See reverse of banner
Held By: This large (3.10m x 3.60m) double layered silk taffeta banner is held be the State Library of South Australia.
SLSA Catalogue numbers: D 8824/R & D 8824/V
Artist: James Ashton (1859-1935)
Funded By: South Australian Society of Coachmakers (formed 1883)
Produced: c1886 The Adelaide Observer (Saturday 4 September 1886, p. 34) and South Australian Register (Thursday 2 September 1886, p. 5) carry a description of the first march of this banner in their report of Eight
Hour Day celebrations: The principal attraction of the event was doubtless the gorgeous display of banners, which quite eclipsed the displays of previous years…The new banner of the SA Society of Coachmakers is 12.ft. 6.in. by 10 ft. 6 in. On the front is the emblem of the English and Colonial Societies, with a Latin motto signifying that “after clouds cometh sunshine”. The emblem is a representation of two horses rampant supporting a shield. It contains the South Australian arms, the name of the Society, and the date of its establishment. On the reverse side are two figures typifying “Peace and Plenty”, the motto “United to Assist”, and a large shield with pictures of a landau, buggy, tramcar, and a railway carriage, as specimens of colonial work. There are also four medallions, showing the various branches of the trade – painting, trimming, smithing, and body making. Underneath are views of colonial scenery, with the familiar emu and kangaroo. Over the shield is the South Australian emblem of the rising moon, the name of the Society, and floral emblems. The banner was painted by Mr James Ashton, of Norwood, the total cost being £85
See the front side of this banner
Held By: This large (3.10m x 3.60m) double layered silk taffeta banner is held be the State Library of South Australia.
SLSA Catalogue numbers: D 8824/R & D 8824/V
Artist: James Ashton (1859-1935)
Funded By: South Australian Society of Coachmakers (formed 1883)
Produced: c1886 The Adelaide Observer (Saturday 4 September 1886, p. 34) and South Australian Register (Thursday 2 September 1886, p. 5) carry a description of the first march of this banner in their report of Eight
Hour Day celebrations: The principal attraction of the event was doubtless the gorgeous display of banners, which quite eclipsed the displays of previous years…The new banner of the SA Society of Coachmakers is 12.ft. 6.in. by 10 ft. 6 in. On the front is the emblem of the English and Colonial Societies, with a Latin motto signifying that “after clouds cometh sunshine”. The emblem is a representation of two horses rampant supporting a shield. It contains the South Australian arms, the name of the Society, and the date of its establishment. On the reverse side are two figures typifying “Peace and Plenty”, the motto “United to Assist”, and a large shield with pictures of a landau, buggy, tramcar, and a railway carriage, as specimens of colonial work. There are also four medallions, showing the various branches of the trade – painting, trimming, smithing, and body making. Underneath are views of colonial scenery, with the familiar emu and kangaroo. Over the shield is the South Australian emblem of the rising moon, the name of the Society, and floral emblems. The banner was painted by Mr James Ashton, of Norwood, the total cost being £85
Held By: Maritime Union of Australia
Artist: Elaine Gardner
Funded By: UTLC Peace Banner Project through IYP, Australia Council and SUA
Produced: 1986
The union has long been in the Peace Movement And gave me lots of input…Ron was particularly keen the ‘linked hands’ idea which was transposed into the image of the doves linked in flight, and the use of the sea-sky Background was appropriate to the Seamen’s Union.
I enjoyed working for them probably because they allowed me to use techniques I loved to work with and it seemed appropriate to be making a PEACE banner by a ‘piecing’ method. Elaine Gardner, Artist
PEACE has always been an overriding theme of the Seamen’s Union. It features a one of the slogans on the banner as well. We are very active and involved with the Peace Movement. Ken McLennan, Acting Secretary
Cited in : Modern Trade Union Banners: An exhibition of recently completed SA union banners, Kathie Muir, Union Arts, United Trades & Labor Council of South Australia, August 1987.
