The Alexander Schleicher K4 was designed in the mid 1950s by Rudolf Kaiser as a club training glider and several hundred were built. The Australian Gliding Museum’s K4, VH-IKK, serial number 55, was built in 1957 and purchased by the RAF Air Training Corp. U.K. After some years it was sold to a New Zealand Gliding Club and in 1990 with over 4800 hours, number of launches unknown, it was purchased by the Brisbane Valley Soaring Club and in 1994 was transferred to the Far North Queensland Soaring Centre who operated it from the Mareeba airfield. On 9 January 2000 it was donated to Vintage Gliders Australia by Kevin Sedgman at a presentation ceremony with Alan Patching receiving the glider during the Rally at Lake Keepit. It has been flown regularly at vintage glider rallies and on several occasions at Museum open days. However, it has subsequently been grounded on account of potential structural defects. VH-IKK is one of two K4s in Australia, the other being VH-XJP which is believed to be in storage in Queensland in a damaged condition. When restored, this exhibit will be representative example of the AS-K4 glider-sailplane type.Tandem two seat high wing strutted glider consisting of wood with plywood and fabric wings, tailplane / elevators, fin / rudder, and tubular steel framed, fabric covered fuselage. Prior to restoration work, the glider was finished in a white, green and yellow paint scheme. “Vintage Gliders Australia” name in white lettering on fuselage sides and registration VH-IKK in black lettering on rudderaustralian gliding, glider, sailplane, alexander schleicher, k4, kaiser, raf air training corp, brisbane valley soaring club, far north queensland soaring centre, vintage gliders australia, sedgman, patching

In 1976, the Shire of Pakenham recognising that Cockatoo was the second largest township within the shire, acknowledged requests for the provision of recreation facilities. Council purchased four hectares of land strategically located in the Town Centre and in conjunction with the local community, embarked upon a programme of staged development of the site. The first stage saw the construction of the kindergarten building which was opened in 1977, followed by the bowling green, tennis courts, netball courts and public toilets. The Community Complex Building was the final development of the site.The Cockatoo Community Complex building, was the final stage of the development and was opened on the 20th November 1982. It was a replacement for the old Cockatoo Hall, which had not been renovated since 1936. The old Cockatoo Hall was lost in the Ash Wednesday fires on the 16th February 1983. The community complex played an integral part in the recovery stages after Ash Wednesday.Four page document, including Acknowledgements, Order of Ceremony, Menu and Site Plan of the Cockatoo community ComplexTwo punctured holes for folder storagecockatoo community complex, cockatoo hall, hall opening, cockatoo

Photograph. The Eaglehawk Town Hall and Mechanics Institute. Designed by Henry Edmeades Tolhurst in 1864. The building opened on the 1st of February 1865. Officially opened by Mayor Cr. George Loundon on August 14, 1901 with a ribbon ceremony.eaglehawk, history, town hall

The United Protestant Church at Woomera was built at a cost of 10,000 pounds. It was opened on 14 October 1956 by the Governor General Sir Robert George. The church was dedicated by Chaplain General A. Brooke and Principal Air Chaplain R.C. Russell. B & W exterior view of the United Protestant Church at Woomera, South Australia during the opening ceremony held on October 14 1956united protestant church, woomera, governor general sir robert george, chaplain general a. brooke, principal air chaplain r.c. russell

The United Protestant Church at Woomera was built at a cost of 10,000 pounds. It was opened on 14 October 1956 by the Governor General Sir Robert George. The church was dedicated by Chaplain General A. Brooke and Principal Air Chaplain R.C. Russell. B & W photograph of defence forces officers standing in front of the United Protestant Church at Woomera, South Australia during the opening ceremony held on October 14 1956.united protestant church, woomera, governor general sir robert george, chaplain general a. brooke, principal air chaplain r.c. russell

Both the Page Commander's and Deputy Page Commander's tables were covered with a table cloth. The PC's table held the gavel, the Seal of the Court, the General Mark of the Order and an open Bible. The DPC's table held a gavel, the roll book and the cash book. [Information taken from the Methodist Order of Knights Rigtual of the Page's Degree for use in the Junior Court Ceremonies 1952 publication].Methodist Order of Knights pale blue oblong cotton table cloth with the MOK symbol in one corner.methodist order of knights

