Clothing. Navy blue wool (or polyester?) fabric. Pointed lapel collar, lined on the underside with felt. Two brass Leidertafel style badges-one either side of collar. Two rectangular shield-shaped breast pockets have rounded lower corners, and a shield-shaped flap closure, fastened with a 1.8 cm brass like plastic button. All buttons have an impressed laural wreath and horn, (suspended by a three looped cord) - a replica of British Light Infantry buttons. Three brass like plastic buttons at centre front (4th one is missing). All buttons are pinned onto the garment to enable easy removable for cleaning. Two inside breast pockets. Fully lined with blue taffeta-like fabric. On each upper sleeve, at shoulder level there is an 8 cm diameter circular cloth badge, embroidered in blue, red, and gold, displaying a Coat-of- Arms, and two shields - one blue embroidered with a bunch of grapes, and one red, embroidered with a sheaf of wheat and a sheep. These are probably symbols of the rural aspect of the town of Marong. Two lower ''pocket flaps'' are decorative, but not real pockets.Back of buttons: STOKES AUSTRALIA. On inside breast pocket: Embroidered label featuring Australian Coat-of Arms, and Quality Garment by Australian Government Clothing Factory.costume, male ceremonial, marong municipal band blazer

Pattie BEERENS (1962- ) Born Sunshine, Victoria Pattie Beerens was enrolled in the Graduate Diploma of Ceramics at Federation University in 2018 after completing a Graduate Certificate Visual Art at the Victorian College of Arts, University of Melbourne in 2017.Artists' Statement: Red. Broken structure on its side supported with an unrecognisable form. It is cast from an electronics packaging carton. Triangular arrows piece the structure with a spider on either side. I created fertility spiders to protect the Minoan women from predators. I collected spiders as a child to ward off the bullies and, like the octopus, spiders have eight legs and a head and body. The stylised spiders reference links between the Minoan octopus and other symbols of fertility. The natural light elongates the form in a shadow reflection on the floor. The form is surrounded by black space. This piece took on an anger I felt on the day that [Malcolm] Turnbull was overthrown and materialises the bully-boy behaviour we were witnessing. What is most interesting about this piece is that I created it as a Minoan reflection. It dawned on me , when I had it ready for the kiln - on the day that Dutton challenged the Turnbull leadership, that my anger was both reflective and contemporary because nothing seemed to have changed. We were witnessing first hand how the power struggles continue and goodwill suffers." Winner of the 2018 Deputy Vice-Chancellor's Awardpattie beerens, ceramics, sculpture, available ceramics

These Message Sticks acknowledge the return of Dja Dja Wurrung Cultural material held by the Burke Museum. The Burke Museum is the current custodian of a significant collection of First Peoples’ cultural material from across South-Eastern Australia. These objects were sold to the Museum by Reynold Everly Johns in 1868. We recognise the harm caused by dispossession of cultural material, and by any inappropriate display and interpretation of this collection over the past 150 years. The Burke Museum is continuing to build relationships and collaborate with traditional owners, Aboriginal communities and the museum sector to ensure culturally appropriate outcomes for the collection, including repatriation of objects to communities of origin. Message sticks are a form of communication between Aboriginal nations, clans and language groups even within clans. Traditional message sticks were made and crafted from wood and were generally small and easy to carry (between 10 and 20 cm). They were carved, incised and painted with symbols and decorative designs conveying messages and information. Some were prepared hastily, like you might create a note left on a friend’s desk or a quick text message; others were prepared with more time to make the markings neat and ornate. There were always marks that were distinctive to the particular group or nation sending the message and often marks identifying the relationship of the carrier to their group. This way it could be identified and authenticated by neighboring groups and by translators when the message stick was taken long distances. Two solid cylindrical shaped pieces of wood bound together with black, red and yellow string. Each stick has etchings with angular lines and dots. dja dja wurrung, message sticks, burke museum, beechworth, beechworth museum, repatriation, reynold everly johns

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The colours of this cloak refer to natural pink ochre and indigenous flowering plants on Wadawurrung Dja. The pink ochre is sourced by Deanne Gilson at Black Hill in Ballarat, Victoria. Men also made woven dilly bags to hold their possessions in. The basket making was an ongoing aspect of daily life for Wadawurrung people and often done in cooler months when the weather was too bad to go outside. Many women and family groups had their own style and techniques that were traded amongst other groups. Wadawurrung women had a particular stitch they used and incorporated elaborate symbols into the basket designs. Tammy Gilson’s weaving represents this stitch. This cloak pays homage to them and the changing seasons as they created, particularly the cooler months leading into the warmer season when several gum blossom flower. This cloak was worn once by artist Deanne Gilson at a formal opening at the Art Gallery of Ballarat in 2022. A Welcome to Country ceremony was performed while wearing it.Pink native flower in baskets motif on a pink background on outer cloak, pink and white diamond and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art

For many years Legacy had a "Back to Caulfield Race Day" for Legatees, widows and their families. 1995 was the 50th anniversary of the end of World War 2 and the race day was part of the "Australia Remembers" commemorations. Also a Legacy 'Lone Pine' was planted. The article in the Answer says: "Over 800 members of the Legacy family (past and present) reunite at the "Australia Remembers" Back to Caulfield Commemorative Race Day held on August 12th. It was a special day which incorporated a wide range of activities, including a display of military vehicles, a flyover, a parachute jump by the Red Berets, military bands, and displays of memorabilia when the racecourse was used as an army camp. An official ceremony also included the presentation of a Legacy 'Lone Pine' (a descendant of the Gallipoli 'Lone Pine') by the President of the Melbourne Legacy, Legatee David Millie, which was very warmly received by the Chairman of the V.A.T.C., Mr Peter Lawrence. " Official guest was the Premier of Victoria Jeff Kennett who is seen being greeted as he arrives. And photos of the planting of the 'Lone Pine'. See also photos at 01003 and 01092 and 01093. Legacy is helping to keep the memory of the Gallipoli "Lone Pine" alive - its spirit living on today. Presentations are made to schools, ex-service organisations and interested bodies by Legacy Clubs in the hope that they will be cherished as a symbol of nationhood and of its just pride, devotion, courage, selflessness and sense of service to others.Legacy retains a tie with Caulfield racecourse as it was once an army camp and staging post of young men going overseas to war and now it is the site of a lone pine. The annual gathering at Caulfield racecourse was an event that gets the Legacy family together.Colour photo x 8 of an event at Caulfield racecourse, and an article in The Answer.Printed on the back film number 783, 786, 787, various frame numbersanswer, events, lone pine, wreath laying ceremony

