This gown was the winning entry in the Mannequins and Models Guild's Gown of the Year competition, held at the Chevron Hilton Hotel, Melbourne in November 1963 in aid of the Torch Bearers for Legacy. Designed by Lorna White for Hartnell of Melbourne and modelled by Marien Brindley, the dress’s construction is reputed to have consumed 300 hours, with the finished dress weighing 6 kilograms and costing around 3000 pounds. Evening gown made of cream ribbon lace and a rich latte-colured satin; applied beading. Cut with a high waist, short sleeves and deep V at centre back. Boned interior bodice. Centre back zip and train. gown of the year, hartnell of melbourne, lace, beading, ralph samuel, lorna white, marien brindley

The Catalina Club "The enclosed item of military memorabillia is presented to the Waverley Sub-branch of the returned services league by W.F. Lewton, President of the Metropolitan Division of the Piscatorial Council, in appreciation of the services by the sub-branch's anging section. The Lapel badge / tie pin is unique in as much as it depicts the only ex-services organisation granted the privilege of incorporating the Legacy Laural Wreath in it's design. This privilege was granted to our association in recognition of the establishment of an educational trust fund devised and funded by our members in order to educate to tertiary standards the children of personnel who lost their lives in the extreme sacrifice. When the functions of administring the program became too onerous for our members, then, and only then, Legacy undertook to carry the program through to its conclusion. May this Pin find a place of honour in your excellent display of military memorabillia (Accompanying letter when donated) The Lapel badge / tie pin is unique in as much as it depicts the only ex-services organisation granted the privilege of incorporating the Legacy Laural Wreath in it's design. This privilege was granted to our association in recognition of the establishment of an educational trust fund devised and funded by our members in order to educate to tertiary standards the children of personnel who lost their lives in the extreme sacrifice.Bronze tie pin / lapel badge depicting a Catalina Aircraft airbourne surrounded by the (Legacy) laurel wreath

A press release from Melbourne Legacy in 1975 which relates a story of how Legacy works. The information was intended to be used by press and magazines etc. The title 'Finding some one who's better off . . . who had a better run' and discusses mateship being important to Australians. It starts with a quote from Sir Robert Menzies, former prime minister of Australia. 'Legacy is not an organisation designed to organise people into a body to pursue their rights or into a body to defend their mutual interests. If anybody were to trace out what's been done by Legacy since Stan Savige first had this great idea he would find himself going into most of the nooks and crannies of Australian life and finding somebody who is better off, who had a better run, who had done something because of the individual responsibility accepted by members of Legacy. They have contributed to the best elements in our national life and they have done it because it's all been based on active personal responsibility'. The article goes on to describe the origins of Legacy and the work done. "Each member of Legacy is responsible for helping about five families. He gives of his time unstintingly; his only reward is to see these families secure, receiving all the advantages to which they are entitled. He sees, with pride, the family grow and for the widow there are social activities organised so that she, too, feels herself to be a useful member of the community. As she grows older, her care is assured as Legacy maintains gradually increasing hostel and/or Nursing Home type accomodation for frail, aged widows in its care.'A record of how Legacy promoted their work in the 1970s.Blue foolscap page x 3 with black type of a press release in 1975.Title 'Finding some one who's better off . . . who had a better run'press release, promotion, robert menzies

"Homefront" is the name of the group of chainsaw statues in Greensborough's War Memorial Park. Banyule Council initiated the project. The sculptures were designed by Amanda Gibson, carved by Hikaru Kodama and Leigh Conkie. In this sculpture "Vietnam", the soldier is based on veteran Bill Cantwell’s experience in the Vietnam War. The young soldier wears an eye patch – Bill’s legacy of his wartime injury. The base of the statue represents being held down – you can see the hands reaching up the soldier’s legs. Carved by Hikaru. The laser-cut steel shield has a pattern of Huey helicopters flying over rubber trees, Bill’s memory of being evacuated after being shot in the eye. The Homefront project replaces Leigh Conkie's original chainsaw sculptures in War Memorial Park.Digital copy of colour photographsgreensborough war memorial park, war memorials, homefront project

The Sunshine Electrix toaster is a classic piece of Australian industrial design, manufactured in Sunshine, Victoria, during the mid-20th century. This toaster was manufactured C1930. These toasters are not just appliances—they’re artifacts of Sunshine’s manufacturing legacy. Nickel plated toaster with porcelain handles and feet with hinged metal flaps. Electric cord is missingSunshine Electrix Sunshine Vic Cat No ST1 240V 600Wsunshine pottery, sunshine electrix toaster