Mawul Rom Project: Openness, obligation and reconciliation Morgan Brigg (Universtiy of Queensland) and Anke Tonnaer (University of Aarhus, Denmark) Aboriginal Australian initiatives to restore balanced relationships with White Australians have recently become part of reconciliation efforts. This paper provides a contextualised report on one such initiative, the Mawul Rom crosscultural mediation project. Viewing Mawul Rom as a diplomatic venture in the lineage of adjustment and earlier Rom rituals raises questions about receptiveness, individual responsibility and the role of Indigenous ceremony in reconciliation efforts. Yolngu ceremonial leaders successfully draw participants into relationship and personally commit them to the tasks of cross-cultural advocacy and reconciliation. But Mawul Rom must also negotiate a paradox because emphasis on the cultural difference of ceremony risks increasing the very social distance that the ritual attempts to confront. Managing this tension will be a key challenge if Mawul Rom is to become an effective diplomatic mechanism for cross-cultural conflict resolution and reconciliation. Living in two camps: the strategies Goldfields Aboriginal people use to manage in the customary economy and the mainstream economy at the same time Howard Sercombe (Strathclyde University, Glasgow) The economic sustainability of Aboriginal households has been a matter of public concern across a range of contexts. This research, conducted in the Eastern Goldfields of Western Australia, shows how economically successful Aboriginal persons manage ?dual economic engagement?, or involvement in the customary economy and the mainstream economy at the same time. The two economies sometimes reinforce each other but are more often in conflict, and management of conflicting obligations requires high degrees of skill and innovation. As well as creating financially sustainable households, the participants contributed significantly to the health of their extended families and communities. The research also shows that many Aboriginal people, no matter what their material and personal resources, are conscious of how fragile and unpredictable their economic lives can be, and that involvement in the customary economy is a kind of mutual insurance to guarantee survival if times get tough. Indigenous population data for evaluation and performance measurement: A cautionary note Gaminiratne Wijesekere (Dept. of Families, Housing, Community Services and Indigenous Affairs, Canberra) I outline the status of population census counts for Indigenous peoples, identifying information on Indigenous births and deaths, and internal migration estimates. I comment on the ?experimental? Indigenous population projections and question the rationale for having two sets of projections. Program managers and evaluators need to be mindful of limitations of the data when using these projections for monitoring, evaluating and measuring Indigenous programs. Reaching out to a younger generation using a 3D computer game for storytelling: Vincent Serico?s legacy Theodor G Wyeld (Flinders University, Adeliade) and Brett Leavy (CyberDreaming Australia) Sadly, Vincent Serico (1949?2008), artist, activist and humanist, recently passed away. Born in southern Queensland in Wakka Wakka/Kabi Kabi Country (Carnarvon Gorge region) in 1949, Vincent was a member of the Stolen Generations. He was separated from his family by White administration at four years of age. He grew up on the Cherbourg Aboriginal Reserve in the 1950s, when the policies of segregation and assimilation were at their peak. Only returning to his Country in his early forties, Vincent started painting his stories and the stories that had been passed on to him about the region. These paintings manifest Vincent?s sanctity for tradition, storytelling, language, spirit and beliefs. A team of researchers was honoured and fortunate to have worked closely with Vincent to develop a 3D simulation of his Country using a 3D computer game toolkit. Embedded in this simulation of his Country, in the locations that their stories speak to, are some of Vincent?s important contemporary art works. They are accompanied by a narration of Vincent?s oral history about the places, people and events depicted. Vincent was deeply concerned about members of the younger generation around him ?losing their way? in modern times. In a similar vein, Brett Leavy (Kooma) sees the 3D game engine as an opportunity to engage the younger generation in its own cultural heritage in an activity that capitalises on a common pastime. Vincent was an enthusiastic advocate of this approach. Working in consultation with Vincent and the research team, CyberDreaming developed a simulation of Vincent?s Country for young Aboriginal and non-Aboriginal persons from the Carnarvon Gorge region to explore Vincent?s life stories of the region. The use of Vincent?s contemporary paintings as storyboards provides a traditional medium for the local people to interactively re-engage with traditional values. Called Serico?s World, it represents a legacy to his life?s works, joys and regrets. Here we discuss the background to this project and Vincent?s contribution. A singular beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land RG Gunn (La Trobe University) and RL Whear (Jawoyn Association) Samples from a beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land were analysed for radiocarbon and dated to be about 150 years old. An underlying beeswax figure was found to be approximately 1100 years old. The Dreaming Being Namarrkon is well known throughout Arnhem Land, although his sphere of activity is concentrated around the northern half of the Arnhem Land plateau. Namarrkon is well represented in rock-paintings in this area and continues to be well represented in contemporary canvas-paintings by artists from the broader plateau region. We conclude that representations of Namarrkon in both painted and beeswax forms appear to be parallel manifestations of the late Holocene regionalisation of Arnhem Land. ?Missing the point? or ?what to believe ? the theory or the data?: Rationales for the production of Kimberley points Kim Akerman (Moonah) In a recent article, Rodney Harrison presented an interesting view on the role glass Kimberley points played in the lives of the Aborigines who made and used them. Harrison employed ethnographic and historical data to argue that glass Kimberley points were not part of the normal suite of post-contact artefacts used primarily for hunting and fighting or Indigenous exchange purposes, but primarily were created to service a non-Indigenous market for aesthetically pleasing artefacts. Harrison asserted that this market determined the form that these points took. A critical analysis of the data does not substantiate either of these claims. Here I do not deal with Harrison?s theoretical material or arguments; I focus on the ethnographic and historical material that he has either omitted or failed to appreciate in developing his thesis and which, in turn, renders it invalid. The intensity of raw material utilisation as an indication of occupational history in surface stone artefact assemblages from the Strathbogie Ranges, central Victoria Justin Ian Shiner (La Trobe University, Bundoora) Stone artefact assemblages are a major source of information on past human?landscape relationships throughout much of Australia. These relationships are not well understood in the Strathbogie Ranges of central Victoria, where few detailed analyses of stone artefact assemblages have been undertaken. The purpose of this paper is to redress this situation through the analysis of two surface stone artefact assemblages recorded in early 2000 during a wider investigation of the region?s potential for postgraduate archaeological fieldwork. Analysis of raw material utilisation is used to assess the characteristics of the occupational histories of two locations with similar landscape settings. The analysis indicates variability in the intensity of raw material use between the assemblages, which suggests subtle differences in the occupational history of each location. The results of this work provide a direction for future stone artefact studies within this poorly understood region.document reproductions, maps, b&w photographs, colour photographskimberley, mawul rom project, 3d computer game, storytelling, vincent serico, beeswax, namarrkon, artefact assemblages, strathbogie ranges, groote eylandt, budd billy ii

