On Friday, the 11th of October (year unknown), H & L Hecht visiting Professor, Dr Paul Bacon (Rheumatologist) was the guest speaker at the Arthritis Foundation of Victoria's Regional Seminar and Luncheon in Yarrawonga. This photo depicts Professor Bacon making a slide presentation during the seminar.COL photo of a man standing in front of a large slide projector screen. The text on the slide being projected onto the screen (partially obscured) is: "EDUCATION - R... Patient Care... now... Academic... long term... Rheumatic disease... --> morbidity...". On his other side, there is a display board affixed to a brick wall. In the foreground, attendees of the seminar have been Photographed from behind.[On a yellow sticky note, handwritten in blue ink] Professor Paul Bacon at RSHG meet ['RSHG meet' has been crossed out] regional seminar & luncheon at Yarrawonga Fri Oct 11th [On a second yellow sticky note, handwritten in black ink] H + L Hecht Visiting Professor Paul Bacon rheumatologistarthritis foundation of victoria, afv, outreach, seminar, h & l hecht, visiting professor, dr paul bacon, rheumatologist, regional seminar and luncheon, yarrawonga

In 1995, the H & L Hecht Trust sponsored a talk by Australian rheumatologist, Professor Nicholas Bellamy. In this photo, the Arthritis Foundation of Victoria's President, Dr Leslie Koadlow AO (1920-2006), and Professor Bellamy partake in a chat and a drink at the event.COL photo of two men standing indoors, near a doorway. On the wall behind them is a butler's servery, which is closed.[Handwritten in pencil, across the top left of the photo] Professor Nicholas Bellamy + Dr Les Koadlow H + L [Handwritten in blue ink, on the top right corner of the photo] R I 6. [On a yellow sticky note, handwritten in pencil] H + L Hecht Visiting Professor - 1995dr leslie koadlow, rheumatologist, founder, co-founder, president, arthritis foundation of victoria, afv, rheumatism and arthritis association of victoria, raav, professor nicholas bellamy, h & l hecht, visiting professor, guest speaker, percy baxter arthritis centre, 1995

Dr. Dai Davies presented this Goblet as a gift to the Faculty as the first appointed Burnell-Jose visiting Professor, Postgraduate Committee in Medicine, S.A. May - June 1976. At the time, Dr Davies was the Consultant Anaesthetist St George's Hospital, London and during this event was elected to Honorary Fellowship of the Faculty of Anaesthestists, Royal Australasian College of Surgeons. The Burnell-Jose Visiting Professorship commenced in Adelaide in 1975 in honor of Mary Burnell, the first woman Dean of the Faculty from 1966 to 1967 and the first woman President of the Australian Society of Anaesthetists in 1955. Very few women had assumed major anesthesia roles in the world during this period. The Goblet's provenance is supported by an original booklet, which certifies its origin from Chichester Cathedral (1075), Sussex, England. In 1975, a limited edition of 600 goblets were commissioned by the Dean and Chapter of Chichester Cathedral, Reverend Walter Hussey, to commemorate the ninth century of the Foundation. This Goblet is number 46 of the edition and the booklet is signed by Walter Hussey. The Goblet is historically associated with Chichester Cathedral and Walter Hussey, who was a great patron of the arts during the 1970's.Solid silver, with pure gold overlaying the modeled stem and interior of the cup. Trefoil shaped goblet cup with tapering profile. The stem is supported by a sheaf of wheat and bird design. The goblet came in its own case with a booklet of authenticity. [central base] NUMBER / 46 / OF A LIMITED EDITION / OF 600 MADE BY ORDER OF / THE DEAN AND CHAPTER / TO COMMEMORATE / THE NINTH CENTENARY OF / THE FOUNDATION OF / CHICHESTER CATHEDRAL / IN 1075 / AURUM / DCM [and hallmarks of the Worshipful Company of Goldsmiths] •[around base] D.M. DAVIES / ADELAIDE 1976dr davies, dai, burnell, mary, chichester cathedral, burnell-jose visiting professor, murphy, desmond-clen, hussey, walter, ninth century of the foundation of chichester cathedral

