to compare with other schools and the times.Pure wool dark green flannel pocket cut out from a Mt Beauty High School blazer. Emblem is machine stitched and has a yellow wattle decoration outside a yellow frame. Across the top of the frame in yellow 'High School", across the bottom of the frame "Mount Beauty", the 2 sides of the frame are hollow. Inside the frame is a stitched picture with a light blue sky, royal blue mountains with white peaks and a white curved path leads towards the mountains with light green 'paddocks' either side. Inscription on back in yellow and white.Pinehurst / Blazer (in white) / Styled by Stamina / The "Doctor" / Pure Wool Flannel (in white) blazer, school, high school, uniform, mt beauty, emblem, education, clothing, winter

This wedding photo is of local pioneer families, Cooper and Larkins. John Cooper Jnr. married Annie Emma Larkins. The exact date is unknown. This is not only important for the Cooper & Larkin families but for historical reference for the Tawonga area where these families lived. It shows that even though the Kiewa Valley was considered remote during this period the tradition of a big formal wedding was still held with fashionable weddings. This photo was included in a group of photos. This photo has historical significance as it depicts members of local pioneer families getting married. It also is representative of the style of wedding dresses of the period and the style of men's wedding attire. The photograph itself is also significant as is demonstrates the style and formality of wedding photos during this time. The picture frame is likewise the style of the period. However, this is in bad condition with bore holes in it. This photo has good interpretive value and is well provenanced. Black and white wedding photo of John Cooper Jnr. and Annie Emma Larkins. The centre of the frame has carved hearts 3 cm wide all the way around.Photographer "Mendelsfohn's and Co. Melbourne"mendelsfohn's & co.. photographer of melbourne. wedding. furniture. wooden frame.

1920s voyage on the "White Star" from England to Australia.Historically a voyage from England to Australia in 1920s took a fair few weeks depending on how many refueling stops had to be made. Self Entertainment was a must.Boxed Jig-saw puzzle depicting the Cunard White Star passenger ship. approx 200 wooden pieces inside box Box is white colored cardboard. Top of box has a short 6mm wide cotton string to fasten the lid to the main box frame. The fastening mechanism on the bottom of box is not present.Picture of a Cunard ship on front lid together with the Cunard flags. The white star line. Under side - "box register design No 784900" front lid has penned in blue ink "Wilson" One side has two labels affixed on. One "a cruising liner" and one "Containing approx 200 pieces"cunard entertainment, games toy puzzle ships entertainment

This promotional photograph by the Tobacco Growers Association was in response to a 1935 meeting of tobacco growers from Victoria, South Australia and Queensland which produced four major resolutions for the industry covering the remainder of the 1900s. These four resolutions were: (1) Adequate tariff protection (2) Control of pests and diseases (3) Orderly marketing (4) The formation of an advisory council of growers. History has produced the following results. (1) adequate tariff protection was never achieved,(2) control of disease through benzol vapour (CSIRO) breakthrough, was later identified as carcinogenic, (3) orderly marketing was achieved through (4) the establishment of the Tobacco Growers Association(1984). In October 2006, by way of Government buy back of tobacco leases from growers, resulted in the end of Tobacco farming in Australia (after 136 years of planting the first crop). It was also significant that the major tobacco companies such as Philip Morris and The British American Tobacco Australasia advised the industry that it would source its tobacco requirements overseas by 2009.The remnants of the Tobacco Industry can still be viewed throughout the Kiewa Valley and adjacent regions on the former tobacco farms which still have the tobacco drying sheds and now converted into hay sheds. The problems from the large quantities of carcinogenic infused soil of farmlands in the region, still remains a problem now and for future generations. This particular photograph shows the lack of understanding by farmers and the contracted labour, at that time, and is demonstrated by the bare footed farmer walking next to the seed canister. Some workers did use protective "gum" boots but the majority of farm owners were skeptical of city scientists and their carcinogenic concerns, and it was only after the younger generation of farmers , who had attended Agricultural colleges, encompassed the scientific approach to farm management and began working closely with agricultural scientists. The "she'll be right mate" attitude of the earlier farming/rural community has since mid 1970s, been slowly dissipating. Stricter controls of herbicides and pesticides used in agriculture are now in force. The death of the tobacco industry(2006) resulted in the expansion of the dairy , sheep, beef cattle, venison and lama wool producers in the Kiewa Valley and surrounding regions.Coloured photograph pasted onto a thick wood chip backing. Two galvanised eyelets at the top of the frame, 50mm from each end, with a twine cord stretch from each, for hanging purposes. See also KVHS 0054(B) to KVHS 0054(F)A sign, which has been removed from the picture at some previous point in time is "The Tobacco seed, being so fine, is suspended in water and sown onto the seed base using a watering can [as in the photo] or similar device - August - Sept."tobacco, farming, rural industry, licences, ollie mould, blue mould, benzol vapour