The series of 9 photographs were taken to be included in a study of archaeological sites and Aboriginal rings in the Sunbury area. Five earth rings which are thought to be associated with male initiation ceremonies have been identified in Sunbury. Only 3 others have been found in the rest of Victoria. Despite rapid development in the area, those sites are protected heritage sites.A coloured photograph of an Aboriginal Ring which is a proclaimed sacred site on an open grassy hillside. A black cow is standing in the distance.aboriginal culture, aboriginal rings, sacred sites, george evans collection

The series of 9 photographs were taken to be included in a study of archaeological sites and Aboriginal rings in the Sunbury area. Five earth rings which are thought to be associated with male initiation ceremonies have been identified in Sunbury. Only 3 others have been found in the rest of Victoria. Despite rapid development in the area, those sites are protected heritage sites.A coloured photograph of an open hillside which is a sacred site. Gum trees and grassy tufts are dotted across the hillside.aboriginal culture, aboriginal rings, sacred sites, george evans collection

Article about the opening of the New Bridge and closing of the Old Bridge.Decribes the ceremonies and plaque dedication of the opening of the new bridge and closing of the old bridgeTwo column article about the opening of the new bridge and closing of the old bridgeHandwritten date.peterborough, peterborough old bridge, peterborough new bridge, curdies river bridge

The Peterborough Sandcastle competition has been running for at least 80 years. Wokka Moore was the first "Lady Mayoress", judge of the competition, who arrived with great ceremony using different means of transport over the years - always accompanied by a "Lady in Waiting". Traditionally, this was held on the Australia Day long weekend. Competition was divided into age groups, and the venue depended on whether the river was open or closed. (If it was open there is no sand on the Front Beach). Materials used could only be what was found on the beach. Currently (2021) the Sandcastle Committee is calling for photos, memorabilia and details of winners from over the years.This event has been running for a very long time , apparently uninterrupted. It is significant to the town because of its inclusive nature - there was high anticipation and planning by the children. The roles of Lady Mayoress and Lady in Waiting were keenly sought. Wokka Moore did the job for a long time then passed the baton. Others who were honoured over the years include Alec Calvert, eight posters of various sizes with hand drawn pictures, some with dates but not year of event.sandcastle competition, peterborough, peterborough sandcastle competition, traditional summer event peterborough

