Showing 115 items matching "post 1953"
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Bendigo Military MuseumAward - RETURNED FROM ACTIVE SERVICE BADGE- POST 1953, Commonwealth Government, Post 1953
... RETURNED FROM ACTIVE SERVICE BADGE- POST 1953...Post 1953...Award RETURNED FROM ACTIVE SERVICE BADGE- POST 1953 Commonwealth Government ...This badge was first issued in 1953 and is identical to a Second World War badge. Part of the Cooper Collection.Bronze 'Returned from Active Service' badge featuring the Tri-Services emblems (Anchor, Wings and Rising Sun) surmounted with a Queen's crown with a boomerang underneath. Text 'RETURNED FROM ACTIVE SERVICE' on boomerang. Two lugs on reverse. A.442442 stamped on back along with makers mark.Stamped on reverse 'A442442'. Embossed on reverse: 'ISSUED BY THE CWLTH GOVT, AMOR, SYDNEY'.cooper collection, badge, returned from active service. -
Australian Commando Association - VictoriaMetal Uniform Embellishments of the Australian Army Post 1953 Volume 1 - Insignia for Corps and Schools, 2017
... Metal Uniform Embellishments of the Australian Army Post 1953 Volume 1 - Insignia for Corps and Schools...Australian Army Post WW2 insignia Soft cover, spiral bound 235 pages Metal Uniform Embellishments of the Australian Army Post 1953 Volume 1 - Insignia for Corps and Schools Corcoran, Mark and Butler, Arthur ...This 236 page, full-colour hard copy reference work, catalogues the metal insignia embellishments used by all Corps and Schools of the Australian Army (including philanthropic organisations), from 1953 through to the present. The book provides images of the front and the back of a given (metal) insignia set for each Corps etc. Each image set depicts the relevant hat badge, collar badges and epaulette title and/or cloth shoulder title applicable. The book's images record three distinctly different 'generations' of insignia manufacturing methods/types, including the: gilt brass and white metal items used in the 1953 to 1964 period; and anodised aluminium 'StayBright' insignia introduced as from 1964[ and 'BriteShine' insignia introduced with effect from 1997 (running through to the present). The full colour photographic images in the book are complimented by written descriptions which cite each item's distinguishing characteristics... including measures of: typical weight, height, width and thickness (at a given point). A discussion of copies and faked items is also provided, including microscope resolution images of 'tell tale' signs to look for. The entries in the book are organised alphabetically and match those used in the Authors' 614 page eBook version of this work (the eBook is a separate edition which provides scalable images of all relevant insignia and many manufacturing variants).The hard copy and electronic editions of this work are able to be used either separately or concurrently, as and when users require. Regards Mark Corcoran & Arthur Butler The Authors charlibravobooks.com Re: Copyright As the original authors we hold the sole copyright authority to sell this work. This item does not infringe on any copyright, trademark and/or intellectual property rights and we hold specific written publication approval from the Australian Defence Force. Soft cover, spiral bound 235 pagesaustralian army, post ww2 insignia -
Australian Commando Association - VictoriaMetal Uniform Embellishments of the Australian Army Post 1953 Volume 2 - Insignia for Units and Regiments
... Metal Uniform Embellishments of the Australian Army Post 1953 Volume 2 - Insignia for Units and Regiments...The entries in this book are organised alphabetically and are consistent with those used in the Authors’ earlier publications (ie. the 614 page eBook version of Volume 1, as well as with the 236 page ‘Concise’ hard copy Editions of Volume 1). australian army insignia post ww2 insignia and badges Metal Uniform Embellishments of the Australian Army Post 1953 Volume 2 - Insignia for Units and Regiments ...This 305 page, full colour hard copy reference work, catalogues the series of metal uniform embellishments used by Units and Regiments of the Australian Army, from 1953 through to the date of publication. The book provides images of the front and the back of a