Funded by: AEA
Produced: Date unavailable
The Ambulance Employees Association represents the interests of paramedics and related workers. Its actions are also vital for the maintenance of a quality ambulance service.
The AEA flag shows the modern shift from large banners to light, flexible pennants, easily carried on marches and demonstrations.
Loaned by the Ambulance Employees Association of South Australia
(Now part of the Australian Manufacturing Workers Union)
Artist: Zig Moskwa
Funded by: ADSTE
Produced: 1984-87
The design is like a drafting sheet – clean with straight lines – and along with the colours of blue and white seemed to emphasise my impression of the union and its members.
There are few women in the union but I included one working with a CAD CAM computer system as a pointer to the future.
When I was shown around the work places I saw lots and lots of sheets of drawings and graphs etc. (even the Supervisors had their own visual language) and so the background of the banner shows some examples of work that I collected during my tours. Zig Moskwa
Cited in: Modern Trade Union Banners: An exhibition of recently completed SA union banners, Kathie Muir, Union Arts, United Trades & Labor Council of South Australia, August 1987.
Loaned by the Australian Manufacturing Workers Union South Australian Branch
(Now the Australian Manufacturing Workers Union)
Artist: Daphne Stitt
Funded by: AMWU
Produced: 1984-87
I had worked out the essential symbolism of the banner’s design with the Metalworkers and we agreed to use a background of blue overall material for instance, and make images of hot and cold colours to correspond to hot and cold metalwork. The central image of smelting seemed an obvious choice, for without the raw material none of the other occupations could function.
The challenge of meeting all these demands and attempting to express the ethos of so many trades was very satisfying. It is important to me that the Metalworkers are proud of the result, and I love the fact that the banner goes out walking in public – not many artworkers are able to do that. Daphne Stitt
Cited in: Modern Trade Union Banners: An exhibition of recently completed SA union banners, Kathie Muir, Union Arts, United Trades & Labor Council of South Australia, August 1987.
Loaned by the Australian Manufacturing Workers Union SA Branch
(Now part of the Australian Manufacturing Workers Union) Artist: Steve FoxFunded by: UTLC Banner Project and PKIUProduced: 1984-87 Workers in the South Australian printing industry first united in a union in 1874. Reflecting early connections to reformist churches, PKIU members were organised in ‘Chapels’ in each workplace, and the senior union delegate was called the Father or Mother of the Chapel. Loaned by the Australian Manufacturing Workers Union SA Branch
(Now part of the Australian Education Union) Artist: Zig MoskwaFunded by: All Our Working Lives ProjectProduced: 1984-87 At present I am in the process of designing and executing a banner for the South Australian Institute of Teachers. This banner is different from the first in that I’m actively involved with SAIT in designing the banner. I put forward suggestions and they modify the design to suit their purpose, together producing a visual symbol that…will serve to identify and unite the members in their struggles for a better working life. Zig MoskwaCited in: All Our Working Lives: A project by working people documenting their struggles and achievements, co-ordinated by Andrew Hill, Eugenia Hill, United Trades & Labor Council (SA), Working Women’s Centre, Trade Union Training Authority, Community Media Association, Kitchener Press, 1984, p. 108. Loaned by the Australian Education Union SA Branch
(Then Automotive, Food, Metals and Engineering Union.
Now part of the Australian Manufacturing Workers Union)
Funded: AFMEU
Produced: Date unavailable
Produced by women members, this banner emphasises the participation of women in manufacturing industries and in the union.
Loaned by the Australian Manufacturing Workers Union South Australia
(Held by the Construction Forestry, Maritime, Mining & Energy Union South Australia)
Artist: Andrew Hill
Funded by: BTF & All Our Working Lives Project
Produced: 1980
This modern banner celebrates the coming together of unions across building and construction industries to the benefit of all.
