When Norway surrendered in 1940, citizens in overseas locations banded together to form a volunteer force. It was eventually officially recognised and grew to be an effective fighting force in the taking back of Norway.Dark cover magazine with picture of soldier on front with an arctic snow background with several grounded gliders behind him. Arctic scene going over to the back. Contents contain pictures and descriptions of establishment of free Norway Forces and their growth as a viable fighting force.Headed "Arctic War - Norway's Role on the Northern Front."ww2, magazine, norway resistence

"This craft is made by an Eskimo Artisan, living in the Arctic and as such is guaranteed by the Federated Co-operatives of New Quebec which is officially recognized by the Government of Canada and by the Government of the Province of Quebec.Black wool applique quilt with white, blanket stitch edging. Applique motifs of indigenous animals and artefacts in white, beige , green and blue wool.Inuit ( then Eskimo ) lettering under each motif. Label attached "Artisanat" Artisan : Muia Kingalik # 6887

non-fictionkeith oliver, donation

Large white fox collarfurs, costume accessories, arctic fox, women's clothing

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Kathryn Knitwear Colour swatch booklet from 1961. Booklet has navy text printed on a grey background, and opens to reveal two vertical swatch cards made of white card, one on each side of the fold line. Swatch cards have headings printed in capitals in red ink denoting the fibre and series of the below samples. Each swatch card has 15 samples of yarn wrapped around it, and each shade labelled in black ink in capital letters. There is an additional knitted swatch stapled to the top right corner labelled ‘Arctic White’.[Obverse] Robert Blake Pty. Ltd. KATHRYN Shades 1961 [Internal] KATHRYN Shades 1961 ARCTIC WHITE [Left side] WOOL Standard Shades WHITE PINK LEMON BLUE LIPSTICK EMERALD ROSE PINK AQUA ROYAL RED CELTIC TAN KASHA BROWN GREY [Right side] WOOL Fashion Shades MINT WILD RICE GERANIUM PINK LONDON BLUE TREE FERN ANCIENT GOLD ORLON WHITE PINK LEMON BLUE OATMEAL EUCALYPTUS CABER TAN YACHT BLUE REDfabric sample, textile sample, fabric swatch, textile swatch, fashion textile production, textile manufacturing

Invitation from The bendigo Apex Club to Mr and Mrs K Guiney to the 1952 Apex Ball - Arctic Antics Bendigo Town hall 14.6.1952. Proceeds in aid of Free Kindergarten. Blue card with scalloped gold edging.

This item is from the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. By 1886 the Warrnambool Mechanics’ Institute (WMI) had grown to have a Library, Museum and Fine Arts Gallery, with a collection of “… choice productions of art, and valuable specimens in almost every branch and many wonderful national curiosities are now to be seen there, including historic relics of the town and district.” It later included a School of Design. Although it was very well patronised, the lack of financial support led the WMI in 1911 to ask the City Council to take it over. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library as it was then called. When the WMI building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the WMI. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the WMI were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. The Pattison Collection, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institute’s collection. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance. The Universal Geography Vol 5 The North East Atlantic. Islands of the North Atlantic. Scandinavia. European Islands of the Arctic Ocean Russia in Europe. Author: Éllisée Reclus Edited by E.G. Ravenstein Publisher: JS Virtue & Co Label on spine cover with typed text PAT F 910 REC Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Library Front loose endpaper has a stamp from Corangamite Regional Library Service Contents page has a stamp from the Warrnambool Public Museumwarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, great ocean road, the universal geography vol 5, éllisée reclus, e.g. ravenstein