given (metal) insignia set for each Unit or Regiment operating within the Australian Army since 1953 (including abolished formations). Each image set, depicts the relevant hat badge, collar badges and epaulette title and/or cloth shoulder title applicable. The book’s images document at least three distinctly different ‘generations’ of insignia manufacturing methods/types, including the: gilt brass and white metal items used in the 1953 to 1964 period; and anodised aluminium ‘StayBright’ insignia introduced as from 1964 and ‘BriteShine’ insignia introduced with effect from 1997 (running through to today). The full colour photographic images in the book are complimented by written descriptions which cite each item’s distinguishing characteristics… including measures of: typical weight, height, width and thickness (at a given point). A discussion of copies and faked items is also provided, including microscope resolution images of ‘tell tale’ signs to look for. The entries in this book are organised alphabetically and are consistent with those used in the Authors’ earlier publications (ie. the 614 page eBook version of Volume 1, as well as with the 236 page ‘Concise’ hard copy Editions of Volume 1). australian army insignia, post ww2 insignia and badges -
Federation University Historical CollectionDocument - Document - Letter, Ballarat Junior Technical School: Letter from Mr Garner to Mr Mitchell, Post Master, re school visits to the Post Office, 1953
... Ballarat Junior Technical School: Letter from Mr Garner to Mr Mitchell, Post Master, re school visits to the Post Office, 1953...Yellow paper typed Ballarat Junior Technical School: Letter from Mr Garner to Mr Mitchell, Post Master, re school visits to the Post Office, 1953 Document Document - Letter ...Letter of thanks from Mr Garner, Head Master, to Mr Mitchell, Post Master, thanking him and his staff for permitting the boys from the BJTS to visit the office. Mr Watkins and the boys were delighted with what they saw and heard.. Yellow paper typedballarat junior technical school, l garnar, junior technical certificate, head master, mr mitchell, post master, mr watkins, excursion to post office -
Running Rabbits Military Museum operated by the Upwey Belgrave RSL Sub BranchButtons
... ...Post 1953...Running Rabbits Military Museum operated by the Upwey Belgrave RSL Sub Branch 1 Mast Gully Road Upwey melbourne Badge/Buttons Post 1953 RAAF Assorted uniform buttons (Bright brass 8 large, 10 small) Buttons ...Assorted uniform buttons (Bright brass 8 large, 10 small)badge/buttons, post 1953, raaf -
Running Rabbits Military Museum operated by the Upwey Belgrave RSL Sub BranchHat Badge
... ...Post 1953...Running Rabbits Military Museum operated by the Upwey Belgrave RSL Sub Branch 1 Mast Gully Road Upwey melbourne Badge/Buttons Post 1953 Army Hat badge 3rd ( Auckland) Regiment NewZealand Infantry Hat Badge ...Hat badge 3rd ( Auckland) Regiment NewZealand Infantrybadge/buttons, post 1953, army -
Running Rabbits Military Museum operated by the Upwey Belgrave RSL Sub BranchFrankston Post
... Clippings from Frankston Post July 8 1953 "Spring comes to Korea."...Running Rabbits Military Museum operated by the Upwey Belgrave RSL Sub Branch 1 Mast Gully Road Upwey melbourne Picture Korea Army Clippings from Frankston Post July 8 1953 "Spring comes to Korea." Frankston Post ...Clippings from Frankston Post July 8 1953 "Spring comes to Korea."picture, korea, army -
Stawell Historical Society IncPhotograph, Crowlands Railway 1953
... Engine K174 at 148 mile post 16/12/1953 with load of timber...Stawell Historical Society Inc 46 Longfield St Stawell grampians transport railways Engine K174 at 148 mile post 16/12/1953 with load of timber Crowlands Railway 1953 Photograph ...Engine K174 at 148 mile post 16/12/1953 with load of timbertransport, railways -
National Vietnam Veterans Museum (NVVM)Medal - Korea service medal, replica
