In 2003 a steering committee investigated the feasibility of setting up a branch of the Bendigo Bank in Watsonia. This media release announced the end of the campaign due to lack of community support.Media release. Black text on white paper. bendigo bank, community banks, watsonia, macleod, watsonia macleod community bank

Various letters of acknowledgement and support for White Cane Day in 1990, written by then Queensland Premier Wayne Goss, Australian Prime Minster Bob Hawke, Brisbane Lord Mayor Sallyanne Atkinson, Queensland White Cane Committee and a Media News release from RVIB,6 typed letters from various people and to the mediaroyal victorian institute for the blind, queensland white cane day committee, white cane day, wayne goss, bob hawke, sallyanne atkinson

The Australian and New Zealand College of Anaesthetists (ANZCA) began as a faculty at the Royal Australasian College of Surgeons (RACS). Separation was achieved in 1992, when the faculty became a college in its own right. The relationship between ANZCA and RACS has been strong ever since, and on opening the new building at the rear of the property in 2002, RACS gifted this painting to ANZCA.Mixed media abstract on square canvas. The painting is an orange, grey, green and white background, with an abstracted landscape in black to the centre.Handwritten in blue permanent marker on reverse: -RETURN TO FOREVER- / T MCNAMARAHandwritten on white sticker adhered to frame: TREVOR MCNAMARA / "RETURN TO FOREVER" / 160 X 160 / MIXED MEDIA / W: 3862 BTY ZAW

This cap was part of a media kit produced by Melba Industries, part of the Austrim Textiles Group. The kit was given away at a media launch to publicise the production of an Australian made, nylon wool pack called 'Jumbuck'. The packs will be made at the former Valley Mill in Geelong. This launch occurred on 21 July 2000 and was attended by Andrew Moritz, National Wool Museum Director, who collected this media kit for the museum collection.Part of media kit for launch of 'Jumbuck', Australian made nylon wool packs produced by Melba Industries (part of the Austrim Textiles Group) in Geelong.JUMBUCK / AUSSIE-MADE WOOL PACKS Melba Industries 80% WOOL / 20% VISCOSE / ONE SIZE FITS ALL / HAND WASH ONLY / MADE IN CHINAblack, mr lindsay - melba industries (an austrim nylex ltd company) austrim nylex ltd valley worsted mill, jumbuck wool pack

This bag contained a media kit produced by Melba Industries, part of the Austrim Textiles Group. The kit was given away at a media launch to publicise the production of an Australian made, nylon wool pack called 'Jumbuck'. The packs will be made at the former Valley Mill in Geelong. This launch occurred on 21 July 2000 and was attended by Andrew Moritz, National Wool Museum Director, who collected this media kit for the museum collection.Contained media kit from the launch of 'Jumbuck', an Australian made nylon wool pack produced by Melba Industries (part of the Austrim Textiles Group) in Geelong.JUMBUCK TM / AUSSIE-MADE WOOL PACKS FILDESFAST / LABELS BAGS PRINTING / Tel: 1800 351 185black, mr lindsay - melba industries (an austrim nylex ltd company) austrim nylex ltd valley worsted mill, jumbuck wool pack

The press was in a show case in the Library of the Ballarat Institute of Advanced Education and the the University of Ballarat. It came from the Education Media Unit.Black enamelled iron. E.M.U. (standing for Education Media Unit) presses onto paper Brass circular head on steel disc base.Maker's name e m u press, library, ballarat institute of advanced education, education media unit, seal

A media release providing information about Legacy's first 73 years and to promote Legacy Week and the Badge Appeal. It mentions one of the founders of Legacy, L/ Stan Savige had a philosophy that 'life itself is worthless without some form of service to the community.' A record of a media release from February 1996, with an outline of the founding of Legacy, the role of Legatees and information about L/ Stan Savige. White A4 paper with black type x 2 pages of a media release about Legacy in 1996.legacy week, legacy promotion