Professor John Ely Burchard was the Dean of Faculty of Humanities and Social Science at MIT. He was on a 3 month visit to Australia in 1951 as a guest of the Commonwealth government to help draw up a program for the The National Library of Australia in Canberra. He was authority on architecture and libraries. Robin Boyd met Professor Burchard at that time. Boyd was appointed the Bemis Visiting Professor at MIST 1956-57. This booklet includes a blurb and photo of Robin Boyd as Bemis Visiting Professor 1956-57, p4.The booklet contains a biography and photograph of Robin Boyd. Three loose articles are included inside.Three article clippings inside: (1) The Shape of An Architecture by John Ely Burchard, from Architectural Record, May 1937. (2) "Get an Honest Bricklayer!" The Scientists Answer to Ruskin" by Albert Bush-Brown, noted as reprinted from the Journal of Aesthetic and Art Criticism, Vol 16 No 3, March 1958. "Highest regards" signed Burchard written on front cover. (3) The City on the Hill by John Ely Burchard, stamp dated March 2nd 1957 from Michigan Alumnus Quarterly with card on front "With the compliments of John E. Burchard".massachusetts institute of technology, john ely burchard, albert bush-brown, bemis, kay fisker, eduardo catalano, marvin e goody, walsh st library

Frederick Romberg wrote a personal record of the Grounds Romberg and Boyd partnership (nicknames Gromboyd) and the subsequent Romberg and Boyd partnership, covering 1953-1971 and with some detail for later years up until 1983. The two volumes contain transcripts of a selection of correspondence between the partners, as well as some explanatory text. The first volume covers the establishment of the partnership in 1953 to 1956-57 when Robin Boyd was Visiting Bemis Professor at Massachusetts Institute of Technology. Volume two continues from 1957 covering all the later years – the NGV project, the break-up of the partnership in 1963, the formation of Romberg and Boyd, Robin Boyd's death and Romberg's years in Newcastle (1965-1975) and his return to Melbourne (see item D270).Bound hard cover booklet, with approx 123 foolscap pages, typed photocopy.Title page has "Suzy Boyd 11.1.87 at Boyds' Canberra Weekend 10.1.87-12.1.87. "Added in another hand 'with Mandie, Penleigh & Suzy'".

Frederick Romberg wrote a personal record of the Grounds Romberg and Boyd partnership (nicknames Gromboyd) and the subsequent Romberg and Boyd partnership, covering 1953 - 1971 and with some detail for later years up till 1983. The two volumes contain transcripts of a selection of correspondence between the partners, as well as some explanatory text. The first volume covers the establishment of the partnership in 1953 to 1956-57 when Robin Boyd was Visiting Bemis Professor at Massachusetts Institute of Technology (see item D269). Volume two continues from 1957 covering all the later years – the NGV project, the break-up of the partnership in 1963, the formation of Romberg and Boyd, Robin Boyd's death and Romberg's years in Newcastle (1965-1975) and his return to Melbourne.Bound hard cover booklet, with approx 114 foolscap pages, typed photocopy.

Professor David Battersby, AM, PHD (Waikato), MHED (UNSW), Vice-Chancellor of University of Ballarat, now Federation University Australia, from July 2006 to 2016. Professor Battersby is a graduate with first class honours from the University of New South Wales and recipient of a Commonwealth Fellowship. He was awarded his PHD in the field of Sociology from the University of Waikato, New Zealand. Professor Battersby has been the recipient of numerous academic awards, including Commonwealth Relations Trust, and the Australian-Japan Foundation. He has been a Visiting Professor at universities in a number of countries and undertaken consultancies for UNESCO, OECD and a number of government agencies. Professor David Battersby was the Head of the Albury Wodonga Campus from 2000 to December 2003 and was also the Deputy Vice-Chancellor of Charles Sturt University until 2006, when he took up his appointment at the University of Ballarat. Charles Sturt University has named its annual prize for leadership and good citizenship within the student body, in honour of Professor Battersby. For services to Tertiary Education as a Senior Academic and Administrator, Professor Battersby received the Order of Australia Medal in July 2015. Professor Battersby has served as a member of the Board of IDP Education Ltd, he recently stepped down as the Chair of Education Australia Limited. He is a Founding Chair of Regional Universities Network and Founding Chair of the Museum of Australian Democracy at Eureka. (Education Australia Limited, http://www.educationaustralia.com/education_australia/board_of_directors/david-battersby.aspx). This item is part of the Federation University of Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Seated portrait of male dressed in blue / gold academic gown. It is Federation University Australia Vice-Chancellor David Battersby. Framers' stamp middle bottom back Marking reads: Conserve Framing Anna East Picture Framer 6 Darlot St Horsham 3400 Phone (03) 5382 5147 ABN 33 324 854 836portrait, vice chancellor, academic, seated, academic portrait, university of ballarat, federation university australia, david battersby, academic regalia