Loaned by the Construction, Forestry, Maritime, Mining and Energy Union South Australia
(Held by the Australian Workers Union SA Branch)
Made by: Lykke & Company
Funded by: Union funded
Produced: Early 20th century
Lykke & Co, Signwriters appear to have operated in Port Adelaide and Adelaide from the late 19th century.
Loaned by the Australian Workers Union SA Branch
(Now part of the Communications, Electrical & Plumbing Union)
Artist: George G Aldridge
Funded by: PGEU & UTLC Banner Project
Produced: 1988
Loaned by the Communications, Electrical & Plumbing Union South Australia
Funded by: AWU
Produced: 2008
This tough, weatherproof banner is designed to be used in a variety of settings.
It remains a proud and unifying backdrop for Australian Workers Union events.
Loaned by the Australian Workers Union SA Branch
(Now part of the Australian Workers Union)
Funded by: Union funded
Produced: Date unavailable
A reproduction of an old union banner in lush satin material.
Union aims – Industry, Benevolence, and Friendship – hark back to its founding in 1876. Many unions began as Friendly or Benevolent Societies, providing sickness and funeral benefits. Paid sick leave didn’t exist in the 1800s.
Loaned by the Australian Workers Union SA Branch
(Now part of the Rail, Tram and Bus Industry Union)
Artist: Ann Newmarch
Funded by: AFULE, Community Arts Boards & SA Jubilee 150
Launched: AFULE Centenary, Barossa Junction Function Centre, March 1986
I have always wanted to make the talent and skills I have been lucky enough to develop available to particular groups, especially working people. And to do a banner for a union was an ideal extension of that.
The AFULE wanted a banner to celebrate their centenary and so I had the chance to blend the old and the new, to harmonise the traditional skills and designs of banner making with modern concepts of imagery and construction.
As the design got closer to being finished we invited more and more people to comment and I took care to explain to everyone as much about the technique and craft of the design as I could. Ann Newmarch*
Then Secretary Rex Phillips stressed the banner’s symbolism: The two trains represent those of the era, the 1886 R/Rx Steam Locomotive and 1986 BL Diesel, as do the drivers. The train wheels and driving rods indicate the strength in the union as it strives to protect its members and to improve their working conditions.
*Cited in: Modern Trade Union Banners: An exhibition of recently completed SA union banners, Kathie Muir, Union Arts, United Trades & Labor Council of South Australia, August 1987.
Loaned by the Rail, Tram and Bus Industry Union SA & NT Branch
(Now the Australian Nursing & Midwifery Federation)
Artist: Kathie Muir
Funded by: ANF
Produced: 1993
A modern banner celebrating the wide range of work and settings covered by the union.
The banner provides a proud and inspiring backdrop for union events.
Loaned by the Australian Nursing & Midwifery Federation SA Branch
(Now part of the Communications, Electrical & Plumbing Union)
Artist: Barbara Gilles
Produced: 1989
This banner illustrates major changes in communications technology and work.
Loaned by the Communications, Electrical & Plumbing Union South Australia
Funded by: CPSU
Produced: Date unavailable
This clear and elegant pennant illustrates the current trend to light, portable banners for use as a backdrop at union events.
The Community and Public Sector Union covers employees in a wide range of industries including the Commonwealth public sector, telecommunications, call centres, employment services and science and research.
Loaned by the Community & Public Sector Union South Australia
(now part of the Construction, Forestry, Maritime, Mining and Energy Union)
Artist: Cliff Brownless
Produced: 1980 reproduction banner
Our organisation’s original banner was rediscovered in the old Trades Hall attic when Trades Hall was relocated from Grote Street to South Terrace in 1972.
The president of our union took the banner home and photographed both sides of it for posterity.
Unfortunately the banner went astray, but with the photographs and the services of Cliff Brownless, a builder’s labourer, we were able to obtain a replica of the original banner. We are indebted to Cliff for his time and ability to create a piece of Australian Timber Workers’ Union History. The banner has been carried high and successfully on many marches, rallies and demonstrations since. Trevor Smith
Cited in: All Our Working Lives: A project by working people documenting their struggles and achievements, co-ordinated by Andrew Hill, Eugenia Hill, United Trades & Labor Council (SA), Working Women’s Centre, Trade Union Training Authority, Community Media Association, Kitchener Press, 1984, p. 99.
