Showing 3416 items
matching themes
-
Eltham District Historical Society Inc
Photograph, Shire of Eltham Historical Society "Pioneers of Eltham" entry in the Eltham Community Festival Parade, 17 October 1981, 17/10/1981
[from contemporary reports:] 1981: 16-18 October. “Pioneers of Eltham” and horse drawn vehicle. This year's festival will be held from 16th to 18th October, with the festival parade being held on Saturday 17th. In recent years the Society has participated in the parade and also organised a display for the festival. We have won prizes for our parade entry for the last two years. The committee has given preliminary consideration to our participation and it has been agreed that we should again enter the procession. This matter will be discussed at the September meeting. / The Society's float in the festival parade again won a prize. This year we won the prize for the best effort by a local group, donated by Bob Clarke's Menswear. As in previous years Peter Quirke has allowed us to use his truck as a float. Peter has formerly operated his fruiterer's business at Research and Diamond Creek and has recently opened a shop in the Eltham Village Arcade. Joh Ebeli, with a little more assistance from other members than in previous years, again did an excellent job in decorating the float. Members of the Victorian Folk Music Club again accompanied us on the float and their music helped create the appropriate mood. A new feature of our parade entry was the inclusion of horse drawn vehicles owned and driven by the Hennel family of Hurstbridge. They certainly added to a highly successful day. In the last issue of this Newsletter we mentioned the award won by the Society for its entry in the Eltham Community Festival Procession. We neglected to mention the award won by member and long-time Eltham resident, Jock Read for the “Best Eltham Theme.” Jock and his horse have been a feature of Eltham parades for years and in particular have established a local tradition in leading Anzac Day parades.Colour photographeltham festival, shire of eltham historical society, 1981 -
Eltham District Historical Society Inc
Photograph, Shire of Eltham Historical Society "Pioneers of Eltham" entry in the Eltham Community Festival Parade, 17 October 1981, 17/10/1981
[from contemporary reports:] 1981: 16-18 October. “Pioneers of Eltham” and horse drawn vehicle. This year's festival will be held from 16th to 18th October, with the festival parade being held on Saturday 17th. In recent years the Society has participated in the parade and also organised a display for the festival. We have won prizes for our parade entry for the last two years. The committee has given preliminary consideration to our participation and it has been agreed that we should again enter the procession. This matter will be discussed at the September meeting. / The Society's float in the festival parade again won a prize. This year we won the prize for the best effort by a local group, donated by Bob Clarke's Menswear. As in previous years Peter Quirke has allowed us to use his truck as a float. Peter has formerly operated his fruiterer's business at Research and Diamond Creek and has recently opened a shop in the Eltham Village Arcade. Joh Ebeli, with a little more assistance from other members than in previous years, again did an excellent job in decorating the float. Members of the Victorian Folk Music Club again accompanied us on the float and their music helped create the appropriate mood. A new feature of our parade entry was the inclusion of horse drawn vehicles owned and driven by the Hennel family of Hurstbridge. They certainly added to a highly successful day. In the last issue of this Newsletter we mentioned the award won by the Society for its entry in the Eltham Community Festival Procession. We neglected to mention the award won by member and long-time Eltham resident, Jock Read for the “Best Eltham Theme.” Jock and his horse have been a feature of Eltham parades for years and in particular have established a local tradition in leading Anzac Day parades.Colour photographeltham festival, shire of eltham historical society, 1981 -
Eltham District Historical Society Inc
Photograph, Jock Read, Eltham Community Festival Parade, 17 October, 1981, 17/10/1981
[from contemporary reports:] 1981: 16-18 October. “Pioneers of Eltham” and horse drawn vehicle. This year's festival will be held from 16th to 18th October, with the festival parade being held on Saturday 17th. In recent years the Society has participated in the parade and also organised a display for the festival. We have won prizes for our parade entry for the last two years. The committee has given preliminary consideration to our participation and it has been agreed that we should again enter the procession. This matter will be discussed at the September meeting. / The Society's float in the festival parade again won a prize. This year we won the prize for the best effort by a local group, donated by Bob Clarke's Menswear. As in previous years Peter Quirke has allowed us to use his truck as a float. Peter has formerly operated his fruiterer's business at Research and Diamond Creek and has recently opened a shop in the Eltham Village Arcade. Joh Ebeli, with a little more assistance from other members than in previous years, again did an excellent job in decorating the float. Members of the Victorian Folk Music Club again accompanied us on the float and their music helped create the appropriate mood. A new feature of our parade entry was the inclusion of horse drawn vehicles owned and driven by the Hennel family of Hurstbridge. They certainly added to a highly successful day. In the last issue of this Newsletter we mentioned the award won by the Society for its entry in the Eltham Community Festival Procession. We neglected to mention the award won by member and long-time Eltham resident, Jock Read for the “Best Eltham Theme.” Jock and his horse have been a feature of Eltham parades for years and in particular have established a local tradition in leading Anzac Day parades.Colour photographeltham festival, shire of eltham historical society, 1981, jock read -
Brighton Historical Society
Evening outfit, Four piece outfit of blouse, camisole, skirt and wrap, c.1997
This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Of all the items Di donated to the Society, this four-piece Easton Pearson outfit was her favourite. When she bought it around 1997-98, it was the first time she had spent a large amount of money on clothing, and she thought it only fitting to throw a suitably elegant party at which to wear it. James Cameron's hit movie 'Titanic' had just been released, and upon discovering the recipe book 'Last Dinner On the Titanic: Menus and Recipes from the Great Liner', Di was inspired to host a Titanic-themed party for her friends. Held at her home in Brighton in 1998, the event included a string quartet, an eleven-course meal prepared entirely by Di, and a life boat in the backyard swimming pool.A four piece outfit consisting of a blouse/cardigan, camisole, skirt and wrap. Double-layered silk wrap with an outer layer of silk chiffon. Both ends feature and embroidered band of brown and black cotton, copper wire, and copper glass beads. Camisole of black and copper shot polyester rayon with wide shoulder straps and small shoulder pads. Blouse of brown silk chiffon, with a v-neck and eleven silk-covered buttons and loops at centre front. Patch pockets over front hip and full length sleeves. The neckline and sleeve edges are trimmed with copper-coloured glass beads. Full-length double-layered straight skirt with black and copper shot polyester rayon lining and silk chiffon overskirt. The skirt secures centre back with a nylon zip and botton closure. The skirt features a centre front embroidered panel of brown and black cotton leaf and flower motifs, with copper wire and copper glass beads. manufacturer's label: "Oh! Easton Pearson", "Pure Silk", "Polyester Rayon", Care label, "M"costume party, titanic, easton pearson, pamela easton, lydia pearson, australian fashion, di reidie, 1990s -
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 -
Uniting Church Archives - Synod of Victoria
Tool - Music baton
W E Herring and his wife arrived in Brighton in 1887 to live in Roslyn Street. They had both been active members of the Fitzroy Street, St Kilda church choir. In 1937 Mr Herring recalled church life in the 1880s and 1890s. Houses were scarce and to reach the Wesleyan Methodist Church in Were Street, Brighton Beach a creek which had no bridge had “to be crossed – in winter, with the help of a hurricane lamp – and it was no uncommon thing for the preacher, if he were a stranger, to arrive late and breathless, or not at all.” In 1907 permission was given to form a tennis club at Were Street and Mr Herring was its first president. He was also the Were street Methodist Sunday School Superintendent, the Were street Methodist church organist and a member of the church’s Trust. “The Sunday School had a fine set of teachers. The rows of well-drilled and disciplined young life that filled the platform on Sunday School anniversaries, and sang their songs under the baton of Mr Herring, constituted a promise that was amply fulfilled as the years rolled on.”* *”Fifty years ago : a little history of Were Street Methodist Church” : Issued in commemoration of its Jubilee by Members of the Trust 1887 – 1937. To celebrate Queen Victoria's Diamond Jubilee Mr Herring composed an anthem. The Brighton Southern Cross, Saturday 26 June 1897, page 2 reported: "The diamond jubilee has been instrumental in evoking some local musical talent. Mr W. E. Herring, organist of the Were-street Wesleyan Church, not being able to find any anthem specially suitable to the jubilee services, set his musical genius to work and composed an original piece. The words are selected from the 72nd Psalm. The music is a very tuneful and well harmonised theme, which does credit to the composer's skill and taste. The anthem was rendered twice on Jubilee Sunday at the Were street Church." Stained wood turned music baton.w e herring, were street methodist sunday school superintendent, music baton, were street wesleyan methodist church -
Nillumbik Shire Council
