Rectangular bronze plaque depicting an angel and devil. Inscribed MS on front lower right. Sticker on back containing "Matcham Skipper/Angel tempting the Devil/Australia" written in black pen.matcham, bronze, plaque, angel, devil

The service of dedication of the "Flying Angel" stained glass window was filmed on 29th September 1999. The Windows was made by Peter Echter-Baltrunas from Lothlorian Glasss Art Studio and constructed. by Portland Leadlighters Guild for the St Peter's Mariners Chapel in the Portland (not to confuse with the St Peter chapel of the Flinders Street Mission in Melbourne).The Portland Mission opened in 1962. VHS video tape in plastic case. Front of case has a thin cardboard label/insert with an image depicting a stained glass window, with the text 'Portland Missions to Seamen' above the image and 'Flying Angel Project' below the image. The back of the case has a thin cardboard label/insert with a zoomed shot of the centre of the same stained glass window, with text 'Service of dedication of the "Flying Angel" stained glass window 29th September 1999' 'Portland Missions to Seamen' 'Flying Angel Project' 'Service of dedication of the "Flying Angel" stained glass window 29th September 1999' portland, dedication, mission to seafarers, seamen's mission, victoria, stained glass windows, flying angel, peter echter-baltrunas, lothlorian glass art studio, portland leadlighters guild, 1999

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. Pair of open-toed women’s shoes made of gold coloured leather. The sling back high heel shoes identify Angel Albert as the designer on the brown leather upper and state that they were made in Spain for Myer.Angel Albert / Made in Spain; Made in Spain for Myerwomen's shoes, footwear, sandals

Sculptural tombstone of a marble angel in the Warrnambool Cemetery. The tombstone features a sculpture of an angel.cemetery art, headstone art, angel, marble

Sculptural tombstone of a marble angel in the Warrnambool Cemetery. The tombstone features a sculpture of an angel.cemetery art, headstone art, angel, marble

Sculptural tombstone of a marble angel in the Warrnambool Cemetery. The tombstone of Charles and Annie Opie features a sculpture of an angel.cemetery art, headstone art, angel, marble, charles opie, annie opie

Silver rounded square amulet depicting an angel.Intersecting MS mark; two pin holes at 12 and 6. matcham skipper, amulet, silver, jewellery, angel

A 16 page full cover magazine. 160th Anniversary issue No 18 October 2016. Features anniversary logo and the Mission to Seafarers oval logo on the front cover.flying angel club, flying angel league, magazine, 160th anniversary edition, mtsuk

Oval latex mould depicting an angel with stylised decorative wings. Nonematcham skipper, mould, jewellery, angel, decorative design

Susan PATERSON Born Melbourne Dr Susan Paterson is an artist, curator, writer and lecturer. Her research includes artistic practice and theory. Susan Peterson has worked as an art educator in many Australian States, China, England and New Guinea. Framed painting of an angelic figure with halo. Artist's statement: This work is inspired by those who love angel hunting in the old city of Jerusalem. Angels have significance in the three monotheistic religions which have grown together in harmony in this beautiful holy city. JUDAISM, CHRISTIANITY and ISLAM emerged historically in this order to be religions of peace and prosperity. PILGRIMS from these three religions visit the Holy City of Jerusalem in Israel to celebrate their respective religious traditions. susan paterson, angel, halo, available

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. A pair of open toed women’s sandals in silver leather. The name of the shoe and the designer is embossed on the brown leather upper as “Evening Star / Made by Sherry”Angel Albert / Made in Spain; Made in Spain for Myerwomen's shoes, sandals, sherry -- shoes -- spain

An Original painting of Dorothy Angel in the foreground of the painting. In the background there is a patient lying on a bed with five people nearby.Dr Dorothy (Dot) Angel OAM (Order Of Australian Medal) was a young nursing sister who volunteered to serve on one of the Australian Civilian Surgical Teams sent to South Vietnam by the Australian Government from 1964 - 1972. These teams dealt with the Vietnamese casualities of the war itself, but their services were also albe to bolster a very depleted general health care system in the provincial hospitals. Dot served on an Alfrred Hospital team sent to Bien Hoa in 1967painting, vietnam lest we forget, order of australia, nurses - vietnam, bien hoa