Victorian Institute of Occupational Safety and Health (VIOSH) Australia is the Asia-Pacific centre for teaching and research in occupational health and safety (OHS) and is known as one of Australia's leaders on the field. VIOSH has a global reputation for its innovative approach within the field of OHS management. VIOSH had its first intake of students in 1979. At that time the Institution was known as the Ballarat College of Advanced Education. In 1990 it became known as Ballarat University College, then in 1994 as University of Ballarat. It was 2014 that it became Federation University. VIOSH Australia students are safety managers, senior advisors and experienced OHS professionals. They come from all over Australia and industry. Students are taught active research and enquiry; rather than textbook learning and a one-size fits all approach. VIOSH accepts people into the Graduate Diploma of Occupational Hazard Management who have no undergraduate degree - on the basis of extensive work experience and knowledge. Request for preliminary approval from Ballarat College of Advanced Education for Proposed Masters Degree in Risk Engineering (Occupational Hazard Management). Outlines the Course Aims, Outline of the Course - Sessions, Mode of Presentation, Relationship to other Courses, Enrolment Levels, Justification for Introduction of the Course. Over the years the College has engaged a number of recognised authorities and people who work in the area of occupational hazard management to work as visiting lecturers. Professor P Compes from the University of Wuppertal, Germany Professor D Klein (Fulbright Scholar) from Michigan State University E Wigglesworth, Executive Director, Menzies Foundation, Melbourne Professor R Vernon from Texas A&R University Dr D Else from University of Aston, Birmingham, UK Five A4 pages -m typed.Signature of Derek Woolley on first pageviosh, victorian institute of occupational safety and health, ballarat college of advanced education, proposed masters degree risk engineering, occupational hazard management, course aims, outline of course, justification for course, professor p compes, university of wuppertal germany, professor d klein, fulbright scholar, michigan state university, e wigglesworth, menzies foundation, director, professor r vernon, texas a&r university, dr d else, university of aston birmingham

