Report to Shareholders for Fifth Annual General Meeting to be held 10/9/1930. Items mentioned are Year's trading, Appropriation of Profit, Depreciation, Capital Expenditure, Future Prospects, Rotation of Directors, Remuneration of Directors, Rotation of 'B' Group of Directors, Auditors and Staff.hanro, clothing, share register, hanro collection - fifth annual general meeting, charles handschin, h f longstaff, g v lansell, h keck, w b h neill, mccoll rankin & stanistreet, r a rankin, j j stanistreet

Letter dated January 3rd 1878 from Wm. Blanchard asking T. R. Pearce for a receipt for the Post Office Order that he sent for the Surgeons fees for Bro Doney as their late Secretary had accused him of Mis-appropriation of the funds of Court Freedom. He intended to pursue some course in the matter.societies, aof, correspondence, ancient order of foresters no. 3770 collection - correspondence, court freedom, bro doney, wm blanchard, wm rowe, court king forest

Imants Tillers has been identified as a quintessential postmodern artist in his use of appropriation and quotation. Since 1981 he has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora. Most recently, his paintings have been concerned with place, locality and evocations of the landscape. Imants Tillers and Baldessin met on their way to the Bienal de Sao Paulo in 1975 and in the following year worked on two collaborative etching plates in Paris that were printed by Pierre Giarudon. 'Unsaid + Nameless' harks back to his experiences with Baldessin in Paris forty years ago. It is a poignant image of absence that can be read in the tradition of the momento mori. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'Unsaid + Nameless' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. In 1976 Baldessin and Tillers embarked on the collaborative work 'According to des Esseintes'; a post modern Surrealist game of consequences and sequences. In homage to his friendship and work, Tillers completed an unfinished Baldessin plate from 1976 inspired from their 'des Esseintes' collaboration. The addition of Odilon Redon's 'smiling spider' is indicative of Tiller's broader post-modern approach. Solar plate etching of Odilon Redon's 'Laraignee souriante' (The Smiling Spider) on an incomplete plate etched by George Baldessin in 1976 on Somerset paper. Other images include skewed perspectives of a wooden window frame, 'wooden' floor or table(?) folded sheet of paper and unknown apparatus. In pencil (handwritten): low plate: left '14/25' (edition); centre: 'Unsaid + Nameless' (title); right 'Imants Tillers' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)solar plate etching, george baldessin, somerset paper, spider, line, ekphrasis2018, odilon redon, appropriation, post modern, surrealism, collaboration, paris, folio

Composed and signed by WHC Darvall on the executive of the Victorian Mission to Seamen also with reference to three other officers: Mr Reid-President, Mr Allard Vice President, Mr Seymour Hon Treasurer. Darvall returned to Melbourne late 1901 early 1902. A former solicitor Darvall and the Mission Committee are concerned it seems at the 'appropriation' by other organisations of donations or funds usually promised to the VMTS. The seamen's home was being built or about to be on the site of the World Trade centre on Siddeley St. as at 2020. This letter was sent out at a pivotal period in the Mission story soon after the sudden death of Rev James after 20 constant years service, with the proposed arrival of a Seamen's home on Siddeley St to a location close by to one long sought by the Victorian Mission for their first Central Mission and just a few years before arrival of the London Mission to Seamen representative Rev A Gurney-Goldsmith. The ladies Committee of the Mission and volunteers had prior to appointment of a paid collector had done most of the collecting of donations.A 2 page printed circular or letter addressed to Dear Sir alerting the recipient to the new appointment of a paid Collector, Mr L Dangerfield, visiting supporters authorised to collect donations and subscriptions and not to be confused with other similarly named groups such as the Seamen's home. The pamphlet also includes extracts from a speech by "His Excellency the Governor" reminding the recipient of the authentic goals of the Mission which also, as ever, were essential to business interests in supporting seafarers.paid collector, mr l. dangerfield, whc darvall, rev james, rev geary

A critique of the adaption of American culture in Australian popular culture, where only the worst or silliest things from the US are adopted. Boyd suggests the colonial, unambitious and rigid brand of masculinity that characterises the "Aussie myth" hinders the development of an imaginative and creative social climate that manifests in a superficial appropriation of American culture. Boyd is not critical of US culture itself, in fact he has a great appreciation of US culture. He suggests that the Australian brand of Americanisation is only a superficial commercial exploitation of the American dream. It concludes with Boyd rallying for the development of a unique Australian originality with increasing connections to Asia.Typewritten, pencil edits (pages 22a and 22b added after page 22), quarto, 24 pagesamericanisation, american culture, australian culture, masculinity, cultural myths, australian values, social attitudes, ussr, asia, california, sidney nolan, alan moorehead, patrick white, donald horne, john anderson, robin boyd, manuscript

Report - six foolscap sheets pinned in the top left hand corner, marked confidential, stencil duplicated, titled "Construction of new tramways and conversion of cable tramways" looking at the financial position of the board and the implications of the conversion of cable tramways and construction of new tramways. Signed by W. O Strangward 8/5/1922. Includes analysis of financing the works, the MMTB's ability top meet operating costs and statutory appropriations, loan repayments, construction of new tramcars, over crowding, reserve funds and alternative methods of undertaking the work and meeting the costs of the work. Refers to the Engineers report.trams, tramways, conversion, mmtb, cable trams, finances, new tramway, track construction

There were numerous events in Kew, held during World War I, to support the War Effort. The 'Our Heroes' Carnival was held in the Kew Recreation Hall [dem. 1960], Wellington Street on the weekend of 9 and 10 August 1918. The event was held to gain financial support for the Lady Mayoresses' Patriotic League. Three press reports [see references] describe or illustrate the event. Organisation of the event was led by the Mayoress, Mrs Wynne, with the assistance of Mrs. H. Dodd and Mr. Hamilton Wilson. Stalls were operated by women selling items donated or created by individuals, organisations or institutions. While the badge is not mentioned in the references, it was clearly able to be purchased as a symbol of support for the event and for the cause for which it raised funds.The badge appropriates cultural symbols for political purposes. It is a rare example of a three-dimensional badge created to support Australian soldiers abroad during WW1. It is unusual in that the inscription is localised to the municipality rather than using a generic label. Badge - Small silvered metal kookaburra standing on a boomerang inscribed in capital letters with the words "Our Heroes Carnival, Kew". The badge has a pin on the reverse."Our Heroes Carnival, Kew"patriotic badges, world war 1, national symbols, cultural appropriation, badges, first world war -- fundraising, kew recreation hall