This paper lantern was used by Australian athletes in the ‘Lantern Dance’, the last program of the closing ceremony, the lantern is called “Ch’ong sa ch’orong” and is traditionally used during weddings and festivals.When closed the lantern appears as a large, red spiral bound book with detailed inscriptions describing the way to correctly use the lantern in the ceremony. This description appears in several languages as well as a drawn depiction. When opened latticed crepe paper forms a cylinder. The two thirds of the paper is dyed dyed blue and the last third is dyed red. A small battery pack is used to light the lantern.GAMES OF THE XXIVTH OLYMPIAD SEOUL 1988 o The last program of the Closing Ceremony is called “Lantern Dance”. When all the performers enter the stadium holding lanterns, turn the paper board inside out and press the ends so that they snap shut. This will then allow the lanterns to light up. Hold the lantern by the handle at the centre and gently rock it above your head as shown in the picture. o Listen to the announcements via the ear-phones and follow the signals from the guides for further instructions. o* This lantern is called “Ch’ong sa ch’orong” and was traditionally used during weddings and festivals. This inscription is repeated several times in various languages on the cover of the lantern.1988 seoul olympic games, closing ceremony, lantern dance

Program for Pilot Group 2 Nurses Graduation Ceremony - 37 Rowan Street 6.30pm Friday 1st April, 1977 Guests Mr K Houlahan Mr S Gerry Miss j Nixon Mrss M Scott Mrs G Stimson Cream Colour program with black writing. Program opens to list on LHS of Speakers/presenters. RHS has list of graduates. - Back page in blanknursing history, nurse training

Photograph from an unknown newspaper showing a group of men and women in formal dress. Six small girls, two of them holding baskets of flowers are at the front of the group. Thought to be of the Official Party at the opening of the Chiltern War Memorial Hall, or a function shortly after the hall was opened.Black and white photocopy of a newspaper photograph, printed on paperAt top of page: "1952 Official Party"chiltern war memorial hall, rsl, opening ceremonies

Photograph from an unknown newspaper showing six young women in formal dress in the back. Six small girls, with flowers are at the front of the group, with an older woman seated at the centre. Thought to be of the Official Party at the opening of the Chiltern War Memorial Hall, or a function shortly after the hall was opened.Black and white photocopy of a newspaper photograph, printed on paperchiltern war memorial hall, rsl, opening ceremonies

Photograph from an unknown newspaper showing a group of men and women in formal dress. Six small girls, two of them holding baskets of flowers are at the front of the group. Thought to be of the Official Party at the opening of the Chiltern War Memorial Hall, or a function shortly after the hall was opened. This photograph is a copy of the one on record no. 2305.002Black and white photocopy of a newspaper photograph, printed on paperAt top of page: "1952 Official Party"chiltern war memorial hall, rsl, opening ceremonies

The Samuel Wadham Wing, officially opened on 23 March 1963 by Lord Richard Casey (Minister for External Affairs), at a large ceremony and commemoration dinner. The Wing was the second residential building at International House, providing sixty-three additional student rooms, tutors' rooms, a library, a laundry, a gym, and the formal entrance. The new building was hoped by Warden Sam Dimmick to secure International House's position as an academic college in Melbourne, who also extended thanks for fundraising and furnishing initiatives by the Women's Auxiliaries.samuel wadham, events

Used at the Moorooduc Station opening ceremony 14th Septembers 1991. Shire Presidant Councillor Pat Leech perfomed the striking of the Pin. The Pin was later removed for posterity and to be re-used when the line is re-opened to Baxter.Only one ever produced specifically for MRPS.Stained timber box of 200x40x50mm with maroon silk lining containing a gold plated rail dog spike/pin.No inscriptions of memorial plates. Striking marks and withrawing marks present with mild tarnishing.mrps, mornington railway preservation society, moorooduc station opening ceremony, 14-sept-1991, rail dog pin

