Isabel Huntington was a painter, craft officer and craft worker. She studied at Ballarat High School, Ballarat Technical Art School (a division of the School of Mines) and RMIT, and was a member of the Victorian Artists' Society and the Contemporary Art Society. In 1945 she was appointed Director of Handcrafts for the Victorian Division of the Red Cross Society. Isabel Huntington had previously held the position of Supervisor of Handcrafts at Heidelberg Military Hospital for three and a half years. She was a member of the Arts and Crafts Society. Isabel Huntington had five 'one-man" shows, three in Melbourne, one in Ballarat and one in Hamilton, Victoria. Ursula Hoff (from the National Gallery Victoria) judged the 1965 Albury awards for watercolour, and religious paintings in oils, awarding the prize to Isabel Huntington. In the same year Isabel Huntington travelled to Europe. After returning from overseas she taught at Rosanna High School, Victoria. Isabel Huntington lived at Montmorency, Victoria, and was there at the time of her death. Born Isabel McCausland, she married Robert Huntington in 1931. women of note, isabel huntington, ballarat school of mines, ballarat high school, ballarat technical art school, royal melbourne institute of technology, rmit, victorian division of red cross, director of handcrafts, rosanna high school, montmorency, heidelberg military hospital, supervisor of handcrafts, art shows, melbourne, ballarat, hamilton, mccausland, robert huntington

Negatives from Stawell Photographer. Discarded from Penna Print Ararat. Son contacted and gave approval for Stawell Historical Society to keep them. Only those of a non personal nature scanned. Currie & Pigeon O’Sullivan & Flowers Beryl Voight Cake John Monaghan Ordination photos taken in Stawell Town Hall upstairs. 6128-6 c.1975 Back Row Danny Rathgeber, Andrew Van Diesen, Bernard Rowe, - - - - - Fr Row Phil Monaghan, Shaun Allen, Aaron Dalziel, Liam Pickering, Simon Comitti, Simon Krause - Shaun Ashton. Susan Pyke & Garry Palmer Victree P/L Lynette McMullin Stawell Arts Council Glenorchy Golf Club Team 1981 West Twins Robson & Moller Snow 23/6/81 Maureen Carroll & Ross Nacy Elaine Aisbett & Neil Lamb Jenny Schunann & Greg Randall Robyn Whelan & Robert Hemley Kerryn Taylor & Ian Mitchell Mrs Wlliamsons Cooper Reunion Debbie Morton & James Evans Colour negatives of families, weddings and other. Nineteen Lever Arch Folders Mick Walsh 52 Patrick Street Stawellphotography

This sculpture is a bronze cast of Karl Duldig’s 1956 terracotta sculpture titled 'Moses'. The terracotta sculpture won the 1956 Victorian Sculptor of the Year award, an honor given by the Victorian Society of Sculptors. The National Gallery of Victoria purchased the original terracotta sculpture for the Gallery’s collection in 1956. In 1979 the NGV allowed Karl to cast the original terracotta sculpture in bronze (to a limited edition of 5). The National Gallery of Victoria holds one of these casts and one is in Duldig Studio collection. The original terracotta sculpture was exhibited in 1956 at the Olympic Arts Exhibition in Wilson Hall at the University of Melbourne. Two other works by Karl were also exhibited, a sandstone titled 'Adam and Eve' and a work titled 'Fountain'. The catalogue for the Olympic exhibition, which promoted modernism across a variety of disciplines, noted that Australia’s post war immigration program had given ‘further momentum to the modernist cause’. The identification of émigré artists, such as Karl Duldig, with the acceptance of modernism in Australia became a major theme in any discussion of art and design in the post war period. Ann Carew 2016The subject Moses and the tablets of law is an important theme in the history of art. For example the National Gallery of Victoria collection includes paintings on this topic by the Australian Aboriginal artist, Queenie McKenzie (1991), prints by the Russian-French modernist artist, Marc Chagall (1956), and a painting by 19th century British academic painter, John Rogers Herbert (1870s). Michelangelo’s sculpture of Moses is perhaps the most famous sculptural interpretation of the subject. In Karl’s hands we have a modern interpretation of the theme. His simplification and abstraction of form and attention to surface modeling is masterly. The figure has an emotional intensity and despite its relatively small scale, a ‘forceful monumentality’. The sculpture is aesthetically significant for its craftsmanship, expressive qualities and modernity. It is historically significant because of its associations with the 1956 Olympic Arts Festival. The Duldig Studio’s bronze cast of the sculpture was exhibited in the exhibition '1956: Melbourne, modernity and the XVI Olympiad, Museum of Modern Art at Heide.' Apart from the formal qualities of a work like Moses, its relevance as a motif in Judaism and Christian faiths ensures its place as a work of spiritual significance. Ann Carew 2016Bronze cast from terracotta sculpture. Depicts Moses as in Exodus 32 when he returns from Sinai with the tablets of the law to find his people worshipping the golden calf, in his fury he holds the tablets aloft above his head before crashing them down on the ground.