This book was part of a large group of books referred to as the Pattison Collection, which belonged to the Warrnambool Public Library, part of the Warrnambool Mechanics’ Institute. About RALPH ERIC PATTISON and the ‘PATTISON COLLECTION’ The ‘Pattison Collection’ is a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, founded in Warrnambool in 1853. By 1886 the Warrnambool Mechanics’ Institute (WMI) had grown to have a Library, Museum and Fine Arts Gallery, with a collection of “… choice productions of art and valuable specimens in almost every branch and many wonderful national curiosities, are now to be seen there, including historic relics of the town and district.” It later included a School of Design. Although it was very well patronised, the WMI was led to ask the City Council to take it over in 1911 due to a lack of financial support. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Public Library as it was then called. Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up a home in Warrnambool. In 1935 when Pattison accepted the position as City Librarian for the Warrnambool City Council his huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower areas of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave from 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However, he continued to take a very keen interest in the continual development of the Library until his death in 1969. THE NEW WARRNAMBOOL LIBRARY When the WMI building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the WMI. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Pattison. Eventually, the components of the WMI were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. WARRNAMBOOL MECHANICS’ INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853, a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in November 1884 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half-yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860s the Mechanics' Institute struggled as membership waned but in 1866, after a series of fundraising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year Joseph Archibald established a Museum; however, it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established, and in 1885 a new building was built at the back of the Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. In 1887 the Museum section was moved to the former courthouse in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished)). In 1911 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much - loved Institution in Warrnambool until the contents of the Museum and Art Gallery were removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historical books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historical Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library, ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed artworks and some photographs. The Warrnambool Mechanics' Institute Library book collection is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. The Pattison Collection, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institute’s collection. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance. The Voyage of The 'Fox'. The Fate of Sir John Franklin Author: Sir F Leopold M'Clintock Publisher: John Murray, Albemarle Street, London. Publisher to the Admiralty Date: 1881 Further Information: In the Arctic Seas in search of Franklin and his companions. Fifth Edition The label on the spine cover with typed text PAT 919.8 McCL Pastedown front endpaper has a sticker from Warrnambool Mechanics Institute and Free Library covered by a sticker from Corangamite Regional Library Service. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, the voyage of the 'fox'. the fate of sir john franklin, sir f leopold m'clintock

Life Savers were invented in America in 1912 and produced under an agreement in Australia from 1921. The name refers to the fact that the hole in the middle will prevent choking if the sweet is swallowed whole.Life Savers showbag, no content: paper bag with string cord handle, printed in colour; one side showing a roll of Butter Scotch Life Savers and two Scottish children dancing under it; the other, a roll of Pep-O-Mint Life Savers, set against an Arctic background[obverse] 3 PACKETS FOR 1-' EVERYWHERE / BUTTER SCOTCH / LIFE SAVERS / THE CANDY WITH THE HOLE / Also obtainable / in following flavours: / Crystomint - Stick-O-Pep - Orange - Lemon - Lime" [reverse] Cooling Pep-O-Mint Life Savers, the candy mint with the hole / Also obtainable in following flavours: Spear-O-Mint - Assorted floral - Vi-O-Let - Musk - Clove - Thirst - An-O-Sed / 3 packets for 1'- everywhere / [bottom] Wilmers & Gladwin Pty Ltdconfectionery, lifesavers, showbag, commercial

After attending Eton College, Herbert Chermside attended the Royal Military Academy where he graduated at the top of his year and was commissioned in the Royal Engineers in 1870. After several postings and expeditions, including the Arctic in 1873, he was promoted to captain in 1882 and appointed to the British Army's intelligence staff in Egypt and given command of the Egyptian Army's 1st Battalion. He spent four years in Egypt. Promotions and consular appointments followed and eventually he returned to Britain. He was appointed in command of the Curragh Camp in Ireland, 1900. However, he was sent to South Africa to command the 14th brigade and the 3rd division during the Second Boer War. Late 1901 he returned to his position in Ireland and in 1902 he was appointed the first Post-Federation Governor of Queensland, Australia. He announced his retirement in 1904 and returned to Britain. He retired from the Army in 1907. Chermside was awarded the Companion of the Order of the Bath in 1886, Companion of the Order of St Michael and St George in 1880, upgraded to Knight Commander of the Order of St Michael and St George in 1897 and Knight Grand Cross of the Order of St Michael and St George in 1899. Individual image from photographed poster of tobacco and cigarette cards.herbert chermside, royal military academy, commissioned, royal engineers, arctic, egypt, british army intelligence staff, curragh camp, ireland, south africa, second boer war, governor of queensland, companion of the order of the bath, companion of the order of st michael and st george, knight commander of the order of st michael and st george, knight grand cross of the order of st michael and st george

Commander Samuel Stanley Laurie served with the British Royal Navy in five different air squadrons flying from nine different ships and airfields. He saw action in the Mediterranean, Red, and Arabian Seas as well as in the Atlantic, Arctic, Indian, and Pacific Oceans.This album reveals the passion for the Sea and ships.Large stamps album with purple cover and stamps decoration.Written in black ink inside: The stamps in this Stamp Album were collected by Commander Stan Laurie R.N. and donated in 2022 by his family.samuel stanley laurie (1921-2015), royal navy, ww2, stan laurie