... Front: AUSTRALIAN GENERAL SERVICE MEDAL/ KOREA Back: POST/ ARMISTICE/ SERVICE/ 1953-1956...This medal was not approved at the time the display was created so was added. medal Korea Keith Payne Payne Front: AUSTRALIAN GENERAL SERVICE MEDAL/ KOREA Back: POST/ ARMISTICE/ SERVICE/ 1953-1956 Round Australian General Service Medal for Korea. tarnished silver on a white, blue and yellow striped ribbon. ...To complete the set of medals in the Keith Payne VC display frame. This medal was not approved at the time the display was created so was added.Round Australian General Service Medal for Korea. tarnished silver on a white, blue and yellow striped ribbon.Front: AUSTRALIAN GENERAL SERVICE MEDAL/ KOREA Back: POST/ ARMISTICE/ SERVICE/ 1953-1956medal, korea, keith payne, payne -
Seaworks Maritime MuseumShip's bell, Ferguson Shipbuilders, TSMV / Wyuna / 1953, 1953
... . - T.S.M.V / WYUNA / 1953. - Post manufacture engraving on the bell hanger -PWC 2364 .... - T.S.M.V / WYUNA / 1953. - Post manufacture engraving on the bell hanger -PWC 2364 A large, heavy brass ships bell. ...The ship was built in 1953 by Ferguson Shipbuilders of Port Glasgow, Scotland for the Port Phillip Sea Pilots organisation (Melbourne)as a pilot cutter. The ship was launched in 16th April 1953 and more information is required on the bell specifically. A large, heavy brass ships bell. This bell is missing it's rope and ringer. The bell is tarnished in keeping with it's age. A broad lip around the bottom. - Engraving on front face of bell. - T.S.M.V / WYUNA / 1953. - Post manufacture engraving on the bell hanger -PWC 2364 -
Bendigo Military MuseumMemorabilia - MEDALLION, MEMORIAL KOREA, Post 1953
... Post 1953 ...Attached to the brochure re Korean War Veterans Memorials Cape Cod, MA..1) Brown, round medallion that is imprinted on front with printing & figure of soldier. Back is imprinted with print & 2 small enamel bars, one blue/white the other white. .2) Korean War Veterans memorial brochure. Front around outside: “FREEDOM IS NOT FREE 1950” Back around outside: “KOREAN WAR VETERANS ASSOCIATION, CAPE COD & ISLANDS” Centre: “KWVA”medallions, korea, 1950.53 -
Bendigo Military MuseumPhotograph - PHOTOGRAPH, THE QUEEN, FRAMED, Post 1953
... Post 1953 ...Large wooden frame, glass front, cream border surrounding photograph portrait of Queen Elizabeth II.passchendaele barracks trust, the queen, her majesty -
Bendigo Military MuseumAward - MEDAL SET KOREA, BADGES & CITATION, Post 1953
... Post 1953 ...4/400062 Lt. Roy Victor Milton. Lieutenant Milton's name and details appear on the Nominal Roll of 3rd Bn RAR for the Battle of Kapyong, 23-24 April, 1951, for which the Presidential Unit Citation was awarded. .1) On dark blue cardboard backing. Top, rectangular shape, blue fabric with gold metal edging, "United States Presidential Distinguished Unit Citation" Centre. "Combat Infantry Badge", metal, oval wreath shape with bayonet. Bottom. Medal set, mounted, set of (2) re R.V.Milton. 1. Korea Medal. 2. United Nations Service Medal with clasp "Korea". Replica not engraved. .2) Document describing the award of "The United States Presidential Distinguished Unit Citation to the 3rd Bn Royal Australian Regiment, battle of Kapyong April 1951". On the left in red square the badge of the RAR. On the right the unit citation award. .1) "4/400062 R.V MIlton"numismatics, medals-military, documents-citations, passchendaele barracks trust -
Tennis AustraliaBook, Post 1953
... Post 1953 ...Book: 'Lawn Tennis'. 239 pages. Hardcover with dustjacket. Edition uncertain (first published 1953). Materials: Paper, Ink, Cardboardtennis -
Tennis AustraliaBook, Post 1953
... Post 1953 ...Book: 'Lawn Tennis', from the series 'British Sports - Past & Present', 241 pages. Hardcover with duskjacket. Clear plastic dustjacket cover. Edition uncertain (first published 1953). Materials: Paper, Ink, Cardboard, Plastictennis -
Ballarat Tramway MuseumDocument - Letter/s, State Electricity Commission of Victoria (SECV), c1953