Photos of President Chas Wilks collecting pine cones from the Lone Pine descendant at the Shrine of Remembrance, the 24th Battalion tree. The cones dropped to the ground and school children are seen collecting them. Legacy has run a programme since the 1970s of propagating saplings taken from seeds of pine descended from a pine tree from Gallipoli and giving them to various clubs, schools and town councils. The photo appeared in the President's Highlights report in 1989. The caption says '1,000 seedlings from the historic Lone Pine tree near the Shrine of Remembrance will be propagated on behalf of Melbourne Legacy by the Department of Conservation Forests and Lands. Melbourne President Legatee Chas Wilks, along with the Minister for CFL, Ms Kay Setches and pupils from South Yarra Primary School helped to collect the seeds. The trees, once grown will be distributed to schools by Melbourne Legacy. Also see item at 01334 in 1993 when President Woodward was giving out saplings, it was three years later was when the saplings grown from these seeds were distributed. Legacy is helping to keep the memory of the Gallipoli "Lone Pine" alive - its spirit living on today. Presentations are made to schools, ex-service organisations and interested bodies by Legacy Clubs in the hope that they will be cherished as a symbol of nationhood and of its just pride, devotion, courage, selflessness and sense of service to others.A record of the way Legacy was propagating Lone Pine saplings for schools and organisations. The Lone Pine programme show the type of work done by Legatees to keep the memory of Gallipoli and fallen comrades alive.Colour photo x 4 of President Chas Wilks in a crane collecting pine cones at the Shrine and children collecting the cones.Handwritten '10' in a circle in blue pen.tree planting, lone pine

This ticket is part of a three piece set. There is also an Army Uniform (jacket and trousers) which are associated with this item. The ticket was found within one of the front pocekts of the jacket. There are three chevrons on the sleeve of this jacket which signifies three years of service. The unit patches on the shoulders may denote that the wearer was part of the Army Serice Corps Divisional Unit one. The ticket shows that the serviceman was at some point travelling in uniform on defence leave in a first class carriage from Spencer Street to either Moreland, Newmarket, North Carlton, Northcote or Westgarth.As an historic train ticket with an association to Victoria and the Army Service Corps this item is of local historic and social significance.A rectangular light brown paper card with printed ink inscriptions on the front and back.Horizontal inscriptions on the front in black ink: SPENCER STREET / (1 [symbol of a cross] ) TO / MORELAND / NEWM’RK’T / Nth. CARLN. NORTHCOTE / or / WESTGARTH / FIRST CLASS / Not transferable to Another Person. / PENALTY £20. / (the numbers 6706 surrounded by black rectangular backgrounds) Vertical inscriptions on the front in black ink along the left edge: Single First Class Single Vertical inscriptions on the front in red ink along the left edge: TRAVELLING IN UNIFORM Veritcal inscriptions on the front in red ink along the right edge: DEFENCE LEAVE Horizontal inscriptions on the back in black ink (this inscripion is right side up along the top edge and also upside down along the bottom edge): 13F E441army, uniform, jacket, army service corps, asc, divisional unit one, division one, train ticket, train, ticket, defence leave, defnce leave ticket

'Honeybrom' Trade mark 205, was first registered by F H Faulding in Australia ( Class 5: Chemical substances prepared for use in medicine and pharmacy), on 2 July 1906 and removed from the register on 2 July 1990. URL https://search.ipaustralia.gov.au/trademarks/search/view/205?q=honeybrom Rectangular clear glass bottle for screw top, but with only cork lining of top remaining, with a yellow label printed in dark brown and red, containing a dark brown viscous liquid.One base to one side 'A121' and on the other side '1960' or '19, symbol,0'. Paper label : 'Honeybrom REGD. TRADEMARK FAULDING'S COUGH ELIXIR An effective and agreeable preparation for the treatment of Colds, Coughs, Hoarseness, Bronchitis, and all Affections of the Chest and Lungs. DOSE: Adults : 1 teaspoonful every three or four hours. Children - Seven to Twelve Years : 1/2 of a teaspoonful every three or four hours. Two to Seven Years : 1/4 of a teaspoon every three or four hours. One to Two Years : 5 to 10 drops every three or four hours. Contents : 3 Fl. Ozs. F.H. Faulding & Co Ltd. Adelaide, Perth, Sydney, Melbourne, Brisbane'.bottle, moulded glass.