In 2005 Michele Matthews interviewed current and former residents of Bendigo for her thesis on the 1930s Depression as part of her PhD Research, with the University of Melbourne Faculty of Arts, History Department. Michele interviewed fifteen members of prominent Bendigonian families. The thesis was titled: "How Depressing?: The impact of the Great Depression on Bendigo and District 1925-1935". The Michele Matthews Collection contains fourteen audio cassette tape recordings and one written transcript. The tapes are each approximately 1 hour and 45 minutes duration. The questions presented to the interviewees explore everyday experiences they would have lived through at the time of the Depression. The questions covered sixteen relevant subjects: • Introduction and housing • Social activities, swimming, cinemas, school and games played with friends • Organizations such as the RSL, Relief Committees etc. and any effect they had on family life • The life of the single woman • Unemployment and Employment • Government Assistance • Charities Aid • Self-help • People Power, e.g. boycotts or protests • Politics • Trouble or crime • Family Health, Medical and Diet • Education • General memories of, and hardships encountered, during the DepressionAudio tape interview with Amy Brown (Nee Osterfield). Amy was born in 1922. In 1942 she married Allan Stanley Brown. Her father, Charles Osterfield was a wood cutter before becoming unemployed. She never attended school. The tape has been converted to a sound file. The 150 minute interview can be listened to, and the notes viewed, at the Bendigo Historical Society. By appointment only. Also included is Amy's memories of her childhood - Amy's Story. This is a 26 page document available here to read.history, bendigo, michele matthews collection, the 1930s depression tapes, amy brown

In 2005 Michele Matthews interviewed current and former residents of Bendigo for her thesis on the 1930s Depression as part of her PhD Research, with the University of Melbourne Faculty of Arts, History Department. Michele interviewed fifteen members of prominent Bendigonian families. The thesis was titled: "How Depressing?: The impact of the Great Depression on Bendigo and District 1925-1935". The Michele Matthews Collection contains fourteen audio cassette tape recordings and one written transcript. The tapes are each approximately 1 hour and 45 minutes duration. The questions presented to the interviewees explore everyday experiences they would have lived through at the time of the Depression. The questions covered sixteen relevant subjects: • Introduction and housing • Social activities, swimming, cinemas, school and games played with friends • Organizations such as the RSL, Relief Committees etc. and any effect they had on family life • The life of the single woman • Unemployment and Employment • Government Assistance • Charities Aid • Self-help • People Power, e.g. boycotts or protests • Politics • Trouble or crime • Family Health, Medical and Diet • Education • General memories of, and hardships encountered, during the DepressionAudio tape interview with sisters Doreen Domenica Favalora, and Josephine Monica Faveloro; cake and food shop owners. Daughters of Salvatore and Gina Favaloro. Doreen was born in 1915, and Josephine in 1920. Both attended school at St Mary's College, Doreen, c1920-1933, and Josephine, 1925-1938. The tape has been converted to a sound file. The 120 minute interview can be listened to, and the notes viewed, at the Bendigo Historical Society. By appointment only. The sisters lived at 137 Forest Street (not the one in the photo) Generations of the Favaloro family have attended Catherine McAuley College and its predecessor colleges St Mary's and Marist Brothers'. A book has been released documenting the progressive family migration from Salina, Italy to Bendigo. The family went on to run many much-loved businesses in Bendigo including cafes, fruit shops, theatre kiosks and caterers. A book has been written called 'The Favaloro Family of Bendigo: The Early Year 1895-1942' by Robert McWilliam. The photo and article are from the Bendigo Weekly Newspaper Friday April 7th 2006history, bendigo, michele matthews collection, the 1930s depression tapes, doreen and josephine favaloro