The Albion Explosives Factory was a major WWII-era munitions site in Sunshine, Victoria, operating from 1939 to 1986. Its legacy includes the Black Powder Mill, now a heritage landmark. War Time History - Established in 1939–40 in response to the looming threat of war in Europe. - Located in North Albion, opposite the ICIANZ chemical plant, which also helped design and operate the facility. - Initially known as Munitions Annexe No. 5, it became the Albion Explosives Factory, producing cordite, TNT, nitroglycerine, nitric acid, and other propellants for small arms and artillery. - By 1942–45, it was one of Australia’s three primary military explosives factories, employing thousands and contributing significantly to the war effort. Post War Time History - Continued production of explosives and fertilizers for commercial use after WWII. - Expanded in 1947–49 with the addition of the RDX plant north of Furlong Road. - Introduced new technologies like synthetic ammonia, DNT, and continuous TNT production through the 1950s–60s. Closure and Environmental Remediation - Closed in 1986, followed by extensive decontamination and cleanup. - The site was heavily contaminated with TNT, DNT, nitrates, ammonia, and metals, requiring years of environmental audits and remediation. - Eventually redeveloped into a housing estate and shopping complex, transforming the industrial site into a suburban community. A Blast from the Past Albion Explosive Factoryalbion explosive factory, deer park, cairnlea

The Albion Explosives Factory was a major WWII-era munitions site in Sunshine, Victoria, operating from 1939 to 1986. Its legacy includes the Black Powder Mill, now a heritage landmark. War Time History - Established in 1939–40 in response to the looming threat of war in Europe. - Located in North Albion, opposite the ICIANZ chemical plant, which also helped design and operate the facility. - Initially known as Munitions Annexe No. 5, it became the Albion Explosives Factory, producing cordite, TNT, nitroglycerine, nitric acid, and other propellants for small arms and artillery. - By 1942–45, it was one of Australia’s three primary military explosives factories, employing thousands and contributing significantly to the war effort. Post War Time History - Continued production of explosives and fertilizers for commercial use after WWII. - Expanded in 1947–49 with the addition of the RDX plant north of Furlong Road. - Introduced new technologies like synthetic ammonia, DNT, and continuous TNT production through the 1950s–60s. Closure and Environmental Remediation - Closed in 1986, followed by extensive decontamination and cleanup. - The site was heavily contaminated with TNT, DNT, nitrates, ammonia, and metals, requiring years of environmental audits and remediation. - Eventually redeveloped into a housing estate and shopping complex, transforming the industrial site into a suburban community. A Blast from the Past Albion Explosive Factoryalbion explosive factory, deer park, cairnlea

The Sunshine Technical School trade workshop was constructed in 1913. It was a foundational part of Victoria’s early technical education system and was closely tied to the industrial growth of Sunshine and the legacy of H.V. McKay’s Harvester Works. - Opened: 7 July 1913, following H.V. McKay’s donation of £2,000 and 4.5 acres on Derby Road. - Facilities: The school featured a timber administration building with six classrooms and a large, galvanized iron workshop specifically built for trade apprentices. - Purpose: Designed to train apprentices for McKay’s Sunshine Harvester Works, reflecting the industrial needs of the time. - Initial Enrollment: 70 students, including 44 apprentices from the Harvester Works.Workshop Significance - The workshop was central to the school’s mission: “mente et manibus” — “with mind and with hands.” - It provided hands-on training in mechanical and industrial trades, aligning with the Education Act 1910’s push for secondary technical education. - This made Sunshine one of the first three technical schools established under the Act, and the longest-running of them, operating until 1991. Trade Workshop Built 1913sunshine technical school, h.v. mckay, sunshine harvester works