William Corbould was the son of a Ballarat tailor. He attended Ballarat College, and obtained certificates in assaying and metallurgy at the Ballarat School of Mines (SMB) in 1883, studying under the revered Professor Mica Smith. Corbould was not a born student and remembered his first experience at SMB: 'From the Registrar's Office I was led to be introduced to the Professor of Chemistry, one Mica Smith. The initial encounter gave me little encouragement - his large laboratory was filled with hundreds of bottles bearing strange labels with queer symbols on them. My heart sank. At the first opportunity I grabbed my hat and made for the door, but the good professor called me back. I pointed out that I was never any good at school ... so it was no use pretending to be clever enough to understand all those weird symbols! The Professor told me not to worry about that and took me to one of the benches where he found a blowpipe and a charcoal block. Mixing together two powders from bottles on the shelf he transferred a sample to the charcoal and directed the bunsen flame onto it. Soon it began to melt and a white bead appeared in front of my eyes. He then took a test tube and added a little colourless liquid from each of two bottles. A beautiful dark blue colour appeared. My interest was won.' During Corbould's mining career he travelled to Europe twice, and visited most of Australia's main mining fields. Corbould started his career as an assayer at Pinnacle Silver Mine, Silverton, and was then a self-employed assayer at Broken Hill. Corbould became an assayer for the infant BHP mine, and later worked in Kalgoorlie and Coolgardie, including managing Hannan's Reward, the oldest gold mine on the Kalgoorlie gold field. He spent 13 years at the Mount Elliott copper fields as general manager. In 1923, at the age of 57, Corbould went to Mount Isa and reported on options, experimented with new metallurgical processes and floated a company. John Carden of CRA said: 'Corbould was the man who brought Urquhart to Mount Isa. He was the man who made it all possible. He is tremendously important in the Mount Isa story, because he was the first technical man, the first professional man on the scene. He was responsible as I said, for bringing finance to the place, but I think even more importantly he was the first man to recognise the need to put all the little claims in the Mount Isa discovery together. I think perhaps his major contribution to Mount Isa was this amalgamation on the various claims. He recognised that the ore bodies at Mount Isa were not as rich as Broken Hill and they would never have survived had it been fragmented, so he was terribly important.' After completing major financial negotiations for Mt Isa Mine from London in 1927 Corbould remained in Europe where he remained until his death. Corbould was awarded the Legion of Honour of the American Institute of Mining and Metallurigical Engineers for fifty years service. Corbould died at Monaco in 1949 at the age of 82. (http://guerin.ballarat.edu.au/curator/honour-roll/honourroll_Corbould,William.shtml)A white paper certificate with black printed and handwritten text, and a blue Ballarat School of Mines seal. The certificate is signed by Andrew Berry (Registrar) and James Oddie (Vice-President).Signed on the left 'W.H. Corbould'mining, ballarat school of mines, mining alumni, metallurgy, james oddie, andrew berry, william corbould, corbould, berry, oddie

Eastern bluebirds are well-known song birds that live in eastern North America. They are sexually dimorphic, easily recognised by the male's bright royal blue upper plumage, chest of reddish brown and white abdomen. The females is duller in colour than the male, with greyer upperparts and blue tinges to her wings. These Bluebirds, the European variety, are the most common of the three Bluebird species. When not nesting, these birds fly in small flocks around the countryside. Bluebirds feed on small insects including moths, termites and mosquitoes. They also eat grasshoppers, crickets and caterpillars. The Bluebird can spot caterpillars and other insects in tall grass from a distance of over 45 meters. The Bluebird is commonly identified in numerous cultures as being symbolic as a harbinger of happiness. Often in Russian fairytales, the Bluebird is used as a symbol of hope. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This female bluebird (likely Eastern) has a medium brown head and back, a rufous breast, and a cream belly. The bird has blue-tinged wing and tail feathers. The bill is short and has been stylized with the bill partly open to provide the illusion that the bird is making a call. This specimen stands upon a wooden mount and has an identification tag tied around its leg. The bird's plumage has faded since it was first preserved; females generally have duller colouring than their male counterparts but the colour of this particular specimen is paler than it would have been.Label: 122a. Blue-Bird / Catalogue Page 29. / Metal tag: 107taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, american birds, bluebird

These five photographs were most likely taken in the 1970s in Lithographic Squadron at the Army Survey Regiment, Fortuna, Bendigo. Photos .1P to .3P are annotated with the name of the technicians written on the back. Although Photo .4P is not annotated the technician is positively identified. In these five photos the technician is applying a UV-sensitive pigmented dye emulating one of the print colours to a white opaque polyester sheet mounted on a rotating table in a whirler. The coated sheet was dried before placement in a vacuum light frame beneath a stud registered map negative. They were then exposed to a carbon arc lamp. If there was more than one negative – typical for a type impression or 1st proof, the process was repeated for the other negatives of that print colour. There was a single exposure for composite negatives which was typical for the 2nd and final proof - the pre-press proof. The sheet was removed and washed with water and dried leaving the exposed colour impression. The technician repeated this process using process or spot dyes for remaining publication colours. Type impressions were a combination of the map grid and the topographic features in their correct print colours, forming a base for the cartographer to accurately position map names and symbols on a clear film overlay. The pre-press proof was a cost-effective way of producing a one-off visual copy of the map or chart product. It enabled cartographers to perform a quality inspection and correct any faults before publication. The pre-press proof was deemed authoritative before its release to Print Troop for bulk printing and distribution.This is a set of photographs of lithographic technicians preparing map proofs at the Army Survey Regiment, Bendigo c1960s c1970s. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, black & white, c1970s, SGT Graham Jeffers, Lithographic Squadron .2) - Photo, black & white, c1970s, SGT Ken Slater Lithographic Squadron .3) - Photo, black & white, c1970s, Ian ‘Loft’ Turner, Lithographic Squadron .4) - Photo, black & white, c1970s, Gary Kerr, Lithographic Squadron .5) - Photo, black & white, c1960s, unidentified, Lithographic Squadron.1 to .3 – personnel names (less rank) annotated on back. .4 to .5P – no annotationroyal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, litho

