Black lettering on a white background. Insignia of the AATTV. Forward to the book "The Man Who Perservered" by Bruce Davies and Gary McKaystoryboard, aattv

Mounted Document. The Suday Mail Magazine article titled "Hobart goes to War" story and pictures of life on board HMAS Hobart on Patrol off North Vietnamdocument, hmas hobart, sunday mail magazine

Recollections of term between 1969 - April 1970.Images and Stories of Vietnam Vets.behind the wire, photographic exhibition

Story: Advisor (Apr 1964-Nov 1965). Squad Commander Nui Dat (1/1970-12/1970).behind the wire, ian teague

Story detailing her 6 months as a civilian nurse in Vietnam.behind the wire, betty lockward, nurses - vietnam, bien hoa

Chipboard back with light blue on front. Three pictures: two helicopters in flight & a Navy ship at sea with helicopter on the deck. Black print with story: white type specifies.bell iroquois.

Paperback book with a man standing in front of a multi line wired fence. Pink and grey sky with an aeroplane near the top. Black print at top. Title in white print.non-fictionuwe radok, hmt dunera

The dolls house and furniture was made by Heinrich August Ernst KOCH, who was interned at Orange NSW on the 6 June 1940. In 1941 was taken to Tatura VIC for an appeals tribunal hearing. He was released in 1943 to the Civil Alien Corp. The donor of the dolls house, John Smiles, is the grandson of Heinrich. Heinrich made the dolls house and furniture which he made for his daughters in Sydney NSW. It was sent to them whilst interned. The furniture is copies of real life size items and the house has features common with the family home in Sydney.Wooden, painted dolls house, made from packing crates. 5 main pieces with additional pieces (roof, chimney, stairs, outside roof area, furniture) which go together to form this long single story dolls house. Painted in cream with green features and red roof. Windows and doors open. Several windows have glass in them. Original piece of Lino in kitchen area. 2 rooms are wallpapered. Original pieces of furniture are included (see list attached to worksheet). These include dining table and four chairs, side board, dressing table, bed, tall boy, low boy, entrance table, entrance bench, entrance hall stand, kitchen table, 4 chairs and 2 benches.heinrich august ernst koch, john smiles, orange internment camp, tatura internment camp, civil alien corp

1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

Historical work by the Secretary of the Board for the Protection of the Aborigines. (c.1876) He describes his approach to his work, the collection of language information, culture and heritage, anatomical data, drawings of the traditional lifestyles and encounters with the people. Includes interesting observations on the works of William Thomas, Alfred W, Howitt, Philip Chaney, Albert A.C. La Souef, John Moore Davis and Rev. William Ridley.robert brough smyth, anthropology, aboriginal social life and customs, children, behaviour, death and burial customs, daily life, food, diseases, weapons, shields, boomerang, vessels, baskets, message sticks, stone tool technology, fire, canoes, myths, stories

Good governance means good business What is governance? The Indigenous Governance Awards Key elements of good governance Finalists 2005: Koorie Heritage Trust, Victoria; Central Australian Aboriginal Congress, NT; Sunrise Health Service, NT; Goldfields Land and Sea Council, WA; Institute for Aboriginal Development, NT; Maari Ma Health Aboriginal Corporation NSW; North Coast Aboriginal Corporation for Community Health Qld; Tiwi Islands Local Government, NT What works: lessons from the 2005 Indigenous Governance awards Governing body: choosing the board; Size and frequency of meetings; Board change and continuity; Processes of decision-making; Making good decisions; Financial decision-making; Accountability tools Managing and implementing decisions: carrying out recommendations; Informing stakeholders Conflict resolution: conflicts among the board; Complaints from members; Staff conflicts Leadership development: developing youth; Staff development and training Cultural norms and values: Boards and elders; Community and culture Future planning.colour photographsbusiness enterprise, indigenous business