Photographer notations on slide: "Unloading Timber at Wharves 1933 Age B5" Published: Age (Melbourne, Vic.: 1854- ), Tuesday 15 August 1933 MAHOGANY FROM MANILA. (1933, August 15). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved January 16, 2026, from http://nla.gov.au/nla.news-article204377024 Published title: MAHOGANY FROM MANILA Published Caption: Age Tue 15 Aug 1933 Caption: Unloading Mahogany Logs brought from Manila, Philippine Islands, by the steamer Taiping, which berthed yesterday at Victoria Dock. The vessel discharged twenty logs, each weighing three tons, the first shipment of this type of timber landed in Melbourne. Research by Project Volunteer, Louise McKenzie: This photograph in many ways epitomises Melbourne in the 1930s. It is a time of enormous growth, development and change. But before delving into that, the photo itself is very powerful. The huge mahogany logs being unloaded appear to be so heavy that the ship itself seems to list to port as they are craned over the side. They are being levered into a cart to which two large and sturdy Clydesdale horses are hitched. In contrast to the traditional horses, the wharf is crisscrossed with modern railway tracks. Unloading is both mechanical and manual, and the scene is one of intense interest to a young boy bystander. The ship appears to be squat and solid, but the whole image also gives a feeling of movement and intensity. The mahogany being delivered to Melbourne would be intended for high quality furniture. In the 1930s Australia actually had a growing timber industry, but much of the eucalyptus wood was being utilised for mass produced furniture, and much of this furniture would then have had a veneer applied to it. The fact that it was economic to import this timber from the “Philippine Islands” – not a traditional trading market for Australia – reflects a Victorian economy that was strong enough to support a growing demand for good quality furniture Mahogany was described as a classic, strong hardwood, often used for dark opulent furniture. In the 1930s the importation of timber from Manila (Philippines) to Australia was a notable trade, particularly in Philippine Lauan (often referred to as Philippine Mahogany), which was used as a cheaper alternative to other hardwoods. 1930s furniture, dominated by the art deco style, used a mix of luxurious exotic woods like mahogany, macassar and ebony for high-end pieces, often veneered over less expensive woods such as walnut, birch and poplar, and with plywood, chrome and lacquer also popular for more practical, streamlined designs during the Depression era. By the mid 1930s timber mills were being relocated away from the immediate dock area, but the fact that these logs were being transported by horse-drawn cart implies that the load would not have had to be taken too far for milling. 1885 the Melbourne Harbour Trust Commissioners had decided that land in or near the city was far too valuable to be used as timber yards. Furthermore, large stacks of timber posed a fire risk. The Trust asked the Victorian Government to reserve a site on the east side of the Yarra River opposite Yarraville and Spotswood. Here, in 1889, the Trust began building six jetties and a wharf specifically for the landing of timber. Clydesdale horses were initially brought to Victoria from Tasmania in the 1830s, and with the 1850s gold rush they were imported direct from Scotland. Melbourne was from its earliest years an important centre of horse-breeding from both imported and colonial-bred stock, providing the well-built draught horse for pulling heavily loaded wagons, the harness horse for delivery work and drawing coaches, and the saddle-horse used for riding. Stud breeding facilities were advertised from the early 1840s. By the 1870s the horse export trade was thriving, and the Port of Melbourne was the country's busiest exporter of horses to Indian, Asian and New Zealand markets. Kirk's Melbourne Horse and Carriage Bazaar in Bourke Street first advertised for business in 1840, and by the 1850s Bourke Street West was famed for its horse bazaars and saleyards. The Victorian Clydesdale Horse Society reports that Clydesdale working horses were a vital part of Melbourne's infrastructure and agricultural industry in the 1930s, when they reached the peak of their popularity despite the increasing competition from mechanization. Their main roles and usage at this time were: • City Delivery: Clydesdales were a common sight for metropolitan deliveries, particularly for breweries (such as Carlton & United Breweries), milk runs, and bread deliveries. • Industrial Work: They were heavily used for hauling cargo at the docks, in construction, and at specialized sites like the Truganina Explosives Reserve, where they pulled wagons. • Agriculture: In surrounding rural areas, they were the primary power source for ploughing and agricultural machinery. • Specialization: By the 1930s, the Clydesdale was smaller and more compact than the Shire or Percheron breeds, making them ideal for navigation in urban environments. After the 1930s their numbers decreased due to the onset of WWI and mechanisation. Wartime petrol rationing led to a brief revival for the working horse, as suburban tradesmen, now used to motor delivery, took their old jinkers out of mothballs. By 1947, however, only 1.5% of city traffic was horse-drawn. In 1952 the large horse cartage company A. Kellet Pty Ltd sold its 250 horses and converted its Richmond stables to storage. In the 1950s at Station and Princes piers, wharf labourers refused to work with the six draught horses still being used to haul trolleys and which were soon superseded by the fork lift, semi-trailer and mobile crane. Where carefully trained horses had once shunted trains in city goods yards, a few hundred a week were now being killed at the abattoirs for pet and human consumption. The last MCC dray horse was withdrawn from service in 1958, but some of the few remaining working animals are used by the mounted police for crowd control at demonstrations and football games. The death knell had also sounded for the associated trades of farrier, saddler and blacksmith. Our photo, therefore, showing the wharf with both the haulage Clydesdales and the rail lines, is a strong visual summary of the social and economic changes experienced in Victoria in the 1930s and on towards the 1950s. Our photo is located at Victoria Dock (also known as Victoria Harbour) which is still an active component of Melbourne’s port system. In 1892 the West Melbourne Dock (later Victoria Dock) was opened, downstream and immediately west of the Spencer Street railway shunting yards. It contained a swing basin for ships, replacing the one which had been provided on the south side of the river, later to be the Duke and Orr dry dock, west of the Charles Grimes Bridge. Further west was the South Wharf along the river bank. The history of Victoria Dock is extremely well described by Ashley Smith in his 2 March 2022 article in Docklands News, and its accompanying aerial photo of the Dock taken in 1934. He writes: "In the early 1930s Victoria Dock was one of the biggest sites for trade and export in Melbourne. A constant queue of ships sailed in, unloaded their cargo, recharged and reloaded, then left for the next port. Around the time this photo was taken (found in a 1934 photo book), the trapezium-shaped basin had been through some changes since its construction in the 1890s. The 497-metre-long Central Pier, finished in 1919, now featured six sheds to house the ever-increasing volume of cargo. The entrance had also been widened in the 1920s to allow better access. Some of the berths featured three-ton jib electric cranes to help with loading cargo and a rail network connected to the State Railway service. By the time construction was completed, the dock was 39 hectares and hailed as the second-largest dock in the world (behind Cavendish Dock, Barrow-in-Furness). To further save costs, excavations were dug to a more reasonable seven metres below low water, instead of British engineer Sir John Coode’s recommended 8.3 metres. Even then, the costs were still around £900,000. It was envisaged, with the extra wharfage, that around thirty 90-metre ships could berth inside. On March 22, 1892, Victoria Dock was opened by Victoria’s Governor, the Earl of Hopetoun (later Australia’s first Governor-General) who opened the sluice to let the Yarra in. It took six days to fill the basin with The Leader newspaper estimating that it would take another six months to completely fill (March 26, 1892). In the end, it took nearly a year before the first ship was allowed to enter on February 20, 1893, when the steamer Hubbuck sailed in to unload 1200 tonnes of cargo in 15 hours. The Argus (February 23, 1893) reported that the ship’s captain, J. R. Brodie, called the Yarra “better than the Thames”, and compared Victoria Dock favourably to the Albert Dock (Liverpool)." This would be a good time to move our focus on to the Taiping, which is the transporter of these giant mahogany logs. The Taiping was a steel-hulled, single-screw passenger-cargo Chinese steamer, which today has the dubious legacy of being involved in a collision headlined as “The Chinese Titanic”. It was constructed by the Hong Kong and Shampoa Dock Company at its facility in Hong Kong, with completion in 1926 for service under the Australia Oriental Line. Her gross register tonnage measured 4,324 tons, reflecting her design for inter-island and coastal trade routes, accommodating both passengers and freight. She operated routes connecting Australian ports with East Asian destinations. As World War II approached, Taiping continued predominantly working the trade routes between China and Australia, until December 1941, when she evacuated women and children from Hong Kong to Manila just before Japanese forces overran the region. She then safely reached Australia despite enemy air raids. Taiping was then requisitioned by the Royal Navy and repurposed as a victualling stores issuing ship for the Eastern Fleet, supporting logistical needs in the Pacific and Indian oceans. Returned to the Australian Oriental Line in 1947, she underwent refitting and by mid-1948 was chartered to the Shanghai Shipping Company, and modified for greater passenger accommodation – approximately 500 passengers. In 1948/49 the Chinese Civil War took place. The Taiping departed Shanghai on 26 January 1949 as one of the final vessels evacuating civilians from to Keelung Harbour in Taiwan. Reports indicate that the Taiping carried double the rated capacity of passengers i.e. 1000. The ship carried families, military personnel, civilians, carrying personal belongings, gold and valuables in hope of resettlement in Nationalist Taiwan. It also held heavy cargo in the form of silver and gold bullion loaded by the Central Bank of China. Because of the risk of patrols, and to conserve fuel, the Captain took the ship away from the usual open-sea passage, and instead navigated along the coast. He also extinguished navigation lights to avoid detection. Shortly after midnight on 27 January 1949 the Taiping collided with the smaller cargo steamer Chien Yuan in the East China Sea near the Zhoushan Archipelago. The Chien Yuan was also operating in darkness. The subsequent collision was catastrophic. The Chien Yuan sank with in 5 minutes, with the loss of 72 of its 74 crew. The Taiping sustained severe structural compromise from the broadside strike and initially remained afloat, then made a swift descent into the freezing water, with no attempt at an organised evacuation. No formal recovery process was instigated, however a distress signal went out. 32 survivors were picked up by the Australian destroyer HMAS Warramunga (on patrol nearby), a passing US vessel found 2 more, and local Zhoushan fishermen retrieved others. In the end, only 37 people survived. The event is remembered as a poignant moment in the mass migration to Taiwan, with families tragically separated. A memorial to the disaster exists at the Keelung Harbour naval base on Taiwan. With its total of over 1,500 deaths, it constituted one of the worst peacetime maritime losses. It is sometimes referred to as the “Oriental Titanic” because of the similarly large loss of life and speed of demise with the RMS Titanic in 1912. A fictional depiction of this event appears in the John Woo movies “The Crossing (Part 1) (2014), and The Crossing II (2015), known in Chinese as “Taiping Wheel”. The narrative weaves a story around pre-disaster romances and wartime turmoil among passengers, culminating in the ship’s rapid sinking. “The production, a high-budget Sino-Taiwanese-Hong Kong co-effort, portrays the event as a microcosm of the 1940s Sino-Japanese and civil war legacies, though critics noted the melodramatic style prioritizing spectacle over historical precision.” In conclusion, it is nice to return to our photo, and observe the people involved in this moment. The dockworkers are, so typical of the 1930s, dressed in what looks to us like formal clothing – dark suits or coats, white shirts, and black hats. I am particularly drawn to the young boy, bare-headed, arms crossed, and so intent on the unloading process. He too is wearing a white shirt, black trousers and jacket, and black shoes. This is 1933 Melbourne – but the haircut he is sporting is now very “hipster” and modern in 2026 Melbourne. References: MAHOGANY FROM MANILA. (1933, August 15). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved January 30, 2026, from http://nla.gov.au/nla.news-article204377024 Wikipedia, Taiping steamer, https://en.wikipedia.org/wiki/Taiping_(steamer) Wikipedia, Victoria Dock, https://en.wikipedia.org/wiki/Victoria_Dock_(Melbourne) Docklands News, Ashley Smith, 2 Mar 2022, https://www.docklandsnews.com.au/victoria-dock/ Living Histories: Heritage Council of Victoria, Jill Barnard, 2008, Jetties and Piers, https://livinghistories.net.au/wp-content/uploads/2015/11/Jetties-ONL-intro_Part-1.pdf eMelbourne, Wharves and Docks, https://www.emelbourne.net.au/biogs/EM01612b.htm Australian Academy of Technological Sciences – Harvesting Wood, https://www.austehc.unimelb.edu.au/tia/225.html Old Treasury Building, On the Water – The Docks, https://tinyurl.com/3wkbk66m Old Treasury Building, On The Road, https://tinyurl.com/dw44yr3t Port of Melbourne, Victorian Places, https://www.victorianplaces.com.au/port-of-melbourne Docklands Heritage Study - Environmental History, https://mvga-prod-files.s3.ap-southeast-4.amazonaws.com/public/2024-05/docklands-heritage-review-thematic-environmental-history-1991.pdf eMelbourne, Horses, https://www.emelbourne.net.au/biogs/EM00723b.htm Victorian Clydesdale Horse Society, https://www.clydesdalesvic.org.au/history The Crossing, https://letterboxd.com/film/the-crossing-i/Photographer notations on slide: "Unloading Timber at Wharves 1933 Age B5"ships, shipping, timber industry, shipwrecks, horses, docks, wharves, 1930-1939, wars, docklands