... From question 2, noting the Coronation week, the letter is post mid 1953. Q & A concern trams decorated for the Coronation, tram services provided on Sunday morning in 1953 that met the train from Melbourne, the size of the Julien storage batteries, date of sale of the Horse tram company to ESCo, the scrapping of trams, tram tickets older than 1934 but did have a folder of old sample ESCo tickets at the office and the address for the Mt Beauty Railway, The paper has a "Invicta Bond" watermark. ...From question 2, noting the Coronation week, the letter is post mid 1953. Q & A concern trams decorated for the Coronation, tram services provided on Sunday morning in 1953 that met the train from Melbourne, the size of the Julien storage batteries, date of sale of the Horse tram company to ESCo, the scrapping of trams, tram tickets older than 1934 but did have a folder of old sample ESCo tickets at the office and the address for the Mt Beauty Railway, The paper has a "Invicta Bond" watermark. ...Yields information about Ballarat tramcars in 1950's.Letter, typed two pages, signed H. W. Linaker as Manager answering questions for Wal Jack. Letter date etc not known as it appears the top half of the first page has been cut off, includes the response to the first question. From question 2, noting the Coronation week, the letter is post mid 1953. Q & A concern trams decorated for the Coronation, tram services provided on Sunday morning in 1953 that met the train from Melbourne, the size of the Julien storage batteries, date of sale of the Horse tram company to ESCo, the scrapping of trams, tram tickets older than 1934 but did have a folder of old sample ESCo tickets at the office and the address for the Mt Beauty Railway, The paper has a "Invicta Bond" watermark. trams, tramways, tramcars, ballarat, decorated trams, sunday services, julien system, battery tram, scrapped trams, tickets, esco, sec -
Bendigo Military MuseumAccessory - GAITORS AND BELT, 3. (Possibly 1953)
... Bendigo Military Museum 37 - 39 Pall Mall Bendigo goldfields Post WW2 CMF Passchendaele barracks trust 1. & 2. Inside is stamped “A. Chaloner” (plus faint written as well). 3. “CGCF ^ (1953 ...1.& 2, Gaitors, webbing. Stained green - two straps - leather. Two brass buckles, old WW2 British pattern. 3. Belt, webbing. Stained green. Size large. Brass Buckles.1. & 2. Inside is stamped “A. Chaloner” (plus faint written as well). 3. “CGCF ^ (1953)”Large.post ww2, cmf, passchendaele barracks trust -
Warrnambool and District Historical Society Inc.Envelope, Bank envelope ANZ, Mid 20th century
... post 1966. The envelopes would have been used in all ANZ banks. The ANZ Bank was formed in 1951 when the Bank of Australasia merged with the Union Bank. The Bank of Australasia was established in Warrnambool in 1854 and in 1953 the Bank of Australasia and the Union Bank closed and the ANZ bank opened in Timor Street. ...post 1966. The envelopes would have been used in all ANZ banks. The ANZ Bank was formed in 1951 when the Bank of Australasia merged with the Union Bank. The Bank of Australasia was established in Warrnambool in 1854 and in 1953 the Bank of Australasia and the Union Bank closed and the ANZ bank opened in Timor Street. ...These enveloped have been used by the A.N.Z. Bank as a convenient way of storing coins. The one containing threepences is pre-decimal currency (1966) and other (five cents) is post 1966. The envelopes would have been used in all ANZ banks. The ANZ Bank was formed in 1951 when the Bank of Australasia merged with the Union Bank. The Bank of Australasia was established in Warrnambool in 1854 and in 1953 the Bank of Australasia and the Union Bank closed and the ANZ bank opened in Timor Street. Today a branch of the ANZ bank is in Liebig Street. These envelopes are of minor interest as examples of the currencies and banking procedures of yesteryear. These are two paper envelopes, glued at the ends, one for holding five cent coins and the other for threepenny coins. They are buff-coloured, with the larger envelope having blue printing and the smaller one having red printing. Larger envelope: ANZ Bank, 5c, value $2, 957-10/76 Smaller envelope: 3d. A.N.Z. Bank anz bank, threepences, warrnambool -
Bendigo Military MuseumUniform - BATTLE DRESS, ARMY, Esquire, 1950 and 1981