From the early 1950's compacts containing face powder and foundation in-one were sold in department stores. Their widespread use resulted in heavier compacts and conventional face powder becoming less popular.A round blue plastic powder compact with the captions and design done in gold and blue on lid. The compact contains face powder and foundation in-one and there is a small flatened foam powder puff and information sheet inside.PONDS / ANGEL FACEchesbrough ponds, angel face, cosmetics, face powder, personal effects, george evans collection

Small cream colour book with design of the flying angel of the Mission on topnon-fictionWhen Heather Hartshorne stumbled across the Missions to Seamen complex in Port Adelaide,the magnificent dance hall spoke to her of decades of liveliness and rattling good times. Then what was the story behind the beautiful chapel?port adelaide, mission to seamen, flying angel, ladies harbour lights guild, lhlg, south australia, heather harsthorne

Compacts containing face powder and foundation in one were sold in department stores from the early 1950's. Their widespread use meant that the heavier powder compacts with face powder were less popular.A round black plastic compact with a gold design on the hinged lid. There is a gold border around the circumference and part of the paint has disappeared near the catch. In the centre there is a coronet which is surrounded with a floral design. Manufacturer's details are stuck on the back of the compact. There is a mirror inside the compact with a small powder puff.CHESEBROUGH PONDS PTY. LTD REG. USER / ANGEL / FACE / by PONDS / BRONZEcosmetics, angel face, face powder, personal effects, chesebrough ponds, george evans collection

The photograph is part of a serie likely to have been taken by Bill Doyle (Reverend C.J. Eldridge-Doyle), who was a keen photographer like many of the chaplains as he often uses the Ilford paper to print his images.small b & w photograph of couples dancing in Flying Angel Club at the Mission to Seafarers.couple, dancing, hlg, flying angel club, flinders street, seamen, seafarers

The life buoy from the Largs Bay located above the bar helps dating the photograph to post 1957: Largs Bay was launched in 1921, as a mixed passenger/cargo ship. During WW2 she took part in a large number of convoys.nIt was scrapped in 1957 so had a service life of 36 years. Her sister ships were Jervis Bay, Moreton Bay, Esperance Bay and Hobsons Bay. She carried many passengers to Australia to start new lives after WW2. In the bar we can notice advertising helping dating: Peters ice cream Choc Wedge (launched in 1949) at 6d, Cottee's flavoured drinks (Passiona, Lime Coola, Orange, Lemon) In the 1950s, the ladies from the LHLG were still active and dancing with seamen was part of their activities.BW photograph depicting couples dancing in the Flying Angel Club of the Flinders Street Mission.lhlg, dance, seamen, flinders street, cottees, lime coola, passiona, orange, lemon, choc wedge, life buoy, largs bay, ice cream, peters

This badge was once owned by Rosemary Dalling, wife of Reverend Alfred 'Bill' Dalling and then passed on to the Dann family - Information provided by Pat Dann ex Hastings Seafarers Centre. According to 'The Melbourne Anglican' website, Alfred Dalling worked: Mission to Seafarers, Sydney 1960 to 1962, Newcastle 1962 to 1968 and Melbourne 1968 to 1972; The badge depicts 'the angel of the revelation' a key symbol used by the earliest established services in the 19th C. of services to seafarers. An adapted and modernised symbol is still in use in the 21st century.Very small cast-metal pinned three dimensional representation of flying angel holding a book.badge, flying angel, rosemary dalling, rev'd bill dalling

In 2000, the Mission to Seamen became the Mission to Seafarers. The Flying Angel flag also evolved and the Bible was removed.The article on the evolution of the flag salong with the name is historically important.Magazinemission to seamen, mission to seafarers, flying angel flag

Reg Shiel of Lower Plenty volunteers to fly for Angel Flight Australia. They fly non-emergency patients to medical appointments.News clipping, black text and colour image. lower plenty, reg shiel, angel flight australia

This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007. If you can provide information on this artwork or artist please use the comment link below.art, artwork, o'keefe, angel, h. o'keefe, available

Round rubber mould and relief depicting a male figure with wings. Nonematcham skipper, mould, relief, rubber, male, angel