The Albion Explosives Factory was a major WWII-era munitions site in Sunshine, Victoria, operating from 1939 to 1986. Its legacy includes the Black Powder Mill, now a heritage landmark. War Time History - Established in 1939–40 in response to the looming threat of war in Europe. - Located in North Albion, opposite the ICIANZ chemical plant, which also helped design and operate the facility. - Initially known as Munitions Annexe No. 5, it became the Albion Explosives Factory, producing cordite, TNT, nitroglycerine, nitric acid, and other propellants for small arms and artillery. - By 1942–45, it was one of Australia’s three primary military explosives factories, employing thousands and contributing significantly to the war effort. Post War Time History - Continued production of explosives and fertilizers for commercial use after WWII. - Expanded in 1947–49 with the addition of the RDX plant north of Furlong Road. - Introduced new technologies like synthetic ammonia, DNT, and continuous TNT production through the 1950s–60s. Closure and Environmental Remediation - Closed in 1986, followed by extensive decontamination and cleanup. - The site was heavily contaminated with TNT, DNT, nitrates, ammonia, and metals, requiring years of environmental audits and remediation. - Eventually redeveloped into a housing estate and shopping complex, transforming the industrial site into a suburban community. A Blast from the Past Albion Explosive Factoryalbion explosive factory, deer park, cairnlea

