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Mission to Seafarers Victoria
Photograph - Mounted photograph, Black and white, Theological Faculty - King's College - London University - June 1919, 1919
Frank Leslie Oliver is photographed here in King's College, London in June 1919. Second row standing 8th from the left. According to his autobiography Frank Oliver, senior Chaplain from 1930-1960 at MtS, studied primarily at Trinity College, University of Melbourne after war service in the Army Medical Corps. Established in 1829 under the patronage of George IV, King's College is one of the oldest and most distinguished centres for the study of classical languages, literature, thought, religion, art, archaeology and history in the UK.Black and white mounted group photograph. Many in the group are wearing military uniform In black ink along the lower edge of mount: Theological Faculty - King's College - London University - June 1919kings' college, london university, student, theology, padre oliver, padre frank leslie oliver -
Mission to Seafarers Victoria
Photograph - Digital photograph, Geraldine Brault, 25 August 2019
Sponsored by Alfred M. Nicholas the Deco era Mission building facing Beach street built by Architect Harry Norris opened in 1937. The building was then in WW2 requisitioned with the Mission returning to full use of the complex some years after the War ended. The building in later years was relinquished due to decreasing shipping at Port Melbourne and need to consolidate seafarers services in the Central Mission at 717 Flinders St. The building was used as an art centre just prior to demolition in the 1990s. The Port Melbourne Historical and Preservation Society was instrumental in ensuring the the old foundation stone was preserved in the sea wall opposite the original site. A single brick from the building is also part of the MtSV Heritage Collection. This stone is one of the few items remaining from this building demolished in 1995.Photograph depicting the foundation stone laid on the 18 May 1937 for the new Mission in Port Melbourne.TO THE GLORY OF GOD/AND THE WELFARE OF ALL SEAFARERS / THIS FOUNDATION STONE WAS LAID BY / HIS EXCELLENCY THE GOVERNOR OF VICTORIA / THE LORD HUNTINGFIELD K.C.M.G. / MAY 18th 1937 / THIS BRANCH INSTITUTE OF / THE VICTORIA MISSIONS TO SEAMEN / WAS ERECTED THROUGH THE GENEROSITY OF / ALFRED M.NICHOLAS ESQ. / OFFICE OF HARRY A.NORRIS ARCHITECTSfoundation stone, lord huntingfield, port melbourne, beach street, art deco, brick, harry a. norris, alfred m. nicholas, maurice nicholas -
Mission to Seafarers Victoria
Painting, Dr Larisa (Lara) Bardsley, The Spirit at the Station, 2013
On a drizzly day, viewed from from the beach at Port Melbourne, the Spirit of Tasmania sits waiting for her cargo at Station Pier.Maritime ArtLarge black and white painting depicting the Spirit of Tasmania in Port Melbourne"Greyer than ..."anl maritime art prize, lara bardlsey, 2013, larisa bardsley, spirit of tasmania, port melbourne, station pier, artwork-paintings -
Mission to Seafarers Victoria
Poster, Art, Labour and Working Life, 2018
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 -
Mission to Seafarers Victoria
Plan - Architectural Plan, Louis Reginald Williams, Plans for the Port Melbourne Mission to Seamen by Louis R.Williams of F.R.A.I.A Architect, c. 1936
In 1936, the old Port Melbourne building dating from 1888 was too small and not longer suitable for the purpose of the mission. So architects were asked to design a new building. Harry Morris 's project was chosen.Louis Reginald Williams (1890–1980) was s sought after ecclesiastical architect in Australia. He designed churches throughout the country, particularly in Victoria. The Anglican Church was his major client but he also Methodists, Presbyterians, Lutherans and Christian Scientists churches. Williams was probably the major church architect in Australia in the Arts and Crafts tradition from the 1920s to the 1970s.Plans port melbourne, louis reginald williams, louis reginald williams (1890–1980), arts and crafts, art deco, harry norris -
Mission to Seafarers Victoria
Flyer - Invitation, ANL Art Prize 2018
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Mission to Seafarers Victoria
Flyer - Invitation, Invitation to Emmanueli Collection, 2018