Hilda Charlotte Foster, 1902 - 1990, was a Double Certified Nurse when, at the age of 35, she successfully applied to the board of the Australian Inland Mission (AIM) to work at an outback field centre in South Australia. Born and raised in suburban Melbourne, she had been inspired by stories told to her by other missionaries about the fulfilment to be gained working amongst Aboriginal communities. Given her religious faith and nursing skills, she believed she could make a difference. She worked in Oodnadatta in South Australia for two years (1937-1939), followed by a stint in Innamincka in New South Wales in 1940 -1942. Before she became a nurse, Hilda Foster trained to be a Sunday School teacher and was a member of the Sunday School Council of Victoria. She completed first aid courses run through the Presbyterian Deaconesses Institute in Carlton, Victoria, and in 1930 successfully applied to become a trainee nurse at the Austin Hospital for Incurables, in Heidelberg. She commenced her training there in 1931, before moving to the Women's Hospital in 1933. In 1934 she had six months at the Fairfield Infectious Diseases Hospital, before returning to the Austin, where she was employed when she sat her final exams in November 1934. Her combined skills made her a most attractive option for the Australian Inland Mission. As well as being multi-skilled as a nurse, she provided religious instruction and spiritual ministry to members of the community. https://trove.nla.gov.au/people/762093?c=people Sister Foster nursed at Toora Bush Hospital prior to leaving for the Paton Memorial Hospital, Vila, New Hebrides in 1944. She left the New Hebrides in 1946.Matt, black and white, head and shoulders, studio portrait of Sister Hilda Charlotte Foster on card.australian inland mission, presbyterian deaconess, sister hilda charlotte foster, paton memorial hospital vila new hebrides

Red board cover with an etching of floral design in black on the cover and back - 128 pagesfiction

Bullock Team with load of Wattle Bark in front of Cornish's Victorian Boarding House. Corner of Napier& Victoria Streets. Photograph taken in Napier Street, Stawell c1910. Inscriptions on the back of the photo state W. Dunn is standing beside the bullock team but records imply that its Jack Williams with his bullock team. Stan Wathem is holding the bike and standing beside the wagon. Wattle bark was used at Wenl's Bark Mills Stawell. The photograph belongs to Mrs. Dorrie Pickering - loaned for copying. The boarding house on corner of Victoria & Napier St. Obit. Mrs. Fanny Cornish formerly Manuel nee Bass, Stawell News 20.6.1931. Black & white photograph of a scene depicting a bullock team and wagon loaded with Wattle bark. Stawell. Two men standing near the bullock team, one holding a a long stick, the other on a bike. The building behind the bullock team is Cornish's Victoria's Boarding House. Also a large double story barn at the back of the wagon, c1910. In the file are two other black and white photographs of the same image.c1910. Napier St. Corner of Napier & Victoria Streets Stan Wathem (Bike) W. Dunn with team loaded with Wattle bark. Jack Williams? There is a stamp on the photograph board, but hard to read "A. __Ewin Photographer Tals__melb" stawell

The wool for this jacket began on the back of two sheep many kilometres apart. The first fleece for the warp was shorn from a single Merino at Currotha in Moree, NSW. The wool was 21-22 micron and the bloodline is a cross between Bundemar, Rossmore and Eural. The second sheep that provided wool for the weft was shorn in Beaufort, Victoria. It was a single Corriedale fleece shorn at Niawanda. The distance between these two towns is approximately 1250kms; a 15-hour car ride between paddocks. The two fleeces were spun and weaved together by the donor’s mother, Marjorie Allnutt. A level of talent is required to spin Merino fleeces. It is easier to spin cross bred wool, such as Corriedale, because it is less dense and much easier to comb, card and then tease out for a spinning wheel. The donor Philip Allnutt had a suit tailored out of the completed fabric at Ravensdale J & Son, 37 Swanson Street, Melbourne. The tailor was then a member of the Master Tailors Federation of Victoria. The business closed around 1986. Adding to the jacket’s story is its relationship to the household board game “Squatter”. Marjorie Allnutt was the sister-in-law of Robert Crofton Lloyd, the inventor of the wool themed boardgame. With more than 500,000 games sold in Australia as of 2007, it is the most successful board game ever produced in the country. The original “Squatter” board game is located within the National Wool Museum’s Collection. Philip Allnutt donated the Jacket to the National Wool Museum Collection in 2021. Cream singled breasted jacket with a narrow overlap and one column of buttons for fastening. The jacket features notched lapels of a medium width and two buttons of a cream & brown marble. The jacket has three visible pockets. A jetted pocket with no flap is on the right breast. A further two jetted no flap pockets finish an inch above the hem, on either side of the opening. Internally, the jacket features a further two pockets and a white silk lining for comfort. At the cuffs, the jacket utilises another 2 buttons of the same cream & brown marble.merino, currotha, moree, nsw, niawanda, corriedale, beaufort, victoria, hand spun, hand weaved