Illustrated book with dust jacket. Book has abbreviated title and authors surname printed on spine in white ink on pale blue background. This pale blue binding extends for 55mm on front and back covers. The remainder of the covers have repeated images of various Victorian Nurses board Badges on a white background . Dust jacket has similar images on pale blue background on spine and extending 55mm on front and back, remainder of back is pale blue. On the front is an image of one person (torso only) holding another's wrist and holding a watch in their other hand and part of a stethoscope is also visible. Title and author's name are printed on front and spine. There is a 9mm wide attached gold satin ribbon bookmark.non-fictionThis book documents an important part of the story of nursing and midwifery in Victoria. the role of registration, training accreditation and monitoring of nurses and midwives has been fulfilled by three bodies in Victoria: the Nurses Board (1923-1957), the Victorian Nursing Council (1957-1994) and the Nurses Board of Victoria (1994-2010).nursing-history, nursing-law and legislation-victoria-history, nursing trainng

Illustrated book with dust jacket. Book has abbreviated title and authors surname printed on spine in white ink on pale blue background. This pale blue binding extends for 55mm on front and back covers. The remainder of the covers have repeated images of various Victorian Nurses board Badges on a white background. Dust jacket has similar images on pale blue background on spine and extending 55mm on front and back, remainder of back is pale blue. On the front is an image of one person (torso only) holding another's wrist and holding a watch in their other hand and part of a stethoscope is also visible. Title and author's name are printed on front and spine. There is a 9mm wide attached gold satin ribbon bookmark.non-fictionThis book documents an important part of the story of nursing and midwifery in Victoria. the role of registration, training accreditation and monitoring of nurses and midwives has been fulfilled by three bodies in Victoria: the Nurses Board (1923-1957), the Victorian Nursing Council (1957-1994) and the Nurses Board of Victoria (1994-2010).nursing-history, nursing-law and legislation-victoria-history

Sponsors banner used during Legacy Week. Period of manufacture and use not known.Legacy used banners to identify themselves at public events. The colour and design changed over the years, this is one example.Banner of blue material with print marking in white and red.Legacy, with the torch underneath, APPEAL and the sponsor's name John Allison Monkhouse.legacy promotion, legacy week