St Patrick's Catholic Church Elaine closed in 2013. Originally known as "Stony Rises" Elaine could once claim the largest Catholic church congregation in the Meredith parish, due to the extensive mining activity in the area. At the time the population of the district supported three hotels and 4 churches and the town was served by a water supply from a reservoir at Lal Lal. Elaine in common with other rural communities has lost many of the services that were once available, but it still retains a well maintained Catholic church and Public Hall as well as a Hotel, Post Office, General Store and Service Station. (http://www.parishofmeredith.org.au/elaine_h.html, accessed 04/03/2014) The St Patrick‘s Church at Elaine was opened on Sunday 28th, November, 1909 and a report appeared in the Advocate on December 4th, 1909. "On Sunday last the Very Rev.Dean Phelan, V.G., blessed a new church at Elaine, in the parish of Meredith. The church, which was built by a local firm, Messrs. Smith Bros, is a weather-board building on brick foundations, and gives a clear seating accommodation of 50 feet by 25 feet, independent of sanctuary, sacristy, and porch. After the ceremony, which commenced at 11 o‘clock, the pastor of the parish, Rev.M.Murphy, celebrated Mass, and the choir from St.Joseph‘s, Meredith, sang in a highly creditable manner portions of Weber‘s Mass, also a hymn to St.Patrick, under whose patronage the church is placed. The financial statement made by Fr.Murphy showed that the entire cost of the building, alter, seats, etc, was $1103.10; that $620 had been subscribed previous to the opening, and over $140 received on Sunday, including $20 from his Grace the Archbishop, and $10 each from the Dean and Fr.Murphy. After Communion the Very Rev.Dean Phelan preached on the necessity of a church as a dwelling place for God in His Eucharist Presence. Taking for his text, “Behold the tabernacle of God with men: He shall dwell with them, and they shall be His people; and He Himself with them shall be their God.” In doing this work, I am pleased to learn that you have not only received material assistance from some who do not kneel at this altar, but that the authorities of the Presbyterian Church have given you their organ for the Mass today. This generous action deserves our special thanks and is in striking contrast with the anti-Catholic prejudice shown in other quarters. It reminds me of the action of Hiram, King of Tyre, when he heard that Solomon was about to build a house to the God of Israel. Not only did he offer cedar-trees from Libanus, but skilled men to carve the wood, and sent his trained sailors to assist in bringing from the mines of Ophir four hundred and twenty talents of gold for internal decoration. May that spirit of Christian charity ever dwell in your midst! (http://www.parishofmeredith.org.au/elaine_h.html, accessed 04/03/2014) The stained glass window of St Patrick was consecrated in 1928. According to The Geelong Advertiser on 25 July 1928: One of the largest congregations that has ever been in St.Patrick‘s Church attended on Sunday last, the occasion being the consecration of a memorial window to the memory of James Connell, who died in his 25th year in February last. Deceased was the youngest son of Mr. and Mrs. John Connell, respected residents of Elaine. He was loved and respected by all sections of the community, and was closely connected with all sporting bodies. Friends of the deceased and the family were present from Ararat, Stawell, Ballarat, Melbourne, Geelong and all the surrounding districts, also members of other denominations. A few noticed were Cr.C.C.Austin, Mr.H.Young, Mrs.A.Bowers, Mrs.Gray, Mr.and Mrs.R.Norgate and others. The stained window was made by Brookes Robinson in Melbourne, bearing the image of St.Patrick and the inscription thereon “To the undying memory of James Connell, who died 3.2.28 R.I.P.” The beautiful window was kindly placed in position by Mr.Bill Smith, Meredith. High Mass with full ceremonies was offered by Rev.Fr.F.Conlon,P.P., Meredith, with six alter attendants from St.Josephs School, Meredith. The Meredith choir, with Mrs.R.Grant organist, assisted by Miss K.Johnson (violin) rendered beautiful music, the principal parts of the singing being capably handled by Mrs.Thos Brady, Father Conlon took as his text, “Blessed are the dead who die in the Lord. From henceforth now, said the spirit, that they may rest from their labors, for their works follow them.” With well chosen remarks Fr.Conlon touched feelingly on the many qualities of the late member. First as a good son; secondly as a good citizen and sportsman; thirdly as a good child of the church. The choir conducted an impressive ceremony with “Nearer my God to Thee.” (http://www.parishofmeredith.org.au/elaine_h.html, accessed 04/03/2014) Five colour photographs of St Patrick's Elaineelaine, st patrick, st patrick's elaine, . catholic, stained glass, james connell, james joseph connell

Heritage Troop performed escort duties at ceremonies held by other Corps and units locally and regionally.Five colour photographs of members of 8/13 Victorian Mounted Rifles Heritage Troop being presented with RAAOC Appreciation Certificates by Captain R. Fyffe MC at 8/13 VMR Open day at Buna Barracks 28 February 1982.