Developed in the Research and Development Department of VISY Board by Alex Ong and Richard Pratt, this manufactured version of 'making do' philosophy began with a humanitarian outlook. Less than 100 were made in the pilot program and these were distributed to the homeless through welfare agencies around Melbourne. They were designed to provide some protection from the weather and to be portable and disposable. Unfortunately, the project was short lived, as some safety issues were unable to be resolved: ie, someone inside the bag would not be able to escape should the bag be set alight. It was found that people sleeping on the streets preferred sheets of cardboard or paper to avoid this possibility. Lois Densham heard a story on the radio about these sleeping bags and contacted VISY to see if she could acquire one for the Running Stitch collection. She approached the Collingwood office and it is now believed to be one of the last remaining items from this program.Recycled paper sleeping bag made from brown paper and sealed at the 'mouth' with paper tape (masking tape). Approximately six feet long, it would accommodate an adult.visy board running stitch group, running stitch collection, homeless, sleeping bag, pilot program, richard pratt

Belonged to donor's mother and listened to by donor as a child.Two card board/paper books containing 2 vinyl records of children's songs, games and stories. Gilt coloured writing; front cover decorated with coloured pictures of boy and girl (book 1) and 6 boys and girls holding hands dancing in a ring (Pictures by Maud Trube). Spire if books held together by black eyelets and green cord.Little Tots Records: songs games stories for kiddiesaudio-visual technology, audio - visual accessories, toys, general

The Ballarat Trades Hall Eureka Flag The flag originally flew from the flagstaff of the Trades Hall Building in Camp Street Ballarat on 03 December 1942. This prompted many enquiries to teh Ballarat Courier newspapper. The Courier reported that the flag was, in fact, a replica of the origina Eureka Stockade flag. The newspaper reported: "It (seemed) very strange that the town in which Eureka made a name for Australoa and its effort to get freedom from the control for the ordinary man, did not recognise the flag that flew which the first move for freedom was fought out againt big odds." The Trdaes Hall Eureka FLag, made of cotton material, was uded in Union marches during hte 1940s. In later years it was all but forgotten, until in 1981 it was brought to the office of the ten MHR for Ballarat, John Mildren by members of the family that the flag maker boarded with in Ballarat. David Miller, who had a keenintered in the Eureka story and was electorate officer for John Mildren, became custodian of the flag for many years and presented it to the Ballarat Trades Hall for display. In 1994 the Ballarat Trdes Hall Eureka Flag traveled Australia as part of a touring Eureka collection at the time, the Secretary of the Ballarat Regiona Trades and Labour Council, Graeme Shearer said "...The Eureka Fag then, as it does not, sybolises the struggle for basic rights and democracy. On Wednesday 11th July 2001, following a ceremony to mark the refurbishment of the Galloway Monument, the Ballarat Trades Hall Eureka Flag was unveiled at a function in the Ballarat TradesHall by President of the Ballart Trades & Labour Council, Rhonda Young and Premier of Victoria, Steve Bracks. Joe Toscano speaks at Ballarat Trades Hall while standing in front of a replica Eureka Flag.joe toscano, eureka flag, ballary trades hall