... POST WWII: As a member of the British Armed Forces he applied to stay in Australia – the National Archives holds his application form. MARRIAGE: He married Isabel Noel Fulton in 1949, in Vic. AUST. MIL. FORCES: He joined the Aust. Army and served from 1953...POST WWII: As a member of the British Armed Forces he applied to stay in Australia – the National Archives holds his application form. MARRIAGE: He married Isabel Noel Fulton in 1949, in Vic. AUST. MIL. FORCES: He joined the Aust. Army and served from 1953 ...John Bruce MacCathie. POB: Dalkeith, Scotland. DOB: 4 AUG 1923. WWII: He served in the Royal Navy, Service No C/JX340061. POST WWII: As a member of the British Armed Forces he applied to stay in Australia – the National Archives holds his application form. MARRIAGE: He married Isabel Noel Fulton in 1949, in Vic. AUST. MIL. FORCES: He joined the Aust. Army and served from 1953 to 1977. His number then was 35175 in the Royal Aust. Engineers. His last rank was Sergeant. Returned Service League: He spent some time as a member of the Castlemaine Sub Branch. DEATH: He died 28 JUN 2005. His remains are in the Garden of Remembrance, Springvale, VIC. FAMILY: He was survived by his wife Isabel ( dec 2020) and two children. Ribbons 1. 1939-45 Star 2. Atlantic Star with Rosette, 3. Africa Star with Rosette. 4. Italy Star, 5. Defence Medal, 6. War Medal 1939-45, 7. General Service Medal 1962, 8. Long Service and Good Conduct Medal.1. Jacket - Khaki, woollen. On both arms are Sergeants cloth stripes and a cloth badge for Royal Aust. Engineers. It has eight medal ribbons on left breast. 2. Trousers - Khaki, woollen. Zip fly, no cuffs on ankles. 3. Lanyard - cotton, black. Small loop one end, large loop at other end.Written in jacket is “35175 MacCathie” A tag in jacket shows his Navy no. “C/JX340061” - British Navy.post ww2, uniform, winter, passchendaele barracks trust -
Kiewa Valley Historical SocietyPosters - "Tawonga Remembers" x 7, 2016
... 1953 includes 5 B&W photos on black background. 2. Bogong Hotel 4 B&W photos on black background. 3. Bogong Hotel 1970s - 2011 3 B&W photos and 3 coloured photos on black background 4. Tawonga Butter Factory 3 B&W photos on sepia background. 5. Tawonga Store 2 B&W photos on black background. 6. Post...post office, hall and hotel. Activities involved sport, social get togethers eg. dances, fund raising, CWA etc. The posters are a collection of historical photos, documentation and information regarding the history of the town of Tawonga, which is the centre of a farming community in the Kiewa Valley. tawonga photos of early tawonga kiewa valley Tawonga Remembers Posters framed with thin black plastic strip, covered by glass. Each one has a title re 'Tawonga Remembers' and includes print and photos. 1. Tawonga Bowling Club 1953 ...The town of Tawonga is in the Kiewa Valley surrounded by farmland. It is adjacent to Mt Beauty (built from 1946), an SECV town built for the workers on the Kiewa Hydro Electric Scheme which was being constructed from 1911 to 1961. Tawonga consisted of essential amenities including a store, school, Butter factory, sporting facilities, post office, hall and hotel. Activities involved sport, social get togethers eg. dances, fund raising, CWA etc.The posters are a collection of historical photos, documentation and information regarding the history of the town of Tawonga, which is the centre of a farming community in the Kiewa Valley. Posters framed with thin black plastic strip, covered by glass. Each one has a title re 'Tawonga Remembers' and includes print and photos. 1. Tawonga Bowling Club 1953 includes 5 B&W photos on black background. 2. Bogong Hotel 4 B&W photos on black background. 3. Bogong Hotel 1970s - 2011 3 B&W photos and 3 coloured photos on black background 4. Tawonga Butter Factory 3 B&W photos on sepia background. 5. Tawonga Store 2 B&W photos on black background. 6. Post Office 3 B&W photos and 1 coloured photo on sepia background. 7. Debutante Balls held in the Hall 2 B&W photos on sepia background.tawonga, photos of early tawonga, kiewa valley, tawonga remembers -
Bendigo Military MuseumPhotograph - SERVICE WOMAN, RAN, 1953, Bendigo & District RSL Club, Unknown