The Mission to Seafarers hosted an art auction on July 12 2018, with works by well-known artists such as R_O_N_E, photographer John Gollings, illustrative artist Jeremy Kyle and Catherine de Boer who brought together their work, as well as her own, into the same room. During an attempt to climb Mt Kilimanjaro in Tanzania Catherine de Boer, promised the guide who helped her, Emmanueli to finance his studies and get his diploma in safari guiding and wildlife management. On the Go Fund Me page Catherine explains: By running this type of event, the Mission to Seafarers demonstrates its support to the Community,emmanueli collection, auction, catherine de boer, tanzania, mount kilimanjaro, community -
Mission to Seafarers Victoria
Badge, K. G. Luke, The Missions to Seamen, early to mid
The manufacturers K.G. Luke were a well known Melbourne Jeweller and manufacturer of badges buttons, silver and dec art objects for the home.Badge is visual representation of ongoing support and/or association with MTS. Round enamel badge with navy Flying Angel flag on a pale cream ( originally white?) background and "The Missions to Seamen" inscription. A pair of identical badges."K. G. LUKE MELB" stamped on backmission to seamen, enamel badges -
Montmorency/Eltham RSL Sub Branch
Poster - Reliefs, A Folder of Performances about the Victoria Cross Winners from the Crimean War, Estimated date 1887
A folder of hand painted reliefs of Victoria Cross winners from the Crimean War, made in commemoration of Queen Victorias' Jubilee. Multicoloured prints on a white background.Twelve reliefs portraying the various deeds of valour performed by Britains soldiers from the Crimean War to the present day. (1887)soldiers, queen victoria, reliefs, crimean war, commemoration, victoria cross, deeds of valour, britain, 1880s -
Mission to Seafarers Victoria
Photograph - Photograph, Black and white, Bill Doyle (Reverend C.J. Eldridge-Doyle), 1948-1954
Small b & w photograph depicting 1930's Mission to Seafarers building at Port Melbournemission, port melbourne, art deco, harry a. norris, alfred m. nicholas, brick, beach street, huntingfield hall, king george v memorial building, seamen mission, mission to seamen, mission to seafarers, 1937, phone booth, phone box, bill doyle -
Mission to Seafarers Victoria
Photograph - Photograph, Black and white, Bill Doyle (Reverend C.J. Eldridge-Doyle), 1948-1954
large b & w photograph street view of the Art Deco Mission in Port Melbourneart deco, mission, harry a. norris, alfred m. nicholas, brick, king george v memorial building, beach street, port melbourne, 1937, seamen mission, mission to seamen, mission to seafarers, phone booth, bus stop, bill doyle -
Mission to Seafarers Victoria
Artwork, other - Art installation, Dagmar Udhe, Leap of the Heart: Ultramarine perspex oval shape by Dagmar Udhe, 1998
See document 1507Information for the brochure (http://www.artdes.monash.edu.au/globe/issue8/tbtitle.html) Construction in Process VI The Bridge, Melbourne Event: March 21-31 1998 Exhibition April 1-30 1998 During Construction in Process (CIP) III at Lodz, Poland in 1991, Emmett Williams and other participating artists initiated the idea of a biannual "performance" of their project in different cities and sites around the world. In the first instance, CIP was a response to the strictures of museum contained commodification of art practices and the dissolution of communism. And with this agenda in mind, their events affirm the active participation of international artists with local infrastructure and site specific materials. The organisation of the 1998 CIP in Melbourne, titled "The Bridge", took Richard Thomas, Katherine Armstrong, Gail Davidson and the legion of others over two years of dedication. And they brought off one of the most open-ended, logistically challenging conceptual events this metropolis has witnessed. The following photo essay provides a personal survey of the "The Bridge", as I saw it transpire around me. German artist Dagmar Udhe created several art installation in Swanson Dock and the Mission. This plaque was placed either in the dome or outside the dome. It may have been forgotten or left intentionally by the artist.PerformanceUltramarine ovoid shaped perspex plaque attached to the wall in the entrance of the Mission (Flinders Street).art installation, dagmar udhe, cultural events, artwork-paintings -