Copy of newspaper article 'The Age' 1.3.1973, written by Claudia Wright. Article describes the life and times of Joyce Smith, publican, Shamrock Hotel, Bendigo. Contains photos of Joyce Smith and photo of Joyce on the staircase of the Shamrock, where she is wearing a white arctic fox fur over a formal gown. Joyce was renowned for her diamond rings (six on one finger) and her love for her dachshunds.bendigo, hotel, shamrock hotel

Melbourne looking east from the Rialto Tower 2009 is a sprawling, cinematic view of Melbourne’s CBD. In his Light Cities series, Stephenson explores notions of human and technological achievement against environmental sustainability. The glowing city in Melbourne looking east from the Rialto Tower seems the perfect emblem of our industrialized culture: an extraordinary example of a monumental technological sublime, where awe, beauty, and human aspiration are tinged with potential environmental catastrophe ¬– our engine of modernity seemingly running on empty. Melbourne, in particular, with its bay surrounding the city, makes it highly vulnerable to rising sea levels. Stephenson’s work, therefore, gives further urgency to a close scrutiny of the evolving modern city. Stephenson moved to Australia in 1982 to teach photography at the University of Tasmania School of Art, where he completed his PhD in Fine Art in 2001. He lives and works in Hobart.For more than 30 years, David Stephenson has travelled the globe, producing startlingly beautiful landscapes and cityscapes that illuminate or allude to that which cannot normally be seen. A fascination for the vast in space and time has led him to Europe, the Himalayas, and both the Arctic and Antarctic. He is one of Australia’s most well known and celebrated contemporary photographers with a practice that focuses on the sublime in architecture and in nature.stonnington contemporary art collection, photography, urban, city, industrialisation, modernity, cinematic, environmental, david stephenson, melbourne

Melbourne looking east from the Rialto Tower 2009 is a sprawling, cinematic view of Melbourne’s CBD. In his Light Cities series, Stephenson explores notions of human and technological achievement against environmental sustainability. The glowing city in Melbourne looking east from the Rialto Tower seems the perfect emblem of our industrialized culture: an extraordinary example of a monumental technological sublime, where awe, beauty, and human aspiration are tinged with potential environmental catastrophe ¬– our engine of modernity seemingly running on empty. Melbourne, in particular, with its bay surrounding the city, makes it highly vulnerable to rising sea levels. Stephenson’s work, therefore, gives further urgency to a close scrutiny of the evolving modern city. Stephenson moved to Australia in 1982 to teach photography at the University of Tasmania School of Art, where he completed his PhD in Fine Art in 2001. He lives and works in Hobart.For more than 30 years, David Stephenson has travelled the globe, producing startlingly beautiful landscapes and cityscapes that illuminate or allude to that which cannot normally be seen. A fascination for the vast in space and time has led him to Europe, the Himalayas, and both the Arctic and Antarctic. He is one of Australia’s most well known and celebrated contemporary photographers with a practice that focuses on the sublime in architecture and in nature.stonnington contemporary art collection, photography, urban, city, industrialisation, modernity, cinematic, environmental, melbourne, david stephenson

Melbourne looking east from the Rialto Tower 2009 is a sprawling, cinematic view of Melbourne’s CBD. In his Light Cities series, Stephenson explores notions of human and technological achievement against environmental sustainability. The glowing city in Melbourne looking east from the Rialto Tower seems the perfect emblem of our industrialized culture: an extraordinary example of a monumental technological sublime, where awe, beauty, and human aspiration are tinged with potential environmental catastrophe ¬– our engine of modernity seemingly running on empty. Melbourne, in particular, with its bay surrounding the city, makes it highly vulnerable to rising sea levels. Stephenson’s work, therefore, gives further urgency to a close scrutiny of the evolving modern city. Stephenson moved to Australia in 1982 to teach photography at the University of Tasmania School of Art, where he completed his PhD in Fine Art in 2001. He lives and works in Hobart.For more than 30 years, David Stephenson has travelled the globe, producing startlingly beautiful landscapes and cityscapes that illuminate or allude to that which cannot normally be seen. A fascination for the vast in space and time has led him to Europe, the Himalayas, and both the Arctic and Antarctic. He is one of Australia’s most well known and celebrated contemporary photographers with a practice that focuses on the sublime in architecture and in nature.stonnington contemporary art collection, urban, city, industrialisation, modernity, cinematic, environmental, melbourne, david stephenson

