UnknownLine drawing of a cheetah reclining and looking over its shoulder to the right. Mounted in pale cream matt. In red wooden frame with glass glazing.Front: M. Macq (lower left, signature)(pencil) Back: "Cheetah" $65 Drawing Mary Macqueen Iowen St East Kew 3102 803155

Port of Portland CollectionModel of a ship. Hull is painted in black (above water line) and burgundy (below water line). Ship has three masts, a smoke stack (black with red stripes) and a white super structure with portholes. Supported on brass stands. Housed in a timber and glass case. Label in case.Front: T.S.M.V. Clan MacDougall Length BP 475', Breadth 64'-6", Depth 41½. Built by the Greenock Dockyard Co. Ltd. for Clanline Steamers Ltd., London.port of portland collection

A permanent record of who attended Watsonia High School - both student and teacher in 1967 - includes photographs and articles on school activities. The donor of this copy, Glynne Cousins Pietzsch was a member of the magazine committee for this edition.Annual record of teaching staff, students and events that took place over the year by using both photos and reports.68 Pages, orange cover, Title "Kurnaji" in black ink. Cover illustration - black ink line drawing of students in school grounds. Letter to Glynne Pietszch pasted inside front cover.watsonia high school, yearbook, kurnaji, school magazines, glynne pietzsch, glynne cousins pietzsch

Ian Parry (born 1947) is a Melbourne-born artist living in Tasmania, active since 1974 and collected by National and State Collections. He was winner of the 1990 ACTA Maritime art Prize. He also took part in 2006, to the ANL Art Prize organised each year at the Mission since 2003. In his biography on his website: Ian Parry was born into a family of seafaring descent. His extensive career as a respected practising artist and teacher, has uniquely included a fishing fleet apprenticeship and years as a single handed fisherman in Bass Strait. "In the early 70's when I first showed at the renowned Powell St gallery in Melbourne, the paintings were large, abstract, with allusion to the experience of the world of water, sky and land. My visual world has always been permeated with the wet parts of this place and continues to be so to this day. Maritime and geological charts and the daily necessity of plotting a course, appear in paintings where necessary, as a means of getting a schematic representation of the subject into play, trying to free the work from the tyranny of the horizon line but frequently returning. Now-a-days I am returning to abstraction, making paintings that allow me free rein with colour and composition, aiming for a sense of permanence and independence in each work." Maritime ArtLarge moulded gilt wood frame, non glazed painting of shipping, oil on canvasSignature and date bottom right corner: "Parry 89"p & o nedloyd, shipping, melbourne ports, docklands, wharfside, wharves, ian parry, maritime art, acta maritime art prize, artwork-paintings

Ninety-page magazine printed on glossy paper. Front cover is red with a ship outlined in black. All printing is white. Back cover advertises the Maersk shipping line,is predominantly blue with a photo of a container ship and the Maersk logo of a white seven-point star set in a blue square.This is the second edition of this magazine published by Lloyd's List Australia and produced by Informa Australia Pty Ltd. It contains the stories of twenty-five shipping industry representatives as well as some advertisements. lloyd's list australia

Paper menu, printed with black text, with blue string and red flag design on front "MV Napier Star Blue Star Line/ Voyage 33/ Master Capt. J C Mackintosh/ The ship wishes our Chief Officer/ Mr Jan C Woods/ A very happy birthday/ At sea in the Carribean Homeward Bound/ Chief Steward M A Collier/ Chef R N Wescott Toms/ 21st June 1964/ Buffert Luncheon/ Consomme Froid/ Salmon Mayonnaise/ Dince Roti aux Norfork/ Jambon a la York/ Langue de Beouf/ Salmisaucisse/ Salades/ Laitues Tomates Pomme de tere/ Betteraves & Oignons Russe Macedoine/ Fraises et Crème/ Fromage Biscuits Café"