Mission to Seafarers Victoria
Ceremonial object - Candelabra, Unknown
The pair of candelabras appear to have been used in the chapel of the Art Deco Mission, Port Melbourne built in 1937 as shown on the postcard from the Rose Stereograph Co serie. The building designed by Harry Norris was demolished in 1995. They were donated along with the cross and the organ to the central mission, Flinders Street.Pair of brass candelabra candelabra, chapel -
Mission to Seafarers Victoria
Photograph, French sailors at zoo - Madame Lion & Miss Godfrey, 1917
Marie Lion migrated with her sister, Berthe Mouchette and her husband in 1885. Berthe established an art school in the city. After the death of her husband the sisters purchased a school, Oberwyl, in St Kilda in 1885. The school was later one of the LHLG schools. Berthe was the founder of the Alliance Française of Melbourne in 1890. With the Great Depression, the sisters had to sell Oberwyl and moved to Adelaide. They returned to France during WWI to nurse wounded soldiers. And returned to Adelaide in 1916 after Marie contracted an infection. She was the South Australia representative of the "Société d’assistance maternelle et infantile". After the end of the war a number of French villages were ‘adopted’ by cities in Australia. Dernancourt, a small village in the Somme was adopted by Adelaide, and Mme Mouchette and Mme Lion worked to raise funds to help in the rebuilding of the almost completely destroyed town.The picture shows the link with the French community. Ethel and her sister Frederica Godfrey could speak French and were well acquainted with the members of this community: Charlotte Crivelli for example. Frederica was secretary of the Alliance Française of Melbourne in the early 1900, in 1917 she also became Honorary Secretary of the French Red Cross, funded by Charlotte Crivelli.Portait of two ladies standing in the middle with 3 soldiers from the French Navy, a wounded digger and a young man.French sailors at zoo / Madame Leon (Lion is the correct spelling) & Miss Godfreylion, marie (1855–1922), mouchette, berthe (1846–1928) nee lion, alliance française of melbourne, société d’assistance maternelle et infantile, france, french, zoo, french red cross, crivelli, charlotte (1863–1956), anzac, french navy, oberwyl, ethel augusta godfrey 1861-1935, frederica godfrey -
Mission to Seafarers Victoria
Book, Nautical Association of Australia Inc, ANL, A Fleet History of Australian National Line 1957-1999, 2020
Australian National Line (ANL) began operations on 1 January 1957. It operated the largest fleet in coastal trade, ran passenger ships such as Princess of Tasmania and Empress of Australia that became household names, and from 1969 carried the Australian flag into international trades. ANL was at the forefront of innovation in bulkships, RoRo vessels and containerization, also in the redesign of ports and terminals. Many of its 110 ships were built in Australia. This impressive record of achievement eventually became overshadowed by financial woes, poor industrial relations and a difficult relationship with government that culminated in the sale of 1998-99. This fleet history, written and informed by the knowledge, experience and insight of those who sailed on and worked with the ships, weaves the stories of a complex forty-year transition from conventional shipping to modern bulk handling and containers, along with the nation-building role of the ANL, whose flag still flies proudly across the region as a subsidiary of the French CMA CGM. The book is lavishly illustrated with over 300 images, mostly in colour, and will become an essential source on Australia's 20th century maritime history.A4, hardcover, 349pp, 300 illustrations, index, flags, funnels, hull colours, bibliography, full ships lists. Howard Dick, Iain Steverson, Mike Carolin, Barry Pemberton, Lindsay Rex, Rex Cox, Russell Priestnon-fictionAustralian National Line (ANL) began operations on 1 January 1957. It operated the largest fleet in coastal trade, ran passenger ships such as Princess of Tasmania and Empress of Australia that became household names, and from 1969 carried the Australian flag into international trades. ANL was at the forefront of innovation in bulkships, RoRo vessels and containerization, also in the redesign of ports and terminals. Many of