This flag originally flew from the flagstaff on the Trades Hall Building in Camp Street Ballarat on December 3rd 1942. The flag prompted many enquiries to the Ballarat's Courier newspaper. The Courier in reporting that the flag was, in fact, a replica of the original Eureka Stockade flag went on to say that: "… it (seemed) very strange that the town in which Eureka made a name for Australia and its efforts to get freedom from control for the ordinary man, did not recognise the flag that flew while the first move for freedom was fought out against big odds." The Trades Hall Eureka flag, made of cotton material, was used in union marches during the 1940s. In later years it had been all but forgotten, until in 1981 it was brought to the office of the then MHR for Ballarat, John Mildren by members of the family that the flag maker had boarded with in Ballarat. David Miller, who had a keen interest in the Eureka story and was electorate officer for John Mildren, became custodian of the flag for many years and presented it to Ballarat Trades Hall for display. In 1994 The Ballarat Trades Hall Eureka flag travelled Australia as part of a touring Eureka collection. At that time, the Secretary of the Ballarat Regional Trades and Labour Council, Graeme Shearer said “…The Eureka flag then, as it does now, symbolises the struggle for basic rights and democracy”. On Wednesday 11th July 2001, following a ceremony to mark the refurbishment of the Galloway Monument, the Ballarat Trades Hall Eureka flag was unveiled at a function in the Ballarat Trades Hall by President of the Ballarat Trades & Labour Council, Rhonda Young, and Premier of Victoria, Steve Bracks. The Trades Hall gratefully acknowledges the assistance of Dean Mighell, then Victorian State Secretary of the CEPU/ETU - who was a passionate supporter of the diggers' stand at Eureka - and instrumental in making funds available to assist in Trades Hall's Eureka flag being mounted in the Main Hall of the Ballarat Trades Hall. As far as we know, this is the second oldest Eureka flag in the world. Union (especially Ballarat Trades and Labour Council) history and Eureka Stockade - Ballarat.Flag; blue background; white embellishments - cross and stars; framed.btlc, ballarat trades hall, ballarat trades and labour council, mildren, john, miller, david, southern cross flag - btlc, eureka rebellion, trade unions - history, gold mining - ballarat, gold miners, eureka flag - btlc

The Boyds purchased their record player and sound system from Thomas’s in Melbourne. Patricia Boyd (later Davies) was very interested in opera and was later appointed to the Board of the Australian Opera.No Strings. LP 33RPM vinyl, Catalogue Number: 1695, Record cover, paper sleeve, back cover notes (story synopsis) by Samuel Taylor. Presented by Richard Rogers. Musical direction by Peter Matz.lp, sound recording