Wreath laying ceremony for Legacy widows at the Cenotaph at the Shrine of Remembrance. This is an annual event for Legacy widows at the start of Legacy Week, which is the first week in September. The photos shows the widows gathered for a service within the Shrine of Remembrance with wreaths ready to be laid. Legatee David Kelly appears to be speaking in one photo. From the film numbers it appears to be 2003 when David Ford was president (see also 00615). The service appears to be in The Visitor Centre which was completed in 2003. The Visitor Centre provides unimpeded access for the elderly and disabled to the Sanctuary, the Crypt and the Galleries of Remembrance as well as open space for exhibitions and events.A record of a ceremony at the Shrine in 2003.Colour photo x 2 of a service in the Shrine visitor centre.Printed on the back No.< > Clarendon Photos 0013 which is the frame numbers and place of processing. Negative numbers 16A and 17A.widows, widows' sunday, pilgrimage, wreath laying ceremony

In 1904, at the initiative of Premier Thomas Bent, Victorian Railways was authorised to build an electric street railway from St Kilda to Brighton. The line opened in early 1906 and was one of Melbourne's first electric tram services. On Saturday 5 May, 1906, Premier Thomas Bent performed the opening ceremony of the St Kilda to Brighton electric tramway at the Brighton Terminus, presided over by Cr. Thomas Wilson, Mayor of Brighton, with refreshments following at the Brighton Yacht Club. About 60 representatives were in attendance including the Railway Commissioners and the mayor and councillors of St Kilda, Brighton and Caulfield. The newspapers of the day commented that the cars were the best yet seen in Australia, possessing a great advantage over the Sydney trams, in that they are easily entered, and the glass windbreak was another improvement in design. The tramway from St Kilda to Brighton terminus took 18 minutes, including stops. thomas bent, premier, cr. thomas wilson, mayor, electric railway, electric tram, st kilda, brighton, official opening, public transport

The correspondent of The Argus recorded that: "The Parliament of the Commonwealth was opened yesterday by the Duke, of Cornwall and York, under a Commission signed by Queen Victoria and subsequently endorsed by King Edward VII. The ceremony was marked by the splendour and solemn impressiveness which befitted its historic importance. ... To-day the Heir to the Throne will review some 15,000 Australian troops at Flemington. ... It is a function which, on a lesser scale, might have been arranged at any time for many years past; but it could never previously have conveyed the meaning it does now. Soldiering was popularly regarded as a pastime here until South Africa tried the mettle of our men. It is serious business from henceforth. Those who followed the nascent aspirations of the volunteer soldiery in Australia must be impressed at the rapidity of their fulfillment. ... The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items issued to James Maitland Campbell (and his wife). Campbell was three times mayor of Kew in the second half of the 19th Century and the owner of Ramornie in Pakington Street, one of the significant extant mansions in Kew. An invitation, mounted on card to the Royal Review held at Flemington racecourse on Friday 10 May 1901, as part of the Government of Victoria's Australian Commonwealth Celebrations. The border is vividly decorated with flags, shields and a large coat of arms. The photographic images depict various scenes of Flemington in Melbourne, in addition to two separate portraits of the Duke and Duchess of Cornwall and York. Illustrations of military servicemen on foot and horseback flank the central block of text. The invitation was addressed to Mr & Mrs J. M. Campbell. James Maitland Campbell had been Mayor of Kew in the years 1889-90, 1890-91 and 1892-93.Printed: AUSTRALIAN COMMONWEALTH CELEBRATIONS/ The Government of Victoria/ requests the honour of the presence of/ .../ AT THE/ ROYAL REVIEW/ at Flemington on Friday/ the 10th of May 1901. Handwritten on the dotted line: Mr. & Mrs. J. M. Campbellfederation events, royal review - 1901, james maitland campbell, federation -- invitations