Print (etching and photo polymer): Imants TILLERS (b.1967 Syd., AUS) in posthumous collaboration with George BALDESSIN (b.1939 Treviso ITA – d.1978 Melb., AUS), Imants Tillers, 'Unsaid + Nameless' from the 'Baldessin & Friends' commemorative folio, 1976; completed 2016
Imants Tillers has been identified as a quintessential postmodern artist in his use of appropriation and quotation. Since 1981 he has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora. Most recently, his paintings have been concerned with place, locality and evocations of the landscape. Imants Tillers and Baldessin met on their way to the Bienal de Sao Paulo in 1975 and in the following year worked on two collaborative etching plates in Paris that were printed by Pierre Giarudon. 'Unsaid + Nameless' harks back to his experiences with Baldessin in Paris forty years ago. It is a poignant image of absence that can be read in the tradition of the momento mori. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'Unsaid + Nameless' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. In 1976 Baldessin and Tillers embarked on the collaborative work 'According to des Esseintes'; a post modern Surrealist game of consequences and sequences. In homage to his friendship and work, Tillers completed an unfinished Baldessin plate from 1976 inspired from their 'des Esseintes' collaboration. The addition of Odilon Redon's 'smiling spider' is indicative of Tiller's broader post-modern approach. Solar plate etching of Odilon Redon's 'Laraignee souriante' (The Smiling Spider) on an incomplete plate etched by George Baldessin in 1976 on Somerset paper. Other images include skewed perspectives of a wooden window frame, 'wooden' floor or table(?) folded sheet of paper and unknown apparatus. In pencil (handwritten): low plate: left '14/25' (edition); centre: 'Unsaid + Nameless' (title); right 'Imants Tillers' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)solar plate etching, george baldessin, somerset paper, spider, line, ekphrasis2018, odilon redon, appropriation, post modern, surrealism, collaboration, paris, folio -
Federation University Art Collection
Work on paper - Artwork - Printmaking, Juli Haas, "Nutone Ball" by Juli Haas, 1992
Juli HAAS (26 April 1952- 02 March 2014) Born Melbourne Juli HAAS (1952-2013) Born Melbourne Juli Haas mainly produced watercolours, artist’s books and limited edition prints using the printmaking technique of Drypoint. She often explores the lives of everyday people with her work often portraying the darker side of human nature in an interior world filled with fantasy and absurdity. Themes throughout her work incorporate the use of childhood memory, place and a sense of personal history. Inspiration is derived from observing her own environment, which is then developed into a portrayal of the absurdity and drama of everyday human situations. Haas applies layers of intense and vibrant colour, which also serves to reinforce the narrative element that runs through the work. The psychological drama that informs this narrative exposes the darker side of life, expressing elements of anger, violence and isolation. Juli Haas obtained the following qualifications: * 1994-95 Master of Arts (Research). Monash University, Victoria * 1989-90 Graduate Diploma of Arts (Visual Arts), Monash University, Victoria * 1987-89 Bachelor Of Arts (Visual Arts), Gippsland Institute of Advanced Education, Victoria (now Federation University Australia) * 1971-74 Fine Arts, Caulfield Institute Of Technology, Victoria. Haas exhibited in most states of Australia and participated in numerous group shows. She is represented in most major Australian collections including the National Gallery of Australia. Career highlights include winning the Sir John Sulman prize in 1995 at the Art Gallery of NSW and in 1994 and 1997 the Martin Hanson Memorial Works on Paper Prize. In 2008 her artist’s book A Wife Of Silver was acquired for the Public Art Collection of the Arts Centre Melbourne as part of the Maxwell and Merle Silver Bequest. Career highlights include winning the Sir John Sulman prize in 1995; and in 1994 and 1997 the Martin Hanson Memorial Works on Paper Prize. Framed limited etching by Julie Haas. juli haas, gippsland campus, churchill, gippsland institute of advanced education, alumni -
Victorian Aboriginal Corporation for Languages
Book, Joseph Lo Bianco, Teaching invisible culture : classroom practice and theory, 2003
All language educators are aware that culture is a vitally important reason for teaching languages. All curriculum statements for languages contain strong references to the importance of culture. We need to offer accessible cultural input to initiate the teaching of culture in language use, while at the same time not simplifying or stereotyping the community that speaks the language we are teaching. This book takes up these important questions and places in the hands of teachers well researched but very practical guidance, advice, resources and information on teaching culture in language. In this book you will find a discussion of what researchers, and classroom teachers, think and do about culture in language education and you will find a rich array of practical resources and advice for enhancing classroom practice. Specific languages addressed are: Chinese, French, German, Italian, Japanese and English as a Second Language. Preface /? Joseph Lo Bianco 1. Common themes /? Joseph Lo Bianco 2. Culture: visible, invisible and multiple /? Joseph Lo Bianco 3. A conceptual framework to help teachers identify where culture is located in language use /? Chantal Crozet 4. Chinese /? Li Kaining 5. How can we make Australian English meaningful to ESL learners? /? Anne-Marie Barraja-Rohan 6. Teaching French and culture in language use /? Chantal Crozet and Louise Maurer 7. Are Germans rude or just doing things differently? Understanding and teaching language and culture /? Winfried Thielmann 8. Face value: teaching Italian verbal and social-cultural interaction /? Piera Carroli, Adriana Pavone, Vincenza Tudini 9. The teaching of culture in Japanese /? Miyuki Toyoda and Shunichi Ishihara.diagrams, word listsculture theory, australian english, esl, language and culture, english as a second language -
Eltham District Historical Society Inc
Photograph, Eltham Festival Parade, 16 October 1982, 1982
Roll of negatives of the Eltham Festival Parade as it progresses along Main Road past the Catholic Church heading towards Bridge Street. Floats included the Tasmanian Wilderness Society with the Save the Franklin River campaign, and Diamond Valley Railway celebrating 21 years of passenger service as well as the Victorian Police Marching Band. A well known Eltham identity, Jock Read was asked to lead the Eltham Pony Club contingent that year and the roll includes several shots of Jock on his horse, Lofty who was approximately ten years of age, his colour was still classed as a steel grey at the time before he went "white" quite a few years later. 1982: 16-17 October. “Pioneers of Eltham” and tractor (rain) Neswletter No. 27, November 1982 Although our parade entry did not win a prize this year, it was considered highly successful from a participation point of view. Despite some uncertainty as to just who was coming, members and friends kept appearing at the assembly area. As in the past years our friends from the Victorian Folk Music Club brought their instruments along and really added to the occasion. This year we concentrated on a rural theme with a tractor/trailer combination. Thanks to Peter Bassett-Smith for the tractor, Joh Ebeli for the decorations and friendly trailer owner Dennis McKay. Unfortunately the closing stages of the parade were marred by heavy rain. We just finished as the rain started but members scattered very quickly. This has prompted the suggestion for future parades that we have a tent or other suitable venue for members to gather after the event. This is worth following up. The cold driving rain provided a special problem for Peter in driving his tractor home to Kangaroo Ground. Have you ever had to choose between standing up to warm your hands on the exhaust and having your tractor seat flooded? Certificate, Festival Parade Award, Rotary Club of Eltham, Eighth Eltham Community Festival 1982. Presented to the Shire of Eltham Historical Society for the most effort by "locals"Roll of 35mm colour negative film, 24 shotsKodak Safety Film 5035eltham festival, catholic church, diamond valley railway, eltham, eltham district historical society, eltham parade, festivals, eltham fire brigade, eltham horse and pony club, jock read, learning co-op primary school, eltham living and learning centre, lofty (horse), main road, marching band, montmorency scouts, parade, parade floats, peter bassett-smith, research pre-school, roller city, shire of eltham historical society, victorian police -
Brighton Historical Society
Clothing - Dress, c. 1974