... post 2011. Exhibition called "Our Service Ladies". Photographs Service Women RAN Exhibition Information details - black ink print. 1. "Our Service Ladies/ Christine FRASER (Clifford)/ HMAS CERBERUS/ 1953" 2. ...Collection of four photographs displayed in a Bendigo District RSL Exhibition post 2011. Exhibition called "Our Service Ladies".1. TO 4. Photographs - enlarged black and white informal portraits on photographic paper of a RAN woman dressed in uniform. Mount - white cardboard with adhesive label on lower edge with printed information. 1. RAN woman with building in background. 2. Group photograph of four RAN women standing together. 3. Informal photograph of woman. 4. Informal portrait of a woman. Information details - black ink print. 1. "Our Service Ladies/ Christine FRASER (Clifford)/ HMAS CERBERUS/ 1953" 2. "Our Service Ladies/Christine FRASER (Clifford)/ (2nd from left)/ HMAS CERBERUS/ 1953". 3. "Our Service Ladies/Christine FRASER (Clifford)/ HMAS CERBERUS/ 1953". 4. "Our Service Ladies/ The Girls Today - 2013/ Christine CLIFFORD (Fraser)/ Secretary/ Ex-Navalmen's Club - Bendigo & District".photographs, service women, ran, exhibition -
4th/19th Prince of Wales's Light Horse Regiment Unit History RoomPhotograph, Col Frank Pearson
... On 1 January 1953 he assumed command of 4th/19th Prince of Walers's Light Horse Regiment, a post he held until the end of 1956. ...On 1 January 1953 he assumed command of 4th/19th Prince of Walers's Light Horse Regiment, a post he held until the end of 1956. ...Francis Charles Pearson was born on 23rd August 1913 in Ballarat. During the course of his long life -he died just before his 96th birthday - he was a successful businessman, notably in the field of air conditioning, as well as a world renown farmer noted for his cattle breeding methods. This was in addition to a meritorious military career. Frank Pearson enlisted as a 16 year old cadet in 6 Field Company, Australian Engineers on 29 Jan 1930., CSM in 1935, he transferred to 2 Field Coy RAE on 1 July 1936. Next, he joined the cadre of 2 AA Searchlight Coy, RAE and was commissioned on 14 Oct 1939. That unit became 53rd AA Coy, providing personnel for 1/54 AA Coy late in 1939. Lt Pearson was was 2IC at this time. When the unit was mobilised on 14 Sep 1940, T/Capt Pearson was appointed OC. Seconded to the AIF on 14 May 1941 he was appointed to raise A Squadron, 2/6 Armoured Regiment, and once that was done, he raised B Squadron. Promoted temporary Major in June 1942 he served with the regiment in Stuart tanks during the difficult operations around Cape Endaiadere and Buna from October 1942 until April 1943. After return to Australia the regiment waited in vain for further operational employment. Frank Pearson was demobilised on 23 October 1945. With the raising of the Citizen Military Forces in 1948, Major Pearson was appointed 2IC 8th/13th Victorian Mounted Rifles. On 1 January 1953 he assumed command of 4th/19th Prince of Walers's Light Horse Regiment, a post he held until the end of 1956. After service in more senior postings he retired with the rank of Colonel on 24 August 1964. From then until just a few years before his passing, Colonel Pearson remained actively involved in the life of his regiment. Following a couple of less successful attempts to do so, he was instrumental in establishing the regimental museum, these days the Unit History Room. Undaunted by a continuing sequence of changing venues it is to his credit that the history of the regiment is not only preserved but readily available to today's members of the unit and the general public. Coloured photo of Colonel Francis (Frank) Pearson OAM ED. Mounted in wooden frame.frank pearson, photographs -
Eltham District Historical Society IncPhotograph - Digital Photograph, Marguerite Marshall, Art Gallery at Clifton Pugh's Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge, 5 February 2008
... post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. ...post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. ...Art Gallery with mural painted by Clifton Pugh (1924-1990) at his Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then / Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p153 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road -
Eltham District Historical Society IncPhotograph - Digital Photograph, Marguerite Marshall, Doorway of Clifton Pugh's former house at Dunmoochin, Barreenong Road, Cottles Bridge, 5 February 2008
... post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. ...post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. ...Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then / Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p155 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road -