The correspondent of the Argus on 10 May 1901 wrote: "The Parliament of the Commonwealth was opened yesterday by the Duke, of Cornwall and York, under a Commission signed by Queen Victoria and subsequently endorsed by King Edward VII. The ceremony was marked by the splendour and solemn impressiveness which befitted its historic importance. An immense assemblage of spectators, drawn mainly, of course, from this state, but in part also from each of the other federated states, and including representatives of other portions of the British Empire and of foreign powers, thronged the spacious, stately, and joyously decorated edifice. The picture was magnificent. It must have printed itself indelibly on the sensitive minds of the thousands of Australians who were privileged to behold it. We may assume that artists will reproduce it in worthy and imperishable forms, and that from generation to generation it will be familiar in the households of the Commonwealth. Our children's children, we may gladly say to-day, will not be ashamed of the function which inaugurated the self-governing rights of the southern British Nation. Nothing was omitted which could add to the grandeur and significance of the occasion. In a broad sense the proceedings were perfectly intelligible to the vast and sympathetic gathering, though the natural limits of a single human voice had to be accepted. The King's son, with his consort and the Governor-General and Lady Hopetoun by his side, and supported by the Governors of the states and other eminent personages, fulfilled his doubly-attested Commission with a simple dignity and a modest manliness altogether admirable. The ceremony was a brilliant spectacle, and, in its sentiment and suggestiveness, an inspiration to a loyal and patriotic people."The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items issued to James Maitland Campbell (and his wife). Campbell was three times mayor of Kew in the second half of the 19th Century and the owner of Ramornie in Pakington Street, one of the significant extant mansions in Kew.An invitation, mounted on card for Mr & Mrs James Maitland Campbell to an evening reception at the Exhibition Building, Melbourne, on 9 May 1901, to meet the Duke and Duchess of Cornwall as part of the celebrations of the opening of the first Federal Parliament. A figure of Britannia, in red dress and mailed vest holding a shield like the Union Jack, is on the left of the invitation; she reaches out her hand towards a younger female figure, representing Australia, who is dressed in blue and holds a shield which is white with a blue cross decorated with stars. The writing is on a scroll in the centre of the certificate, and there is a border of vines and vine leaves. The royal crest is at the base of the certificate. James Maitland Campbell of ‘Ramornie’ in Pakington Street was mayor of Kew on three occasionsFront, printed. gold ink: "His Majesty's Ministers of State for the Commonwealth of Australia request the honour of the presence of / Mr & Mrs J. M. Campbell (handwritten) / In the Exhibition Building, Melbourne, on Thursday, 9th May, 1901, to witness / the Opening of the Parliament of the Commonwealth. / Edmund Barton / Prime Minister." Front, bottom left, printed: "The Young Queen / Her hand was still on her sword hilt - the spur was still on her heel ... (and further text) KIPLING'S COMMONWEALTH ODE."australia -- federation -- 1901, invitations, parliament -- opening -- 1901, james maitland campbell