Chinese sleeve embroidery bands, or wanxiu became popular in the late 19th century during the Qing Dynasty, evolving from the traditional Han cuff embroidery and Manchu styles. These detachable, decorated bands were added to women's informal jackets and robes, often featuring symbolic motifs like landscapes, flowers, and auspicious symbols. They served both a decorative function, displaying artistic skill and personal wishes, and a practical one by covering the sleeves when hands were folded at the waist. History and evolution: Origins: The practice of embroidering cuffs on robes existed during the previous Ming Dynasty for Han women, and this was adopted by the Manchu rulers who founded the Qing Dynasty. Qing Dynasty (1644-1911): The practice was popularized and elaborated upon during this era, with detachable bands becoming a fashionable element for informal wear. Symbolism: The embroidery included a complex visual vocabulary of wishes for a long life, many offspring, and a happy marriage, derived from nature, mythology, and classical literature. Functionality: Women would fold their arms, often with their hands inside the sleeves, so the embroidered bands, which were sewn to hang down the back of the jacket, would be displayed prominently down the front. 19th century peak: The late 19th century was the peak of their popularity, with intricate designs becoming fashionable and even influenced by court tastes, such as those favoured by the Empress Dowager Cixi. Later developments: The late 19th century saw the introduction of chemical 'aniline' dyes from Europe, leading to brighter, bolder colours in embroidery. Motifs and their Meanings: Auspicious symbols: Designs often included symbols for good fortune, wealth, and longevity. Natural imagery: Birds, flowers, and landscapes were common motifs that could represent natural beauty or convey specific symbolic meanings. Figurative scenes: Bands could also feature narrative scenes from classical stories or legends. The choice of motifs allowed women to express personal desires, cultural values, and aesthetic preferences, reflecting a more personal and informal style than official court attire. Symbolism: Mountains and sea, clouds and waves - Good luck. Dragon/fish tail/flaming pearl = Good fortune. This refers to the legend 'liyutiaolongmen' - a carp rising from the waves with the head already changed into a dragon implies the wish for success in the civil service examination. It is an allegory for the persistent effort needed to overcome obstacles. Male with black hat - Zhuang Yuan conferred. Among patterns with implied meanings , patterns related to the pursuits of scholarly honour and official rand include mainly the 'three number ones'. 'Zheng Yuan conferred' and 'carp jumping over the dragon gate'. In feudal society, examiners for the official positions had to go through three different levels of examinations. Bats - the work for bat is 'fu' and is a visual pun for the word happiness 'fu'. Rhino horn - wealth and good fortune. The ruyi sceptre - is a curved decorative Chinese object that symbolizes power, good fortune, and the wish that “things go as you desire.” The head of the sceptre resembles the 'lingzhi' of the 'longevity fungus'. Pomegranate - fertility ie; offspring, a virtue in China. Boy holding the flowering branch in the arms of the woman - in the selection of officials through imperial examinations in feudal society, the winner of an official position is described as ' having picked the crown'. 'Gui' (sweet scented osmanthus) and 'gui' (high rank or official) are very close in sound Chinese. In this design the boy in the woman's arms is seen waving a sweet scented osmanthus, thus an auspicious message is delivered. Information from Dr Rachel Silberstein, visiting Associate Professor at Rhode Island School of Design. "This pair of sleeve bands are two halves of a scene known as "tian xian song zi" or "Heavenly immortals deliver a son". The historical origins of this saying is a story from 'The History of the Wei Imperial records', involving the Emperor Sheng and an immortal maiden who presents him with a son. After this, the expression "tian xian song zi" came to be used as good wishes for marriage, closely associated with 'qilin song zi' (the qilin delivers a son), another popular topic in nianhua popular prints". Both cuffs show figures in an outdoor setting, done in colourful silk thread on a ivory satin. Reading from the bottom to the top of the cuff both have pointed mountains, clouds and sea with a rhino horn and a 'rui' coming out of the waves. Left cuff: above the sea there are a fish/dragon and a flaming pearl. Next two male figures standing on a bridge. One holds a fan and the other is wearing a black hat. More flowers, peonies and blossoms are above the figures. Right cuff: Above the water and mountains is a bat, peonies and pomegranates. Above these are three figures and another bat. The figure in there rear holds a feathered fan, while the front figure holds a child, who is holding a flowering branch. Above the trio is a low pagoda and blossoms. Silk satin stitch, Pekin knots and couched gold metal thread.embroidery, garments, silk embroidery, china, landscape, garden, figures

Professor Ferdinand Krause lectered at the Ballarat School of Mines from 1880-1995. His descendant returned to Ballarat, visiting the new campus at Mt Helen. The information on this photograph was provided by E.J. Tippett. There is a possibility the subjects of the photo are descendants of Herbert Krause.Descendants of Prof. F.M. Krause stand in front of a battery stamper that had been used at the Ballarat School of Mines, and transferred to Mt Helen around 1969. The construction of the first buildings of the new Mt Helen campus are evident in the background. Prof Krause's son stand 2nd from the right, Phil Day is second from the left.ballarat institute of advanced education, fm krause, mount helen, ej tippett, herbert krause, derek krause

Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Sarah spent six months in New Zealand in 1910. William and Sarah's family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.Hand-coloured postcard in which the picture is framed by a border of a leaf and vine pattern. The picture is of the lower arms of a woman from the left hand side of the card and a man from the right hand side of the card shaking hands in the middle. Behind and below the hands is a small map of New Zealand in a golden circle. New Zealand fern is positioned from the circle up behind the arms to the top of the card on both sides and above the hands is a depiction of a ship sailing on the sea.The postcard contains a message to Frank Wright from his mother who is visiting New Zealand.frank wright, sarah wright, new zealand, postcard