One of a group of slides taken by members of the Society of built heritage in Kew in 1979-80. The selection of subject matter reflects the priorities of the period. The colour of some slides has degraded. This particular slide is of 'Fairholme' on the corner of Barry and Fellows Street. The building is listed by the National Trust (Victoria). The citation on the Historic Buildings Register states: 'Fairholme is of State architectural significance as a distinctive free Romanesque Revival residence. Built in two stages, 1889 for solicitor Edward Smart and early this century for importer, J K Meritt, the singular architectural character of Fairholme is achieved by combining window bays and groups of windows with a two-storey gabled porch. The deliberate and distinctively asymmetrical composition is emphasised by Art Nouveau pressed cement detailing (coprosma) on a bowed balcony and the two-storey timber verandah, which is typical of the Edwardian period. The architects were Reed, Henderson & Smart (1889) and C Gordon McCrae (c 1900-1). Internally a grand entry hall with inglenook, staircase and gallery follow the Arts and Crafts quality of the exterior. Classified: 17/03/1993'The slides represent a snapshot in time of built architecture in Kew, much of which has changed in the forty-plus period since they were created. 35mm colour transparency (slide) of 'Fairholme' (1889) on the north-east corner of the intersection of Fellows and Barry Streets, Kew. The photo was developed in May 1979.barry street -- kew (vic.), fellows street -- kew (vic.), historic houses -- kew (vic.), architects -- reed henderson & smart, architectural styles -- romanesque revival, j k merritt

David Frazer (1966- ) David Frazer is an Australian artist who works in painting, wood engraving, etching, lithography and bronze. Born in Victoria, David Frazer graduated from the Phillip Institute of Technology, Melbourne with a Fine Art degree specialising in painting. In 1996 he achieved an Honours degree from Monash University specialising in Printmaking and in 2000, gained his Master of Arts. In 2002, David was awarded the Keith Wingrove Bookplate Design Award and in 2007, he was a major prizewinner at the International Print Biennial in Guanlan, China and a featured Australian artist on the ABC’s documentary series ‘Artist at Work’. (http://www.goldfieldsprintmakers.com/david-frazer.html) Art historian Robert C. Littlewood is a Private Press publisher who utilises his skills as a fine art photographer, a video producer, researcher and writer to document the lives and achievements of Australian artists who create (or created) original graphic prints. Littlewood is President of the Australian Bookplate Society and a Trustee of the Keith Wingrove Memorial Trust which administers the world's richest and Australia’s only Bookplate design award.Bookplate for Tony Irvinng featuring the Yarra River and silos at Richmond, Victoria. bookplate, tony irving, david frazer, nylex clock, yarra river, silos, richmond

Jeff WOODGER Born Bendigo, Victoria Jeff studied art at La Trobe University in 1986, and a Graduate Diploma in teaching in 1989. He worked as a teacher from 1990 to 1998. In 1994 Jeff was awarded a Master of Arts from La Trobe University. He then studied at the prestigious Slade School, London and the National Gallery of Art in Washington D.C. Jeff Woodger completed a Doctor of Philosophy (Fine Art) at University of Ballarat (now Federation University) in 2006. This work was part of the exhibition assessment for this study. Jeff Woodger has lived and worked in Japan regularly since 1994. His passion is to paint post romantic landscapes in the classical style which are deeply inspired by many of the seventeenth century greats such as Claude Lorraine and Salvator Rosa. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed oil on paper landscape with river in the foreground.art, artwork, jeff woodger, alumni, landscape, available