The Beechworth Burke MuseumAudio - Oral History, Mr Doug Craig
... Doug gave an account of his younger years as a student at Beechworth in the post war periods of 1959 to 1953, his employment and the culture within companies he worked for, the changes brought by the new drug era, working in the hospital, This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. ...Doug gave an account of his younger years as a student at Beechworth in the post war periods of 1959 to 1953, his employment and the culture within companies he worked for, the changes brought by the new drug era, working in the hospital, This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. ...Doug Craig was born in Beechworth but had lived in Stanley. His parents had been in Stanley since the 1850's. He went to secondary school in Beechworth. His family roots are from France and Scotland. Doug gave an account of his younger years as a student at Beechworth in the post war periods of 1959 to 1953, his employment and the culture within companies he worked for, the changes brought by the new drug era, working in the hospital, This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a unique insight into the day-to-day life of the town's residents during the 20th century, many of which will have now been lost if they had not been preserved.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.beechworth, mental hospital, drugs, burke museum, stanley state, hospitals, hospital patients, cocky's loft, may day hills, may day -
Mission to Seafarers VictoriaLetter - Correspondence, 20/12/1952
... post office 'Returned To Sender From San Francisco Postage Due.' stamp . This is partially obscured by one of the five three-cent postage stamps placed across the top and down the right hand side of the envelope. 'Air Mail' is written diagonally across the lower left hand corner. On the back is a partially legible postmark dated 2 January 1953...post office 'Returned To Sender From San Francisco Postage Due.' stamp . This is partially obscured by one of the five three-cent postage stamps placed across the top and down the right hand side of the envelope. 'Air Mail' is written diagonally across the lower left hand corner. On the back is a partially legible postmark dated 2 January 1953 ...Quinn CollectionA three page letter written on three sheets of unlined, buff-coloured paper (0908.a1-3). Letter is headed 542 Jersey Street, San Francisco, phone AJ 2-0309 and dated 20/12/52. The matching envelope (0908.b) is addressed to Mr Allen [sic] Quinn. It has been re- addressed from C/- Australia House, The Strand, London, England to 8 Gloucester Walk, W8. Written in the top left hand corner is N Cowley, 542 Jersey St. S.F. Calif. Below this is a purple post office 'Returned To Sender From San Francisco Postage Due.' stamp . This is partially obscured by one of the five three-cent postage stamps placed across the top and down the right hand side of the envelope. 'Air Mail' is written diagonally across the lower left hand corner. On the back is a partially legible postmark dated 2 January 1953. The postmark on the front is illegible. Letter commences "Dear Allen [sic]...." and concludes "...Merry Xmas and Happy New Year from Pat, Darline, Allen and Norman your Yavla Swenska Shipmate,"letters-from-abroad, allan quinn, london, norm cowley -
Mission to Seafarers VictoriaLetter - Correspondence, 7/07/1953
... Post Office to commemorate the coronation. Printed in red, to the left of the address, it comprises a spray of four flowers representing Wales, England, Scotland and Ireland above the letters ER. Below that is 1953...Post Office to commemorate the coronation. Printed in red, to the left of the address, it comprises a spray of four flowers representing Wales, England, Scotland and Ireland above the letters ER. Below that is 1953 ...Allan writes of his trip on the Continent and of meeting with Alette in Norway.Quinn CollectionA pale blue self-folding letter (0917.a1) headed London and dated 7/07/53. Letter is written in blue ink. It is addressed to Mrs K Hayes, 14 Fitzroy Street, St Kilda, Victoria, Australia and postmarked London S.W.1. This is a special air letter produced by the Post Office to commemorate the coronation. Printed in red, to the left of the address, it comprises a spray of four flowers representing Wales, England, Scotland and Ireland above the letters ER. Below that is 1953 and the word 'coronation' in white on a red ribbon. The return address is Allan Quinn, C/- Australia House, London. letters-from-abroad, allan quinn, alette andersen, vera south -