This dress was worn by Brighton's first female mayor, Councillor Di Lopez, to a Mayoral Ball held at Brighton Technical School in 1977. Diane Margaret Lewis completed a law degree at the University of Melbourne, later marrying one of her classmates, criminal lawyer Ramon (Ray) Lopez. When she decided to run for the Brighton City Council in 1975, she was seen as an outside chance. Undeterred, she rallied a small group of friends and supporters and set out on an extensive door-knocking campaign that won voters to her side and successfully unseated former mayor Keith Devenport. She went on to serve two terms on council from 1975 to 1981. Di initiated many local projects, including the creation of a bike path along Nepean Highway and the first Brighton Festival, while balancing family life and a demanding ‘day job’ as personal assistant to Victorian Minister for Youth, Sport and Recreation Brian Dixon. She was a member of the Women’s Electoral Lobby and a champion for women’s representation, encouraging both Sally Allmand and Kate Harman to run for council (both were successfully elected). She advocated forcefully for an open, transparent local government in which ratepayers had the chance to participate and be heard. In 1976 Di became the first woman to hold the title of Mayor of Brighton, and she made it clear from the outset that she was going to do it her way. For the annual mayoral ball in 1977, ordinarily a staid traditional function, she chose a discotheque theme based on the Rod Stewart album Night on the Town, with a broad dress code of ‘black tie or jeans’: ‘You’ve got to get with the times,’ she said. ‘We want people to wear whatever they feel comfortable in.’ Di herself chose to attend in this knee-length chamois dress embellished with strings, ribbons, beads and feathers. It was both a fashion statement, exemplifying her colourful, flamboyant and forthright style, and a political one: a declaration of her intention to lead a progressive council, embracing the new and refusing to be hemmed in by dated traditions. In 2020 she was awarded an Order of Australia Medal for her service to local government and to the community of Brighton.This dress has local historical significance for its association with Brighton's first female mayor, Councillor Di Lopez, who wore it to a Mayoral Ball in 1976. The dress exemplifies her flamboyant reputation, modern outlook and willingness to break norms. At the time, the dress was a radical choice for a Mayoral Ball, where women typically wore formal evening gowns. With her choice of dress, Cr Lopez was making a public statement, breaking away from dated traditions and announcing her intention to bring the Mayor's office into the 1970s. In this way, the dress also points to the wider social and political changes taking place both in Brighton and across Australia during the mid-1970s.Three quarter length chamois dress circa 1974. Machine stitched with a v-neck and full length sleeves and an uneven raw hem, the dress is decorated with narrow thongs of chamois embellished with red beads and blue feathers. The open-fronted bodice is laced with red ribbon and the skirt is decorated with a large blue wool cross stitch and a combination of blue wool and purple ribbon cross stitch. Made in the style of an Indian 'Wild West Dress'.di lopez, chamois, brighton, brighton council, brighton technical school, mayoral ball, 1970s, feminism -
Ringwood and District Historical Society
Book, Helen Tolpliss, The Artists Camps: Plein Air Painting In Melbourne 1885-1898, 1984
Image of a Charles Conder painting on front of soft covered book titled The Artists' Camps: Plein Air Painting In Melbourne 1885-1898. FOREWORD by Margaret Plant - Department of Visual Arts, Monash University. The paintings of the 'Heidelberg school" are the best loved group of works in Australian art. The affection is linked in the national mind with a recognition that the authentic Australian landscape had been discovered and colonial bonds broken. The painting activity of the 1880s and 1890s was by no means confined to Heidelberg. Helen Topliss painstakingly presents the variety of sites around Melbourne, in the bush and on the coast, reconstructing their original character and the history of their accessibility. The major figures are well known — Roberts, McCubbin, Streeton and Conder — but there were a number of 'minor' artists associated with the various painting spots that have been too long neglected. A research programme is here initiated in the hope that some of these figures might be more fully returned to us. The restoration of the sites provokes a more extensive roll-call of artists involved in the plein air phenomenon. Various expressions of nationalism in the late nineteenth century have been accorded attention: the painters contributed in varying degrees. But it is, finally, the quality of the painting, the freshness, the particularity of nuance, the calculated aesthetic angles that have governed response and inspired affection. The elegant relaxation themes of many of the paintings have in fact been overlooked in the intellectualization of the quest for 'national identity'. The orchards and the beaches, the ladies promenading a la mode on the beach at Mentone or in the grasses of Box Hill are as important to our artistic tradition and social history as the shearers of rams. -
Vision Australia
Image, National Information Library Service Vision, 200
The duplication of services between state based blindness and low vision agencies was not viable in the long term, with telecommunications and technology improving rapidly in the late 20th century. In 1999, a decision was made to merge the library and alternative production services of the RVIB and RBS, as a precursor to a possible larger merger in the future. Thus the National Information Library Service (NILS) was created. As part of establishing a new culture between staff who had retained their positions, a vision, mission and values statement was created under the new service name.1 digital imageNational Information Library Service Mission statement: NILS provides a recognised and specialised gateway through which people who are blind, vision impaired or who have a print disability access dynamic information and recreational reading. Vision: to enable unhindered access to knowledge, information and recreational reading for people who are blind, vision impaired or who have a print disability. Key strategic themes: Know our clients current and future needs and expectations. Explore opportunities for collaboration with other agencies, government and enterprises to source, organise and make available materials and resources of an acceptable quality. Optimise digital technology for the production and delivery of materials in an equitable, cost effective and timely way, identify opportunities for innovation by anticipating social and technological trends in the wider community. Enhance our internal capability. Establish and develop a positive and healthy NILS culture. Values: our values inform our policy, work practices, recruitment and service delivery ethic. Integrity - we are open and honest with all our stakeholders. Excellence - we strive to be superior in all we do. Innovation - we learn continuously in order to lead the way. Responsiveness - we actively listen to all our stakeholders. Equity - we focus on inclusiveness and participation for all our clients and staff. A joint venture between the Royal Victorian Institute for the Blind and the Royal Blind Society of New South Wales. royal blind society of new south wales, royal victorian institute for the blind, national information library service -
Federation University Historical Collection
Book, Powell & Co, Guide to Ballarat the Beautiful, 1906, 1906
A book highlighting Ballarat and surrounds for visiting tourists. Green, black and red soft covered book of 50 pages. The book includes many illustrations and advertisements. Themes of the book include: Ballarat and district, Lake Wendouree, Ballarat Botanical Gardens, Statues, gold and mining, Ballarat gold nuggets, Eureka Stockade, Ballarat School of Mines, Hepburn Lagoon, Emu River, race courses, Art gallery of Ballarat Advertisements include: Dr Lem Chinese Practictioner, Eureka Aerated Waters & Brewing Co., Sunshine Harvester, Gordon Bros., Long's biscuits, South Street, Grand National Eisteddfod of Australia, Lake View Hotel, Carlyon's Hotel, Clarendon Ladies' College, J.E. Sang Chinese Doctor and Herbalist, Reid's Ballarat Coffee Palace, Robert Sim & Co Timber Merchants, Cobb & C0 livery and stables Ballarat, Eagle Foundry, Fred A. Reed Tobacconist, Heinz bros butchers, J.J. Goller & Co. Illustrations include: Craig's Royal Hotel, McBride's Boots, John Lavis Cordial Manufacturer, R. Graham & Sons tanners, Lester's hotel, Sun Foundry, Central business College, Edwards Pyrites & Ore Reduction Co., George Farmer, Sturt Street (colour), Lake Wendouree, Ballarat East Town Hall, Lake Burrumbeet, Queen Victoria Statue, Fairy Land, Ballarat Botanical Gardens, Lal Lal Falls, Moorabool Falls, Kirks Dam, Lake Wendouree and paddle boat, Lydiard Street, Bopeep Creek, Star of the East Mine, Peter Lalor Statue, great Equatorial Telescopu at Oddie Observatory (Ballarat Observatory), Boer War monument, Entrance to Art Gallery of Ballarat, interior of Art Gallery of Ballarat, Old Curiosity Shop, Angus Rialto cafe, Ballarat Brewing Co, Royal Standard brwery, Phoenix Brewery Warrenheip, John MacLeod and Companyballarat, ballarat school of mines, buninyong, burrumbeet, cobb and co, eureka brewery, ballarat brewing co, sturt street, m1604, chinese, chinese medicine, d. lem, j.e. sang, brewery, tanners -
National Wool Museum
Textile - Community Textile Tapestry, Lisa Kendal et al, WARM, 2016
WARM was a community textile art project that saw over 250 knitters come together to create a beautiful collage tapestry. Made entirely from wool, the artwork contains more than 1000 individual hand knitted sections. The project takes aim at global warming, it highlights both the causes and solutions for us to create a sustainable and safe climate for future generations. Lisa Kendal, the co-creator of the project, said “One of the problems in the world is that we have forgotten how to warm ourselves with wool. We have become too dependent on fossil fuels (for heating)”. This is the key idea surrounding the project. WARM began as two large scale images created by Lars Stenberg. The first image is a landscape scarred by coal mining. The second image is the same landscape only many decades later. Regeneration and regrowth have taken over the landscape and hidden the past coal mine completely. In its place is a beautiful landscape including trees, native flowers, a lake, lots of greenery and wind turbines. From March to the end of August in 2016, knitters worked hard to create the over one thousand pieces that came together to form the final tapestry. The pieces were all designed by Fibre Artist Georgie Nicolson of Tikki Knitting Designs, who converted the second image of the healed landscape into patterns for the 250 plus knitters to follow. These patterns included unusual designs such as gum leaves, trees, native flowers and even the wind turbines. During several days of installation, the knitted pieces were stitched together by Lars Stenberg over a picture of the first image of the operational coal mine. They worked to create the second image of the renewed landscape; like an enormous collage. The WARM project was donated to the National Wool Museum in 2021. It was a much-loved hanging within the Ballarat Hospital for many years before coming to the museum. More information about the project can be found on the following website. http://www.seam.org.au/warm The tapestry is made from 1000+ hand knitted sections stitched together to make an image. In the foreground of this