Black and white photo of a finale of an Annual Demonstration at the Melbourne Town Hall. Part of the set design were the Olympic Rings and sign saying Olympic Games. Throughout the year Melbourne Legacy provided classes for Junior Legatees such as dancing, gymnastics and eurythmics, the Demonstration was an annual event to showcase their skills. Melbourne Legacy conducted Annual Demonstrations / Parades from 1928 through to the late 1970's, usually held at Melbourne Town Hall or Olympic Pool Stadium. The beautiful costumes were made by members of the Junior Legacy Mothers' Club and the Melbourne Legacy Wives' Association. A record of a Junior Legacy Demonstration.Black and white photo from the 1956 Melbourne Junior Legatees Annual Demonstration at the Melbourne Town Hall.junior legatee, annual demonstration

A recollection of information about Girls Legacy Club and its primary instructor Miss Enez Domec Carre. It was written by C.E. Chancellor in June 1976. "Draft only. Girls Legacy Classes When I was attached to Girls' Classes after being transferred from Mildura Club to Melbourne, I found that the difference between the administration of the Girls' and the Boys' Classes was that the Girls' Classes were centralised in one building in Market Street, whilst the Boys' Classes were held in Melbourne and in various suburbs. The building in Market Street was leased from the Melbourne City Council, it was old, had narrow stairways, small rooms and was dusty and noisy so that is can be appreciated that the classes were held under great difficulties and inconvenience. Classes were held on both Friday and Tuesday nights of each week and the girls were trained in physical culture, ballet and dancing, and most of them also attended a speech training class. The girls were divided into Junior, Intermediate and Senior girls, and the hourly classes commenced at 5 p.m. It will be appreciated that after WW2 the numbers of girls attending increased considerably (actual numbers may be on old files) and it was necessary for the overall organisation to be efficient for this work to be efficiently carried out. In retrospect I do not think that too great a tribute can be paid to Miss Enez Domec Carre, F.P.C.V., not only for her great ability in teaching the physical culture and dancing classes, but also because she became the confidant of the mothers and the girls for their particular problems, and was able to transmit these to the Class Legatees, and she also assisted in helping to solve them - and be sure there were many of them with so many girls and families involved. Miss Carre was also responsible for the many magnificent presentations of the various items learnt by the Classes during each year and of the merging of individual classes held at various times and days to enable them to be so successfully shown at the each annual Legacy Parade. Miss Carre also organised the Mothers, Legatees' wives and friends into sewing groups to provide the thousands of costumes required for the items presented, and naturally she had to design these costumes - all of this work was carried out, as previously mentioned, under the extreme difficulties they were working under in the Market Street building. The purchase of Legacy House and the transfer of classes to this building was of immense help and importance in the carrying on of these classes which have proved so valuable to Legacy work. Many of the girls - now Mothers and Grandmothers still help in Legacy work and still appreciate the value of the Girls' Classes were to them. C.E. Chancellor cc. to Legatees A.R. Beattie / Larkin / Gibsey"A nice summary of the work done by Miss Enez Domec Carre for Legacy and the conditions the classes were held in prior to moving to Legacy House.White foolscap paper with black type x 2 pages recollecting the contribution Miss Enez Domec Carre to the Girls Physical Culture Classes as well as details of location of classes.girls' classes, girls' club, junior legatee

A certificate presented as an anniversary gift to Melbourne Legacy, recognising 50 years as commemorated on a postage stamp. Australia Post issued this postage stamp in 1973, on the 50th anniversary of the founding of Melbourne Legacy, September 1923. The stamp was produced in recognition of the outstanding work that Legacy has done in helping war widows and their families. The design of children playing within the silhouette of a hand, was done by George Hamori, an Australian graphic design artist (born 1918).The stamp was a reminder to all the people of Australia of the helping hand of kindness of Legacy, and the generosity of the people of Australia who have donated to fund the work that Legacy does.Pink and blue cardboard certificate with four 7c stamps affixed in top left corner. Each stamp bears an image of 8 children playing football over a ghosted hand. The image of the chilren also appears in a larger format in the central region of the card.Presented to / Melbourne Legacy / by the Australian Post Office / to mark the / 50th Anniversary / of Legacy in Australia Director-General / Australian Post Office / 5th September, 1973legacy promotion, golden jubilee

A banner promoting Legacy that was used at the ANZAC Day March 1973. 1973 was the Golden Jubilee of Legacy's creation in 1923. Many celebrations were held and this banner was proudly displayed as the Legatees marched together in the Anzac Day March instead of marching in their individual battalions.A banner that was used in a significant celebration of the golden jubilee of Legacy.Canvas printed banner with nylon cord at each corner. White background with Legacy logo and text printed on surface. Left hand side printed in gold is the Legacy logo with 1923/50/1973/ Legacy. Centre and RHS in black LEGACY JUBILLEE. In gold underneath ‘Service to widows of ex servicemen and their children.’ Designed to be carried in a march.legacy promotion, anzac day, golden jubilee, 50th anniversary