Large paper document including colour illustrations of Melbourne Harbor Trust shield and other shields. Includes three wax seals attached to document with blue ribbon."To All and Singular to whom these presents shall come, Sire Anthony Richard Wagner/ Knight Commander of the Royal Victorian Order Garter Principal King of Arms. Sir John Lunamace Heaton Arm/ Strong Knight, Member of the Royal Victorian Order. Clarenceux King of Arms an Aubrey John Toppin Esquire/ Commander of the Royal Victorian Order. Norroy and Ulster King of Arms Send Greeting! Whereas Victor/ George Swanson. Esquire upon whom has been conferred the Australian Efficiency Decoration Chairman of the Melbourne Harbor/ Trust Commissioners hath represented unto The Most Noble Bernard Marmaduke, Duke of Norfolk, Knight of the Most/ Noble Order of the Garter Knight Grand Cress of the Royal Victorian Order, Earl Marshal and Hereditary Marshal of/ England and one of Her Majesty's Most Honourable Privy Council that the Melbourne Harbor Trust Commissioners is a body/ corporate with perpetual succession and a Common Seal duly constituted by Act of Legislature of the Colony of Victoria number/ DLII bearing date Twenty second day of December 1876 the said Act having been amended from time to time and various Acts passed consolidating such amendments that under the said/ Act the exclusive management and control of the port and the preservation and improvement of the port generally as vested in the said Commissioners. That the Melbourne Harbour Trust/ Commissioners being desirous of having Armorial Bearings, Supporters and a Device or Badge duly assigned under lawful authority and he hath therefore requested the favour of His Grace's/ Warrant for Ouigranting and assigning such Armorial Ensigns and in the same Patent such Supporters and such Device or Badge as may be proper to be borne and used by the Melbourne/ Harbor Trust Commissioners on Seals otherwise accoding to the Laws of Arms. And forasmuch as the said Earl Marshal did by warrant under his hand and Seal bearing date the Sev-/ enth day of March 1962 authorize and direct Us to grant and assign such Armorial Ensigns and such Supporters and such Device or Badge Accordingly. Know ye therefore that we/ the said Garter Clarenceux and Norroy and Ulster in pursuance of His Grace's warrant and by virtue of the Letters of Patent of Our several offices to each of us respectively granted do/ by these Presents grant and assign unto the Melbourne Harbor Trust Commissioners the Arms following that is to say: Azure a representation of the constellation of the Southern Cross/ Argent on a Chief enarched on five Pallets of the first. And for the Crest Out of a Coronet composed of eight Masts each with sail set and upon Rim Or in front of a Bollard proper/ two Anchors in saltire Azure Mantled figure doubled Argent as the same are in the margin here of more plainly depicted. And by the Authority aforesaid We do/ further grant and assign the following Device or Badge that is to say: Two Anchors in saltire Argent as here depicted And by the Authority aforesaid the said Garter/ do by these Presents further grant and assign unto the Melbourne Harbor Trust Commissioners the Supporters following that is to say : On either side a Sea Horse/ (Hippocampus) or collared and lined Gules in front of a representation of the Melbourne Harbour front proper as the same are also in the margins here of more/ arms plainly depicted the whole to be borne and used forever hereafter by the Melbourne Harbour Trust Commissioners on seals otherwise according to the laws of/ Arms. In witness whereof we the said Garter Clarenceux and a Norroy and Ulster Kings of Arms have to these presents subscribed Our names and affixed the seals/ Of our Several offices this fith day of March in the Twelfth Year of the reign of our Soveriegn Lady Elizabeth the Second by the Grace of God of the United Kingdom of Great/ Britain and Northern Ireland and of Her other Realms and Territories Queen head of the Commonwealth Defender of the Faith and in the years of Our Lord One Thousand nine/ hundred and sixty three" "Prosperity Through Service"

Craven-A box with Perspex at front secured by screws. Box contains 14 items including calliper, metal knife, three wooden cogs, stone item, hand palm protector, needle, line (rope), two Fids, scissors, threader, Virginia Cigarettes metal box used to represent beeswax. There is a piece of typed paper identifying different items. Piece of paper ‘These are some of the hand tools and equiopment used by sailors and sailmakers throughout the ages of sail and steam./?Hand palm (used) for pushing needles through canvas sails ans heavy lines (rope)/ Fids for opening up lines for splicing/ Needles for passing through canvas and lines/ beeswaz for preservation of twine used in sailmaking and splicing/ Gauges measuring rope thickness/ Curved scissors for cutting canvas and twine/ Threader for threading twine through rope and canvas.