John SCURRY (26 August 1947- ) Born Melbourne, Victoria John Scurry studied at the Prahran College of Advanced Education, graduating with a Diploma of Art and Design in 1969. In 1971 he gained a Trained Tertiary Certificate from Hawthorn Institute of Education. From 1973 to 1976 Scurry was a Full time Senior Tutor in the Printmaking Department of the Preston Institute of Technology, becoming Acting Head of the Department in 1976. Working as a Lecturer in the Drawing Department of Prahran College of Advanced Education he then became a Lecturer in Printmaking from 1977 to 1978. In 1979 he began teaching as Full time Lecturer in Printmaking at the Victoria College of the Arts, where in the following years he was Senior Lecturer in Charge of Printmaking in the Faculty of Art and Design (1982-1991, Head of Printmaking School of Art (1991-2003) and Senior Lecturer (2003-2007) before retiring to focus his time on his own work. Max Hopper was Director at the Gippsland Institute of Advanced Education from 1979 to 1983.Framed academic portrait of Max Hopper, director at Gippsland from 1970-1983.signed and dated lower left "Scurry '86"artwork, artist, academic portrait, max hopper, john scurry, gippsland campus, churchill

DVD made by Gabriel Hermes of the unveiling of the monument to those Malvern Depot employees who died during the First World War. See the pdf file for a synopsis of the DVD and some screenshots. Present were: Kelly O’Dywer MP – Federal Member for Higgins Cr Melina Sehr – Mayor City of Stonnington Jim Nadda – Manager of Lines Malvern Tram Depot Gabriel Hermes – President of the Prahran Historical and Arts Society Lorraine Sage – President of the Malvern Historical Society Special Guest – Norm Maddock - WW2 veteran, Prisoner of War and Union Assistant Secretary. Records the depot staff who died while on Active service: Armstrong John A – Senior Receiver Bennett, Robert – Conductor Collet, Earnest Oswald – Ticket Clerk Coulton, Ernest – Motorman Eden, John Henry – Conductor Freeman, Thomas Frederick – trackman Garnham, Alfred Jesse – Motorman Harvey, James Henry – Motorman Hill, William John – Conductor McSweeny, John – Ticket Examiner Still, J - Trackman Tram D1 3537 was present at the service. Yields information about the event to mark those trammies from Malvern depot who died during World War 1DVD - white clear plastic case with unmarked Sony DVDOn front - WW1 Monument Malvern Tram Depot - staff that died in 1915 War.trams, tramways, pmtt, malvern depot, anzac, world war 1, memorials

Wilfred Clarence Busse, born in Chiltern in 1898, His family moved to the region during the gold rush and continued to reside in the area, purchasing land adjacent the Murray River. Busse completed his secondary education at Wesley College in Melbourne then studied law at the University of Melbourne. Busse went on to become a barrister, often in the chambers of Sir Leo Finn Bernard Cussen (1859-1933) a judge of the Supreme Court of Victoria. He worked most of his life in Chiltern as a Barrister and Solicitor and gained the unofficial title of historian of Chiltern, leaving behind several manuscript histories and a scrap book. Busse was an avid fictional writer and in 1930 he published two novels. Time spent on a Victorian station in his early twenties, as well as careful documentary research, informed the writing of his historical novels of bush life. "The Blue Beyond; A Romance of the Early Days in South Eastern Australia” and "The Golden Plague: A Romance of the Early Fifties." "The Golden Plague” won the T. E. Role gold medal for the best historical novel which went on to become a best seller. Busse often drew inspiration for his novels from his younger years living Chiltern. His passion for the region lead him to write “The History of Chiltern” which was published in a serial form in the Chiltern Federal Standard from 1922-1923. Wilfred Clarence Busse was a member of Chiltern Athenaeum (where this object is now held) up until his death in 1960, he is buried in the Barnawartha Cemetery. The floral motif on this particular spoon appears to be stylised in the decorative arts and craft style favoured in Europe between 1880-1920 and less representational than examples of Australiana flora captured in silversmithing from the 1850's onwards produced in Australia. It is likely that those producing silverware at the time would be drawing on the decorative arts movement while incorporating elements of the natural beauty in the flora of their newfound environment into the silverware they produced. This spoon seems more likely to have been produced in Europe and imported to the colony. The hallmarks on the handle DON and BP indicate it may have been produced from English electroplating silver which is a more cost effective product than solid silver, most likely produced by Cooper Brothers, Don Plate Works, established in Sheffield in 1866 who distributed silverware in Europe, America and the colonies well into the 1950's.Wilfred Clarence Busse was of social significance to Chiltern, he helped to document the cultural story of the area in his published works "The Golden Plague" and "The Beyond Blue" by recounting his own upbringing in a bush lifestyle. He was a respected Barrister and was the unofficial historian of the Chiltern Athenaeum for many years. This spoon represents a window into the domestic life of this person who was well loved in the area, and it continues its relationship to Busse as well as Chiltern by being held within the very collection he helped to maintain in his life. Domestic objects tell us the story about how people lived, objects of daily use hold particular meaning in that they can tell us the story of an individual, we feel closer to their life and habits, it humanises and connects us across time. Wilfred Busse ate food and he did it from a beautiful silver floral detailed spoon.A silver tablespoon with floral embossed head and hallmarks embossed on reverse handleDON/ BP/silverware, wilfred clarence busse, busse, chiltern, chiltern athenaeum, federal standard, t. e. role, "the blue beyond, a romance of the early days in south eastern australia”, "the golden plague: a romance of the early fifties.", "the golden plague”, wesley college, university of melbourne, sir leo finn bernard cussen, supreme court of victoria, gold rush, murray river, “the history of chiltern”, silversmithing, spoon, decorative arts, floral, flora, australiana, australian flora, arts and craft movement, australian silver, cussen