This promotional photograph by the Tobacco Growers Association was in response to a 1935 meeting of tobacco growers from Victoria, South Australia and Queensland which produced four major resolutions for the industry covering the remainder of the 1900s. These four resolutions were: (1) Adequate tariff protection (2) Control of pests and diseases (3) Orderly marketing (4) The formation of an advisory council of growers. History has produced the following results. (1) adequate tariff protection was never achieved,(2) control of disease through benzol vapour (CSIRO) breakthrough, was later identified as carcinogenic, (3) orderly marketing was achieved through (4) the establishment of the Tobacco Growers Association(19840. In October 2006, by way of Government buy back of tobacco leases from growers, resulted in the end of Tobacco farming in Australia (after 136 years of planting the first crop). It was also significant that the major tobacco companies such as Philip Morris and The British American Tobacco Australasia advised the industry that it would source its tobacco requirements overseas by 2009.The death of the tobacco industry(2006) resulted in the expansion of the dairy , sheep, beef cattle, venison and lama wool producers in the Kiewa Valley and surrounding regions. The remnants of the Tobacco Industry can still be viewed throughout the Kiewa Valley and adjacent regions on the former tobacco farms which still have the tobacco drying sheds and now converted into hay sheds. The problems from the large quantities of carcinogenic infused soil of farmlands in the region, still remains a problem now and for future generations. This particular photograph shows the lack of understanding by farmers and the contracted labour, at that time, and is demonstrated by the lack of protection of hands when handling seedlings and attached soil. Hand and foot protection was rarely used, even when later warnings were issued of the carcinogenic toxicity of the soil. The majority of farm owners, up until Health authorities stepped in the later stages of 1900s, were skeptical of city scientists' "carcinogenic" health warnings and it was only after the younger generation of farmers, who had graduated from Agricultural colleges, encompassed the scientific approach to farm management. The "she'll be right mate" attitude of the farming/rural community has since the 1970s been slowly dissipating. Stricter controls of herbicides and pesticides used in agriculture are now in force.Coloured photograph pasted onto a thick wood chip backing. Two galvanised eyelets at the top of the frame, 50mm from each end, with a twine cord stretch from each, for hanging purposes. See also KVHS 0054A, KVHS0054C to KVHS 0054FA sign, which has been removed from the picture at some previous point in time is "Pulling seedlings for planting"tobacco, farming, rural industry, licences, ollie mould, blue mould, benzol vapour, photograph