Margaret Woodward is a an artist and an an associate professor of design at Charles Sturt University. Artist statement: "The Sea is All Around us is a multi-layered event which creates a memorable experience for those visiting the Dome Gallery and the Mission to Seafarers in Melbourne’s Docklands. The event acknowledges and raises awareness of the often difficult and dangerous working lives and journeys of seafarers by making visible their role in transporting commodities, materials and objects to and from Australia’s shores. This installation at the Dome Gallery in the Mission to Seafarers in Melbourne’s Docklands marks the third stage of an ongoing research project which seeks to reveal the ‘social life’ of souvenirs. Beyond their representational role souvenirs also trigger intangible, affective qualities – reminders of journeys and places, new associations with tastes, sounds and people, and thereby becoming objects which focus and hold memories. This installation invites seafarers and visitors to participate in a global project which aims to witness sea journeys and trace the mobile life of seafarers and souvenirs. For a fortnight in May 2015, the Dome Gallery became an architectural large scale compass, with the circular floor marking the intersection of its latitude and longitude (37 º 49'21" S 144º 57'03"E). Over these two weeks the Dome Gallery was inscribed with marks recording journeys made by seafarers, recording destination and departure ports, home lands and waterways, and in doing so making visible a small segment of the global patterns of seafaring. Custom-made souvenirs designed for the installation are given to seafarers as gestures of welcome and a memento of their visit. The souvenirs originating in Poland continue their journey by sea, to destinations beyond the Dome becoming part of the global network of seafaring, with an invitation for seafarers to record their future journeys using QR code scanning technologies. It is hoped that by releasing the 200 limited edition souvenirs accompanying the seafarers the mobile life of souvenirs and seafarers will also become visible. Like messages in bottles they leave our shores, becoming ambassadors, representing the Dome Gallery at the Mission to Seafarers, the waters of Port Phillip Bay, Australia’s red soil and vegetation, and carrying memories of visiting Melbourne." The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Orange enamel and teal mug created for the art installation by artist Margaret Woodward at the Mission to Seafarers. On one side it is decorated with a compass and a latitude and longitude; on the opposite side, a leaf, a QR code on the bottom takes you to the website.Written at the bottom of the mug: Please scan to map the journey of this souvenir * www.sensingtheremote.net *2015cultural events, norla dome, mso, 2015, art installation, margaret woodward

Victorian Institute of Occupational Safety and Health (VIOSH) Australia is the Asia-Pacific centre for teaching and research in occupational health and safety (OHS) and is known as one of Australia's leaders on the field. VIOSH has a global reputation for its innovative approach within the field of OHS management. VIOSH had its first intake of students in 1979. At that time the Institution was known as the Ballarat College of Advanced Education. In 1990 it became known as Ballarat University College, then in 1994 as University of Ballarat. It was 2014 that it became Federation University. VIOSH Australia students are safety managers, senior advisors and experienced OHS professionals. They come from all over Australia and industry. Students are taught active research and enquiry; rather than textbook learning and a one-size fits all approach. VIOSH accepts people into the Graduate Diploma of Occupational Hazard Management who have no undergraduate degree - on the basis of extensive work experience and knowledge. J Brassil was to be the Chair on the National Occupational Health and Safety Commission. The letter outlines contacts that may be of value to the task. This advice is from Professor Ralph Vernon who had contact with these people while visiting Australia. This copy of the letter was sent to Derek Woolley and has personal comments written in red. Prof Vernon has offered to be available in July if needed. People listed are: David Pugh - R.M.I.T. Melbourne; Dr Svensson, Dean Faculty of Engineering, University of N.S.W.; Eric Wigglesworth, Chairman, Federal Education Commission Safety Institute, Melbourne; Derek Woolley, BallaratTwo A4 pages typed with handwritten notes in red.Letterhead of Texas A&M University Signature of Ralph Vernon - Professor at universityviosh, victorian institute of occupational safety and health, national occupational health and safety commission, j brassil, professor ralph vernon, derek woolley, david pugh, royal melbourne institute of technology, rmit, eric wigglesworth, federal education commission, safety institute of australia, ballarat college of advanced education, texas a&m university