Mission to Seafarers VictoriaLetter - Correspondence, 15/07/1953
... Post Office to commemorate the coronation. Printed in red, to the left of the address, it comprises a spray of four flowers representing Wales, England, Scotland and Ireland above the letters ER. Below that is 1953...Post Office to commemorate the coronation. Printed in red, to the left of the address, it comprises a spray of four flowers representing Wales, England, Scotland and Ireland above the letters ER. Below that is 1953 ...Allan is about to leave London and expects to arrive in Australia in six weeks time. His last visit to Albert Hall was to see the musical 'Hiawatha'.Quinn CollectionA pale blue self-folding letter (0918.a1) headed London and dated 15/07/53. Letter is written in blue ink. It is addressed to Mrs K Hayes, 14 Fitzroy Street, St Kilda, Victoria, Australia and postmarked London S.W.1. This is a special air letter produced by the Post Office to commemorate the coronation. Printed in red, to the left of the address, it comprises a spray of four flowers representing Wales, England, Scotland and Ireland above the letters ER. Below that is 1953 and the word 'coronation' in white on a red ribbon. The return address is Allan Quinn, C/- Australia House, London. letters-from-abroad, allan quinn, alette andersen, vera south, albert hall, musical 'hiawatha' -
Mission to Seafarers VictoriaAdministrative record (sub-series) - Annual Reports, Victorian Seamen's Mission, Annual Reports - Victorian Seamen's Mission, 1857 -1905
... Variable dimensions, formats and covers especially post World War Two. please note 1942 to 1953 the title on front cover is, 'Financial Report' but includes general report notes as well. 1958 to 1960 includes additional cover. 1967 cover misprinted as 1968. ...Variable dimensions, formats and covers especially post World War Two. please note 1942 to 1953 the title on front cover is, 'Financial Report' but includes general report notes as well. 1958 to 1960 includes additional cover. 1967 cover misprinted as 1968. ...Victorian Seamen's MissionChronologicalannual-report, victoria-missions-to-seamen, victorian-seamens-mission, melbourne-missions-to-seamen, port-melbourne-seamens-institute, williamstown-sailors-rest, 1906, financial reports, members, rules for members, war memorial fund, administrative document-annual reportannual-report, victoria-missions-to-seamen, victorian-seamens-mission, melbourne-missions-to-seamen, port-melbourne-seamens-institute, williamstown-sailors-rest, 1906, financial reports, members, rules for members, war memorial fund, administrative document-annual report -
Mission to Seafarers VictoriaAdministrative record (sub-series) - Annual Reports, Victorian Missions to Seamen, Annual Reports - The Victoria Missions to Seamen, 1906-1999
... Variable dimensions, formats and covers especially post World War Two. please note 1942 to 1953 the title on front cover is, 'Financial Report' but includes general report notes as well. 1958 to 1960 includes additional cover. 1967 cover misprinted as 1968. ...Variable dimensions, formats and covers especially post World War Two. please note 1942 to 1953 the title on front cover is, 'Financial Report' but includes general report notes as well. 1958 to 1960 includes additional cover. 1967 cover misprinted as 1968. ...The Victoria Missions to SeamenChronologicalannual-report, victoria-missions-to-seamen, victorian-seamens-mission, melbourne-missions-to-seamen, port-melbourne-seamens-institute, williamstown-sailors-rest, 1906, financial reports, members, rules for members, war memorial fund, administrative document-annual report, staff, eventsannual-report, victoria-missions-to-seamen, victorian-seamens-mission, melbourne-missions-to-seamen, port-melbourne-seamens-institute, williamstown-sailors-rest, 1906, financial reports, members, rules for members, war memorial fund, administrative document-annual report, staff, events