The images depict the newly completed fourth Catholic Church at Kinglake. The previous three churches having been destroyed by 'Black Saturday' bushfire. The painting is oil on canvas. The historical continuity is expressed by the continuity of the skyline and the disconnectedness of the colours. it is not a literal depiction of each church, but a recognizable and symbolic image conveying resilience of faith of the local community. The first church was burnt down in a bushfire, the second burnt down by vandals, and the three burnt down in the 2009 bushfires known as 'Black Saturday'.The white cross and black fence at the lower left commemorated the remarkable fact that these remained intact after the 2009 bushfires. The red-orange can be the colour of the kinglake soil or the fires. The return of new life is indicated by the green growth on the burnt gumtrees. The presence of the Holy Trinity is shown above the entrance to the church. The return of new life is indicated by the green growth on the burnt gumtrees. The presence of the Holy Trinity is shown above the entrance to the church. The Holy Sprit is symbolized by the sulphur crested cockatoo, an Australian bird instead of the white dove. The symbol for the father is above the church in the triangle which has God's Holy Name (I AM) as given to Moses from the Burning Bush, written in Hebrew. Christ is represented by the cross above the entrance. The previous church was destroyed in the 2009 bushfires. The area is surrounded by 22,000 hectares of Kinglake National Park, the largest National Park close to Melbourne. The park was established in 1928 to protect native flora and fauna. Kinglake takes its name from Alexander Kinglake who travelled through the area in 1870. Photographs showing the newly built St Mary's Catholic Church at Kinglake. .1) Interior of Church .2) Painting of the Four Churches of Kinglake by Judy Racz .3-5) Views from the Church windows to the adjoining landscape .6) St Mary's Church groundskinglake, bushfire, black saturday, church, catholic, racz, st mary's catholic church kinglake

The Loving Cup was presented to the Royal Australasian College of Surgeons at the inaugural session of the General Scientific Meeting in Melbourne, on 15 May 1977, to mark the 50th anniversary of the foundation of the College. It was presented by Sir Rodney Smith PRCS and Lady Smith, and was a gift from the Royal College of Surgeons of England, the Royal College of Surgeons of Edinburgh, the Royal College of Physicians and Surgeons of Glasgow, and the Royal College of Surgeons in Ireland. The coat-of arms of the Colleges are engraved around the outside. The Cup was made by Roy Flewin, a master craftsman of London. It is sterling silver, hallmarked for the year of the Queen’s Silver Jubilee (1977), and stands 26cm high. It is fitted with two handles and a lid’ and has a gilt interior. The engraving was carried out by Stanley Reece. Whether between friends or lovers, drinking from a Loving Cup is an act of ultimate trust, and is always performed with due ceremony: “A” takes the Cup, filled with wine, and turns to “B”. “A” bows to “B”, and “B” bows/curtsies to “A”. “B” removes the lid of the Cup. “A” drinks from the Cup, and wipes the place he drank from with a cloth tied to one of the handles. “B” replaces the lid, and takes the Cup. If only two people are involved, then they simply reverse rôles. If there are more than two, then the ceremony continues in a similar fashion. The Cup is a token of the friendship and cordiality that exists among the Royal Colleges. In presenting it to E.S.R. (Bill) Hughes, then President of the RACS, Sir Rodney described it as ‘a symbol of our common heritage, and the privileges and responsibilities we share’The Loving Cup was presented to the Royal Australasian College of Surgeons at the inaugural session of the General Scientific Meeting in Melbourne, on 15 May 1977, to mark the 50th anniversary of the foundation of the CollegeSTERLING SILVER 2-HANDLED LOVING CUP WITH LIFT TOP, FINE BUD FILIAL, GILDED INTERIOR AND SCROLLED HANDLES, ON RIBBED PLATFORM BASE, WITH CREST, ETC. (SEE TOORAC AUCTION LIST FOR ALL DETAILS).HALLMARKS AND COATS OF ARMS. UNDER BASE: "ENGRAVED BY STANLEY REECE) PRESENTATION CARD: "LOVING CUP PRESENTED AT THE INAUGURAL CEREMONY GENERAL SCIENTIFIC MEETING, RACS, 15 MAY 1977 BY loving cup, 50th anniversary of the foundation of the college, sir rodney smith, 1977, roy flewin

The Falls Creek Ski Patrol dates back to the early 60s after skiing in Falls Creek became popular. The first ski patroller in Falls Creek was Brian Caddy with two casual ski patrollers Rob Sarroff and David Crooke. Bob Howe as President of the Albury Ski Club, and a few competent skiers from his club and Myrtleford Ski Club, successfully completed the St Johns Ambulance First Aid Certificate in the hope that the Management Committee of the day would roster on two patrollers a day in return for free ski lift tickets. This plan fell through, but the year after Brian Caddy was employed as head of Ski Patrol. In 1972 the “official” Falls Creek Ski Patrol was created under the advisement of Dr Rodney Moss with the support of the Management Committee. At that time, there was one or two patrollers on staff, increasing to five members at peak times. By 1977 there were six or seven patrollers, and currently there are around 40 patrollers on the team with 13-14 rostered on each day during peak season. In 1974 the Australian Ski Patrol Association (ASPA) was formed. On the 14th of March 1975, the Falls Creek Tourist Area Management Committee applied for membership to ASPA. At that time, Falls Creek Ski Patrol was known as Falls Creek Ski Rescue. This cloth badge is in the shape of the Maltese Cross. It was the insignia of the Knights Hospitallers of St John who ministered to sick and injured pilgrims as well as fighting in the Crusades. The Maltese Cross has become a well-known symbol of protection, first-aid and assistance worldwide.A yellow cloth patch badge in the shape of the Maltese Cross. The outline of the star has been machine embroidered in yellow thread. The words "SKI PATROL" are embroidered in black thread.SKI PATROLfalls creek ski patrol, skiing safety, falls creek services