.1 .A poster advertising the production of Kiss Me Kate proudly sponsored by The University of Ballarat Arts Academy performed by the Graduating Performers of the Third Year Music Theatre students of the University of Ballarat to be held at The Princess Theatre from 24th November - 3rd December 2006. Directed by Kim Durban; Choreography and Staging by David Wymen, Musical Direction by Andrew Patterson. Music and Lyrics by Col Porter. Book by Sam and Bella Spewak. Tickets were available through Ticketek 1300 795 012, or premier.ticketek.com.au or www.kissmekate.ballarat.eu.au .2 The program includes messages from Professor David Battersby, Vice Chancello and Professor Peter Matthews, Head Arts Academy;. Directors Notes (Kim Durban); Notes About the Play; Cast; Songs; Orchestra; Creative Team; Performing Arts Staff; Visiting Artists; Administrative Staff; Actor's Biographies; Creative Team's Biographies and Sponsors. Cast: Claire George, Joshua Piterman, Graham Foote, Kate Cusworth, James Chapel, Luke Rice, Ed Howard, Jo O'Callaghan, Jennifer Stirk, Paul Bebbington, Spike Levy, Adam Stafford, Penelope Bruce, Zoe Wood and Vicki Doak. Featured Dance Ensemble: Eliza Brian, Deeon Clark, Kat Frain, and Tara Minton. Company: Denise Ververakis, Jennifer Stirk, Vicki Doak and Zoe Wood Chorus: Adam Kirk, Alex Cheatley, Amanda Remfrey, Andrew R Jenkings, Ashley Craven, Belinda Howe, Carla Trolano, Cassie McIvor, Chantel Bui Viet, Cristina D'Agostino, Elise Brennan, Hayley Nissen, Hayley Ramfrey, Jenny Byrne, Jim Cocks, Lara Thew, Liam Kilgour, Luke Hales, Mark Booth, Melanie Harris, Sue Luderman, Sarah Power, Zac Gower and Zoe Thomas. .1 Original Poster .2 Program

Margaret Woodward is a an artist and an an associate professor of design at Charles Sturt University. Artist statement: "The Sea is All Around us is a multi-layered event which creates a memorable experience for those visiting the Dome Gallery and the Mission to Seafarers in Melbourne’s Docklands. The event acknowledges and raises awareness of the often difficult and dangerous working lives and journeys of seafarers by making visible their role in transporting commodities, materials and objects to and from Australia’s shores. This installation at the Dome Gallery in the Mission to Seafarers in Melbourne’s Docklands marks the third stage of an ongoing research project which seeks to reveal the ‘social life’ of souvenirs. Beyond their representational role souvenirs also trigger intangible, affective qualities – reminders of journeys and places, new associations with tastes, sounds and people, and thereby becoming objects which focus and hold memories. This installation invites seafarers and visitors to participate in a global project which aims to witness sea journeys and trace the mobile life of seafarers and souvenirs. For a fortnight in May 2015, the Dome Gallery became an architectural large scale compass, with the circular floor marking the intersection of its latitude and longitude (37 º 49'21" S 144º 57'03"E). Over these two weeks the Dome Gallery was inscribed with marks recording journeys made by seafarers, recording destination and departure ports, home lands and waterways, and in doing so making visible a small segment of the global patterns of seafaring. Custom-made souvenirs designed for the installation are given to seafarers as gestures of welcome and a memento of their visit. The souvenirs originating in Poland continue their journey by sea, to destinations beyond the Dome becoming part of the global network of seafaring, with an invitation for seafarers to record their future journeys using QR code scanning technologies. It is hoped that by releasing the 200 limited edition souvenirs accompanying the seafarers the mobile life of souvenirs and seafarers will also become visible. Like messages in bottles they leave our shores, becoming ambassadors, representing the Dome Gallery at the Mission to Seafarers, the waters of Port Phillip Bay, Australia’s red soil and vegetation, and carrying memories of visiting Melbourne." The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Small flyer in PDf for the art installation by artist Margaret Woodward at the Mission to Seafarerscultural events, norla dome, mso, 2015, art installation, margaret woodward