image is a large gum tree that stretches from the bottom left to the top right corner. The trunk of this tree follows the left edge of the tapestry, with foliage from the gum tree spanning its top border. The bottom third of the tapestry is predominantly green grass with yellow, pink and red flowers providing sporadic colour. The middle third encompasses a lake, with orange colours surrounding the banks of the water as opposed to the green grasses of the bottom third. To the right of the lake are wind turbines. The top third of the tapestry is blue sky with white clouds. It also contains the previously described gum tree leaves. Each piece of the tapestry is 100% wool and was hand knitted and stitched together. The Tapestry is accompanied by an oil painting on canvas. It is a painting that matches the tapestry and served as a template for the final tapestry. Finally, the tapestry is accompanied by another pointing on wood board. This final panting is of a coal mine. This is the setting before regeneration and regrowth have reclaimed this site, which is the theme captured in the final tapestry. In the foreground of the coal mine painting is the same gum tree described in the tapestry; however, it is grey and sickle with only 4 leaves visible at the top border, compared to the numerous leaves in the tapestry. Also in the foreground is a broken barb wire fence adding to the unwelcoming nature of the site. The colour scheme of this image is of dark greys and browns. A coal fired power plant can be seen in the final third of the image with four chimneys emitting plumes of smoke into the sky. In front of this power plant is the spiral shape of a coal mine, burrowing deep into the earth’s crust. Inside of the coal mine 3 yellow trucks are seen mining and transporting coal to the top of the mine.warm, community textile tapestry, knitting, community artwork, global warming -
Ballarat Tramway Museum
Document - Report, Douglas Johns, "Proceedings of the Fourteenth Conference of the COTMA", 2000
110 page A4 sized bound document - "Proceedings of the Fourteenth Conference of the Council of Tramway Museums of Australasia in conjunction with the Annual Conference of the National Federation of Rail Societies Inc. 29 May to 4 June 1998." Has plastic cover, green inside cover with title and white back cover. Is wire bound. Front page has the title details. Edited by Douglas Johns. Front page gives title of conference logo and theme "Conference '98 The Way Ahead", details of the Conference Hosts, (Tramway Historical Society Inc.), venue, convenor and conference management. Page 3 has colour photograph of the delegates assembled in front of Kitson Steam No. 7 and double decker trailers Nos. 10 and 74 at Ferrymead. (14th Conference) Contents: 1. Papers Opening address by Clive Peter, Chief Executive of Christchurch Transport Ltd. Key Note address - Phil A'vard Recording and preserving today for tomorrow Steam Engine Driver's Report Adding value to your product Internet help for the voluntary society What to do until the Coroner comes Computer cataloguing your collection The role of the regulator in rail transport safety Victorian electric train preservation History is more than rolling stock - remember the infrastructure Heritage fundraising in the public sector The Christchurch Tramway - 3 1/2 years on Museum trams on commercial tramways Remember the Society in your will The future of Tramway topics How to increase revenue for your museum Transport deregulation - a personal view Acquiring tram parts from Calcutta Model tramway clinic. 2. Annual Reports 3. Trip Reports 4. programme, attendees, NRFS Reports. Photograph of participants added 22/3/2021. For a scan of the actual proceedings see the cotma.org.au/proceedings.Page 1 has BTM Received stamp, date (17 Oct. 2000) and item No. 9639.trams, tramways, cotma, christchurch, proceedings, conferences -
Federation University Art Collection
Photograph, Clive Hutchison, 'Our Hopes and Future of Morwell' Photographic Collection, 2017
This photographic exhibition was developed by the Federation University-led Community Wellbeing research stream of the Hazelwood Health Study in collaboration with Morwell Neighbourhood House and Gippsland Centre for Art and Design at Federation University Australia. It highlights people's hopes for the future of Morwell has its roots in two unexpected places: the Hazelwood mine fire in 2014 and an academic study into community recovery from that fire. In late summer of 2014 a bushfire spread to the coal mine near the town of Morwell in the LaTrobe Valley, in south-eastern Victoria. The Hazelwood mine fire burned for 45 days, shrouding communities - especially Morwell - in smoke and ash. Strong calls by the community for an investigation into the health impacts of the Hazelwood Mine Fire led to the Department of Health's (Know the Department of Health and Human Services) decision to fund a ten year study of the potential health effects of this smoke event (Known as the Hazelwood Health Study). This exhibition came out of work undertaken by the Community Wellbeing Stream of the Hazelwood Health Study during 2016 and 2017. Based at Federation University Australia's Gippsland Campus, just a few kilometres from where the fire took place, one of our Study's main aims has been to find out from the community how the smoke event impacted on community wellbeing. We also planned to talk to community members about the effectiveness of community rebuilding activities, and find our how these have aided recovery following the smoke event. In 2017 we began working with community organisations on a project to foster community recovery and wellbeing. What emerged from these discussions was the idea for a photographic exhibition, on the theme of 'Our hopes for the future of Morwell'. Invitations to participate were extended to up to 50 members of various community groups. The groups were asked to think of some object that symbolizes their hopes for the future of Morwell. Individuals were then invited to attend a photographic session kindly hosted by the Morwell Neighbourhood House. Each individual was to hold this object while it was photographed, as well as explain what the object represented in terms of Morwell's future. Out of this process twenty nine photographs with their captions were produced, enlarged and framed for exhibiting. The photographs were taken by Clive Hutchison of the Gippsland Centre for Art and Design at Federation University Australia.Twenty nine framed original photographs.morwell, our hopes for the future of morwell, clive hutchison, photography, morwell neighbourhood house, hazelwood health service, gippsland centre for art and design, hazelwood mine fire, haxelwood health study, morwell neighbourhood mine fire, neale stratford, tracie lund, ian brown, susan yell, sue whyte, ainsley ja, ainsley james, michelle duffy, shaun mallia, valerie prokopiv, morwell art and framing -
Eltham District Historical Society Inc
Book, Giordano Nanni et al, Coranderrk; We will show the country, 2013
Comprises twenty-three extracts from the Minutes of Evidence of the Coranderrk Inquiry, accompanied by an analysis of the historical text and context. The book relies strongly on primary-source materials and accurately references historical analysis from scholarly and Aboriginal perspectives. This book is derived from a verbatim-theatre performance in which professional actors portrayed the witnesses who gave evidence before the 1881 Coranderrk Inquiry.; Inscriptions and Markings: illustrations, photographs, facsimiles, maps, portraits About the book One of the first sustained campaigns for justice, land rights and self-determination in colonial Australia was undertaken by the Aboriginal people of Coranderrk reserve in central Victoria. Despite having created an award-winning farm they were targeted for removal to make way for white settlement. As skilled communicators and negotiators, they lobbied the government, in alliance with their white supporters, and succeeded in triggering a Parliamentary Inquiry in 1881. Coranderrk – We Will Show The Country derives from a unique verbatim-theatre performance where professional actors brought to life the witnesses who gave evidence before the 1881 Parliamentary Coranderrk Inquiry. Rescued from dusty archives, and including renowned Wurundjeri leader, William Barak, those witnesses continue to speak to contemporary audiences. Here, their powerful petitioning can be read alongside that of their non-Aboriginal allies, and those who would move them off their land. The book features a concise and accessible history of the Coranderrk Aboriginal Station and of the events that led to the appointment of the 1881 Parliamentary Coranderrk Inquiry. The book also contains a special edition of the verbatim script which has been annotated and referenced so as to provide a blueprint of how the original minutes of evidence from the 1881 Parliamentary Coranderrk Inquiry were adapted into a theatre script. Each scene of the play has also been introduced with a short biography of each character and a discussion of the key themes raised in their testimony. Supplementing the verbatim script of the performance, the book includes a range of historical images and stills from the ILBIJERRI Theatre Company’s production. Coranderrk – We Will Show The Country celebrates the spirit of collaboration between black and white in pursuit of justice, and offers an engaging way to learn about our past – and to think about our future. Coranderrk - We Will Show The Country. (2023, October 19). Retrieved from http://www.minutesofevidence.com.au/education/coranderrk-we-will-show-the-country-book/Ex Yarra Plenty Regional Library copyaboriginal australians, coranderrk, first nations people, healesville, indigenous history, performance, play -
Melbourne Tram Museum
Magazine, Michael Davie, "Gateway - Autumn 1995", "The Lucky City", 1995