The MDNS Sisters are packing their belongs ready to move from their current Nurses Home at 39 Victoria Parade, Collingwood to their new Nurses Home and Headquarters situated at 452 St Kilda Road, Melbourne, then known as 'Airlie'. From its founding in 1885 until 1891 the Trained nurses (Nurses) of the Melbourne District Nursing Society (MDNS) worked from their own homes which were located in the vicinity of their areas (districts). The Committee meetings were held at the Religious Tract Society rooms at Queen’s walk, off Swanston Street and then at the Library Room at the Melbourne Town Hall. The Annual General Meeting was held at the Town Hall. In November 1891 MDNS was able to rent a two story terraced house at 66 Cardigan Street, Carlton, at £65 a year, which contained accommodation for three Nurses and one pupil nurse as well as being used as their Headquarters. They left from their Nurses Home each morning and returned at the end of their shift to write up their book work before retiring for the day. Three years later they moved into a larger terraced house at 49 Drummond Street Carlton which was rented at ‘a very moderate rental’. There was a Board room, apartments for the Nurses and pupil nurse, a large dispensary which patients could attend each evening to have prescriptions signed and bottles refilled with ‘homely remedies’ and elixirs, which were administered for e.g. to Consumptive cases. Doctor’s prescriptions were filled at the Pharmacy. Cupboards containing donated blankets and bedclothes for needy patients were kept in this room, and it was here where the Nurses kept their nursing bags which were refilled at the end of each shift ready for any emergency and for the next day. A list of Doctors the Nurses could call was kept by the telephone. The home also had a kitchen where nourishing soup was made and distributed twice a week to the needy. Milk was also distributed when needed. In 1902 they moved into rented premises at 188 Leicester Street, Carlton and two years later, in 1904, to premises at 5 Royal Terrace, Nicholson Street, Fitzroy where they remained for ten years. In June 1914 at last the Society had sufficient funds to purchase their own terraced premises, ‘Floraston’ 39 Victoria Parade, Collingwood which was their Headquarters and Nurses Home. In 1926 the After-Care Home for recovering patients, (later called After-Care Hospital) was built by the Society next door, running from 41-47 Victoria Parade (became No. 45). There were now two divisions with the After Care having their owned Trained nurses (Sisters) and the District Division of Trained nurses (Sisters) who continued to live at No. 39. In November 1953 the Sisters working in the District Nursing Division moved into their new Headquarters and Nurses Home at 452 St. Kilda Road, Melbourne. In 1957 this Division changed its name to the Melbourne District Nursing Service when it separated from the After-Care Hospital. It was given Royal patronage in 1966 and became Royal District Nursing Service (RDNS). As it expanded, and now with Centres opening throughout the suburbs, the Nurses Home at 452 closed and those rooms used for administrative purposes. It now had outlying districts to service, and with a full fleet of District cars, the Sisters lived in their own homes and visited their closest District Centre each morning to collect their work for the day and returned there at the end of their community duties to do their administrative work. On April the 1st 1996 RDNS Head Office relocated to 31 Alma Road, St. Kilda. Standing in a semi circle of this photograph are 5 Melbourne District Nursing Society (MDNS) Sisters in their long sleeve grey uniform dresses which have a belt, peaked collars and white buttons down the centre. They are wearing their grey brimmed hats with a central Maltese cross on the light colour headband over their short dark curled hair. From Left to Right are Sisters Marianne Metcalf who is smiling and is holding a tennis racket and soft sided oblong travel bag which has two leather straps and handle in her right hand; it is resting on a closed case, which has two leather straps across the lid; this sits in front of her. Next is Gerda Oppenheim who is looking serious and has her right hand on the top of the lid of an open case in front of her, then Beryl Rowley, who is smiling and has her hands on a narrow white metal horizontal pole which has a vertical pole attached. Next is Marcia Parrat who is smiling and is holding a piece of white linen on the open case, and next, on the far right, is Florence Hoey who is holding a piece of white linen on top of an open hard leather travelling bag which is sitting in front of her next to the closed case. melbourne district nursing society, mdns, mdns headquarters, sister marianne metcalf, sister gerda oppenheim, sister beryl rowley, sister marcia parrat, sister florence hoey, royal district nursing service, rdns

16 mm Black and white film with sound produced by Southern Cross Films, Perth. It begins with archival film from WWII, explains the meaning and symbolism of the Legacy badge,and shows young girls taking the Legacy oath. There were 1900 orphans in W. Australia and the film explains the origins of Legacy. Perth Legacy's Board of Management is shown and care of children - health and fitness - is explained. Also shown are the January seaside camp activities, annual Christmas picnic with 1000 guests, and a Legatee visiting one of his families with helpful advice. Craig House, Perth Legacy's co-ed residence is featured, followed by the annual presentation of debutantes. 10 mins 41 sec.A visual record of life in the 1950s and the huge number of children to have lost their father in WWII. The commitment of Legacy to giving them a better childhood and the amount of work done by Legatees is impressive.Blue metal canister and film on a spool labelled as The Legacy Story. The 16mm film runs for 10 mins 41 secs.Canister lid exterior, Label, HERSCHELLES FILM LABORATORIES, East Melbourne, Australia SUBJECT, “THE LEGACY STORY’, copy, length 404’ reel no. Canister base exterior, Label from Legacy Club Melbourne. 45 Market St, Melbourne, C.1. Typed label say '16mm Sound film of Perth Legacy's Activities. Purchased by Melbourne Legacy with Perth Legacy's permission and with authority of L/tee Morrie Tonkin and Board of Management of Melbourne Legacy. June 1965. I.E.L.'legacy promotion, activities, junior legatee, marketing