Miniature Medals, all original, court mounted. 1. USA - US Coast Expert Pistol Shot Medal. 2. USA - US Coast Expert Rifleman Medal. 3. USA - US Coast Guard Arctic Service Medal. 4. USA - US Coast Guard Reserve Good Conduct Medal. 5. USA - US Coast Guard Good Conduct Medal. 6. USA - US Coast Guard Good Conduct Medal. 585to590, bob english collection, passchendaele barracks trust

Melbourne-based artist Wendy Black works across screenprinting, painting and drawing. The 1980s saw a rise in campaigns for Antarctica to be designated a World Park to ensure the ongoing protection of its natural resources and its continuation as a peace zone. Black’s screenprint, featuring seals and penguins set against an Arctic icecap, captures the looming threat to the precious flora and fauna of the continent. Text in the lower corner describes Black’s collaboration with the Antarctic and Southern Ocean coalition for which this poster was likely made. Donated by the artist

Book. ALEC H CHISHOLM COLLECTION. 308 page hardcover book of the journeys by the arctic explorer Vilhjalmur Stefansson. Illustrated with B & W photos and maps. Forewords by H.F. Osborn and R. W. Brock. Published in 1924 by George G. Harrap & Co, London. Printed in Great Britain by Unwin Bros. Ltd. Catalogue sticker '2142 STE' on spine. Handwritten in ink on flyleaf ''To Alec H Chisholm with pleasant remembrances of an afternoon at the Burrellls with the platypus from Vilhjalmur Stefansson Sydney August 8 1924''. Pasted inside front cover is a newspaper obituary to V. Stefansson from the Sydney Morning Herald 28-8-1962.Vilhjalmur Stefanssonbooks, collections, ethnology, alec h chisholm collection, vilhjalmur stefansson, arctic explorer, eskimos, ethnology

201 pages with black and white illustrations; notes, bibliography, index.non-fictionyachties, dominion yachtsmen scheme, royal navy, ww2

Dr Lisa ANDERSON (1958- ) Dr Anderson’s research questions environmental issues that impact on the social structures of communities and their mapped or metaphysical borders. She develops projects around ways of understanding the effects of climate change. These include work with folklore, legends and religions that tell stories of coping with weather, forced migration of animals and people and coping with difference. She has undertaken international residency programs and exhibitions in the Arctic, Iceland, Paris, Norway, London and China, and she was the first Artist in Residence at the Australian Museum. These unique opportunities continue an extensive art practice of installation work, video, photography and sculpture. Anderson has an extensive record of exhibitions in Australia and overseas with work included in both private and corporate collections. Her exhibitions include Journeys: Due North, a large installation work that includes work created over a 10-year period of engagement in expedition and science work North of the Arctic Circle. Beneath the Beauty of Architecture, an exhibition at her London Gallery, Bicha, used images created in China, Nunuvut Territory in Canada and the Antarctic while working with the migration stories of survival. Dr Anderson has created many large scale artworks that challenge notions of occupation of the City, including Writing the City, a three-year program of installation works to shift the use of Sydney to being a city of public space in its pre-Olympic development. Singing up Stones celebrated the people who created and use the Opera House and the Quay for performance and ideas. This included the first image projection onto the Sydney Opera House, a projection onto the Sydney Harbour Bridge and a ballet of cruise liners with the sound simulcast on the local radio station. Two digital prints with acrylic on metal and bullet holes. This work is the result of research on the hidden voice of landscape undertaken by Dr Lisa Anderson while an Honorary Professor at Federation University Australia. lisa anderson, available

The Snowy owl is a large and powerful bird. It is one of the largest species of owl, and in North America, it is on average the heaviest owl species. The adult male is virtually pure white, but females and young birds have some dark spots; the young are heavily barred, and dark spotting may even predominate. Thick plumage, heavily feathered taloned feet, and coloration render the Snowy owl well-adapted for life north of the Arctic Circle. This Snowy Owl example is slightly discoloured and in real life the Snowy Owl displays much more brilliant white feathers. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Snowy Owl adult male is virtually pure white with brown spot markings and a pale brownish wash. It has thick plumage and heavily feathered taloned feet. This specimen stands upon a wooden platform and has an identification tag tied around its leg.Swing tag: [torn] snowy owl / See catalogue, page 54 / Metal tag: 4054 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, owl, snowy owl, arctic circle