A newspaper photo of returned servicemen and nurses marching past the original First World War memorial during an Anzac Day march in 1928. It was published as a centre page spread on 5 May 1928 in the The Weekly Times. '25,000 Returned Soldiers, Headed By Their Leader, Sir John Monash, Marched Past The Cenotaph On Anzac Day.' A war memorial to the 1914-1918 war was originally erected in Spring Street outside the Victorian Parliament Building (at that time it was the being used by the Australian Federal Parliament, from 1901-1927 when it moved to Canberra). Anzac Day services were held at this memorial in the 1920s and early 1930s. Items were in an envelope with other photos and programmes from different items relating to the Shrine of Remembrance - including discussions on its location and design. Labelled 'Shrine of Remembrance S1 - S14' it was part of an old archive numbering system (S=Shrine), that showed there has been efforts in the past to collect, order and save items of Legacy's history. From articles in Trove: The temporary cenotaph was the original first world war memorial until the Shrine of Remembrance was dedicated in 1937. The cenotaph was a half size replica of the London Symbol of Remembrance in Whitehall. It was made from timber and plaster and was initially meant to only last for the 1926 Anzac day service and be removed. With annual upkeep it remained until at least 1934 when ex-service men proceeded from the incomplete Shrine to the cenotaph on the steps of Parliament House on Anzac day.A record of an Anzac Day ceremony at the old First World War memorial in Spring Street in 1928. Not many photos are available of the original memorial. The size of the march past (reported as 25,000 soldiers) points to the enormous number of Victorians who served in the First World War. Black and white newspaper article about ANZAC Day at the old First World War memorial in Spring Street in 1928.Title: '25,000 Returned Soldiers, Headed By Their Leader, Sir John Monash, Marched Past The Cenotaph On Anzac Day.' Caption: " Scene at Parliament House, Melbourne, where the Governor, Lord Somers, took the salute, as returned Soldiers and Nurses passed, on they way to the Commemorative Service at the Exhibition.'anzac day, wreath laying ceremony

Metal branding hammers were the most common way to control the sale and movement of hardwood timber produce like logs, railway sleepers, fence posts, and poles from Victorian State forests. Royalty was also paid on this basis. The hammer has a crown stamp on one end with a unique number in the middle (453) which identified its owner, and a crows foot or broad arrow on the other. The broad arrow was a symbol traditionally used in Britain and its colonies to mark government property. Forest regulations state that an authorised officer may use the crown mark to identify produce which has been sold and may be removed from the forest, whereas the broad arrow can be used to brand and mark trees which are not to be felled, or to indicate forest produce which has been seized. Hammers were traditionally only ever issued to forest officers and were an important, and closely guarded tool-of-trade. They were not transferred between staff and lending hammers was not permitted. But it was an onerous task for staff to hammer and tally hundreds of logs, or thousands of fence posts each week, so in about 1990 a system was introduced whereby hammers were allocated to logging contractors to grade logs and tally them instead. But there was still spot checking by authorised officers. A register was kept, and contractors paid a substantial deposit to make sure they didn't lose them, but they occasionally turn up by fossickers with metal detectors. While branding hammers are still used in some smaller locations, plastic tags and barcodes are now more common.Metal log branding hammer with a crown stamp on one end with a unique number (453) in the middle which identified its owner, and a crows foot or broad arrow on the other. The unusual bent metal handle was designed to protect user from banging their fingers on the log. It was also fitted with a rubber hand grip. Most FCV branding hammers were issued with wooden handles. The branding hammer 453 was initially issued to Wally Cowell at Beechworth. It was reissued to Jim Browning upon Wally’s retirement The hammer still had a wooden handle, but the it broke and became loose inside hammer head. Russel Pritchard from the Beechworth Depot replaced the handle with a new metal one and put a dog leg in it It mainly branded forest produce cut in Mt. Pilot and Reedy Creek areas. The main logging contractors were Gordon Habeck from Chiltern and Steven Goldsworthy from BeechworthCrown mark one end (453) and Crows foot other endforest harvesting, forests commission victoria (fcv)

The Daylesford Uniting Church (formerly Wesleyan /Methodist Church) was built in 1865, replacing an earlier Wesleyan Chapel built in 1861 which is still on site and known as the Sunday School (2024). The foundaton stone for the newer, current church was laid on 12 June 1865, designed by Architects Crouch and Wilson the structure was built in early English Gothic style. The first service was held in the new church on 10 December 1865. It is of interest for its brick broach spire, diapered brick façade and spacious interior with aisles separated from the nave by slender columns. The church organ was installed and built in 1888 by William Anderson and boasts an impressive 724 pipes, many of which are decorated with Christian symbols. This organ is a rare example of Anderson’s work and is his only instrument in Western Victoria. It is classified by the National Trust of Australia (Victoria) as being of state significance. The organ was renpvated in 1979-80 by Leighton Turner. It has 2 manuals, 14 speaking stops, 3 couplers, tracker action, Gt: 8.8 divided.8.4.4.2-2/3.2. Sw: 8.8.4.2.8. Ped: 16. In the 1880s the decline in mining led to the congregation considering ways to reduce debt. Rent was received from pew hire as well as organ concerts and annual fairs. By the end of the 19th century the church had settled into a pattern of steady parish life. The 1950s and 1960s were really the glory days of the church with an active Sunday School, tennis clubs and vibrant social activity as well as many worshippers at Sunday services. The final service was held at the church on 21 April 2024.A redbrick church on stone foundation in Daylesforddaylesford uniting church, daylesford methodist church, daylesford, john mitchell uniting church, daylesford wesleyan church, crouch and wilson, daylesford uniting sunday school

The Daylesford Uniting Church (formerly Wesleyan /Methodist Church) was built in 1865, replacing an earlier Wesleyan Chapel built in 1861 which is still on site and known as the Sunday School (2024). The foundaton stone for the newer, current church was laid on 12 June 1865, designed by Architects Crouch and Wilson the structure was built in early English Gothic style. The first service was held in the new church on 10 December 1865. It is of interest for its brick broach spire, diapered brick façade and spacious interior with aisles separated from the nave by slender columns. The church organ was installed and built in 1888 by William Anderson and boasts an impressive 724 pipes, many of which are decorated with Christian symbols. This organ is a rare example of Anderson’s work and is his only instrument in Western Victoria. It is classified by the National Trust of Australia (Victoria) as being of state significance. The organ was renpvated in 1979-80 by Leighton Turner. It has 2 manuals, 14 speaking stops, 3 couplers, tracker action, Gt: 8.8 divided.8.4.4.2-2/3.2. Sw: 8.8.4.2.8. Ped: 16. In the 1880s the decline in mining led to the congregation considering ways to reduce debt. Rent was received from pew hire as well as organ concerts and annual fairs. By the end of the 19th century the church had settled into a pattern of steady parish life. The 1950s and 1960s were really the glory days of the church with an active Sunday School, tennis clubs and vibrant social activity as well as many worshippers at Sunday services. The final service was held at the church on 21 April 2024.A marble baptisimal font in Daylesford Uniting Church.In loving memory of my dear husband The late Rev. T. Pollard James 28.9.41daylesford uniting church, daylesford methodist church, daylesford, john mitchell uniting church, daylesford wesleyan church, daylesford uniting sunday school, baptisimal font, t. pollard james