This promotional film made in the early 1950s in Melbourne. Padre Oliver may have been inspired by an earlier film also called The Flying Angel, shon at the Mission in 1948. An article for the Herald, Saturday 27 December 1952, page 9, mentions the screening of a Cinesound short about the world's merchant fleets and the Missions to Seamen. An illuminated light house beside the ship - a £5000 model of an ocean-going cargo ship on display at the State Theatre for a week - was a collection box for the work of the mission. Flying Angel flag. Padre Oliver with flyer from the Flying Angel Club on a ship visit. Crew on a ship. Clubs at the Port Melbourne, Williamstown, and Melbourne. Activities: dances, outings. boxing, movies. Ladies from the Harbour Lights Guild. Motorbus donated by Prahran Patriotic Funds The Cruel Sea, by Nicholas Montsarrat was published in 1951.The documentary was shown for a week at the State Theatre along with a £5000 model of an ocean-going cargo ship was on display and visitors could donate money in a box in a shape of a lighthouse.Promotional documentary produced in 1951 presenting the different activities of the Mission. The 3 buildings are depicted.port melbourne, williamstown, melbourne, ww2, nicholas montsarrat, cinesound productions, the cruel sea, frank leslie oliver, padre oliver, dance, movies, picnics, motorbus, activities, appeal, hobart, cinema, dandenongs

MEDIUM: Photograph / Silver bromide DESCRIPTION: Black and white photograph, silver bromide Black outer frame with glass front Image and white board inner frame under glassSigned and dated on on white board inner frame, proper left corner - under photographphotograph, silver, gibb, stone, angel, carlton, bromide

The flag represents The Mission to Seafarers worldwide organisation. From about the year 2000 particular flag was once flown from Flagstaff Hill's masthead on top of the turret on the St Nicholas Seamen's Church but this practice ceased around 2010 for safety reasons. The Australian beginnings were in 1856 when the Church of England (Anglican Church) established the ‘Society for Promoting Missions to Seamen Afloat, at Home and Abroad. Lord Shaftesbury was the first President and Mr William Kingston was the first Secretary. Its Constitution declared: (1)) the Object is the spiritual welfare of the seafaring classes at home and abroad. (2) In pursuance of this Object, Society will use every means consistent with the principles and received practice of the Church of England. Mr Kingston’s wife and sister designed a flag to clearly depict the Society’s Objects. It depicted the first of the three angels in Revelation 14, who possessed ‘an eternal gospel to proclaim to those who dwell on the earth, to every nation and tribe and language and people. The ‘Flying Angel’ (the angel of Revelation) became the official logo of the Society and gained great popularity. In July 2000 the Missions to Seamen changed its name to the Mission to Seafarers to better reflect the group's function, an unbiased society that cares for all who earn their living at sea. The Logo was modernised and simplified, the word changed to 'seafarer' to be gender-neutral. The angel logo no longer holds a book (Bible). The organisation states: “The Mission to Seafarers is an Anglican organisation ... The Mission offers fellowship and a warm welcome in centres where seafarers can relax away from their ships, meet local people and contact their homes, from ports around the world. The Mission provides and promotes” … “The Mission to Seafarers now has a presence in 200 ports in 50 countries worldwide. This makes us the largest sea-port-based welfare organisation in the world. We provide support to seafarers 365 days per year, regardless of their rank, nationality, gender or religion” This flag was a gift from the Mission to Seafarers Victoria at the time of the organisation's change of name from the Missions to Seamen. It was flown from the Masthead on top of the turret on the St Nicholas Seamen's Church at Flagstaff Hill from the years 2000 to around 2010. The donation of this flag signifies the ongoing association between the historical organisation and St Nicholas Seamen's Church building at Flagstaff Hill', which displays an extensive collection of furniture and furnishings from that organisation's Williamstown branch. The design on the flag is an example of several updates of the flag over the organisation's lifetime.Flag, fine linen, The Mission to Seafarers. Rectangle of blue fabric with white text around white flying angel logo. Flag has a plastic hook on top of the halyard.Printed "THE MISSION TO SEAFARERS" and logo of FLYING ANGEL symbolflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, missions to seamen victoria, mission to seafarers, flying angel’s club, st nicholas seaman’s church williamstown, mission to seafarers flag, flag, missions to seamen, turret