A poster printed by the RMIT in 2018, to promote an exhibition of works at the MTSV about the interelationships between labour, working life and artistic practice. BACKGROUND The Work of Art was an exhibition about labour, working life and artistic practice. The exhibition explored three aspects of art's relationship to work: (1) artworks about contemporary labour, (2) the labour of art-making itself and (3) the often precarious aspects of life as a working artist. Throughout the exhibition, different artists "worked" from the space of the gallery, revealing the layers of manual, emotional and intellectual labour involved in the work of art. CONTRIBUTION I was invited to develop the exhibition by the "Murphy Group", a group of researchers at RMIT. As the lead co-curator for the exhibition, I researched the history of artistic responses to working conditions. Through this process I identified a gap - while many artists have explored the conditions of labour and working life in their artworks, fewer have drawn attention to the working conditions of artists themselves. This became a key theme in the exhibition. The exhibition presented the work of nine contemporary Australian artists, including high profile and mid-career artists like Bindi Cole and Bek Conroy, alongside the work of emerging artists. In addition to the display of artworks throughout the space, five artists worked performatively, bringing to life the processes and manual labour involved in artmaking. A public forum extended the complex discussion on the relationship between art, work and labour. SIGNIFICANCE The works were presented in the context of a public space that has a strong relationship to contemporary labour - the Mission to Seafarers in Docklands. The Mission to Seafarers is a working mission that provides support to ship-workers. Presenting the works in this space created a real connection between the artworks and the lived experience of precarious labour. The exhibition reached a large audience including over 1000+ visitors in 10 days. It fostered a high engagement on social media and attracted media coverage including a feature in ArtsHub.A record of the ongoing involvement of the MTSV in art, and working with the art community by providing a suitable venue and display space.A3 size yellow paper promotional poster, double-sided. Three-quarters of the front of the poster is covered with the repeated line "Art, Labour & Working Life" in large font, to form ten rows. These rows are in outline form except for picked out words which are in entirely black characters and these cascade down, a row at a time, a word at a time, to form the same line ("Art, Labour & Working Life"). rmit, 2018, events, labour, working life, artistic practice, hiring event, cultural events, multimedia, nicholas walton-healey

Dress jacket worn by Corporal Kathleen Phyllis Gill from Toorak Hill, Casterton. Army No. VF345716 Unit LHQ (Mil. Sec)Lined women's khaki dress jacket. Long sleeved. Wool polyester. Four metal buttons down the front with the inscription Australian Military Forces with a map of Australia in the center with a crown at the top of the map. Two hip pockets on the left and right with a flap on each. Two pleated pockets over the left and right breasts with flaps and small metal buttons inscribed Australian Military Forces with a map of Australia in the center with a crown at the top of the map. Australian Military Forces badge on the upper left lapel Two epaulets on the left and right shoulders with two small buttons inscribed Australian Military Forces with a map of Australia in the center with a crown at the top of the map. AWAS (Australian Women's Army Service) badges at the base of each epaulet. Corporal's stripes 6 cm down the right sleeve. Unit patch red over black - LHQ (Mill Sec). Two vertical belt loops at the back on the left and right. Pleat opening at the back. Horizontal strip of material inside the collar at the back of the neck to hang jacket. Tag sewn onto the lining at the back 2.5 cm down from the top stating - V 579 Made in Australia D. broad arrow D. 1943 Size kathleen gill, wool polyester, women's dress jacket