A wartime letter written by Arthur Evans that was later mounted on card for display purposes. It was donated to Legacy in 1998. The letter was written on the fabric of an aircraft wing. The letter was written by Arthur Stanley Evans while convalescing in Briston in 1917. He had been injured at Bullecourt, France with the 18th-16th AIF. The letter says 'Dear Minnie, Just a line to say your nice long letter arrived yesterday and I am now waiting the money etc. Have run out of paper so am scrawling this on a piece of wing belonging to one of Fritz's tubes that I saw one of our chaps having a scrap with in the air over our lines one day. "Fritz LOST". Glad Betty liked her little gift. Will write you later. I am improving every day and expect to have leave shortly. Love to all, Arthur." Not to let war time shortages of paper get in Arthur Evans way, he improvised and his letter to Minnie, it arrived intact. The fabric would be quite durable and light. A great memento to show family and friends.Despite war time shortages a little ingenuity can overcome many difficulties.Backing, ply board. Letter and short story typed on white cardboard, cardboard fixed to ply backing. Original letter fixed to white cardboard. Lower left hand corner folded over showing the reverse side of the fabric. Original letter rectangular in shape. All of the above is surrounded by a brownish border.The letter, the story and how the letter came to Legacy is printed in brown ink. The original letter is hand written on a piece of wing fabric from a German aircraft shot down over Allied lines.souvenir, world war one

Newspaper Clipping (p7) from "Catholic", No. 178, November 1998, contains the story written by Mother May Oliver, Imp. James O'Collins RC Bishop of Ballarat, January 1945, chapter 7 of "All for All", relating to the life of the 'the young girl countess Elizabeth Wolff-Metterich of Germany. The story revolves around her visit to Melbourne and Ballarat - in particular the visit to Lorretto - sighting of 'a tram (streetcar) bearing 'convent' as its head sign'. The reference to arrival by tram in the article suggests by the author that the Countess arrived by electric tram (by the use of the word 'streetcar'. In actual fact, date of visit was 1898, so it would have be the horse tram. Also horse tram system went down Morrison St. to the Lake, by Lorretto and its destination board was 'Gardens via Convent'.Niltrams, tramways, loreto convent chapel, countess elizabeth wolff-metterich, horse trams, catholic church

Melbourne Tramway & Omnibus Co. Bell Punch No. D1902. A heavy nickel plated steel ticket or fare strip cancelling / registering mechanism used on Melbourne cable trams. When a fare was sold, the bell would ring advising the passenger that their fare have registered. "An ingenious device resembling in principle the ticket punch of a railway porter. It is carried by the conductor who wears pinned to his coat a 'trip-slip'. He punches this once for every fare received; the action is simultaneously registered on a dial inside the punch and bell rings to appraise the passenger of the fact. The punch is provided with a patent lock, the secret of which is known only at headquarters and effective system of check is thus secured." (" A story of the Melbourne Cable Tramway System" - page 54). Used by the MT&O and MMTB until 1922/23 when replaced by the check ticket system. Manufactured by the Railway Register Manufacturing Company. Lock number IDMA - see btm6. Has "TB" - Tramways Board - stamped on one side along with patent dates. See also Reg Item 72 and 72.1 for other examples. See "A story of the Melbourne Cable Tramway System 11/11/1885 to 26/10/1940" C.N. Govett and A. E. Twentyman. Copy held in the Hawthorn Tramway Depot collection. See Notes on opening from the Hawthorn Tramway Depot collection - see related documents.Has "D 1902" punched above ticket entry slot (both sides), "1902" on handle, "TB" stamped on numbering registering face. trams, tramways, ticket punch, tickets, fares, cable trams

A collection of stories from the Otways that were collected for the Otway Light 10th Anniversary publication.The Otway Light featuring the Old Timers, including the Old Timer himself, Scrub Urchin, Stewart Webster, and others. Helen Grant (ed.). Robert Montgomery, Ellise Angel, Claire McCaffie (illus.). Lavers Hill (Vic); Otway Light Editorial Board; 1989. 98 p.; illus. Soft cover.Melba Gully (21st March 1975)otways; stories; sketches; history;