'Blitz-worn angel' is a poem written by Private "X" who was a patient at 2/5 Australian General Hospital (A.G.H.).It was first printed in "Guinea Gold", a daily newspaper published for Allied troops in the South Pacific during WWII, the newspaper was made in Port Moresby, New Guinea between 1942-1946. The poem was dedicated to 'the Nursing Sisters of 2/5 A.G.H., veterans of Palestine, Greece, Crete, and New Guinea'.Poem typed in black ink on an A4 page with some small annotations in blue biro ink. There are crease marks where the page has been folded in four and a small tear on the centre right side edge.'H89' [Handwritten in blue ink towards the top right corner of the front side and at the top of the reverse side] [Four small handwritten ink marks correcting errors in the type and three words whited out and retyped over] 'from Helen / McCallum / for P.Wilson' [Handwritten in black ink on the back of the paper]world war 1939-1945, ww2, wwii, australian nurses, war poetry, 2/5 australian general hospital, guinea gold newspaper

Biography, the exceptional life of Wilma Oram Young AM, an Australian Nurse, a captive of the Japanese during WW2. After the War following her return to Australia she was inspired to help her fellow ex POW’s and war veterans through her tireless work with the RSL. Wilma Oram enlisted 0n 12.3 1941 age 24 years VFX58783 in the AANS, embarked for Singapore 2.9.1941, evacuated from Singapore on 12.2.1942 on the Vyner Brooke which was then sunk by the Japanese of Banka Island, they made it to shore on Banka Isl and taken POW for the duration of the War and finally arrived home in Australia on 24.10.1945.Soft cover cardboard, black, white and gold print on front, spine and back, front cover has a collage of B & W photographs of Nurse Wilma Oram Young AM, red, black and gold background colours, 328 pages, white paper, illustrated with B & W photographs.books, biography, nurses, pow’s, ww2

Poem telling the story of the Fuzzy Wuzzy Angels of WWII.Poem. "Fuzzy Wuzzy Angels".

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Angel featured as part of the exhibition Anatomy Lessons, shown at the National Wool Museum in 2024. The exhibition featured meticulously-sculpted, life size skeletons, making visitors question their place in this web of the living and the dead. From a towering giraffe stretching 4.4 metres in height, to an army of over 50 delicately rendered frogs, this exhibition was enthralling in scale. Each sculpture is an accurate portrayal of a real animal and is carefully measured, drawn, and moulded from steel, wire, and foam. The frame is then intricately knitted over to create these thought-provoking pieces. Each sculpture tells a story, one of the collection of animals by museums and collectors, of Western safari hunters, of human encroachment, and of the often-sad role of the animals in our lives. These underlying concepts are explored and reflected by the materials used. Wool, that speaks of warmth, of comfort, of care, meets the size, grace, and sheer breathtaking beauty of the pieces, clashing with the hard and complex stories beneath. The smallest of Beevors’ knitted pieces was made while reflecting on the global tropical fish trade. At the time, press reports predicted that the imminent release of the film ‘Finding Dory’ would increase demand for pet tropical fish. People enjoy a good fish story, but studies have revealed that widespread reports of the ‘Nemo Effect’ following the debut of the film’s predecessor, ‘Finding Nemo’, were exaggerated. Data collected to assess people’s interest in blue tang, the species of the title character in ‘Finding Dory’, revealed an increase in online searches for “blue tang”, but no evidence of an increase in their trade or visits to public aquariums to observe them. When discussing the action and attitude effects of pop culture depictions of animals, it is necessary to investigate evidence-based material. Pop culture, wildlife documentaries, web videos, blogs, and news stories: there is a great ocean of content to consume, but the mechanisms by which witnessing these representations of animals and nature leads to tangible behaviour change, positive or bad, individual and social, remains poorly understood. In a world inundated with messaging and content, could a simple phrase like “fish are friends, not food” influence attitudes? Originally from Australia, Michele Beevors has been practicing in New Zealand for the last 20 years. She is Head of Sculpture at Dunedin School of Art, Otago Polytechnic, New Zealand’s oldest, and one of its most prestigious, art schools. Beevors has exhibited in galleries, museums, and exhibition spaces in across New Zealand, Australia and Vienna with art that is defiant, unconventional, and moving.Knitted white woollen fish skeleton, with black pupil.knitting, art, conservation, sculpture, skeletons, anatomy lessons, michele beevors, fish, angel fish