Owned by Sig. L. W. Hanger who enlisted in February 1942 at Caulfield and was discharged in December 1945. Last posting was with 5 Aust. Jungle Trunk Line Maintenance Section with rank of Lance Corporal. Note: Although these helmets were designed for Motorcycle Despatch Riders, they were also widely used by the 1st Australian Parachute Battalion from 1943-1945 due to a lack of available British Steel Airborne Helmets. Despatch rider's helmet made of Duperite (similar to Bakelite) with leather wraparound side and back below helmet. Cloth webbing inside for firm fitting. (See photos for detail of leather wrap and internal webbing). Chinstrap buckle and tongue attached to leather wrap.External front of helmet: ink-stamped Despatch Rider insignia Name (Inside on webbing support): Sig. L.W. Hanger Service Number (Inside on webbing support): VX74482 Manufacturer's Label (inside): Duperite 1942 Made In Australia THIS HELMET IS SUITABLE FOR HEAD SIZES 6 3/4 TO 7 MODEL No. 2200/2 (See photos for more detail of Label)

Ready reference handbook for Australian Defence Force personnel serving in Iraq.Ready reference handbook for Australian Defence Force serving in Iraq.Small rectangular printed spiral bound black and white unclassified Iraq handbook used as a ready reference for Australian Defence Force personnel sereving in Iraq. Handbook contains nine sections over 58 pages. Front and back clear plastic protective cover. Colour logo of the current Australian Defence Force on the front cover. Colour logo of the Australian Theatre Joint Intelligence Centre and date on back cover. Colour logo of the Australian Defence Force printed on the front cover. The words "Iraq Handbook" printed on front cover. Black printed rectangular line border on front cover. Black printed rectangular line border on back cover. The words "Printed February 2003" printed on back cover. Colour logo of the Australain Theatre Joint Intelligence Centre printed on back cover. The handbook contains a purpose page and nine sections of contents over 58 pages.iraq war. handbook. australian defence force. unclassified.

MV Neptunia ship's menu for the February 1959 equator crossing. Extra historical context by the addition of ship's passengers and crew signing their names and providing contact details. Representative cruise ship paraphernalia of the period, showing the significance and tradition of celebrating a ship's crossing of the equator. Ship's restaurant menu consisting of single folded light card, with vivid watercolour painting of flowers of orange and purple on the front cover. On opening the card, printed menu selection in Spanish is on the left and is in English on the right. Guests and crew have signed randomly over and around the menu listings. menu, crossing-the-line, equator, neptunia, nick garlick

Identification plate is for the Royal Australian Mechanical and Electrical engineers (RAME), 3rd Military District, vehicle number 743.Vehicle identification plate used by the Australian Army.Small square shaped steel metal plate. Khaki coloured paint on rear face. Blue, yelow and red horizontal painted stripes on the front face. White coloured numbers with a narrow horizontal white line painted on front face. Small hole drilled through the plate on the top.Horizontal blue, yelow and red horizontal stripes. Number 3 on top of a narrow horizontal white line with the numbers 743 underneath.vehicle, identification, plate, rame, 3rd military district

Used by Australian Army circa 1960sFelt lined khaki green stitched water canteen cover with two metal press studs on the top front of the cover used for attaching the top to the front. There are four stitched lines on the front of the cover from the top to the bottom. The cover has stitched reinforcement around its top opening. A metal belt loop attached is stitched to the back of the cover with webbing.cover, canteen, khaki, australian army

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

One of a collection of over 400 photographs in an album commenced in 1960 and presented to the Phillip Island & Westernport Historical Society by the Shire of Phillip IslandColour tinted photograph of coastal scene at McHaffie's Reef. Figure of a man on the beach centre foreground,promontory in the background.Scene McCaffey's Reef Cowes - as is on the front of the postcardlocal history, photography, mchaffies reef cowes, colour tinted photograph, coast line, mchaffies reef westernport, john jenner, bryant west