Maritime MuseumsVisiting Professor from Hamburg Maritime Museum, Professor Dr. Karl Gander, with David Beavis & Don Golightly.B&W photo of Prof K Gander, D Beavis & D Golightly at QMC c1985Reverse " David Beavis, Professor Dr Karl Gander (Hamburg Maritime Museum), mayor Don Golightly / Copyright The Geelong Advertiser 191-197 Ryrie St Geelong 3220 NOT TO BE REPRODUCED OR DISPLAYED WITHOUT WRITTEN PERMISSION "history

This a cast of the first baby to be delivered under anaesthesia, by the use of ether, in Edinburgh on 19 January 1847. The baby was delivered through a severely deformed pelvis, suffered a large indentation to the skull and did not live. The famous physician James Young Simpson, Professor of midwifery at Edinburgh University, attended this birth and wrote about it in the Monthly Journal of Medical Science 1846-7 Vol.7, p649-640. The cast of the baby's head was given to Lance Townsend, Professor of Obstetrics and Gynaecology, University of Melbourne by Robert Kellar, then Professor of Midwifery and Diseases of Women at the University of Edinburgh, when Professor Townsend was visiting Edinburgh. There is at least one other plaster copy; one is located at Wood Library-Museum of Anesthesiology, 520 North Northwest Highway, Park Ridge, IL 60068-2573, USAReplica model of a newborn baby's head. The model is made of plaster, life-size, and is painted white. The model of the head shows a large indentation of two and a half inches in the skull on proper right, and a smaller dent on the proper left. Head is on a rectangular base. Label attached beneath the base of the object explains the significance of the object and notes that the model comes from the obstetric museum of the University of Edinburgh.obstetric delivery, anaesthesia

Professor Vernon PATRICK Professor Vernon Patrick was a visiting artist to the Gippsland Campus. In 2018 he was listed as an Emeritus Professor of the California State University.Tall glazed ceramic vesselvernon patrick, gippsland campus, churchill, jan feder memorial ceramics collection, stoneware

Professor Vernon Patrick was a visiting artist to the Gippsland Campus. In 2018 he was listed as an Emeritus Professor of the California State University.Woodfired stoneware vase formgippsland campus, jan feder memorial ceramics collection, churchill, ceramics, vernon patrick, stoneware

Professor Vernon PATRICK (1943- ) Born Havre, Montana, United States of America A lecturer at the Montana State University, Vernon Patrick was a visiting artist to the Gippsland Centre for Art and Design (GCAD).Woodfired stoneware vase form. jan feder memorial collection, vernon patrick, ceramics, gippsland campus, artwork, artist, jan feder memorial ceramics collection, patrick vernon

Professor Vernon Patrick was a visiting artist to the Gippsland Campus. In 2018 he was listed as an Emeritus Professor of the California State University.Woodfired stoneware vase formgippsland campus, jan feder memorial ceramics collection, churchill, ceramics, vernon patrick, stoneware

Professor Vernon Cecil PATRICK (18 November 1943- ) Born Haure , Montana, USA Professor Vernon Patrick was a visiting artist to the Gippsland Campus. In 2018 he was listed as an Emeritus Professor of the California State University.Stoneware vase featuring a girl and dalmation.vernon patrick, gippsland campus, churchill, jan feder memorial ceramics collection, stoneware

Professor Vernon PATRICK (1943- ) Born Havre, Montana, United States of America A lecturer at the Montana State University, Vernon Patrick was a visiting artist to the Gippsland Centre for Art and Design (GCAD).A stoneware platter with decoration featuring Ned Kelly in armour. vernon patrick, jan feder memorial ceramics collection, ceramics, gippsland campus, churchill

Professor Vernon PATRICK (1943- ) Born Havre, Montana, United States of America A lecturer at the Montana State University, Vernon Patrick was a visiting artist to the Gippsland Centre for Art and Design (GCAD). Contextual or historic informationPlatter with glaze design and stickvernon patrick, ceramics, gippsland campus, churchill, jan feder memorial ceramics collection