Loaned by the Construction, Forestry, Maritime, Mining and Energy Union South Australia, Manufacturing Division. Held in the Mount Gambier Office.
(Now part of the Construction, Forestry, Maritime, Mining and Energy Union)
Artist: Andrew Hill
Funded by: All Our Working Lives, UTLC Banner Project and ATWU
Produced: 1984-87
The union executive was most anxious to revive knowledge of its achievements and to consolidate its past and present identity. One of the first steps had been to have a reproduction made of their original 1913 banner which was an exciting thought in the ‘70s. So the idea of a completely new contemporary banner was an exciting thought and there was enormous enthusiasm around its production.
Stylistically it was agreed that the banner should pick up elements from the established banner making tradition – satin edging, scrollwork, vignetting and images of the different work activities the union covers. Andrew Hill
Cited in: Modern Trade Union Banners: An exhibition of recently completed SA union banners, Kathie Muir, Union Arts, United Trades & Labor Council of South Australia, August 1987.
Loaned by the Construction, Forestry, Maritime, Mining and Energy Union South Australia, Manufacturing Division. Held in the Mount Gambier Office.
(Now part of the Construction, Forestry, Maritime, Mining and Energy Union)
Artist: Zig Moskwa
Funded by: All Our Working Lives Project and FTU
Produced: 1984-87
The union itself had a pretty good idea about what they wanted to portray on their banner. It was my job as an artist to collate their ideas and to find a stimulating visual image that the members of the union would be very proud to march under.
We decided to use gum tree flowers which identifies immediately the place of origin of the union. The clusters of flowers and gum nuts and leaves emphasise the idea of the union, of groups of things, people. And of course the gum nuts also symbolise the materials that Furnishing Trades use, the wood – various eucalypts are used in furniture making. Zig Moskwa
Cited in: Modern Trade Union Banners: An exhibition of recently completed SA union banners, Kathie Muir, Union Arts, United Trades & Labor Council of South Australia, August 1987.
Loaned by the Construction, Forestry, Maritime, Mining and Energy Union South Australia
(Held by the United Firefighters Union of South Australia Inc.)
Funded by: UFU SA
Produced: Date unavailable
The United Firefighters Union represents the interests of workers in the South Australian Fire Services sector. Its actions are also vital for the maintenance of a quality, well-resourced firefighting service.
The UFU banner shows the modern shift from large banners to light, flexible pennants, easily carried on marches and demonstrations.
Loaned by the United Firefighters Union of South Australia Inc.
(Now part of the United Workers Union)
Funded by: FMWU
Produced: Date unavailable
The FMWU, affectionately known as the ‘Missos’, represented workers across a wide range of low paid occupations – including cleaners, park rangers, child care and aged care workers and security officers.
This banner recognises the value of these workers to the community.
Loaned by the United Workers Union SA Branch
(Held by the Australian Workers Union SA Branch)
Made by: Lykke & Company
Produced: Early 20th century
Lykke & Co, Signwriters appear to have operated in Port Adelaide and Adelaide from the late 19th century.
Loaned by the Australian Workers Union SA Branch
(Now part of the United Workers Union)
Funded by: AGWA
Produced: Early 1930s
The Australian Government Workers Association was originally known as the South Australian Government General Workers Association, formed in 1906. It covered all state government employees.
In 1981 the AGWA amalgamated with the Federated Miscellaneous Workers Union, making this combined union the largest blue collar union in South Australia at the time.
Cited in: All Our Working Lives: A project by working people documenting their struggles and achievements, co-ordinated by Andrew Hill, Eugenia Hill, United Trades & Labor Council (SA), Working Women’s Centre, Trade Union Training Authority, Community Media Association, Kitchener Press, 1984, p. 105.