A harpoon is a long spear-like instrument used in fishing, whaling, sealing and other marine hunting to catch large fish or marine mammals such as whales. It accomplishes this task by impaling the target animal and securing it with barb or toggling claws, allowing the fishermen to use a rope or chain attached to the projectile to catch the animal. The earliest known harpoons, have been recorded as having been made and used 90,000 years ago. In the early whaling industry the two flue harpoon was the primary weapon used around the world. This two fluke harpoon tended to penetrate no deeper than the soft outer layer of a whales blubber. Thus it was often possible for the whale to escape by struggling or swimming away forcefully enough to pull the shallowly embedded barbs out backwards. This flaw was corrected in the early nineteenth century with the creation of the one fluke harpoon. By removing one of the flukes, the head of the harpoon was narrowed, making it easier for it to penetrate deep enough to hold fast. In the Arctic, the indigenous people used the more advanced toggling harpoon design and by the mid-19th century, the toggling harpoon was adapted by Lewis Temple, using iron. The Temple toggle was widely used, and quickly came to dominate the whaling industry around the world.A hand forged harpoon demonstrating the blacksmiths art for fashioning an item used during the early 19th century in the significant industry of whaling. Used during a time when the world depended on the natural resources derived from whales, oil for lighting, lubrication, margarine, candles, soaps and cosmetics as well as the use of the whales bones for various other items such as corsets, umbrellas,fertiliser and animal feed. The item is significant as it was probably made between 1820-1850 after which a single fluke and toggle harpoon began to be use extensively in the whaling industry. Also coming in to general use was a black powder gun to fire the harpoon rather than the early type that had to be manually thrown by a mariner from a row boat of which the subject item is an example.Hand forged double fluke steel whaling harpoon with an arrowhead tip atop a square shank that tapers to a narrow round shaft with a split metal cone to accommodate a wooden harpoon pole.Noneharpoon, whaling, whaling harpoon, fishing industry, whales, flukes, lewis temple, marine technology, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road

Carpet samples created by Godfrey Hirst, a carpet mill whose history spans back to 1865 when the Victorian Woollen and Cloth Manufacturing Company began operations in Geelong and was purchased in the 1890s by the man Godfrey Hirst. Godfrey Hirst’s entrepreneurial skills and knowledge of the industry led to the great success which saw the company expand in multiple forms over the next century and a half. Today, thousands of metres of carpet are produced by Godfrey Hirst every day, and their flooring can be found in millions of homes. These 6 carpet samples date from the early 1990s and each have a unique colour pattern and design.Each carpet sample is made with a pile fibre that is 100% wool. The primary backing of the carpet is a woven polypropylene with a secondary backing a woven jute. Carpet 8102.1's colour name is Slate. It has a dark grey background with a red and blue diagonal stripe. The pattern repeats in a 10cm x 11.5cm block. Carpet 8102.2’s colour name is Terracotta. It is a mostly block pink colour with no repeating pattern. It has occasional flicks of grey. Carpet 8102.3’s colour name is Arctic Night. It has white, light blue and grey colours repeating one after another in a diagonal line. Carpet 8102.4’s colour name is Ivory. It has a brown background with a cream colour diamond. The pattern repeats in a 15cm x 15cm block. Carpet 8102.5’s colour name is Glenwood. It has a thin darker green and lighter green horizontal stripe spanning its entire width. These stripes repeat the height of the carpet. Carpet 8105.6’s colour name is also Ivory. It has a brown background with a cream colour leaf pattern. The pattern repeats in a 92cm x 92cm block.Wording on rear: Numerous. See Media.godfrey hirst, carpet, textile manufacture