Chinese sleeve embroidery bands, or wanxiu became popular in the late 19th century during the Qing Dynasty, evolving from the traditional Han cuff embroidery and Manchu styles. These detachable, decorated bands were added to women's informal jackets and robes, often featuring symbolic motifs like landscapes, flowers, and auspicious symbols. They served both a decorative function, displaying artistic skill and personal wishes, and a practical one by covering the sleeves when hands were folded at the waist. History and evolution: Origins: The practice of embroidering cuffs on robes existed during the previous Ming Dynasty for Han women, and this was adopted by the Manchu rulers who founded the Qing Dynasty. Qing Dynasty (1644-1911): The practice was popularized and elaborated upon during this era, with detachable bands becoming a fashionable element for informal wear. Symbolism: The embroidery included a complex visual vocabulary of wishes for a long life, many offspring, and a happy marriage, derived from nature, mythology, and classical literature. Functionality: Women would fold their arms, often with their hands inside the sleeves, so the embroidered bands, which were sewn to hang down the back of the jacket, would be displayed prominently down the front. 19th century peak: The late 19th century was the peak of their popularity, with intricate designs becoming fashionable and even influenced by court tastes, such as those favoured by the Empress Dowager Cixi. Later developments: The late 19th century saw the introduction of chemical 'aniline' dyes from Europe, leading to brighter, bolder colours in embroidery. Motifs and their Meanings: Auspicious symbols: Designs often included symbols for good fortune, wealth, and longevity. Natural imagery: Birds, flowers, and landscapes were common motifs that could represent natural beauty or convey specific symbolic meanings. Figurative scenes: Bands could also feature narrative scenes from classical stories or legends. The choice of motifs allowed women to express personal desires, cultural values, and aesthetic preferences, reflecting a more personal and informal style than official court attire. Looking at the cuffs from bottom to top: there is a rock formation, a zig zag fence and flowers (chrysanthemums and a branch with Buddha's hand citron). Next is a male figure carrying a halberd over his shoulder and surrounded by flowers, foliage and hillocks. Above are two more males in a boat. One is standing, the other kneeling. The one kneeling holds a bamboo pipe, while the one standing holds a branch with pomegranates. The men are surrounded by more flowers, foliage, rocks and bats . Three more figures come next. A male holding a fan, a woman holding a dish and another male. The woman on the left cuff holds a dish which appears to hold fruit, whereas the woman on the right cuff holds a dish containing a ? hat. Further up is a pagoda with a pomegranate tree and two more male figures. One holds the sacred fungus, the other a vase with a lotus flower. Finally there are two pagodas, leaves, flowers and clouds. Symbolism: Buddha's (foshou) hand citron. This plant derives it's name from the shape of the fruit, which is said to resemble Buddha's hand. 'Foshou' is used as a pun from blessings (fu) and longevity (shou). Chrysanthemum - longevity. Halberd - a spear like object symbolizing rank and military achievement. Halberd (ji) is a pun for rank (ji) and represents rapid promotion and doing well in officialdom or politics. Bamboo pipe or mouth organ (skeng) is a pun for giving birth (skeng). The image of a boy with a mouth organ implies the wish for a son. Pomegranate- symbolizes many sons (or possibly children). Boat - may be travelling from or to. Fan (shan)- longevity, and also a pun for goodness (shan). Boy pointing upwards (?to the sun) - may you rise in rank (zhri goosheng). The act of pointing at the sun is a pun for 'soon' (zhri). Fungus - resembles the head of a wish granting wand (ruyi) and has the same meaning of 'as you wish'. Lotus flower - (he) is a pun for harmony. Vase - (ping) a pun for peace (ping'an) therefore a vase with lotus - peace and harmony. These sleeve bands are more generic but they do convey a wish for many sons who will become officials and bring fortune. Dr Rachel Silberstein, visiting Associate Professor at Rhode Island School of Design.Pair of Chinese Sleeve bands using Pekin knots, satin stitch. Depicts an outdoor scene with pagodas, people, zig zag fences, boats and plants embroidered on a pale green silk ground. Both cuffs have been joined at the bottom.embroidery, garments, silk embroidery, china, sleeve bands, late 19th century, garden, figures