its 110 ships were built in Australia. This impressive record of achievement eventually became overshadowed by financial woes, poor industrial relations and a difficult relationship with government that culminated in the sale of 1998-99. This fleet history, written and informed by the knowledge, experience and insight of those who sailed on and worked with the ships, weaves the stories of a complex forty-year transition from conventional shipping to modern bulk handling and containers, along with the nation-building role of the ANL, whose flag still flies proudly across the region as a subsidiary of the French CMA CGM. The book is lavishly illustrated with over 300 images, mostly in colour, and will become an essential source on Australia's 20th century maritime history.naa, anl, australian national line, interest group, shipping companies -
Mission to Seafarers Victoria
Postcard, Rose Stereograph, The Huntingfield Concert Hall, Mission to Seamen, Port melbourne, c. 1937
Black and white postcard showing interior the chairs in front of the stage in the Huntingfield Hall of the Port Melbourne MissionInscription handwritten in blue ink. stage, piano, chairs, events, concerts, lhlg, george v memorial institute, port melbourne, seamen's mission, huntingfield hall, curtains, woodfloor, harry a. norris, art deco -
Mission to Seafarers Victoria
Article - Copy, Australian Glass Manufactures, Seamen's Mission Melbourne - Crucifix Plan Is Dominant Characheristic, May 1938
Article describing the 1937 Port Melbourne building.Four pages from the magazine Décoration and Glass with 5 pictures of the Art Deco mission in Port Melbourne built in 1937.non-fictionArticle describing the 1937 Port Melbourne building.harry norris, port melbourne, king george v memorial building, art deco, 1937 -
Mission to Seafarers Victoria
Book, Gavin Fry, Ray Honisett, An Illustrated Life, 2021
The first comprehensive study of the life and work of Ray Honisett [1931-2019], one of the most significant illustrators of his generation and the doyen of Australian aviation art.164 pages, softcover with colour illustrations.non-fictionThe first comprehensive study of the life and work of Ray Honisett [1931-2019], one of the most significant illustrators of his generation and the doyen of Australian aviation art.ray honisett, gavin fry -
Mission to Seafarers Victoria
Book, Nautical Association of Australia Inc, A Lucky Ship – Nine Lives of Australian Coaster Tambar 1912-1960, 2013
This high-quality book is the extraordinary story of an ordinary little ship that had a long and eventful life. Perhaps few Australian coasters have had a more interesting and varied history. Built in Scotland in 1912 for the North Coast Steam Navigation Company, Tambar worked as a lifeline to isolated river and island communities, first in New South Wales, then for the Tasmanian Government and Holymans in Bass Strait (King Island) and as the last steamer serving the Gippsland Lakes. In between she even spent a few years in Papua New Guinea. When World War II broke out, Tambar was commissioned into the RAN as an auxiliary minesweeper, but after the terrible Darwin air raid in 1942 became the first vessel of the newly formed Salvage Board, later assisting in the search for survivors of the Battle of the Coral Sea. Returning to Bass Strait in 1944 for a few more years, she then spent the 1950s on standby as a salvage vessel in Melbourne, working on Merilyn, Terawhiti, E.J. Fairnie, and River Burnett. Craig Mair grew up in Grangemouth, Scotland where Tambar was built, and became interested after inheriting a builder's model from his father. He has consulted thousands of records, including the ship's logs, tracked down witnesses, and assembled over 100 photographs and maps to give a unique insight into Tambar's story, and coastal Australia in the middle decades of the twentieth century, before roads took over the transport task. Besides many colourful stories of shipwrecks and strandings, strange cargoes, salty characters, exotic places, wartime air raids, and salvage jobs, the book includes a definitive account of the worst Second World War 'friendly fire' incident in Australian waters in Moreton Bay in 1942.250 pages, Appendices, Bibliography and Indices, extensively illustratednon-fictionThis high-quality book is the extraordinary story of an