Mrs. E Pullin MBE was the President of The Ringwood Research Group for many years and was associated with many groups in the area hence she was well known by successive Mayors and Mayoresses.1. White bifold Invitation to Mrs. E. Pullin to attend luncheon at Civic Centre, Braeside Avenue, Ringwood on Wednesday 19th. March 1975, from the Mayoress Mrs. Lois Morris. 2. Bifold typed letter with City of Ringwood Crest inviting Mrs. E. Pullin to a "last supper" on Monday 28th August 1975 after the Council Meeting. 3. Inviation to Luncheon by the Mayoress Mrs. Shirley Martin to Mrs. Pullin at Braeside Avenue, Ringwood, 17th. March. 1976. 4. 24th June, 1987, letter from the Mayoress Mrs. Lillian Rosewarne to Mrs. Pullin thanking her for the photograph taken at the opening of the Poppet Head in the Ringwood Lake area. 5. Invitation to Mrs. Pullin from the Mayor, Councillor John Caffyn and the Councillors of the City of Ringwood to a "Thank you" for local community organisations at Mines Road on Thursday 19th. May 1988. 6. Invitation to Mrs. Pullin by the Mayoress Mrs. Verna Gardini to a Luncheon at the Ringwood Convention and Performing Arts Centre, Mines Road, Ringwood on Friday 17th. March 1989. 7. Inviation from The Mayor of Ringwood Councillor Margaret Cheevers to Mrs. Pullin MBE to Afternoon Tea at the Convention Centre, Mines Road, Ringwood East on 26th. October 1993.

Book - spiral wire bound , clear plastic cover, green title sheet and card back, approx. 110 pages, black and white presentation giving examples of tram tickets along with notes on each system for Melbourne, Country Victoria, Queensland, South Australia, Western Australia, Tasmania, New Zealand (11 systems) and Tourist tramways. Has a table of contents, introduction, an overview of the operators, list of Urban Transport Milestones During the Tramway Era for NZ and a story "Mystery Solved by Tram Ticket by Robert Pine as told by Jack McLean about a murder in London that was solved by a tram ticket found in the person's clothes. Rear page has purchase details of the book and CD, along with a contact address in Sydney. See Reg Item 5579 for the CD. Bob Merchant of the Sydney Tramway Museum advised 4/3/2021 that: Richard Peck, as Curator of Philately, Printing and Postal Technology, was responsible for the Museum of Applied Arts and Sciences acquiring major artefacts from the NSW Government Printing Office when it was forcibly closed by the government in 1989. In retirement Richard has researched the history of private bus routes before 1932 and government bus routes 1932-2021. He maintains a large database of all types of NSW transport tickets.trams, tramways, tickets, reports, melbourne, mmtb, stories