The scene on the postcard depicts the Spanish courtyard (or Cloisters) as a space within the Mission to Seafarers Melbourne. The view to the courtyard is from the Celia Little Room. The Spanish mission design was inspired by a need to make the 1917 Mission complex at Flinders st extension distinctive and easily found. (ref Church and Sailor journal) This scene shows the way in which the courtyard leads into the Chapel and that it is a large space for varied uses.Sepia toned scene on front of postcard depicting "The Cloisters" or Spanish Courtyard at Mission to Seafarers Melbourne. There is ivy growing up the pillar to the right of the scene, tall plants in the garden bed in the corner of the courtyard and pots with plants placed between the archways to the rear of the photograph.Label on front of postcard: "No. 9 THE CLOISTERS, MISSIONS TO SEAMEN, MELBOURNE, VIC." Reverse of postcard: "POST CARD/A Real Photograph Produced in Australia" There is also a divided line down the centre of the reverse for writing a message.plants, cloisters, ivy, pillars, archways, seamen's mission, mission to seamen, mission to seafarers, st peter chapel, spanish courtyard, melbourne, flinders street, valentine's postcards, real photo series

This photograph is representative of the relationship between the Mission to Seafarers Victoria and the Anglican Church. The image also historically depicts the courtyard at the Mission to Seafarers Victoria from approximately the early 1950s.Reverend Frank Oliver served as Chaplain at the Mission to Seafarers Victoria for almost thirty years. The photograph shows the historical ties between the Mission and the Anglican Church towards the end of Oliver's chaplaincy in the 1950s. Standing in back row on the left is Rev Alex Crigan, Assistant Chaplain. Black and white photograph with a white border. Pictured are 18 men, 15 of which are wearing white collars of the church. They are positioned in two rows; the back row consists of ten men, the front row has eight men. All the men in the front row have their arms crossed, and many in the back row appear to have their arms behind their backs. The men are situated in the courtyard of the Mission to Seafarers Victoria, in front of the pillars with hanging vine leaves.In blue ink (written by Padre Oliver): On the top section of the white border in blue pen reads: "5", "3", "4". "6":, "7", "8", "9", "2". Whilst the lower line of the white border reads; "11", "12", "!", "!0". These number correspond to the names and numbers on the reverse side of the photograph. This reads: "1.Cyril Brown (Gen. / 2. Peter Smith (L/R - Melb.) / 3. Roberts (T.ville) / 4. Palmer (? Hobart) / 5. Alex Crigan (Melb) / 6. Bob Clarke (L/R . W'town) / 7. John Beaverstock (L/R Melb) / 8. Joe Forstes (Melb) / 9. Nichols, Vicar. H Trinity, Port Melb. (Late Chap, T'ville) / 10. Williams (Wellington) / 11. Max (Cowle), (Port Melbourne) / 12. F.L. Oliver (Melb.). Below this is a hand-drawn line that leads to the name "COWLE" melbourne, ties, men, williams, nichols, reverend, hobart, pillars, suits, courtyard, brickwork, chair, creeper, cyril-brown, peter-smith, roberts, palmer, townsville, williamson, vicar, h-trinity, port-melbourne, wellington, alex crigan, missio to seafarers, seamen's mission, mission to seamen, conference, flinders street, padre oliver, frank leslie oliver, anglican church, alec crigan, bob clarke, reverend c.j. brown, cyril j. brown, max cowle, john beaverstock, joe forster, chaplain conferences, chaplains group

Allan Charles Quinn went to sea aged 16 and photographed his work and the places he visited. His collection of photo albums provides a pictorial autobiography for a period in his life. Included in the Allan Charles Quinn Collection are a series of letters written to and from his mother.Black and white photograph of landing docks at San Francisco. To the right of the photograph is the streetscape which includes a walking track and street lighting in front of a road and row of shops or houses. To the centre of the photograph are the ramps to reach the jetty where the yachts are moored. To the left of the photograph are the bows of a long line of yachts. In the background of the photograph there is a large multi-storeyed building.Blue/green ink, handwritten on reverse: "30/9/49" Handwritten in pencil: "K9/A"san francisco, sailing boats, ramps, promenades, allan charles quinn