A copy of the Anzac Day Address at the Anzac Commemoration Ceremony for Students in 1989 which was subsequently published in the Legacy Bulletin. Also a copy of the Media Release published by Legacy to promote the event. The ceremony provides a valuable opportunity for students to gain an appreciation of the Anzac spirit, the significance of the Shrine and the meaning of Anzac Day. The ceremony is usually attended by the Governor of Victoria, however, in 1990 the guest making the address was Commodore J.S. Dickson.A record of a ceremony at the Shrine for school students.Text of a speech at the 59th Annual Anzac Commemoration Service for Students and the Media Release for the event.anzac commemoration for students, wreath laying ceremony

A copy of the Governor's speech at the Anzac Commemoration Ceremony for Students in 1989 which was subsequently published in the Legacy Bulletin. Also a copy of the Media Release published by Legacy to promote the event. The ceremony provides a valuable opportunity for students to gain an appreciation of the Anzac spirit, the significance of the Shrine and the meaning of Anzac Day. The ceremony is usually attended by the Governor of Victoria, in 1989 it was Dr. Davis McCaughy.A record of a ceremony at the Shrine for school students.Text a speech by the Governor at the 58th Annual Anzac Commemoration Service for Students and the Media Release for the event.anzac commemoration for students, wreath laying ceremony

This belt belonged to a WW1 Australian Anzac who most probably, because of the buttons and badges, served on the Western Front. Records destroyed in 1969 bush fires at Lara means we are unable to determine who owned this in the RSL. The belts is called a 'stable belt' and the one you have acquired is an early example with a leather pocket. It became common in WW1 for both, leather belts (especially that from the 1903 bandolier equipment as worn by those in the Boer War), and stable belts to be used to hold badges collected from fellow soldiers and for that reason it was often known as a 'souvenir belt'. The evolution of the stable belt: It seems that stable belts began to become popular across the Army as a whole around the turn of the 20th century, although they probably originated with the cavalry a little earlier sometime in the 1880s/1890s. All units at that time had horses on their establishment and those soldiers told off to attend them reported for Stable Parade in Stable Dress which consisted of very high waisted and pocket less breeches, or trousers, held up by braces and collarless, woollen flannel shirts with sleeves rolled up. This was to facilitate the rigorous physical effort and flexibility of movement necessary for mucking out and grooming. Braces at that time had no elastic as rubber was expensive, they were made of cotton with no 'give' whatsoever and so soldiers commonly allowed the braces to flop down from the waist so that they could bend over freely. For trousers that fitted loosely (due to the high waist) this meant that they tended to slip down and at first soldiers cinched them in with leather belts. Later on the regimental saddlers began to make belts from the same, plain canvas or wool strapping used for the horses Surcingle and utilising the same double leather strap and buckle arrangement for security (if one strap broke the other would hold and prevent the saddle from coming unseated). One particular feature of these early stable belts was a sewn on (or in) pocket, secured by a stud or clip, within which loose change could be kept, or a pocket watch, as there were no pockets in the breeches. As you might imagine these became very popular as the pocket was useful and the extra breadth afforded by the canvas strapping made them very comfortable. Around about the turn of the 20th century it began to be popular for officers to wear neckties in regimental colours both for sport and less formal, country dress. This habit probably began with the Queens Household troops and Line Cavalry, but quickly spread throughout the Army and it appears as if this use of regimental colours spread to the canvas or wool strapping used to make stable belts. For this reason the stable belts invariably followed the same colour scheme (but not always the same pattern arrangement) of regimental neck ties. This belt is an example of what Australian troops collected when on the Western Front during WW1 and when on leave.Leather Belt with 31 Badges and Buttons from WW1 attachedSee Mediaww1, world war 1, australian army, badges, button, belt, stable belt