River of Life and Hiroshima Day Banners The River of Life and Hiroshima Day banners were specific peace projects initiated by the CAO and taken up by Eltham Living & Learning Centre and funded by the Victorian Peace Secretariat for IYP. The project was transferred from the Centre to Tracey as part of her artist in the community portfolio. Tracey, as CAO, employed Jacky Talbot, who was not familiar with Eltham but was an experienced community arts worker personally interested in textiles and peace. The project was publicised and a peace banner group formed. Only two of the women knew each other. They had come together from a need to do something for peace, rather than to learn about textiles. Jacky Talbot shared Elizabeth Savage's approach to the banner. She was not 'a peace-expert' and did not want to be seen as such by the group. Like Elizabeth Savage she wanted to encourage an expression of peace as it was perceived by the group. Jacky showed slides of peace images and peace banners. Textile workshops were interspersed with discussions about peace, one of which was led by a local People for Nuclear Disarmament member. The idea for the banner occurred during one of these discussions. One of the women began to talk about feeling like a drop of water lost in the river of life - yet rivers were made of countless droplets which, when joined together, became the powerful force of the river. This group quickly established a commitment, not only to peace, but to the group itself, and this has continued beyond the project. The women, as is the case with many of the groups in the Banner Project, were really surprised at their increasing textile skills and self-confidence. But they were more concerned with their commitment to peace. Each is continuing to find ways in which she can continue to work for peace, and activities are undertaken on a group basis as well. The decision to participate in the group based activities is up to each woman as the time arises. The banner and some members of the group have now participated in the Peace Boogie at the World Trade Centre, the Peace Arts Conference organised by Art Action for Peace, Melbourne City Council's Peace Vigil weekend, Women's Precious Things for Peace Day exhibition and the banner was ' hung at the Footscray Community Arts Centre when the other textile peace mural Jacky co-ordinated was opened. One woman wrote a poem about the project and peace; others have sent telegrams and letters to politicians about peace. A great deal of information about peace and other activities, articles, books, media programs were circulated amongst the group. The Hiroshima Day Banner was made by Jacky Talbot as part of the project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The artist was concerned about the remaining time scheduled for the project and spent several days "whipping" up the banner herself. For the artist this banner was to prove quite significant. The women hung it at the Community Notice Board on Hiroshima Day and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Although no new members joined the group from this activity, the artist felt that she was more fully accepted by the group afterwards. This banner has initiated a small group of women committed to peace. The artist has also continued to liaise and meet with the women as time permits. Future group plans include: making kimonos to wear when carrying the banner, participating in the Palm Sunday March, an observance of Hiroshima Day activity, which is yet to be decided, establishing contact with a sister-town in USA and USSR and supporting Eltham Council's stance as a Nuclear Free Zone. (Source: The banner habits of the Eltham tribes : Eltham Shire "as we are" Community Banner Project report /​ by Jacky Talbot, Shire of Eltham, Feb. 1987, pp43-46)35mm colour positive transparency (1 of 2) Mount - Kodak KodachromeProcess Date OCT 86Mbanner project, community banner project, tracey naughton, eltham living and learning centre, eltham peace banner, jacky talbot, river of life banner