Autumn 1995 issue of Gateway with a trammie (Roberto D'Andrea) leaning from 870 on the front cover. Contains an article "The Lucky City", written by Michael Davie about Melbourne and its city, in particular its trams. Has a photo of a City Circle tram (866) on page 22. Gateway published the Federal Airports Corporation as an inbound magazine for overseas travellers. In an email from Roberto 2/10/2014 - "G'day Warren, Yes indeed the Gateway Magazine with a younger Roberto at South Depot. Brings to mind that South Depot did the bulk of the tramways media through the 90s until closure. On the list of programs I have in the archive is Totally Wild (Channel 10), Monty the Weatherman did 4 crosses live (Channel 9), 7.30 Reports (ABC), we hosted 4 Corners around the network and a few other programs on Channel 7. Plenty of newspapers and radio. Handy with a close to city location the PTC sent the media to South for tram stories. I have the 6 Trammie banners from the Trammies Exhibition at the Immigration Museum where we worked together back in 2003. I've used them occasionally and may need them for a tram presentation in March next year....would they be handy as a part of a exhibit at Hawthorn? The Connies are still going strong....festivals and events, sometimes in schools and we've co-funded 2 tram festivals in Kolkata with the Calcutta Tramways in 2012 and 2013....environment central to the themes. Kevin keeps me posted on how things are going at Hawthorn. I met Doug Prosser at Hawthorn a few months ago and all looking good. Kevin sends me copies of The Bellcord....and just last week I was on the Hawthorn Museum website reading about the Box Hill - Doncaster Tram for a Connie performance in Box Hill late in November. Regards - Roberto www.connies.com.au www.tramconductors.net www.tramjatra.net"trams, tramways, city circle, melbourne, tramways, tram 870, tram 866 -
Federation University Historical Collection
Booklet, University of Ballarat, Research@YourUB, 2007 -2010
Research@YourUB is a newsletter highlighting research at the University of Ballarat.1) Spring 2009 .2) Spring 2007 - Rob Wallis, green packaging, mould, food safety, Zhaohao Sun, Widcorp, Jesica Block, Arts Academy anniversary, Dorothy Wickham, Dora Pearce, Loris Button, SmartGreen, Marilyn Davidson, Overcoming bullying in schools, overweight patients. .3) Autumn 2009 - Australian Security Laboratory to fight cybercrime, brewing better beer, John Yearwood, Centre do Informatics and Applied Optimizaton, John Smyth, Angela Murphy? Willows by the water. Patrice Braun, Laura Kostanski, preventing injuries, why should we research art. .4) October 2009 - Future Research Directions .5) January 2009 - Research themes, Wayne Robinson, John yearwood, Andrew Stranieri, Peter Gell, Julian Lowe, John Smyth, John McDonald, Caroline Finch, Dennis Else, Informatics and Applied Optimization, Regional Futures, Disadvantage and Inequality in Education and Health, Injury Prevention and Safety Promotion. .6) Spring 2010 - Frank Stagnitti, Brad Mitchell, Diane Clingin, Robyn Brandenburg, Amanda McGraw-Pleban, Charlynn Miller, Fadi Charchar, Robert Hodder, Amber Stabek, ACSL maps, Murray Darling Basin, Peter Gell, John Smyth, Kate Brass, gaming machines, John McDonald, Helen Aucote, Andrew Cooper, Deborah greeenslade, Dara twomey, Andrew Warnock, synthetic grass, .7) Autumn 2006 - Wayne Robinson, toenail research, Dora Pearce, biodiversity in modified lansdscapes, Centre for Informatics and Applied Optomization (CIAO), John Yearwood, Lawrie Angus, Barry Golding, Georgina Tsolidis, John Smyth, Maxine Cooper, Mary Hollick, Emil Milos, Jeff Woodger, Michelle Ziccolo, Rosemary Green, Raelene Gregory, Julian Lowe, Jessie Harman, Debora Campbell, John McDonald, Denise Corboy, Catherine Knox, Henry Lawson, Meg Tasker, Warren Young, Amanda Telford.university of ballarat, wallis, wickham, wayne robinson, toenail research, dora pearce, biodiversity in modified landscapes, centre for informatics and applied optimization, john yearwood, lawrie angus, barry golding, georgina tsolidis -
Eltham District Historical Society Inc
Film - Video (VHS), Dynavision Video Production, 1994 Eltham Festival, 11 Nov 1994
20th Eltham Community Festival and last under the auspices of the Shire of Eltham. The Grand Parade focussing on the theme "Echoes of Eltham - Celebrating the visions of Eltrham from the past and into the future" was headed by Jock Read on his horse Lofty who had been filmed in an Anzac Day Parade on an earlier horse which had featured in the television show Matlock. The parade travelled north along Main Street to just past the Post Office then back south to Panther Place. Parade participants included 1st Eltham Brownies, 1st Eltham Venturers, 2nd Eltham Sea Scouts, 2nd Eltham Venturers, 3rd Eltham Brownies, Australian Democrats, Briar Hill Primary School, Circus Chaos, Country Fire Authority, Diamond Valley People for Disarmament, Diamond Valley Railway, Eltham Community Health Centre, Eltham District Horse and Pony Club, Eltham East Primary School, Eltham Fire Brigade, Eltham Junior Football Club (Panthers), Eltham Little Theatre, Eltham North Primary School, Eltham Playhouse Co-op, Eltham Pre-school, Eltham Roller Skating Club, Eltham South Pre-School Centre, Eltham Steam and Stationary Engine Society, Greenhills Neighbourhood House, Heidelberg Municipal Band, Hurstbridge Learning Co-op, Jocklebeary Farm, Kangaroo Ground Primary School, Learning Co-op Primary School, Lower Plenty Primary School, Main Road, Montmorency Gardening Club, Montmorency South Primary School, North Warrandyte Fire Brigade, Plenty Valley 88.6 FM, Research Pre-school, Research Primary School, Ron Sampson, Salvation Army Band (Briar Hill), Sherbourne Primary School, Shire of Eltham, State Emergency Service (Eltham) and Woodridge Pre-school. The parade commentary was provided by Plenty Valley FM 88.6 with guest commentator, Shire President Cr. John Graves. Following the parade is video footage from a helicopter of Alistair Knox Park, displays along Main Road and activities in Alistair Knox Park and the Rugby oval along with stationary engines, helicopter joyrides, Eltham People's Choir, music entertainment. Scenes also from the Diamond Valley Railway at Eltham Lower Park and finishing with the fireworks display. At the end of the video is a promotional video for Dynavision Video Production, a local video production company that produced the video and Diamond Photos (Kodak Express). One of the highlights of the festival was a tree planting ceremony in Alistair Knox Park to celebrate 123 years of the Shire of Eltham led by Shire President Cr. John Graves and representatives of the Wurrundjeri, traditional land owners of the area.VHS Video cassette (poor quality) Converted to MP4 file format 45:01, 535MB1st eltham brownies, 1st eltham venturers, 2nd eltham sea scouts, 2nd eltham venturers, 3rd eltham brownies, 1994, aerial photographs, alistair knox park, arthur street, australian democrats, briar hill primary school, circus chaos, country fire authority, diamond valley people for disarmament, diamond valley railway, eltham community health centre, eltham district horse and pony club, eltham east primary school, eltham festival, eltham fire brigade, eltham junior football club (panthers), eltham little theatre, eltham lower park, eltham north primary school, eltham people's choir, eltham playhouse co-op, eltham pre-school, eltham roller skating club, eltham south pre-school centre, eltham steam and stationary engine society, grand parade, greenhills neighbourhood house, heidelberg municipal band, hurstbridge learning co-op, jock read, jocklebeary farm, john graves, kangaroo ground primary school, learning co-op primary school, lofty (horse), lower plenty primary school, main road, matlock police (tv show), montmorency gardening club, montmorency south primary school, nicholaus lauder estate, north warrandyte fire brigade, plenty valley 88.6 fm, research pre-school, research primary school, ron sampson, salvation army band (briar hill), sherbourne primary school, shire of eltham, state emergency service (eltham), video recording, woodridge pre-school -
Flagstaff Hill Maritime Museum and Village
Print - Religious Print, T. Noyes Lewis, The Cross of Glory, Mid to late 19th century for the print, the reframing appears to date from the 1960's
The picture was framed by business, Leighton House, paint and art merchants at 346 Little Collins Street, Melbourne. It was made to order, number 6777. The business was also called The Leighton Gallery of Art and was owned by W & G Dean Pty Ltd. The phone number on the label "MU 8291" indicates that the picture was framed circa the 1960s or earlier, during the time that Melbourne was using 6-0digit alpha-numeric numbers. Below the picture is an excerpt of a hymn "The Head that Once was Crowned with Thorns" by Thomas Kelly: The head that once was crowned with thorns Is crowned with glory now; A royal diadem adorns The mighty Victor's brow. The Cross He bore is life and heath, Though shame and death to Him; His people's hope, his people's wealth, Their everlasting theme. This picture was part of the original furnishings of the St Nicholas' Mission to Seamen's Church at 139 Nelson Place, Williamstown, Victoria. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centr4es in over 200 ports world-wide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria the orgainsation began in Williamstown in 1857. It was as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981 and closely resembles the Williamstown chapel. This picture is significant through its association with the St Nicholas' Mission to Seamen Church in Williamstown, Melbourne, established in 1857. The items in our collection from the Missions to Seamen in Williamstown, Victoria, have historical and social significance. They show that people of the 1800s and 1900s cared about the seafarers’ religious, moral, and social welfare, no matter what the religion, social status or nationality. It had its origins in Bristol, England when a Seamen's Mission was formed in 1837. The first Australian branch was started in 1856 by the Rev. Kerr Johnston, a Church of England clergyman, and operated from a hulk moored in Hobson’s Bay; later the Mission occupied buildings in Williamstown and Port Melbourne. Picture, print of "The Cross of Glory", rectangular, framed print on matt. It depicts Jesus Christ on a cross with an angel on each side, at his feet. He is wearing priestly robes and a gold crown on top of thorns on his head. In the background there is a rainbow and clouds. The text below the picture includes "From the picture by T. Noyes Lewis". Lines from a hymn are also printed below the picture. The back of the picture has pencilled numbers in three places plus a printed label with the framer's details. "From the picture by T. Noyes Lewis". Backing paper has pencil "6777" in two places. Label has bencil "677-" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, the cross of glory, print, t. noyes lewis, leighton house, home decoration, religioius picture, church furnishing, w & g dean pty ltd, leighton gallery of art, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, ladies harbour light guild, missions to seamen victoria, mission to seafarers, flying angles club, st nicholas mission to seamen church williamstown, mission to seamen williamstown, st nicholas seamen’s church flagstaff hill, 139 nelson place williamstown -