ordinary little ship that had a long and eventful life. Perhaps few Australian coasters have had a more interesting and varied history. Built in Scotland in 1912 for the North Coast Steam Navigation Company, Tambar worked as a lifeline to isolated river and island communities, first in New South Wales, then for the Tasmanian Government and Holymans in Bass Strait (King Island) and as the last steamer serving the Gippsland Lakes. In between she even spent a few years in Papua New Guinea. When World War II broke out, Tambar was commissioned into the RAN as an auxiliary minesweeper, but after the terrible Darwin air raid in 1942 became the first vessel of the newly formed Salvage Board, later assisting in the search for survivors of the Battle of the Coral Sea. Returning to Bass Strait in 1944 for a few more years, she then spent the 1950s on standby as a salvage vessel in Melbourne, working on Merilyn, Terawhiti, E.J. Fairnie, and River Burnett. Craig Mair grew up in Grangemouth, Scotland where Tambar was built, and became interested after inheriting a builder's model from his father. He has consulted thousands of records, including the ship's logs, tracked down witnesses, and assembled over 100 photographs and maps to give a unique insight into Tambar's story, and coastal Australia in the middle decades of the twentieth century, before roads took over the transport task. Besides many colourful stories of shipwrecks and strandings, strange cargoes, salty characters, exotic places, wartime air raids, and salvage jobs, the book includes a definitive account of the worst Second World War 'friendly fire' incident in Australian waters in Moreton Bay in 1942.naa, australian national line, interest group, moreton bay, tambar, coaster, ships -
Mission to Seafarers Victoria
Painting, Lisa Carman, S.O.S, 2019
The painting explores the mental health issues often faced by those who work at sea as a result of loneliness, isolation and illness, amongst other things. This seafarer’s face is made up of thousands of SOS Morse code symbols: dot,dot,dot dash,dash,dash dot,dot,dot. Morse code was used to signal to land that a ship or crew was in trouble. This seafarer is in trouble- his face says it all and speaks volumes. Mental health issues are often hidden when we look from afar but when we take the time to look closer and listen, the signs are often there.Lisa Carman entered this painting to the Maritime Art Prize 2019 and donated the artwork after the exhibition.Naive, Marine artLisa Carman, MTSV Collection Squared shape painting depicting a portrait in blue and dark tones of a sailor with a beard wearing a beanie. His face is made of dots using the SOS Morse code.sos, seafarers welfare, maritime art prize, 2019, lisa carman, morse code, seafarers, sailors, beanie, blue -
Mission to Seafarers Victoria
Drawing, Warren Fox, Our Mysterious Connection, 2019
Our connection to the sea is indescribable and anonymous to most. Describing it in words alone, does not it justice, hence I paint.Marine artSketch on paper in graphite depicting an ship officer in uniform, his body in the sea nearly to the shoulders. A black rectangle hidding his eyes.maritime art prize, anl maritime art prize, warren fox, 2019, officers, seafarers, artwork-paintings -
Mission to Seafarers Victoria
Painting, David Rowe, Diaspora, 2019
"Asylum seekers in great desperation."This artwork was an entry for the Maritime Art Prize 2019. David Rowe, editorial Ccrtoonist of The Australian Financial Review, has won the Art Prize in 2010.Marine artOil on canvas depicting asylum seekers in great desperation as they are helping two men in the water to get on board.mission to seafarers victoria, artwork, mission to seafarers, seamen's mission, flinders street, artwork-paintings, maritime art prize, sea, ship, 2019, migrants, migration, diaspora, asylum, desperation, sinking, david rowe, cartoonist -
Mission to Seafarers Victoria
Magazine (item) - Newsletter, Mission to Seafarers Victoria, Ship to Shore , Issue 3 2022, November 2022