The Daylesford Uniting Church (formerly Wesleyan /Methodist Church) was built in 1865, replacing an earlier Wesleyan Chapel built in 1861 which is still on site and known as the Sunday School (2024). The foundaton stone for the newer, current church was laid on 12 June 1865, designed by Architects Crouch and Wilson the structure was built in early English Gothic style. The first service was held in the new church on 10 December 1865. It is of interest for its brick broach spire, diapered brick façade and spacious interior with aisles separated from the nave by slender columns. The church organ was installed and built in 1888 by William Anderson and boasts an impressive 724 pipes, many of which are decorated with Christian symbols. This organ is a rare example of Anderson’s work and is his only instrument in Western Victoria. It is classified by the National Trust of Australia (Victoria) as being of state significance. The organ was renpvated in 1979-80 by Leighton Turner. It has 2 manuals, 14 speaking stops, 3 couplers, tracker action, Gt: 8.8 divided.8.4.4.2-2/3.2. Sw: 8.8.4.2.8. Ped: 16. In the 1880s the decline in mining led to the congregation considering ways to reduce debt. Rent was received from pew hire as well as organ concerts and annual fairs. By the end of the 19th century the church had settled into a pattern of steady parish life. The 1950s and 1960s were really the glory days of the church with an active Sunday School, tennis clubs and vibrant social activity as well as many worshippers at Sunday services. The final service was held at the church on 21 April 2024.A redbrick church on stone foundation in Daylesforddaylesford uniting church, daylesford methodist church, daylesford, john mitchell uniting church, daylesford wesleyan church, crouch and wilson, daylesford uniting sunday school

The Daylesford Uniting Church (formerly Wesleyan /Methodist Church) was built in 1865, replacing an earlier Wesleyan Chapel built in 1861 which is still on site and known as the Sunday School (2024). The foundaton stone for the newer, current church was laid on 12 June 1865, designed by Architects Crouch and Wilson the structure was built in early English Gothic style. The first service was held in the new church on 10 December 1865. It is of interest for its brick broach spire, diapered brick façade and spacious interior with aisles separated from the nave by slender columns. The church organ was installed and built in 1888 by William Anderson and boasts an impressive 724 pipes, many of which are decorated with Christian symbols. This organ is a rare example of Anderson’s work and is his only instrument in Western Victoria. It is classified by the National Trust of Australia (Victoria) as being of state significance. The organ was renpvated in 1979-80 by Leighton Turner. It has 2 manuals, 14 speaking stops, 3 couplers, tracker action, Gt: 8.8 divided.8.4.4.2-2/3.2. Sw: 8.8.4.2.8. Ped: 16. In the 1880s the decline in mining led to the congregation considering ways to reduce debt. Rent was received from pew hire as well as organ concerts and annual fairs. By the end of the 19th century the church had settled into a pattern of steady parish life. The 1950s and 1960s were really the glory days of the church with an active Sunday School, tennis clubs and vibrant social activity as well as many worshippers at Sunday services. The final service was held at the church on 21 April 2024.A redbrick church on stone foundation in Daylesforddaylesford uniting church, daylesford methodist church, daylesford, john mitchell uniting church, daylesford wesleyan church, crouch and wilson, daylesford uniting sunday school

The Daylesford Uniting Church (formerly Wesleyan /Methodist Church) was built in 1865, replacing an earlier Wesleyan Chapel built in 1861 which is still on site and known as the Sunday School (2024). The foundaton stone for the newer, current church was laid on 12 June 1865, designed by Architects Crouch and Wilson the structure was built in early English Gothic style. The first service was held in the new church on 10 December 1865. It is of interest for its brick broach spire, diapered brick façade and spacious interior with aisles separated from the nave by slender columns. The church organ was installed and built in 1888 by William Anderson and boasts an impressive 724 pipes, many of which are decorated with Christian symbols. This organ is a rare example of Anderson’s work and is his only instrument in Western Victoria. It is classified by the National Trust of Australia (Victoria) as being of state significance. The organ was renpvated in 1979-80 by Leighton Turner. It has 2 manuals, 14 speaking stops, 3 couplers, tracker action, Gt: 8.8 divided.8.4.4.2-2/3.2. Sw: 8.8.4.2.8. Ped: 16. In the 1880s the decline in mining led to the congregation considering ways to reduce debt. Rent was received from pew hire as well as organ concerts and annual fairs. By the end of the 19th century the church had settled into a pattern of steady parish life. The 1950s and 1960s were really the glory days of the church with an active Sunday School, tennis clubs and vibrant social activity as well as many worshippers at Sunday services. The final service was held at the church on 21 April 2024.A stone church in Daylesford. Originally built at the Daylesford Wesleyan Chapel, it was later used as the Daylesford Uniting Church Sunday School. daylesford uniting church, daylesford methodist church, daylesford, john mitchell uniting church, daylesford wesleyan church, daylesford uniting sunday school