Federation University Historical Collection
Book, University of Ballarat Research + Innovation Digest
Black, soft covered book of 48 pages outlining research at the University of Ballarat. Contents include: * Case studies in keeping food safe, Benu Adhikari * technologies that combat climate change - Alberto Boretti *Learning t lead- leading to learn, Neil Trivett * Depression, diabities and motivation, Mirella Di Benedetto * Valuing Lake Wendouree, Julian Lowe * What's in a name, Laura Kostanski * Optimizing Regional & International Research, John Yearwood * Sport, physical activity and health research, Warren Payne * Climate secrets in the sediments, Peter Gell * Injury prevention and saftey promotion research theme, UB Sports injury centre, Caroline Finch, Men's Sheds & other learning places, Barry Golding * New economy, new work, new qualifications, Erica Smith * Cross-cultural communication in a shrinking world, Georgina Tsolidis * Child Protection & family services reform, Angela Murphy * making a difference for older Victorians, Sally Wellard * Making good (and goodly) profits, jackie tuck * Not too much 'ordinary' about Teh Ordinry, Lorraine Sim * Gaming Machines & regional gamblers * Toe nail clippings revel their secrets, Kim Dowling * Magnificently preserved megafaunal trackways in the Victorian volcanic plans, Stephen Carey * A stuttering start for a stunning outcome, Grant Meridith * Supporting patients & their careres, Anthony Love * Out of Africa and beyond, James O'Meara * Taking a hard look to avoid hard knocks, Caroline Finch and Dara Twomey * Skilling people for business success, Andy Smith * Promoting risk awareness in industry, David Borys * researching China's Rise & Rise, Mike Willis *Sex hormones link to heart disease, Fadi Charchar * Human factors in computer security, Paul watters * Are our rivers up the creek, Peter Gell * Women as managers7 entrepreneurs, Glenice Wood * Revisoning values and norms, Jane Mummery * 'Wimmera" - an epic Poem, Homer Rieth * Recycling, consumerism, climate change and art peactice, marie Purtill * Investing in ecologically sustainable development, Jerry Coursisanos * Indigenous peoples of the goldfields, Fred Cahir * Artists install images of sustainability, Jill Orr * addresing disadvantage& inequality with passion, John Smyth * Breaking up insulin haxamers, Mark Myersaborigines, mens shed, wimmera, gambling, megafauna, gell, golding, carey, cahir, purtill -
Victorian Aboriginal Corporation for Languages
Book, Brett Baker, Indigenous language and social identity : papers in honour of Michael Walsh, 2010
For almost 40 years, Michael Walsh has been working alongside Indigenous people: documenting language, music and other traditional knowledge, acting on behalf of claimants to land in the Northern Territory, and making crucial contributions to the revitalisation of Aboriginal languages in NSW. This volume, with contributions from his colleagues and students, celebrates his abiding interest in and commitment to Indigenous society with papers in two broad themes. ?Language, identity and country? addresses the often complex relations between Aboriginal social groups and countries, and linguistic identity. In ?Language, identity and social action? authors discuss the role that language plays in maintaining social identities in the realms of conversation, story-telling, music, language games, and in education. ?Language and Social Identity in Australian Indigenous Communities? will be of interest to students of linguistics, Indigenous studies, anthropology, and sociology. Contents: 1. Introduction /? Rod Gardner ... [et al.] 2. Michael Walsh : a personal reflection /? Ros Fraser 3. Place and property at Yintjingga/?Port Stewart under Aboriginal Law and Queensland Law /? Bruce Rigsby and Diane Hafner 4. Linguistic identities in the eastern Western Desert : the Tindale evidence /? Peter Sutton Juwaliny : dialectal variation and ethnolinguistic identity in the Great Sandy Desert /? Sally Dixon 6. Who were the 'Yukul'? and who are they now? /? Brett Baker 7. Colonisation and Aboriginal concepts of land tenure in the Darwin region /? Mark Harvey 8. Aboriginal languages and social groups in the Canberra region : interpreting the historical documentation /? Harold Koch 9. The Kuringgai puzzle : languages and dialects on the NSW Mid Coast /? Jim Wafer and Amanda Lissarrague 10. Dawes' Law generalised : cluster simplification in the coastal dialect of the Sydney language /? David Nash 11. Space, time and environment in Kala Lagaw Ya /? Lesley Stirling 12. Turn management in Garrwa mixed-language conversations /? Ilana Mushin and Rod Gardner 13. Laughter is the best medicine : roles for prosody in a Murriny Patha conversational narrative /? Joe Blythe 14. Collaborative narration and cross-speaker repetition in Umpila and Kuuku Ya'u /? Clair Hill 15. Co-narration of a Koko-Bera story : giants in Cape York Peninsula /? Paul BlackMaps, b&w photographs, charts, word listslanguage and identity, language maintenance, language and culture, language and country -
Eltham District Historical Society Inc
Film - Video (VHS), VideoCAM, Eltham Woods Children's Resource Centre Opening (Series 69, Item 5), 5 Mar 1988
Shire of Eltham Archives: Series 69, Item 5 Video opens with panning view of completed kinder from Frank Street followed by images of the centre under construction then opening day speeches. Introduction and welcome by Mandy Press (Executive Officer, Shire of Eltham) with speeches by the Hon. Pauline Toner, Member for Eltham and Shire president, Cr. Alan Baker. The Hon. Pauline Toner acknowledged Shire President Alan Baker and her parliamentary colleagues Vin Heffernan, Neil Brown and Bob Halderson and Councillors; three levels of Government which led to the achievement of the kinder, and gave special thanks to the Council and parents for the forward planning to accommodate children from babyhood to school with childcare, kinder and baby health facilities all combined in one facility in the middle of parkland in a residential area. Shire President Cr Alan Baker then followed to formally open the centre. The site had been identified in early 1985 at that stage only as a pre-school but with an opportunity to develop, the additional services were driven by Cr Baker. Though a very long name, its simple message is "Care for Kids." Designed by architect Neil Biggins of Clark, Hopkins and Clark. Cr Baker stated that the theme of "people living in the environment" was very much encapsulated by the facility. Cr Baker informed that the construction of the facility had led to some concerns with a reduction in open space and potential traffic generated to the facility and those users of the facility were asked to ensure their use is sensitive to the local residents. Cr Baker talked about the financial costs and how the Federal grant funding was no longer as plentiful as previous and that the Victorian Government had come to the assistance thanks to Pauline Toner covering some other costs as well as the ongoing running costs of around $40,000. The Federal Government contributed $233,000 out of a childcare component rather than preschool. Cr Baker thanked Mandy Press again as well as Shire Engineer, John Stanton. Cr Baker also acknowledged Ed Latanzio who was in charge of the project, along with his colleague Alan Lansdowne; Gary Bartlett and his team for the exterior surroundings to the facility. He mentioned that Neil Biggins the architect had said not many Shire Councils show the same commitment to the exterior surroundings as the interior which was a credit to the Council and Gary Bartlett. He also thanked Bev Vern, Council's preschool advisor who assisted in developing the programs; Grant Roberts from Federal Office of Childcare for assisting the Cooperative in setting up the funding program; the builders George Takola and George Apted; Michelle Matello who undertook the needs analysis that identified another preschool was required; Cathy King who assisted in the development of the childcare program; Pat Grundy and Susan Forbes, Council officers who assisted with the development of the services and the members of the preschool committee. In addition, local residents and in particular Helen, Peter and Chris who advised Council of their concerns and worked with Council to overcome these issues; members of the Interim Steering Committee and the Directors of the Childcare Co-op. Cr Baker stated that the Co-op nature of the facility and the location of the three services under one roof was unique and the task of the programs was to be led by Annie, Dianne and Lynn Afternoon tea and activities followed the unveiling of the plaque. The video shows some of the children's entertainment and their engagement as well as interior and exterior views.VHS Video cassette Converted to MP4 file format 00:26:02; 302MBshire of eltham, video recording, shire of eltham archives, eltham shire council, alan lansdowne, bev vern, bob halderson, cathy king, clark hopkins and clark, councillors, cr. alan baker, ed latanzio, eltham, eltham woods childcare co-operative, federal government, federal office of childcare, frank street, gary bartlett, george apted, george takola, grant roberts, john stanton, mandy press, michelle matello, neil biggins, neil brown, pat grundy, pauline toner, people living in the environment, susan forbes, victorian government, vin heffernan -
Waverley RSL Sub Branch
Korean Currency and N.A.T.O. Forces Notes