... to seafarers flinders street melbourne victoria news events art prize ...Ship to Shore was first printed in 1997. Inspired by the Jottings From Our Log, this modern version is generally published quarterly (Summer, Autumn, Winter, Spring) Articles are written by the mission's staff and give updates about shipping and seafaring news, staff, events, board Committee, heritage. It is sent by post or email to supporters, members, volunteers and friends of the mission. It is also available to the public in the Flying Angel club and online on the website.Ship to Shore is a valable source of informationship to shore, mission to seamen, mission to seafarers, flinders street, melbourne, victoria, news, events, art prize, exhibitions, concerts, open house, seafaring life, shipping, sailors, seamen, sponsors, marketing, festival, flying angel, staff, chaplains, heritage, collection, archives, sue dight, 2022, maritime art prize, williamstown historical society, phillip cornish, amaga, victorian collections, vc day -
Mission to Seafarers Victoria
Magazine (item) - Newsletter, Mission to Seafarers Victoria, Ship to Shore , Issue 2 2022, November 2022
... to seafarers flinders street melbourne victoria news events art prize ...Ship to Shore was first printed in 1997. Inspired by the Jottings From Our Log, this modern version is generally published quarterly (Summer, Autumn, Winter, Spring) Articles are written by the mission's staff and give updates about shipping and seafaring news, staff, events, board Committee, heritage. It is sent by post or email to supporters, members, volunteers and friends of the mission. It is also available to the public in the Flying Angel club and online on the website.Ship to Shore is a valable source of informationship to shore, mission to seamen, mission to seafarers, flinders street, melbourne, victoria, news, events, art prize, exhibitions, concerts, open house, seafaring life, shipping, sailors, seamen, sponsors, marketing, festival, flying angel, staff, chaplains, heritage, collection, archives, 2022, maritime art prize, phillip cornish, weathervane, walter richmond butler (1864–1949) -
Mission to Seafarers Victoria
Magazine (item) - Newsletter, Mission to Seafarers Victoria, Ship to Shore , Issue 1 2022, November 2022
... to seafarers flinders street melbourne victoria news events art prize ...Ship to Shore was first printed in 1997. Inspired by the Jottings From Our Log, this modern version is generally published quarterly (Summer, Autumn, Winter, Spring) Articles are written by the mission's staff and give updates about shipping and seafaring news, staff, events, board Committee, heritage. It is sent by post or email to supporters, members, volunteers and friends of the mission. It is also available to the public in the Flying Angel club and online on the website.Ship to Shore is a valable source of informationship to shore, mission to seamen, mission to seafarers, flinders street, melbourne, victoria, news, events, art prize, exhibitions, concerts, open house, seafaring life, shipping, sailors, seamen, sponsors, marketing, festival, flying angel, staff, chaplains, heritage, collection, archives, 2022, maritime art prize, phillip cornish, weathervane, walter richmond butler (1864–1949), sue dight, theft -
Mission to Seafarers Victoria
Magazine (item) - Newsletter, Mission to Seafarers Victoria, Ship to Shore , Issue 3 2021, November 2022
... to seafarers flinders street melbourne victoria news events art prize ...Ship to Shore was first printed in 1997. Inspired by the Jottings From Our Log, this modern version is generally published quarterly (Summer, Autumn, Winter, Spring) Articles are written by the mission's staff and give updates about shipping and seafaring news, staff, events, board Committee, heritage. It is sent by post or email to supporters, members, volunteers and friends of the mission. It is also available to the public in the Flying Angel club and online on the website.Ship to Shore is a valable source of informationship to shore, mission to seamen, mission to seafarers, flinders street, melbourne, victoria, news, events, art prize, exhibitions, concerts, open house, seafaring life, shipping, sailors, seamen, sponsors, marketing, festival, flying angel, staff, chaplains, heritage, collection, archives, maritime art prize, sue dight, 2021, docklands primary school, community, docklands, covid 19, vaccination, covid vaccine, xmas, christmas, pandemic -
Mission to Seafarers Victoria
Magazine (item) - Newsletter, Mission to Seafarers Victoria, Ship to Shore , Issue 2 2021, November 2022