This pipe stand or rack, together with pipes, tobacco and match box holder, was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) According to Berry, her mother Gladys made a lot of their clothes. She was very talented and did some lovely embroidery including lingerie for her trousseau and beautifully handmade baby clothes. Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . Its first station was in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill and purchased a share of the Nelson Street practice and Mira hospital (a 2 bed ward at the Nelson Street Practice) from Dr Les Middleton one of the Middleton Brothers, the current owners of what previously once Dr Tom Ryan’s practice. Dr Tom and his brother had worked as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He had been House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan had gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. When Dr Angus took up practice in the Dr Edward and Dr Tom Ryan’s old premises he obtained their extensive collection of historical medical equipment and materials spanning 1884-1926. A large part of this collection is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. and an ALDI sore is on the land that was once their tennis court). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. He had an interest in people and the community They were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Timber smoker's pipe stand set, including 7 pipes and a pouch of cut tobacco, Part of the W.R. Angus Collection. Stand holds 6 pipes upright in the rack, with metal matchbox holder on end. Stand has hanging hole in top back. Smoker's pipes: (1) corn cob pipe, orange mouthpiece (2) 'bushman's pipe', bowl carved from branch, etched in stem "ROPE" (3,4) 2x wooden bowl, Bakelite mouthpiece (5) Dark Bakelite with white rim on bowl, stamped "PHOENIX REG APP / MADE IN LONDON" (6) Bakelite mouthpiece, metal stem, wooden bowl "TUNFLOW PAT. PAT PE ND" (7) Bakelite mouthpiece and stem, wooden bowl (bowl is split). Plus metal pipe reamer/cleaner and plug of tobacco in paque tobacco pouch. Note inside pouch - “from Old Mr Bant, Panmure. He always cut a pipe full for Dr. A. when he visited him.” Pouch is stamped "O P L" (each letter in a diamond symbol). Tobacco has metal disc stamped "HAVELOCK TOBACCO" and label "The British-Ambassador Tobacco Co. Ppty. Ltd, Sydney, Australia" , "2 [above] 4 in circle" Etched into bushman's pipe "ROPE" Bakelite pipe is stamped "PHOENIX REG APP / MADE IN LONDON" Another Bakelite pipe is stamped "TUNFLOW PAT. PAT PE ND" Pouch is stamped "O P L" Tobacco has metal disc stamped "HAVELOCK TOBACCO" and label "The British-Ambassador Tobacco Co. Ppty. Ltd, Sydney, Australia" , "2 [above] 4 in circle" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angu, pipe stand, pipe rack, pipe collection, smokers' pipes, smoker's accessories, matchbox holder, pipe reamer, pipe cleaner, bushman's smoker's pipe brand rope, bakelite smoker's pipe phoenix reg app, made in london, smoker's pipe tunflow pat. pat pe nd, tobacco pouch havelock tobacco, tobacco the british-ambassador tobacco co. ppty. ltd, sydney, australia

The Wurrung Wurrung Kit is designed to introduce students at all levels to the heritage of Aboriginal languages within the area now known as Victoria. The kit aims to: Create awareness of Victorian Aboriginal languages in the past and present. The kit is not designed for the teaching of languages, Develop students' understanding of the relationship between the languages and culture of Victorian Indigenous people, or Koories, Create awareness of the importance of language to indigenous communities today and to foster respect for these communities and their languages, Highlight the diversity within Aboriginal Victoria and Australia in terms of languages and culture, Provide resources for students and teachers that can be used either as a window into Aboriginal culture generally, or to complement a broader unit of work in indigenous studies. Resources for teachers Purpose of this kit Using this kit Terminology Pronunciation Facts about Aboriginal languages in Victoria Language and Aboriginal culture Revitalizatoin of Aboriginal languages Language Alive in the community Community protocols Understanding the Language Map VELS and Curriculum links Teaching Framework Resources and contacts Activities for students Animal names Colouring in Possum Koala Kangaroo Code breaker What do yo know? Concentration Sounds, spellings and symbols Kinship Different things, different words Koorie Garden Timeline Story of Victorian Languages Language on the Mission Role Play Traditional Owners Placenames Graffiti Wall Map References.maps, b&w photographs, b&w illustrations, colour illustrations, games, referenceswoiwurrung, boonwurrung, gunnai kurnai, djadjawurrung, wathaurong, keerraywoorroong, jardwadjali, wergaia, ladjiladji, taungurung, dhudhuroa, kulin

Varnished wooden panel fitted with 13 different tramway or railway related signs and one small image of a Melbourne Tramcar. The panel consists of two pieces of plywood glued to wooden backing boards. The signs have been fixed to the panel with brass screws - either round or countersunk. The signs are: "Passengers are not allowed in this Compartment / By-Law No. 5 Maximum Penalty - Five Pounds" "Passengers are requested to tender the EXACT FARE" "NO SMOKING" "NO EXIT" "SMOKING" "DESIGNED AND MANUFACTURED AT THE / TRAMWAYS BOARD'S WORKSHOPS / PRESTON" "TO STOP CAR PULL LEFT / HAND CORD ONCE" "Spitting in the car is STRICTLY PROHIBITED / Passengers infringing this Rule are liable to be ejected and prosecuted under the Board's By-law No. 5" "To stop car pull left hand cord ONCE / Entering or leaving this car from the wrong side is prohibited. Maximum penalty L5." "SPARE / CONTROLLER KEY" "In EXTREME DANGER / STOP THE TRAIN / by pulling CHAIN in this direction / Penalty for misuse L20" "Passengers are not permitted / to travel in this compartment." "RAILWAY MOTOR / TYPE GE 247-A / DL 2755000 SERIAL No. A2320 / AUSTRALIAN MANUFACTURE / AUSTRALIAN GENERAL ELECTRIC LIMITED / P.1022" L = pound symbol Signs collected by Graeme Sewell who assembled the Display Board during the 1980's.trams, tramways, signs, railways, tramways, passengers