Used during Korean War Won (1947-) Main article: North Korean won After the division of Korea, North Korea continued using the Korean yen for 2 years until the Central Bank of the Democratic People's Republic of Korea was established on December 6, 1947 and a new currency was issued. It was at the time pegged at par to the Soviet ruble. It was revalued at a rate of one hundred to one in February 1959 and new won were issued. In the following years the won faced some devaluation, caused by the subsequent devaluation and redenomination of the Soviet ruble. From 1978 to 2001, the North Korean government maintained an iconic rate of 2.16 won to the US dollar; since then banks in the country exchange at rates closer to the black market rate. However, rampant inflation has been eroding the North Korean wŏn's value to such an extent that currently it is believed to be worth about the same as the South Korean wŏn. In any case, the U.S. dollar and other currencies are still worth more in North Korean wŏn on the black market than officially. South Korean currencies[edit] Won (1945-1953)[edit] Main article: South Korean won (1945) Following the end of the division of Korea, the won was introduced to replace the Korean yen. The won was subdivided in 100 jeon. The first banknotes were issued by the Bank of Joseon in denominations ranging from 5 jeon to 100 won. In 1950 the currency management switched to the Bank of Korea and new notes were then issued, mostly with higher denominations. The first note put in circulation by the Bank of Korea in 1950 was printed in Japan by the National Printing Bureau (国立印刷局). The next year the Korea Minting and Security Printing Corporation was created and took over as printer of South Korean currency. At the time of the introduction in 1945 the won was pegged to the Japanese yen at a rate of 1 won = 1 yen. In October of the same year the anchor currency got change to the US dollar at a rate of 15 won = 1 dollar. Toward the end of the Korean War the won was devaluated at 6000 won = 1 dollar. Following that the hwan was introduced as the new currency at a rate of 1 hwan = 100 won. Hwan (1953-1962)[edit] Main article: South Korean hwan Due to devaluation of the won the hwan was introduced on February 15, 1953 at the rate of 1 hwan = 100 won. It was subdivided in 100 jeon, but they were never used. New banknotes in denominations between 10 and 1000 hwan were issued. Starting in 1959, 10 and 50 hwan coins were also issued to replace the lower denomination notes. Those were the first circulating coins in South Korea. Due to the short notice of the change in currency, the first series of the new notes was commissioned from the United States Government Printing Office. The notes were released in five denominations, all with an identical design. Some replacement notes with a more suited Korean theme were later issued, starting with the 100 hwan just a month later. The hwan suffered from inflation as well. At its introduction, it was pegged to the United States dollar at 1 dollar = 60 hwan, but toward the end of its life it was devaluated at 1 dollar = 1250 hwan. In 1962, the won was reintroduced at the rate of 1 won = 10 hwan. The 10 and 50 hwan coins were kept in circulation until March 22, 1975.5 Currency notes issued by Korean Government and R.A.A.F. denominations of 100, 100 Won and 1 shilling国立印刷局, currency korea, money korea, money korean war -
Mission to Seafarers Victoria
Article, Kerrie O'Brien, Want to peek inside Melbourne’s finest mansions and buildings? This is your chance, 30 June 2022
Open House 2022: "Like many Melburnians, Ying-Lan Dann has long been fascinated by the Mission to Seafarers, in Docklands. When she was invited to create a work in response to a building as part of this year’s Open House Melbourne, she knew immediately which it would be. Taking a peek behind the closed doors of some of Melbourne’s finest and most interesting buildings is a core premise of the weekend event, now in its 15th year. During that time, the program has grown from half a dozen buildings to a 200-plus strong list that extends to Ballarat and Bendigo. “[It’s] much more expansive and citizen-led,” says Fleur Watson, Open House Melbourne’s executive director. “As a public festival, it has always had a spirit of generosity, this gesture of opening up and allowing visitors to come and look and experience things.” Swinging open their doors at the end of the month will be some of the city’s finest mansions, including Villa Alba in Kew and Brighton’s Billilla, the Cairo flats in Fitzroy, the newly renovated Jewish Museum designed by Kerstin Thompson, the Melbourne Quakers Centre, the Albanian Mosque in Carlton North and many more. Considering how to approach the event this year, held remotely for the past two, Watson decided to explore beyond the traditional, with associate professor and director of curatorial practice at Monash University Tara McDowell. The two have co-curated an exhibition of works to run concurrently with the Open House program, called Take Hold of the Clouds. That’s where Dann’s work, Circular Temporalities, comes in, one of seven commissions around town in which local and international artists respond to chosen buildings or sites. A lecturer in interior design at RMIT as well as an artist, she is interested in time and finding different mediums to show things in flux and, having grown up on Phillip Island, she often uses water as a theme. When she started spending time at the Mission, Dann found there was an oculus at the top of the dome, known as the Norla Dome. She thought about how that small but significant opening related to where sailors spent so many months of the year, the sky being the only thing they would see much of the time, stars guiding the way in times gone by, and of the recent stories she’d heard about sailors being trapped at sea during COVID. Built in the Arts and Craft style between 1916 and 1919 and designed by architect Walter Butler, the Mission includes a chapel, clubroom, Chaplain’s house, a small cottage and the Norla Dome, which was apparently inspired by the Pantheon. The Mission was funded by the government and the Ladies Harbour Lights Guild, who Dann was also intrigued by. “One of the things those women identified is that life at sea is very dangerous [and they] wanted to give them a space of sanctuary and support,” she says, adding that for many years, the dome was used as a gymnasium. Her work inside the dome includes a 35-minute loop film, recorded from the ferry during the crossing from Queenscliff to Sorrento. The horizon takes up about a third of the shot and moves as the waves rise and fall, mirroring the journeys made by the sailors who found refuge at the mission over the years; it will be projected onto a gauze-like fabric, allowing glimpses of the building behind. Dann also plans to activate the site over the course of the weekend and will read a poem by Justin Clemens.The articles gives an insight of the création of the artwork by Ying-Lan Dann. digital copy of an article with photographs published in the Ageopen house melbourne, 2022, ying-lan dann, take hold of the clouds, norla dome, exhibition, the age, cultural events -
Flagstaff Hill Maritime Museum and Village
Plaque - Commemorative, circa 1928
This commemorative plaque refers to the religiously themed window situated in the western (weather) wall of the St. Nicholas Mission to Seamen’s Church building in the Flagstaff Hill Maritime Village. It was crafted circa 1928. ABOUT THE WINDOW The window, to which this plaque belongs was once known as the Dr Connell Memorial Window, which was a feature of an external wall adjacent to the Women’s Children’s Wards of Warrnambool Hospital. Honorary Doctors had played a significant role in the operation of the hospital between the years 1900 to 1939. One of these doctors was Dr. Connell, who passed away in 1928. A paragraph in the book ‘A History of the Warrnambool Base Hospital’ by Forth and Yule describes the role of the Honorary Doctors - “At the start of the period the senior-part time medical officer was replaced by the junior resident medical officer and control of beds and the right to operate were given to the honorary medical officers...and these men dominated the Warrnambool medical world in the years before the Second World War.” Dr. Connell leased ‘Ambleside’, 192 Koroit Street, in the early 20th century, following Dr Teed who had previously run his medical practice there. In 1914 Dr Connell purchased the property and continued his private practice there until his death in 1928. He also took a prominent part in hospital work, both as physician and surgeon, and often acted as spokesmen for the Honorary Doctors. According to colleague Dr. Horace Holmes’ subsequent notes, it was after the close of the First World War, and the following years of the world-wide pneumonic influenza epidemic, that Dr. Connell himself contracted pneumonia and died. His family and friends then recognised his work by gifting the memorial window in his honour to the Hospital. By the mid-1970s the old wards at the hospital had been replaced and there was no obvious place for the window. Discussions between the previous and past Hospital managers, the Anglican Diocese, and Flagstaff Hill Planning Board, led to its installation in its present position in St Nicholas Seamen’s Church. It was installed without the bottom section of stained glass, which was inscribed as a memorial to Dr. Connell. St NICHOLAS SEAMEN’S CHURCH, Anglican Church Flagstaff Hill’s Mission to Seamen was opened in 1981. Its conception was partly motivated by the offer of Stained Glass Memorial Windows from the local Warrnambool and District Base Hospital, which was undergoing multi-storey development in the late 1960’s and early 1970’s. The Manager/Secretary at the time was keen to see the historical windows installed in an appropriate location. The chapel was designed by a local architectural draftsman in conjunction with members of the Planning Board of Flagstaff Hill, and built by Mr Leon Habel. The vision of the designers included the hope that the church be used for formal worship such as weddings and funeral, and for multi-denominational special services such as War commemorations. The design is based on the ‘Mission to Seamen’ buildings in both Portland and Port Melbourne. These types of buildings were often erected to house social and worshipful activities for seamen. The materials used in the building include sandstone recycled from nineteenth-century buildings demolished in Warrnambool and