Loaned by the United Workers Union SA Branch
(Held by the Transport Workers Union of Australia, SA Branch)
Funded by: TWU
Produced: 1940s
Lovingly hand painted banner with traditional fringed edging.
Loaned by the Transport Workers Union of Australia, SA Branch
(Public Service Association Women’s Committee)
Artist: Pamela Harris
Funded by: All Our Working Lives Project
Produced: 1985
This old banner style contrasts so sharply with the styles that belong to the world of advertising as we currently know it…The banner is a public form of communication, like a poster or a mural. It has its own publicly understood communication conventions and these will vary according to time and place.
The Public Service Association of SA women’s banner has been designed to celebrate the Centenary of the Union and the victories won by women and to publicly declare a positive position held by the women membership…
It has been a valuable experience for all those involved and hopefully the banner will serve the Union membership well. Pamela Harris
Cited in: All Our Working Lives: A project by working people documenting their struggles and achievements, co-ordinated by Andrew Hill, Eugenia Hill, United Trades & Labor Council (SA), Working Women’s Centre, Trade Union Training Authority, Community Media Association, Kitchener Press, 1984, p. 107.
Loaned by the Public Service Association SA
(Now part of the Maritime Union of Australia)
Artists: Mark Thomson, George Aldridge
Knotwork: Ken Irvine
Funded by: UTLC Banner Project and SUA
Produced: 1984-87
When I got a chance to paint the Seamen’s Union banner, I jumped at it. I’ve always admired their gutsy attitude towards political issues – especially peace.
When designing the banner, I felt it was important to keep the old helmsman’s wheel design as it’s so strongly identified with the union. I’m glad they like it. Mark Thomson
Cited in: Modern Trade Union Banners: An exhibition of recently completed SA union banners, Kathie Muir, Union Arts, United Trades & Labor Council of South Australia, August 1987.
Loaned by the Maritime Union of Australia SA Branch
(Now part of the Media, Entertainment and Arts Alliance)
Artist: Mark Thomson
Funded by: All Our Working Lives Project
Produced: 1984-87
When an opportunity came up I jumped at the chance to paint a banner for Actors Equity because I had been directly involved for several years as a ‘scenic artist’ (a set painter) for a local theatre company and for film and opera productions. I had a good idea of what theatre and performance was about, and I also had access to materials and the skills necessary to make the banner. An example of this is the fact that the cloth is an old SA Film Corporation production prop – a sail from the TV mini series ‘Sara Dane’…
I wanted to make a banner that somehow reflected what I perceived about theatre: something about the illusory and real, the show must go on sort of stuff, the tackiness and grime behind the greasepaint… The use of gold paint and fringes is important to this theatre feel. I’ve enjoyed painting this banner. Mark Thomson
Cited in: All Our Working Lives: A project by working people documenting their struggles and achievements, co-ordinated by Andrew Hill, Eugenia Hill, United Trades & Labor Council (SA), Working Women’s Centre, Trade Union Training Authority, Community Media Association, Kitchener Press, 1984, p. 89.
Loaned by the Media, Entertainment and Arts Alliance SA Branch
(Now part of the Finance Sector Union)
Artist: George Aldridge
Funded by: ABEU
Produced: 1984-87
My main task, was the search for various parts, ‘elements’ of the design. Best illustrated by the mention of time spent in dark dungeon-like rooms below the State Bank, in amongst floor to ceiling stacks of bank documents and dust, extracting photos, ledgers, lots of dust and peering inside 100 year old bank safes.
I have always encouraged as much involvement as possible from people I work with and so, in this respect, the exchange and collaboration with both the union and the members was extremely enjoyable. George Aldridge
Cited in: Modern Trade Union Banners: An exhibition of recently completed SA union banners, Kathie Muir, Union Arts, United Trades & Labor Council of South Australia, August 1987.
Loaned by the Finance Sector Union of Australia SA/NT Branch