This belt belonged to a WW1 Australian Anzac who most probably, because of the buttons and badges, served on the Western Front. Records destroyed in 1969 bush fires at Lara means we are unable to determine who owned this in the RSL. The belts is called a 'stable belt' and the one you have acquired is an early example with a leather pocket. It became common in WW1 for both, leather belts (especially that from the 1903 bandolier equipment as worn by those in the Boer War), and stable belts to be used to hold badges collected from fellow soldiers and for that reason it was often known as a 'souvenir belt'. The evolution of the stable belt: It seems that stable belts began to become popular across the Army as a whole around the turn of the 20th century, although they probably originated with the cavalry a little earlier sometime in the 1880s/1890s. All units at that time had horses on their establishment and those soldiers told off to attend them reported for Stable Parade in Stable Dress which consisted of very high waisted and pocket less breeches, or trousers, held up by braces and collarless, woollen flannel shirts with sleeves rolled up. This was to facilitate the rigorous physical effort and flexibility of movement necessary for mucking out and grooming. Braces at that time had no elastic as rubber was expensive, they were made of cotton with no 'give' whatsoever and so soldiers commonly allowed the braces to flop down from the waist so that they could bend over freely. For trousers that fitted loosely (due to the high waist) this meant that they tended to slip down and at first soldiers cinched them in with leather belts. Later on the regimental saddlers began to make belts from the same, plain canvas or wool strapping used for the horses Surcingle and utilising the same double leather strap and buckle arrangement for security (if one strap broke the other would hold and prevent the saddle from coming unseated). One particular feature of these early stable belts was a sewn on (or in) pocket, secured by a stud or clip, within which loose change could be kept, or a pocket watch, as there were no pockets in the breeches. As you might imagine these became very popular as the pocket was useful and the extra breadth afforded by the canvas strapping made them very comfortable. Around about the turn of the 20th century it began to be popular for officers to wear neckties in regimental colours both for sport and less formal, country dress. This habit probably began with the Queens Household troops and Line Cavalry, but quickly spread throughout the Army and it appears as if this use of regimental colours spread to the canvas or wool strapping used to make stable belts. For this reason the stable belts invariably followed the same colour scheme (but not always the same pattern arrangement) of regimental neck ties.This belt is an example of what Australian troops collected when on the Western Front during WW1 and when on leave.Webbing Belt with Badges and Buttons WW1See Mediaarmy, australian army, western front, aif, s.w.ellis, service number 640, 2 m.g.c., buttons, badges, belt, stable belt

Several items were given by a seafarer, Mr Nicholas Garlick (1926-2009) into the care of Father Brady who retired from St Pauls Cathedral, Melbourne in 2018. Father Brady later donated the collection of objects, documents and an extensive collection of cruise ship menus (1937-end of 20thC) to the Mission via the intermediary William Hastie, volunteer at the Mission for Seafarers. Buff-coloured menu card. Front; 'The Australian National Line' printed in blue above the ANL insignia with 18 names and telephone numbers (17 pencilled, 1 in red ink) written in place of a menu. Back; this appears to be a typed internal directory with 4 names and telephone numbers added (3 in pencil, 1 in blue-green ink). Garlick is one of names in the typed directory.See media the australian national line, nicholas garlick, father brady, seafrers, seamen, sailors, ships, william hastie, nick garlick

Gift of Mack Jost, 1992mixed media

Mixed media

Donated by Andy Dinan, 2018Mixed mediagippsland, artwork, permanent collection

Gift of Mack Jost, 1994mixed media on canvas

Mixed media on board-

Purchased from exhibition at Footscray Arts Community CentreArtist lived in Western Suburbs (Melton)Mixed media artwork

Donated from the estate of the artist, 2016Mixed media on boardgippsland, artwork, permanent collection

Donated from the estate of the artist, 2016Mixed media on boardgippsland, artwork, permanent collection

Donated by the artist through the Australian Government Cultural Gifts Program, 2014Mixed media on canvasgippsland, artwork, permanent collection

Donated by Bendigo Art Gallery, 2006Mixed media on papergippsland, artwork, permanent collection

Donated by Bendigo Art Gallery, 2006Mixed media on papergippsland, artwork, permanent collection