Robert Ulmann was born in Zurich, Switzerland, where he studied sculpture and painting, exhibiting annually with the National Art Society of Switzerland and in Paris, Munich and Stockholm. He migrated to Canada in 1956 and became a Canadian citizen. After working on the restoration of sculpture on the west wing of the Parliament Buildings Ottawa, he took up a Government appointment as one of six artist advisers to the Eskimos, initiating handicraft and sculpture programs in isolated settlements across the Central Arctic. He arrived in Australia with his Australian wife, Helen, in 1969, after two adventurous years backpacking and sketching through the United States, Central and South America and the South Pacific. From 1970 to 1972 he was employed by the Northern Territory Administration as a manual arts instructor to the aboriginal people of Docker River, a remote settlement west of Ayers Rock. A series of drawings from this period was exhibited by the Department of the Interior in Canberra, Sydney and Adelaide. Robert Ulmann’s paintings and prints of wildlife from Australia and overseas fill a beautiful studio overlooking the famous Logans Beach whale nursery at Warrnambool in the Western District of Victoria. His previous studio and home, together with 13 years of field sketches and his best work collected together for two books were destroyed by the Ash Wednesday fires at Naringal in 1983. Rob exhibited in Sydney, Melbourne, Adelaide and Perth as well as in the Regional Galleries of Warrnambool, Ballarat, Portland and Horsham, and, among numerous prizes, he won the award for watercolour at six of the annual exhibitions of the Wildlife Art Society of Australasia, between 1978 and 1983. Although his principal interest was in drawing and painting, he retained a fascination with sculpture. His works range from two stone fountains with figures commissioned by the City of Zurich, while he was still a student, to a 4 ½ ton sculpture in bluestone commissioned in 1977 as a memorial to Sir Fletcher Jones., a five metre representation of whale tails in steel, and a life-size bronze of St. John of God commissioned for a private hospital.Image of a goat beginning to rise from a seated position, possible struggling out of mud. Painted in yellow and brown tones, with blue shadows. Earth colours form a rough ground area surrounding the goat. A brown wash provides a cursory background behind the goat's head. Dark cream matt surrounds image. Gold painted wooden frame, with glass.Front: Robert Ulmann (lower centre, paint) Back: (no inscriptions)

This book tells of the mounting sea power of the Allies told by men of the RAN who with their ships have added the weight of their blows to the common effort. It tells stories of which the Royal Australian Navy may be proud.This volume is a further unfolding of the story of WWII which because of its nature as a world wide conflict, is so largely the story of sea power and its influence on the final outcome HMAS MK III - The RAN's Third Book. Green hardcover with black text and Navy insignia on front cover, text on spine. Inside front and back cover green sepia drawing of a fleet of Navy ships. Graphs, drawings, photographs, maps, poems.Tribute - Grey she is and stately Young alive and shapely Lissome, yes, and graceful, With perfect lines of elegance and dignity Her noble, lovely head She nods and shakes, With confidence to face Whatever may come. She nurses me And nourishes; Shields me, gives me courage. Alone I have been with her, when afraid. And in a crowd of friends, both hers and mine. Through conflict tense, with element or foe; through danger from above and from below. Through anguish keen Of loss, of death, of pain. Through gaiety, through joy victorious and safe She is my life, my only love, My ship.wwii, royal australian navy, sea power, germans, europe, japanese, communications, rear admiral v.a.c. crutchley, v.c., d.s.c, destroyers, corvettes, frigates, escort duties, motor launches, aircraft carriers, battleships, battle cruisers, cruises, armed merchant cruisers, sloops, submarine sweepers, mediterranean, warspite, valiant, pacific, american forces, dneiper bend, solomon islands, makin, tarawa, h.m.a australia, h.m.a shropshire, h.m.a arunta, h.m.a warramunga, h.m.a.s westralia, arctic, h.m. jamaica, h.m.saumarez, u.s. marines, h.m.a.s benalla, h.m.a.s shepparton, royal australian navy reserves