River of Life and Hiroshima Day Banners The River of Life and Hiroshima Day banners were specific peace projects initiated by the CAO and taken up by Eltham Living & Learning Centre and funded by the Victorian Peace Secretariat for IYP. The project was transferred from the Centre to Tracey as part of her artist in the community portfolio. Tracey, as CAO, employed Jacky Talbot, who was not familiar with Eltham but was an experienced community arts worker personally interested in textiles and peace. The project was publicised and a peace banner group formed. Only two of the women knew each other. They had come together from a need to do something for peace, rather than to learn about textiles. Jacky Talbot shared Elizabeth Savage's approach to the banner. She was not 'a peace-expert' and did not want to be seen as such by the group. Like Elizabeth Savage she wanted to encourage an expression of peace as it was perceived by the group. Jacky showed slides of peace images and peace banners. Textile workshops were interspersed with discussions about peace, one of which was led by a local People for Nuclear Disarmament member. The idea for the banner occurred during one of these discussions. One of the women began to talk about feeling like a drop of water lost in the river of life - yet rivers were made of countless droplets which, when joined together, became the powerful force of the river. This group quickly established a commitment, not only to peace, but to the group itself, and this has continued beyond the project. The women, as is the case with many of the groups in the Banner Project, were really surprised at their increasing textile skills and self-confidence. But they were more concerned with their commitment to peace. Each is continuing to find ways in which she can continue to work for peace, and activities are undertaken on a group basis as well. The decision to participate in the group based activities is up to each woman as the time arises. The banner and some members of the group have now participated in the Peace Boogie at the World Trade Centre, the Peace Arts Conference organised by Art Action for Peace, Melbourne City Council's Peace Vigil weekend, Women's Precious Things for Peace Day exhibition and the banner was ' hung at the Footscray Community Arts Centre when the other textile peace mural Jacky co-ordinated was opened. One woman wrote a poem about the project and peace; others have sent telegrams and letters to politicians about peace. A great deal of information about peace and other activities, articles, books, media programs were circulated amongst the group. The Hiroshima Day Banner was made by Jacky Talbot as part of the project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The artist was concerned about the remaining time scheduled for the project and spent several days "whipping" up the banner herself. For the artist this banner was to prove quite significant. The women hung it at the Community Notice Board on Hiroshima Day and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Although no new members joined the group from this activity, the artist felt that she was more fully accepted by the group afterwards. This banner has initiated a small group of women committed to peace. The artist has also continued to liaise and meet with the women as time permits. Future group plans include: making kimonos to wear when carrying the banner, participating in the Palm Sunday March, an observance of Hiroshima Day activity, which is yet to be decided, establishing contact with a sister-town in USA and USSR and supporting Eltham Council's stance as a Nuclear Free Zone. (Source: The banner habits of the Eltham tribes : Eltham Shire "as we are" Community Banner Project report /​ by Jacky Talbot, Shire of Eltham, Feb. 1987, pp43-46)35mm colour positive transparency Mount - Black and Whitebanner project, community banner project, tracey naughton, eltham living and learning centre, eltham peace banner, jacky talbot, river of life banner

Ship to Shore was first printed in 1997. Inspired by the Jottings From Our Log, this modern version is generally published quarterly (Summer, Autumn, Winter, Spring) Articles are written by the mission's staff and give updates about shipping and seafaring news, staff, events, board Committee, heritage. It is sent by post or email to supporters, members, volunteers and friends of the mission. It is also available to the public in the Flying Angel club and online on the website.Ship to Shore is a valable source of informationship to shore, mission to seamen, mission to seafarers, flinders street, melbourne, victoria, news, events, seafaring life, shipping, sailors, seamen, sponsors, marketing, flying angel, staff, chaplains, community, welfare, board members, 1998, ridley college, dagmar udhe, portland mission, hastings mission, patrick s.s. co, mua, maritime union of australia, stevedoring, easter, arts

These essays have been written by Walter Murdoch, a distinguished Australian academic and essayist. Murdoch (1874-1970) gained an Arts Degree at the University of Melbourne, with first class honours in philosophy and logic. In 1901 he came to Warrnambool, going into partnership with James Scott as proprietors of a private school, Warrnambool College. They bought out Warrnambool Grammar School, previously run by John Stanley. When Scott retired Murdoch became the sole proprietor and headmaster. While in Warrnambool Murdoch continued to write for Melbourne newspapers and published a book, ‘The Struggle for Freedom’ which covers English and Australian constitutional history. This book sold 10,000 copies in its first year. In 1904 Murdoch left Warrnambool to take up a lecturing position in English at the University of Melbourne. He went on to become the foundation Professor of English at the University of Western Australia and later its Chancellor. Murdoch University in Western Australia is named after him. Murdoch became a household name in Australia through his radio broadcasts and syndicated articles and literary columns in several Australian newspapers. During his lifetime Murdoch published over 40 works and he was knighted in 1964. This book is of interest as one written by Walter Murdoch who not only is important in Australian literature and academic circles but also has his place in Warrnambool’s history. This is a hard cover book of 209 pages. The cover is green with black printing and has an image of a quill outlined in black. The spine is much faded. The book contains a Preface and 28 short essays. The inside cover and the edges of the pages are stained. walter murdoch, warrnambool college (early 20th century), history of warrnambool