American slate tiles retrieved from the 1908 wreck of the FALLS OF HALLADALE. Most of the chapel furnishings came from the Williamstown Missions to Seamen, which was consecrated in 1946 but later decommissioned. These artefacts range from the altar cloth to the hymn board and include a visually stunning round stained glass widow called ‘Christ Guiding the Helmsman’. However the provenance of this particular artefact, large western window, is local.This plaque is significant because of its association with stained glass memorial window is of local, historical and social significance, linking local history and heritage with one of Warrnambool's doctors, Dr. Egbert John Connell (d. 1928), who gave 30 years of dedicated, medical service to the local citizens.Plaque, opaque, pale green glass rectangle mounted on white timber board and held in place with six decorative silver coloured clasps. Five rows of printed, capitalised text are fixed on the top surface. The plaque is companion to the commemorative, stained glass window installed in the St. Nicholas Mission to Seamen's Church at Flagstaff Hill. (The window was previously known locally as the Dr. Connell Memorial Window.)"A TRIBUTE TO / EGBERT JOHN CONNELL, M.B.B.S. / WHO FOR 30 YEARS RENDERED DEVOTED AND / VALUABLE SERVICE TO THIS INSTITUTION / OBIIT APRIL 4th 1928, A.D."flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, chapel window, stained glass window, warrnambool and district base hospital, st nicholas mission to seamen’s church, williamstown mission to seamen, dr egbert connell, ambleside warrnambool, leon habel builder, falls of halladale slate, memorial window, commemorative window, dr connell, commemorative plaque, plaque, edgar mcconnell -
Flagstaff Hill Maritime Museum and Village
Artwork, other - Window, circa 1928
This religiously themed window is situated in the western (weather) wall of the St. Nicholas Mission to Seamen’s Church building in the Flagstaff Hill Maritime Village. It was crafted circa 1928. ABOUT THE WINDOW This window, once known as the Dr Connell Memorial Window, was a feature of an external wall adjacent to the Women’s Children’s Wards of Warrnambool Hospital. Honorary Doctors had played a significant role in the operation of the hospital between the years 1900 to 1939. One of these doctors was Dr. Connell, who passed away in 1928. The green glass plaque is also a registered object in Flagstaff Hill's Collection. Its inscription dedicates the window to Dr. Connell. The inscription reads: “A tribute to Egbert John Connell M.B.B.S. who for 30 years rendered devoted and valuable service to this institution. Obiit April 4th 1928 A.D." A paragraph in the book ‘A History of the Warrnambool Base Hospital’ by Forth and Yule describes the role of the Honorary Doctors - “At the start of the period the senior-part time medical officer was replaced by the junior resident medical officer and control of beds and the right to operate were given to the honorary medical officers...and these men dominated the Warrnambool medical world in the years before the Second World War.” Dr. Connell leased ‘Ambleside’, 192 Koroit Street, in the early 20th century, following Dr Teed who had previously run his medical practice there. In 1914 Dr Connell purchased the property and continued his private practice there until his death in 1928. He also took a prominent part in hospital work, both as physician and surgeon, and often acted as spokesmen for the Honorary Doctors. According to colleague Dr. Horace Holmes’ subsequent notes, it was after the close of the First World War, and the following years of the world-wide pneumonic influenza epidemic, that Dr. Connell himself contracted pneumonia and died. His family and friends then recognised his work by gifting the memorial window in his honour to the Hospital. By the mid-1970s the old wards at the hospital had been replaced and there was no obvious place for the window. Discussions between the previous and past Hospital managers, the Anglican Diocese, and Flagstaff Hill Planning Board, led to its installation in its present position in St Nicholas Seamen’s Church and the memorial plaque was later installed beside the window. St NICHOLAS SEAMEN’S CHURCH, Anglican Church Flagstaff Hill’s Mission to Seamen was opened in 1981. Its conception was partly motivated by the offer of Stained Glass Memorial Windows from the local Warrnambool and District Base Hospital, which was undergoing multi-storey development in the late 1960’s and early 1970’s. The Manager/Secretary at the time was keen to see the historical windows installed in an appropriate location. The chapel was designed by a local architectural draftsman in conjunction with members of the Planning Board of Flagstaff Hill, and built by Mr Leon Habel. The vision of the designers included the hope that the church be used for formal worship such as weddings and funeral, and for multi-denominational special services such as War commemorations. The design is based on the ‘Mission to Seamen’ buildings in both Portland and Port Melbourne. These types of buildings were often erected to house social and worshipful activities for seamen. The materials used in the building include sandstone recycled from nineteenth-century buildings demolished in Warrnambool and American slate tiles retrieved from the 1908 wreck of the FALLS OF HALLADALE. Most of the chapel furnishings came from the Williamstown Missions to Seamen, which was consecrated in 1946 but later decommissioned. These artefacts range from the altar cloth to the hymn board and include a visually stunning round stained glass widow called ‘Christ Guiding the Helmsman’. However the provenance of this particular artefact, large western window, is local. This stained glass memorial window is of local, historical and social significance, linking local history and heritage with one of Warrnambool's doctors, Dr. Egbert John Connell (d. 1928), who gave 30 years of dedicated, medical service to the local citizens.Stained glass leadlight window in Gothic arched metal frame with six horizontal reinforcing rods. Image depicts a golden flat-bowled baptismal font on a slender stand with foliage proceeding from it. The image is internally framed by a Roman arch of coloured glass and surrounding rectangular and breaking-wave shapes. (The window was previously known locally as the Dr. Connell Memorial Window and a plaque dedicated to Dr. Connell is catalogued separately. See Context notes for details.)flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, chapel window, stained glass window, warrnambool and district base hospital, st nicholas mission to seamen’s church, williamstown mission to seamen, dr egbert connell, ambleside warrnambool, leon habel builder, falls of halladale slate, memorial window, commemorative window, dr connell -
Federation University Historical Collection
Music Scores, Boosey & Hawkes Ltd, Handwritten sheet music, mid twentieth century
Frank Wright was a renown resident of Smeaton, where he was born on 2 August 1901. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.Handwritten music scores by Frank Wright, some in his hand. 1). 'The Merry Peasant' by Schumann and arranged in parts for brass band by Frank Wright - 3 pages. 2). 'Threshold' by Frank Wright -9 pages. 3). 'Around the Campfire' in parts - 10 pages. 4).'March (Judas Maccabaeus) by Handel and arranged by Frank Wright for the Boys Brigade (a) is written by Frank in pencil, (b) is written in pen with a brown paper cover. 5). 'Anthony & Cleopatra' arranged for the Boys Brigade (a) in written in pencil, (b) is written in pen. 6). 'O Give Me the Hills' written in pencil - 2 pages 7). 'Beneath this Turf' music by Frank Wright and words written in 1842 by Unknown Author - 3 pages. 8). 'If When that Hour Recalling' music by Frank Wright and poem by Thomas Moore, written in pen for 4 brass parts plus violin - 6 pages. 9). 'So Long', Brass Band arrangement by Frank Wright, written in pencil - 2 pages. 10). 'Gluck: March' arrangement by Frank Wright and written in pencil - 2 pages. 11). 'Occasional March' by Handel, arrangement by Frank Wright and written in pen - 5 pages (3 pages of band parts plus a separate Solo Cornet page). 12). 'Bugle Command: Ceremonial March for Bugles and Brass Band' written by Frank Wright - (a) 6 pages of bands parts plus a separate Solo Cornet page written in pen (b) 4 pages written in pencil and pen. 13). 'Scena' & 'Idyll' - Grade 4 Trombone written by Frank Wright in pen - 2 pages. 14). 'Green Corn' Brass Band arrangement by Frank Wright, written in pencil - 1 page. 15). 'Syrian Air' by Geoffrey Allen and arrangement by Frank Wright, with a buff cover (a) written in pencil - 2 pages (b) photo copy of parts - 2 pages (c) single sheet of music written in pencil, blue pen and red pen with some sections crossed out. 16). 'Gavotte: from the Opera "Rodrigo"' by Handel and arrangement by Frank Wright with a brown paper cover (a) 3 pages written in pencil (b) 3 pages written in pen. 17). 'Tales of Hoffman' arranged by Frank Wright for Brass Band 32 page printed booklet in a buff envelope. 18). 'Will Your Anchor Hold' arranged by Frank Wright for The Boy's Brigade - (a) 2 pages written in pencil with a buff cover plus a page with both pen and pencil notes (b) 2 pages written in pen plus a photo copied page for Solo Cornet. 19). Buff folder of 3 pieces of music written in pen - '1. Riverside', '2. Cenotaph' & '3. London Lights' - 7 pages. 20). 'Preludio Marziale (Martial Prelude)' by Frank Wright (a) written in pencil - 2 pages (b) written in pen - 7 pages (c) 7 page printed copy 21). 'Rondo Theme' (a) music written in pencil on the front of a buff envelope (b) 1 page written in pencil 22). Buff folder with two poems set to music by Frank Wright and written in pen - (a) 'My Heart and Lute' by Thomas Moore - 3 pages plus another 3 pages which may be part of this piece (b) 'The Rose' by Thos Croft (bart) - 3 pages. (c) a Musical Pitch Relation Chart for Pipe Organ. 23). 'Purcellian Suite', Purcell arranged by Frank Wright - 3 pages written in pencil and 4 photocopied pages 24). 'G's pl piano study 27/2/52All hand written 8). Written in pencil on front - You can return this score. Keep parts. 9). Notes to musicians written in pen on page 1. 11). Notes to musicians in pencil on page 4. 13). a correction written in red pencil.