A detailed history of the Numurkah/Nathalia Legacy. Part of Melbourne Legacy. This publication gives an account of the people involved, fund raising activities, camps and holidays, wood drives and much more. A fascinating account of a small group of Legatees and their endeavours to help Legacy widows and families.Significant in that the story of this Legacy group was typical of many small country legacy groups.Clear front cover showing title underneath in black lettering. Spine and back thin cardboard, black pattern design. Pages white A4.Legacy logo in black, title in black print, grey border.branches, history

Australia Post (previously known as the Post Master General department (PMG)) issued this postage stamp in 1973, on the 50th anniversary of the founding of Melbourne Legacy, September 1923. The stamp was produced in recognition of the outstanding work that Legacy has done in helping war widows and their families. The design of children playing within the silhouette of a hand, was done by George Hamori, an Australian graphic design artist (born 1918). For a biography of his life see the re:collection website.A reminder to all the people of Australia of the helping hand of kindness of Legacy, and the generosity of the people of Australia who have donated to fund the work that Legacy does.Postage Stamp issued by Australia Post x 4 copies. Stamp has perforated edges, green writing, light brown background, hand extended silhoutte.Postage stamp has been postmarked with five horizontal lines and the words "include the postcode in every address".legacy promotion, golden jubilee, 50th anniversary

Two member badges from the The Returned Sailors, Soldiers Imperial League of Australia (RSSILA). The number 68 on the front could be 1968 as it is detachable and could be updated each year. The badge with 1921 could be the year of membership. The member number is engraved on the rear. The shield design is symbolic of the protection provided to those who wear it. Within the badge, red represents the blood ties of war that exist between comrades; white stands for the purity of the motives in joining the league – to render service without personal gain or ambition; and blue indicates a willingness to serve a comrade anywhere under the blue sky. The wattle represents Australia, with the leek, the rose, the thistle and the shamrock standing for Wales, England, Scotland and Ireland respectively. The RSSILA was the precursor to the Returned Services League (RSL) and provided support for returned servicemen after World War One. Worn by members of the Returned Sailors, Soldiers Imperial League of Australia, those eligible being members of all services, both wars, including nurses, who have returned from active service outside Australia. These were with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving in Portsea in 1920. His full war record is available from the National Archives of Australia (B2455, MCLEAN JBM).The RSSILA was an important organisation for ex-servicemen and many Legatees would have been members.Enamel badges from the R.S.S.I.L.A. The centre of the badge shows a sailor and a soldier in raised detail. A blue enamel circle surrounds the central detail and has 'RETURNED SAILORS & SOLDIERS / IMPERIAL LEAGUE' in gilt lettering. The outer edges of the badge are white enamel with a floral spray to the top left and right of the blue circle. At the bottom of the badge is a red enamelled scroll with 'AUSTRALIA' written in gilt lettering. On the reverse of the badge are soldered two brass lugs with a split pin attached for securing the badge to clothing. 01124.1 Front has '68' and 'Returned Sailors and Soldiers Imperial League of Australia'. On the reverse 'V92210 Badge remains the property of League'. 01124.2 Front has '1921' and 'Returned Sailors and Soldiers Imperial League of Australia'. On the reverse 'R 3871' and 'C.C Roeszler and Son Pty Ltd Melb.'world war one, rssila

After the second world war there was a decision made to create a memorial for the 1939-45 War at the Shrine. A competition was held and 53 entries assessed. The first prize was shared between two submissions and the third prize money was also awarded. These two documents show that Legatee Kemsley was one of the Assessors who decided the basis of design for the memorial. The notes of a meeting of the Assessors show that Mr W. Balcombe Griffiths, Mr Marcus Martin, Colonel Kemsley and Sir Edmund Herring (Chairman of the Shrine Trustees) were present when the winning design was chosen. The design was later completed as the Forecourt in the shape of a paved cross, built in 1953, and the Cenotaph surmounted by a statuary group and the Eternal Flame. The memorial was dedicated and the flame set alight by Her Majesty Queen Elizabeth II on February 28 1954.A record of the decisions made by the committee that chose the design of the memorial for the 1939-45 war that was built as the Forecourt, the Cenotaph and the Eternal Flame at the Shrine of Remembrance. Legatee Kemsley was on the committee. White quarto paper with black type x 3 pages, two pages are a report to the Shrine Trustees on the competition for the design of the 1939 War Memorial and the third page is notes on a meeting of the Assessors of the competition.01187.2-3 Handwritten in pencil 'Shrine'. Title is: "Report of Assessors appointed to examine and award prizes from theses received in connection with the 1939 War Memorial Competition Conducted by the Shrine of Remembrance Trustees"memorial, cenotaph