This promotional photograph by the Tobacco Growers Association was in response to a 1935 meeting of tobacco growers from Victoria, South Australia and Queensland which produced four major resolutions for the industry covering the remainder of the 1900s. These four resolutions were: (1) Adequate tariff protection (2) Control of pests and diseases (3) Orderly marketing (4) The formation of an advisory council of growers. History has produced the following results. (1) adequate tariff protection was never achieved,(2) control of disease through benzol vapour (CSIRO) breakthrough, was later identified as carcinogenic, (3) orderly marketing was achieved through (4) the establishment of the Tobacco Growers Association(1984). In October 2006, by way of Government buy back of tobacco leases from growers, resulted in the end of Tobacco farming in Australia (after 136 years of planting the first crop). It was also significant that the major tobacco companies such as Philip Morris and The British American Tobacco Australasia advised the industry that it would source its tobacco requirements overseas by 2009.The remnants of the Tobacco Industry can still be viewed throughout the Kiewa Valley and adjacent regions on the former tobacco farms which still have the tobacco drying sheds and now converted into hay sheds. The problems from the large quantities of carcinogenic infused soil of farmlands in the region, still remains a problem now and for future generations. This particular photograph shows the lack of understanding by farmers and the contracted labour, at that time, and is demonstrated by the lack of protection of hands when handling seedlings and attached soil. Hand and foot protection was rarely used, even when later warnings were issued of the carcinogenic toxicity of the soil. The majority of farm owners, up until Health authorities stepped in the latter stages of 1900s, were skeptical of city scientists' "carcinogenic" health warnings and it was only after the younger generation of farmers, who had graduated from Agricultural colleges, encompassed the scientific approach to farm management. The "she'll be right mate" attitude of the farming/rural community has since the 1970s been slowly dissipating. Stricter controls of herbicides and pesticides used in agriculture are now in force. The death of the tobacco industry(2006) resulted in the expansion of the dairy , sheep, beef cattle, venison and lama wool producers in the Kiewa Valley and surrounding regions.Coloured photograph pasted onto a thick wood chip backing. Two galvanised eyelets at the top of the frame, 50mm from each end, with a twine cord stretch from each, for hanging purposes. See also KVHS 0054A ,KVHS 0054B and KVHC 0054D to KVHS 0054F A sign, which has been removed from the picture at some previous point in time is "The Tobacco crop being topped (flower removed)". tobacco, farming, rural industry, licences, ollie mould, blue mould, benzol vapour

This promotional photograph by the Tobacco Growers Association was in response to a 1935 meeting of tobacco growers from Victoria, South Australia and Queensland which produced four major resolutions for the industry covering the remainder of the 1900s. These four resolutions were: (1) Adequate tariff protection (2) Control of pests and diseases (3) Orderly marketing (4) The formation of an advisory council of growers. History has produced the following results. (1) adequate tariff protection was never achieved,(2) control of disease through benzol vapour (CSIRO) breakthrough, was later identified as carcinogenic, (3) orderly marketing was achieved through (4) the establishment of the Tobacco Growers Association(1984). In October 2006, by way of Government buy back of tobacco leases from growers, resulted in the end of Tobacco farming in Australia (after 136 years of planting the first crop). It was also significant that the major tobacco companies such as Philip Morris and The British American Tobacco Australasia advised the industry that it would source its tobacco requirements overseas by 2009.The remnants of the Tobacco Industry can still be viewed throughout the Kiewa Valley and adjacent regions on the former tobacco farms which still have the tobacco drying sheds and now converted into hay sheds. The problems from the large quantities of carcinogenic infused soil of farmlands in the region, still remains a problem now and for future generations. This particular photograph shows the lack of understanding by farmers, at that time, and is demonstrated by the lack of protection of hands and no masks over their noses, when handling plants. Hand, nose and foot protection was rarely used, even when later warnings were issued of the carcinogenic toxicity of the soil. The majority of farm owners, up until Health authorities stepped in the latter stages of 1900s, were skeptical of city scientists' "carcinogenic" health warnings and it was only after the younger generation of farmers, who had graduated from Agricultural colleges, encompassed the scientific approach to farm management. The "she'll be right mate" attitude of the farming/rural community has since the 1970s been slowly dissipating. Stricter controls of herbicides and pesticides used in agriculture are now in force. The death of the tobacco industry(2006) resulted in the expansion of the dairy , sheep, beef cattle, venison and lama wool producers in the Kiewa Valley and surrounding regions.Coloured photograph pasted onto a thick wood chip backing. Two galvanised eyelets at the top of the frame, 50mm from each end, with a twine cord stretch from each, for hanging purposes. See also KVHS 0054A to KVHS 0054C and 0054E to KVHS 0054FA sign, which has been removed from the picture at some previous point in time is "The Tobacco fully grown prior to start picking"tobacco, farming, rural industry, licences, ollie mould, blue mould, benzol vapour