This series of photographs captures life at sea and the conditions on the ship M/S "Mongabarra" in 1950. This photograph was reproduced and exhibited by the Mission to Seafarers as part of the exhibition "Letters from Abroad" in 2012.This photograph is part of the Allan Quinn collection, which is a pictorial autobiography, and it represents one of many moments of his time abroad as a seafarer.Black and white photograph of the M/S "Mongabarra" Goteborg in Eriksbergs dockyard, Gothenburg, Sweden. The ship is directly in the middle of the photograph taking from the very front of the ship in the dry-dock. There are several ladders lined up along the left-hand side of the ship beginning from the ships front. There are several wooden planks lying on the ground in front of the ship and walls either side of the ship.ship, sweden, mongabarra, allan quinn collection, allan quinn, gothenburg, drydock, shipyard, dockyard, eriksbergs, letters-from-abroad

This is one letter in a series of eighteen letters written by various seafarers to Lillie Duncan. Lillie was a member of the Ladies' Harbour Lights Guild and, as a Guild member, was strongly involved with the social activities and events organised to entertain visiting seafarers. The Ladies' Harbour Lights Guild was an integral arm of the fundraising that enabled the building of the Mission to Seafarers. These letters provide insight into a woman who was a member of the Guild as well as offering a glimpse into the social activities and courting rituals of the time.Handwritten letter consisting of four parts including an envelope and three pages of writing on front and back.Postmark on envelope: [indecipherable]/28.5 28.5/PORT SAID Company identifier on reverse of envelope: ANCHOR-BROCKLEBANK LINE/OF CALCUTTA STEAMERSletters, handwriting, 1928, mission-to-seafarers, stamps, lillie-duncan, ladies-harbour-lights-guild, lhlg, lillie duncan, ted, ss mandasor, port said, egypt, suez canal

The register documents twenty-one weddings that took place in the Mission to Seamen's church district between the 22nd of June, 1945 to the 1st of December 1962. Each certificate is a record of all the information needed to legalise a marriage under Commonwealth law, such as names, dates of birth, marital status, parents and employment. Within the register, there are two letters confirming that grooms are bachelors, and one Statutory Declaration signed by a bride, declaring she is a spinster.The register is a historical record of weddings performed at the Mission to Seamen church between 1945 to 1962.Handwritten in black ink on the front cover: REGISTER NO II (underlined) / MISSION TO SEAMEN / PORT MELBOURNE / NO 19 - / 22-6-45 - / (REGISTER NO 1. / 6-4-29 - 19-3-42 IS KEPT AT / CENTRAL).marriage, wedding, 1945-1962, register, marriages, dio-marriages, mission to seafarers, seamen's mission

Sketches of historic building from around AustraliaRecords notable Australian buildings358pages. Illustrated with line sketches. Hard cover, green. Dust jacket contains sketch of old house near Toowoomba Qld on front and sketch of old jewellery shop in Charters Towers Qld on back cover.Name and address of owner on two pages (W. A. Partington/Alan Partington)partington-family historic-buildings wendy-norris keith-norris

UnknownPrint of a landscape scene in upper half of print. In a blue and orange sky are three roundels with (l-r): an indigenous soldier (c. WWII) overprinted with red and yellow, a depiction of the view of Earth from space, and a curled snake in reds and browns. In the landscape scene are line-drawn figures, a montage of items of modern technology and a child-like drawing of houses and cars in garages.Front: 26/30 (lower left) "Unentitled" (lower centre) Rex Davies Vicki Gordon Bruce Robert Peagram Maria Gibbs P. Tsernjavski Barb Sharrock (lower left) (pencil) Back: (no inscriptions)