... to seafarers flinders street melbourne victoria news events art prize ...Ship to Shore was first printed in 1997. Inspired by the Jottings From Our Log, this modern version is generally published quarterly (Summer, Autumn, Winter, Spring) Articles are written by the mission's staff and give updates about shipping and seafaring news, staff, events, board Committee, heritage. It is sent by post or email to supporters, members, volunteers and friends of the mission. It is also available to the public in the Flying Angel club and online on the website.Ship to Shore is a valable source of informationship to shore, mission to seamen, mission to seafarers, flinders street, melbourne, victoria, news, events, art prize, exhibitions, concerts, open house, seafaring life, shipping, sailors, seamen, sponsors, marketing, festival, flying angel, staff, chaplains, heritage, collection, archives, maritime art prize, sue dight, 2021, community, docklands, covid 19, vaccination, covid vaccine, xmas, christmas, pandemic, simon burton, welfare, postcards, glass slides, nigel porteous, catherine aviss (nee frampton), herbert aviss, heritage tours, vera moore foundation, board members -
Mission to Seafarers Victoria
Flyer, Sensory Experiments, 2019
Melbourne Design Week: 14-24 March 2019 Sat 16 Mar 19, 2pm–10pm Norla Dome The Mission to Seafarers Victoria 717 Flinders St Docklands Indulge in a fleshy live experience. Reconnect with your primal being through a progression of sensorial confrontations. Recalibrate your connection to the world around you – the future depends on it. Sensory Experiments is a call for change – a Manifesto for Sensory Intelligence. Part social experiment, part philosophical inquiry and a fully immersive performance piece, this innovative project is forged from a collaboration between two of the city’s (and, indeed, the world’s) most progressive and inquiring minds. An eclectic cohort of creative contributors has been assembled to design a provocative experience intended to awaken the senses. Allow internationally renowned chef Justin James (Executive Chef of Vue de monde and Iki Jime and previously of Eleven Madison Park & Noma Copenhagen) to reignite your sense of taste. Avail yourself to floral artist Hattie Molloy’s interrogation of sensual perception with her reckoning of the Sublime. Absorb and participate in live-choreographed performances, and be aurally challenged by the masters behind the Sydney Opera House’s iconic acoustics. Come, bear witness, bring curiosity. Immerse yourself in this never-before seen collective. Guided by Sense Whisperers, you’ll wander through a series of live, uniquely designed corporeal experiences. Your emotional and physical responses will leave a digital imprint as the results of Sensory Experiments are transmitted in real time. Connect to self, connect to others, and connect to nature – and leave your mark on a living, breathing manifesto for living. Project Partners Matt Tambellini, More Studio and Mr. Kyle Mac, Design and Web Amara Speechley, Curated by, Marketing, PR & Partnerships Damien Boecasse and Erika Hirzinger, Event Production & Project Management Event Partners Justin James, Edibles Hattie Molloy and Emma Proudfoot, Flower Art Mihan Aromatics, Scent Design Chelsea Kate Evans, Performance Direction Samantha Iliov and Holly Simpson, Ensemble Studio, Costume Rachelle Austin, Olivia Reddan and Holly White, Set Stylists Isabel Johnson, Ed Supreme, Messaging and Copy Arup, Soundscape Design Hayden Sommerville, Videography Belle Nowak, Social Media Pord, Wine Tasting Noomi, Seating Website inscapesprojects.com Instagram: @inscapesprojectsA4 size flyer on creamy colour papercultural events, sensory experiments, ngv, national gallery of victoria, melbourne design week, 2019, community, norla dome, incas projects -
Mission to Seafarers Victoria
Article - Survey, Bronwyn Hughes, The Art of Light: a survey of stained glass in Victoria, December 1990
Introduction Early Stained Glass in Victoria "Marvellous Melbourne" The Aftermath of the First World War Post-1945: Australian Modernism Conclusionnon-fictionIntroduction Early Stained Glass in Victoria "Marvellous Melbourne" The Aftermath of the First World War Post-1945: Australian Modernism Conclusionla trobe journal, state library of victoria, bronwyn hughes, stained glass window -
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)