The Correspondent for The Argus on 10 May 1901 described the opening on 9 May as: "The Parliament of the Commonwealth was opened yesterday by the Duke, of Cornwall and York, under a Commission signed by Queen Victoria and subsequently endorsed by King Edward VII. The ceremony was marked by the splendour and solemn impressiveness which befitted its historic importance. An immense assemblage of spectators, drawn mainly, of course, from this state, but in part also from each of the other federated states, and including representatives of other portions of the British Empire and of foreign powers, thronged the spacious, stately, and joyously decorated edifice. The picture was magnificent. It must have printed itself indelibly on the sensitive minds of the thousands of Australians who were privileged to behold it. We may assume that artists will reproduce it in worthy and imperishable forms, and that from generation to generation it will be familiar in the households of the Commonwealth. Our children's children, we may gladly say to-day, will not be ashamed of the function which inaugurated the self-governing rights of the southern British Nation. Nothing was omitted which could add to the grandeur and significance of the occasion. In a broad sense the proceedings were perfectly intelligible to the vast and sympathetic gathering, though the natural limits of a single human voice had to be accepted. The King's son, with his consort and the Governor-General and Lady Hopetoun by his side, and supported by the Governors of the states and other eminent personages, fulfilled his doubly-attested Commission with a simple dignity and a modest manliness altogether admirable. The ceremony was a brilliant spectacle, and, in its sentiment and suggestiveness, an inspiration to a loyal and patriotic people."The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items issued to James Maitland Campbell (and his wife). Campbell was three times mayor of Kew in the second half of the 19th Century and the owner of Ramornie in Pakington Street, one of the significant extant mansions in Kew.A colour lithograph mounted on card which is an invitation to the Opening of the First Commonwealth Parliament of Australia, 9 May 1901. The invitation was sent to Mr J.M. & Mrs Campbell. John Longstaff and Norman Lindsay’s design for the invitation includes symbolic female figures and coats of arms of the British and Australian Commonwealth. The central figure represents Justice. At her feet a crown and sceptre are laid, ‘to denote that the monarch will always acquiesce in laws passed by Parliament, provided they are just.’ On the left appears a figure of Britannia, above the royal coat of arms and in front of the white cliffs of England; on the right is a female figure representing Australia, with one hand out-stretched and above the Australian Coat of Arms. Behind her is a pastoral scene; she stands beneath a gum tree. At the top is a border of waratahs; on the left is a border of oak. The six states are represented in shields at the bottom of the card.Front, printed. gold ink: "Opening of the Parliament of the Commonwealth By his Royal Highness The Duke of Cornwall and York / The Government of Victoria requests the honour of the presence of / Mr. J . M. and Mrs. Campbell (handwritten / At the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia."parliament of australia -- 1901, royal exhibition building -- melbourne (vic), james maitland campbell

The Municipality of Kew was proclaimed on 19 December 1860, then upgraded to a Borough (1863), a Town (1910) and finally a City (1921). From 1865, its offices were based in the former Athenaeum Hall in Walpole Street, which, although extended in 1883, inevitably became inadequate. Plans for a new purpose-built Town Hall were first mooted in the late 1880s, but fell prey to six subsequent decades of debate. During that time, many sites were considered and rejected, and several schemes prepared. Finally, in 1945, it was resolved to build a new civic centre as a war memorial. The council acquired Southesk, a mansion on the south-west corner of Cotham Road and Charles Street – first mooted as a possible Town Hall site two decades earlier – and plans for a civic precinct were drawn up by John Scarborough. The project stalled until 1957, when a Town Hall Committee was formed and a new architect appointed: Harold Bartlett of Leith & Bartlett. He also proposed an entire civic precinct, of which a large public hall would constitute Stage One. Designed to accommodate almost any public or official function, the space had had a small stage at one end for intimate theatrical productions, a larger stage at the other (with operable sunken orchestra pit) for musical performances, plus the most up-to-date equipment for live TV transmission. The building, befitting its original intent as a war memorial, was also to include a sculpted monument, for which a separate design competition was held. First prize went to George H Allen (1900-1972), long-time head of the Sculpture Department at RMIT and a former war artist himself (the only one, in fact, to have worked in the medium of sculpture). At the time of the Kew project, Allen was best known for his Cenotaph at the Shrine of Remembrance (1955) and a controversial abstract sculpture at Hume House in William Street (1957). Tenders for the new hall were called and the contract (worth £104,986) was awarded to H F Yuncken. The foundation stone was laid by the Mayor, Cr F C O'Brien, on 1 June 1959. Completion (initially scheduled for October) was delayed by the unavailability of certain materials; it was barely finished in time for the official opening (by Premier Henry Bolte) on 23 April 1960. The war memorial was unveiled two days later (Anzac Day) by Bolte's deputy, the Hon A G Rylah. Fittingly, that year also marked Kew's municipal centenary, and many celebratory events were held in and around the new civic centre in December, including a special council meeting (attended by the Prime Minister), a tree planting ceremony and a youth ball. Source: Survey of Built Heritage in Victoria: Stage Two (Built Heritage Pty Ltd., 2010)Plaque commemorating the opening of a new town hall in KewMetal plaque recording the official opening of the Kew City Hall, 23rd April 1960. This plaque was given to the Kew Historical Society in 1991 by the former City of Kew.Kew City Hall / Opened by / The Hon. H.E. Bolte M.L.A. / Premier of Victoria / 23rd April 1960 / Cr. H.G. Ferguson J.P. - Mayor.kew city hall, foundation stones - kew (vic), sir henry bolte, local government -- kew (vic.)