The letter is Legatee Kemsley's response to an article published on 20 April 1946 discussing War Memorials. The article suggested that war memorials were better to be utilitarian, such as hospitals, parks and community centres. Legatee Kemsley's reply is that such necessary amenities should be provided but not as memorials of sacrifice. "The plain fact is that unless sacrifices and deeds of heroism and national patriotism are expressed in non-utilitarian memorials they lose then special significance they are designed to provide." "As a Trustee of the National War Memorial, I ask, what hospital or park could as fittingly provide a Mecca for for national solemnity, or rejoicing, or thanksgiving, as the Shrine of Remembrance in Melbourne?" After the first world war there was a decision made to create a memorial. Legatees were involved in the process at various times and capacities. In particular Legatee Kemsley was vocal when the idea of the St Kilda Road site, which was favoured early on, was overturned and in 1926 there was pressure to change to a "provision of square" and Cenotaph at the intersection of Spring and Bourke Streets. Legacy Clubs voiced their opposition to this proposal by passing a resolution "That the Melbourne Legacy Club, representative of the returned soldiers in business in this city, whilst welcoming the Anzac Square Scheme as a city improvement, cannot support it as a War Memorial scheme and affirms its support for the Shrine of Remembrance in the Domain as the only War Memorial worthy of Victoria's unparalleled efforts in the Great War." The document was in an envelope with the History of the Shrine (01181). The envelope says 'The Origin of the Shinre of Remembrance p/p Legatees Kemsley and Joynt'. And the initial 'JMBA'?. It was in a file with other documents concerning the Shrine and it's history.This is a record of the debate that was occurring in 1946 about the appropriate way to commemorate the war. There was an effort to record historical events for the "Archive Committee" which collected this an other documents relating to the Shrine together in a file (see items 01181 - 01190)File copy of a letter x 2 pages typed on white quarto paper. Dated 2 May 1946, it is from Legatee Kemsley to the Editor of the Australian Municipal Journal in response to an article they had printed. Plus a page from the journal.memorial, shrine of remembrance

The order of service of the ceremony to dedicate the Shrine Forecourt by the Queen on 28 February 1954. It was the official commemorative document of the occasion. The Queen lit the Eternal Flame as part of the ceremony. The design of the Forecourt was part of a competition that was run to find a suitable memorial. The Forecourt is cross shaped. The Cenotaph is 65 feet high and rises as a focal point to the Forecourt, it is balanced on the other side by three 70 foot high flagstaffs. The sculpture at the top of the Centoph is "carved in Footscray basalt. It represents six men in battle dress of the Navy, Army and Air Services, carrying a bier on which lies the figure of a dead comrade draped with the national flag. Its simple symbolism harmonises with the great shrine itself and sums up with dramatic power the whole message of the monument - the debt of the living to the dead, the eternal bond between the fallen and those who enjoy the fruits of their sacrifice." Also from the souvenir booklet: "In front of the Cenotaph, surrounded by a protective railing, the Eternal Flame which burns continually in its great bronze bowl. The eternal flame is an ancient symbol signifying at times the continuing spirit of a city, at others the constancy of man to an ideal, and again as they symbol of continuing faith." The document was in a file with other documents concerning the Shrine and it's history (01181 - 01190).A record of the dedication of the Forecourt at the Shrine of Remembrance by the Queen. There was an effort to record historical events for the "Archive Committee" which collected this and other documents relating to the Shrine together in a file (see items 01181 - 01190)Booklet x 12 pages with sepia photos and brown text in a cream card cover for the dedication of the Shrine Forecourt on 28 February 1954.memorial, wreath laying ceremony, royal visit, shrine of remembrance

The order of service of the ceremony to dedicate the Shrine Forecourt by the Queen on 28 February 1954. The Queen laid a wreath and lit the Eternal Flame as part of the ceremony. The design of the Forecourt was part of a competition that was run to find a suitable memorial. The Forecourt is cross shaped. The Cenotaph is 65 feet high and rises as a focal point to the Forecourt, it is balanced on the other side by three 70 foot high flagstaffs. The sculpture at the top of the Centoph is "carved in Footscray basalt. It represents six men in battle dress of the Navy, Army and Air Services, carrying a bier on which lies the figure of a dead comrade draped with the national flag. Its simple symbolism harmonises with the great shrine itself and sums up with dramatic power the whole message of the monument - the debt of the living to the dead, the eternal bond between the fallen and those who enjoy the fruits of their sacrifice." Also from the souvenir booklet: "In front of the Cenotaph, surrounded by a protective railing, the Eternal Flame which burns continually in its great bronze bowl. The eternal flame is an ancient symbol signifying at times the continuing spirit of a city, at others the constancy of man to an ideal, and again as they symbol of continuing faith." The document was in a file with other documents concerning the Shrine and it's history (01181 - 01191).A record of the dedication of the Forecourt at the Shrine of Remembrance by the Queen. There was an effort to record historical events for the "Archive Committee" which collected this and other documents relating to the Shrine together in a file (see items 01181 - 01191)Cream paper program with blue print, single page folded in half, order of service for the dedication of the Shrine Forecourt on 28 February 1954.memorial, wreath laying ceremony, royal visit, shrine of remembrance