Vietnam Veterans parade 1987. Australia gives the Vietnam Veterans:soldiers, navy and airman finally receive the "welcome home" they deserved. Vietnam Veterans parade 1987. Australia gives the Vietnam Veterans:soldiers, navy and airman finally receive the "welcome home" they deserved. Stained pine board with three Vietnam plaques mounted on - plaques - 1. Australian force Vietnam, 2.National memorial to Vietnam forces 3 Vietnam vetrans parade sydney 1987. 1. Australian Vietnam Forces National Memorial and 2. National Memorial to Vietnam forces The Australian Vietnam Forces National Memorial is dedicated to all those Australians who served, suffered and died in that conflict. It was built largely through contributions from the Australian people, raised by the Australian Vietnam Forces National Memorial Committee. 3. Vietnam Vetrans Parade Sydney 1987 On October 3, 1987, around 22, 000 Vietnam veterans marched in a ‘Welcome Home’ parade through the streets of Sydney It was estimated that the parade was watched by a crowd of up to 100,000, including Prime Minister Hawke, and that it stood up to ten deep along the parade route in some places. he marchers carried more than 500 Australian flags, each flag representing a serviceman who had lost their life during the Vietnam War. These simple acts represented the reconciliatory nature of the event – the flags, standing for the nation-state, were accepted as a proper symbol for the fallen by the veterans and symbolised their reconciliation with the body politic that they felt had rejected their rightful place in the Anzac narrative after the end of the Vietnam conflict. Plaques:- 1. Australian Vietnam Forces National Memorial, Wooden Shield with metal shield with black outer ringed by service corps insignia, inner with a white band of the shield shape. the interior of the metal shield is light blue circle, with a white vertical sword, the top of the sword is a banner of red and orange strips. Below the metal shield is a Australian Army rising sun badge. Followed by a banner inscribed with " Australian Force Vietnam" 2. National Memorial to the Australian Vietnam Forces :- Small wooden shield, with a metal rectangle inscribed - vietnam veterans, welcome home parade 1987, plaques

This menorah has 7 candle holders joined in a horizontal row, on thin rod stands. The circular holders sit on two flat silver strips that are attached to silver rectangles on either side of the holders, creating a shield-like form on either side of the holder. The stand on which this construction is propped up, is made up of rods that stand vertically on either side of the holders and behind the shields. The rods are intersected by other rod 'lines' that visually weave horizontally across the top half of the stand. Each point of intersection of lines and rod stands is marked by a circular shape. Artist's statement: In terms of the Jewish diaspora, the variety and flexibility of approaches within Judaism has enabled the culture to endure and nurture ever stronger connections despite physical distance. This notion of an enriched connectedness was one of the two central ideas which contributed to the development of this piece. The second was the idea of light and its cultural significance. Light is about both practical illumination and spiritual expression. While revealing and manipulating material and form, light has also come to stand for the triumph of goodness over evil for many cultures, Of utmost importance in Jewish ritual, light and its media are also recognised symbols of connection and interaction for Jewish people throughout the world. (1999, Blessed Be the Work, Australian Contemporary Design in Jewish Ceremony II)

Cream booklet titled Jubilee Souvenir Zenith Lodge Ancient Free and Accepted Masons of Victoria. 1866 - 1916. No 1133 - No 52. Title is inside an embossed oval rope tied at each side. Various embossed symbols surround the oval rope. A blue cord is sewn to hold the pages together with a staple. A Roll of Honour is printed inside the front cover under two flags, a Union Jack and another one like the Australian flag but the blue behind the Southern Cross is red. Jubilee of the Zenith Lodge, No 52, Officers of the Lodge at Consecration, May 1866 is listed, a sepia photo of the Officers 1915 - 16. they are: Wor Bro Dunstan, Wor Bro T L Sargeant, Bro J Langdon, Wor Bro H J Martins, Bro J Leaney,R W W J Parry, R W G W Lansell,Bro G W Bruhn Bro T Cambridge, Wor Bro W Trevena, Wor Bro C E Welch,Bro W G Bowden, Bro T J Banner, Bro A Glen, Bro A G Hamilton, Bro F T Bishop and Bro J Stephens. Golden Lodge, Corinthian Lodge, Masonic Hall. Also listed are Members 1916 and Principal Officers of the Zenith Lodge for the Past 50 years. On the back cover is a sepia photo of the Freemasons' Hall View Street, Bendigo.Cambridge Press Art Printers, Bendigo.clubs, social, jubilee souvenir, masonic society events (various) - jubilee souvenir zenith lodge 1866 - 1916, bro attwood h, bro blair sgt t a, bro crookston rev j, bro dimsey lieut l s, bro harrison sgt h j, bro midgley f s, bro rodger, r h, bro stutt w j, bro wagstaff capt p w, bro ward f h, bro edward garsed, bro samuel peach hogg, bro richard harry andrews, bro wiliam webb, bro john davies, bro g w chaassand, bro thos h o'neill, bro j c duncan, bro john hamlet taylor, cambridge press

A post card sent to Master J. Brenner of "Chippenham" Railway Parade, Williamstown by his cousin Ethel for his collection. The connection to Legacy is not known. This postcard is the Country life. Series V registered postcard number 9180. Was named "OILETTE" and was produced and printed by Raphael Tuck & Sons, the date is unknown. This item represents a serie of artistic postcards created in England and even though its year of making is unknown possess an aesthetic significance about the kind of postcards produced by Raphael Tuck & Sons.Postcard with of a country scene with a boy holding a donkey. Handwritten: Dear Cousin, Mother says she promised she would send you some postcards. I am sending these & hope you will like them for your collection. Your Cousin. Ethel. / Master J. Brenner "Chippenham" Railway P. Williamstown. Front side: Printed in photo, "CHUMS" / Handwriten photo sign, [?]lette. Back side: Printed on paper, printed symbols / Raphael Tuck & Sons' "OILETTE" [Regd.]Postcard 9180. / COUNTRY LIFE. Series V. / ART PUBLISHERS TO THEIR MAJESTIES THE KING & QUEEN / Printed in England / If sent Abroad, this space may only be used for Name and Address of Sender. / CARTE POSTALE. / TUCK'S POST CARD. / POSTKARTE. / (For Address Only.) / [Stamp] VICTORIA, POSTAGE, ONE PENNY, 1d. souvenir, world war one