Bob Rust was born in Poplar, London in 1823. He became a merchant seaman and all of his "Certificates of Discharge" (except the first one) show him working out of the London docks. The certificates document his career as an "Able Seaman" between the years 1845 to 1852. He worked on the following ships - Jan 25th - March 22nd, 1845 - schooner "Sisters" out of Hull. 14th July - 30th Nov 1845 - "Caleb Angus" - Port of London to West India Dock, London. 12th Dec 1845 - 14th June 1846 - "Caleb Angus" - Port of London to West India Dock, London. April - 16th Oct 1847 - barque "James Turcan" - discharged at Antwerp. It was noted by Mr Mills (Master) "his conduct was to my entire satisfaction. He is a sober, steady man" 25th Oct - 18th Dec 1847 - Brig "Eclipse" - Port of London. Dec 1847 - Nov 1848 - "Cecrops" - London to Cardiff to Cuba and discharged at West India Dock, London. 2nd Dec 1848 - 9th Feb 1850 (15 months) - "Enterprise" - discharged London. Nb - this was not the "Enterprise" used by John Pascoe Fawkner to enter the Yarra in 1835 or the "Enterprise" that sank in Lady Bay, Warrnambool in 1850 and it was not the "Enterprise" belonging to the British Navy which was used to search for Sir John Franklin's lost expedition and later made two Arctic voyages. It is not noted where Bob Rust sailed to on this voyage, but his Master noted on his certificate that "the bearer is an excellent seaman and a good sail maker". 3rd April - 20th Oct 1850 - brig "Thames" - London to London via Trieste. 30th Oct 1850 - 10th May 1851 - "Elizabeth". 9th June - 10th Nov 1851 - "Lady Rowena" - to Alexandria. 23rd Nov 1851 - 17th May 1852 - "Thames" - Mediterranean voyage to Trieste. Bob Rust was an early settler in Warrnambool. He came to Warrnambool, Australia sometime between May 1852 and 1856 where he was recorded in the Electoral Roll, as a labourer, living in Henna Street. According to family history, he "jumped ship" at Port Fairy (then Belfast) as there are no records of him officially arriving in Australia. His picture and details are recorded in "The Pioneers' Register, Warrnambool Township and Shire 1839-1900 Volume Two". He married Sarah Ann Twaits in 1865 and they had seven children. His wife died in 1876 following the birth of their last child. He doesn't appear to have ever worked as a seafarer once he arrived in Warrnambool but is only recorded as working as a labourer and chimney sweep and (in the 1880's) operating as a "General Storekeeper" and "Produce Merchant" (frequently advertising in the Warrnambool Standard for items such as potatoes, oats and dairy produce from his Henna Street premises). He continued to live in Henna Street until his death on 15th January 1906 aged 82 years. English maritime discharge certificates evolved from simple proof of release in the 1700's to become official service records in the mid 1800's. They were issued at the end of a voyage to confirm a sailor had been released from duty and paid. The Merchant Shipping Act of 1835 introduced the formal registration of British seamen, to allow the Government (Board of Trade) to identify individual seamen for the Royal Naval Reserve. Seafarers who registered were issued with tickets which contained some personal details including name, date and place of birth. As the registration system evolved over time, each merchant seafarer was allocated a unique number which would be retained during their time of service at sea. Bob Rust's number was 27914. It also documented the name of the ship (for each voyage), its tonnage, master and date and place of discharge. Early certificates had separate notes re the seaman's conduct or character but after the early 1850's, these became part of the discharge certificate. This collection of "Certificates of Discharge" include those from the late 1840's (which were smaller in size), several handwritten character references as well as some examples of the newer forms of the early 1850's.Theses certificates are significant examples of the legal paperwork generated by the British government in the day-to-day regulation of working seamen in the late 19th century. They are also significant as they document the career of a working seaman at that time.This is a set of twelve "Certificates of Discharge", two handwritten character descriptions and two "Certificates of Character" issued to Able Seaman Bob Rust primarily between the years 1845 and 1852. They have been issued by the Masters of the ships Bob Rust had sailed on, at the completion of each voyage. They differ slightly in size and layout but most follow a similar format in documenting the name of the seaman (Bob Rust), his ticket number (24696), the name of the ship and its tonnage, the port of departure and discharge (e.g. West India Docks London) and the date of the voyage. Some later certificates also describe the destination of the voyage (e.g. Mediterranean). Two of the documents are handwritten notes by the master of the ship certifying as to the conduct of the seaman and two later documents (from 1851 and 1852) are "Certificates of Character" - completed and signed by the Master on the termination of the voyage. Example of Certificate from 1845 - 1850 - "Certificate of Discharge. Schedule E, 7 & 8 Victoria, c.112. This is to certify, that Robert Rust/ whose Register Ticket is numbered 24696 served as Able Seaman/ on Board the Caleb Angus of the Port of London / of the Burden of 303 Tons, from the 14th day of July to the 30th / day of Nov 1845 and that he was discharged from the said ship on 30th /Nov 1845 at West India Docks London Dated this 3 day of December 1845" Mr Whittle MASTER. Example of handwritten character note - "This is to certify that the/ bearer Robert Rust sailor in the barque/ James Turcan, under my command as able / seaman six months during which time / his conduct was to my entire satisfaction / he is a sober steady man. W B. Mills Antwerp 20th October 1847"flagstaff hill maritime museum and village, shipwreck coast, warrnambool, certificate of discharge, certificate of character, robert rust, bob rust, seaman's certificate of discharge, sisters, caleb angus, james turcan, eclipse, cecrops, enterprise, brig thames, elizabeth, lady rowena, warrnambool pioneer, sarah ann twaits