COPY OF PHOTOGRAPH OF JOHN LEWIS MANAGER OF THE NEW NORTH CLUNES MINING COMPANY. ALSO COPY OF PHOTOGRAPH OF NEW NORTH CLUNES MINE WITH MINERS IN FOREGROUND COPIES OF JOHN LEWIS AND THE NEW NORTH CLUNES MINE FRAMED AND HANGING IN THE GOLD ROOMlocal history, photography, photographs, lewis, john, mining

The first Palais dance theatre in Warrnambool was established in the Hotel Mansions on the corner of Kepler and Koroit Streets. When the hotel was destroyed by fire in 1929 the Palais was moved to the Oddfellows Hall in Koroit Street operating as a cinema. In 1939 the area in the Oddfellows Hall was converted into a dance floor, a skating rink and a squash court. The Palais dance hall continued until 1974. It had been a major entertainment venue in Warrnambool featuring many well known bands and singers over the years. This photograph is a fine memento of a most important entertainment venue in Warrnambool in the second half of the 20th century.A colour photograph of the interior of a dance hall showing the dance space, the lighting and the alcoves. The photograph is in two sections placed together. It is mounted on a yellow cardboard mount with a cut-out, printed name in cursive script. The black frame is made of composite material. A glass covering is over the photograph. On the back is a wire attachment for the hanging of the frame. There are crease and scratch markings in the bottom of the photograph.Palais de Dansepalais de danse warrnambool, the palais warrnambool, interior of the palais warrnambool, dance hall warrnambool, warrnambool

WW2, H.M.A.S. WhyallaWW2, H.M.A.S. Whyalla painting1. Painting of H.M.A.S. Whyalla on survey duty off New Guinea in 1944 , framed in glass and wooden frame. 2. Separate small framed statement of the painting with details of the action being under-taken by H.M.A.S. Whyalla. hanging from the paniting frame middle/centre.H.M.A.S. Whyalla In 1944, while on survey duty off New Guinea, in preparation for a landing by infantry, H.M.A.S. Whyalla was attacked by by Japanese aircraft. This is a portrayal of the attack, painted by a member of the crew it was presented to Lara R.S.L. in March 1981 by Lindsay Dunsmuir, also a member of the crew. Artist name B. Andeasenww2, lindsay d. dunsmuir,, 1944

Original owner Graham John HAINES R94437, PORS - Petty Officer Radio Supervisor, RAN Comms, Vietnam & FESR..1) Framed painting by disabled artist in Hong Kong. Coloured painting of HMAS Yarra on black background. Tan wooden frame, cream border, glass front. Cardboard backing with wire hanging strap. .2) Framed painting by disabled artist in Hong Kong. Coloured painting of HMAS Parramatta a on black background. Tan wooden frame, cream border, glass front. Cardboard backing with white cord hanging strap..1) Printed at top: “HMAS YARRA” Emblem RHS: “RAN FAR EAST FLEET HUNT AND STRIKE” Printed bottom RHS: “HONG KONG 1966” .2) Printed at top: “HMAS PARRAMATTA” Emblem RHS: “RAN FAR EAST FLEET STRIKE DEEP” Printed bottom RHS: “HONG KONG 1968” painting, hmas, hong kong

Poster: Reproduction of a tourism advertising poster for a railway company's service to Monte Carlo. Poster depicts a man and woman holding tennis racquets in foreground looking over a scene of tennis courts, beach and ocean. Text in image states: 'PLM/ROGER BRODERS/MONTE CARLO'. Frame has horizontal hanging wire and framers sticker on backing. Number '180' handwritten on backing. Materials: Ink, Paper, Metal, Woodtennis

Hand-stitched tapestry by Monica Baker in 2001. Tapestry represents part of the family history of working in the wool industry as owners of a sheep property for five generations. The family ran Corriedale sheep in Lismore, Victoria.Brown timber framed woollen tapestry with cream mounting board. Tapestry is handstitched and features various colours. Scene depicts four men and a woman in a shearing shed. Two of the men are handling sheep, one man is weighing a fleece while the last man and woman look on. Back of frame has a horizontal hanging wire, a framers stamp at the bottom centre and a handwritten creators name and date at the top right corner.Back: [handwritten] "WEIGHING THE FLEECE" / BY MONICA BAKER / 02/03/01lismore, sheep breeding, tapestry, monica baker, shearing, hand made, corriedale

Colour Poster: 'Billie Jean King vs. Bobby Riggs'; featuring graphic-style head-and-shoulder portraits of King and Riggs, and, below this, both players playing tennis. Around top and right edge of poster in yellow bold type is text: 'BILLIE JEAN KING VS. BOBBY RIGGS/ASTRODOME/SEPTEMBER 20, 1973'. Black metal frame with horizontal hanging wire and framer's sticker on backing. Materials: Ink, Paper, Plastic, Metaltennis

Framed and glazed photograph of cable tram set, trailer 233, at the Victoria St Terminus, c1900. Has a factory and water tank in the background. Cable tram dummy is loaded with gentlemen and there is a paper boy in front of the trailer. Print mounted onto a wooden chip board and sealed with brown tape around the edges. Two screwed frame hanging supports on either side with one run of string between them. Frame - brown and gold with a buff and black line framed around the photograph. Print has the title "Cable Tram and Dummy - 1890 - 1900".On rear in ink at the top - "Donated to Hawthorn Tram Museum Feb. 19th 2012 Ron Scholten"trams, tramways, melbourne, victoria st, cable trams, tram 233

Framed and glazed photograph of the corner of Collins and Elizabeth Streets Melbourne, looking North East. Wooden frame, brown and gold lining, green card cut to present photograph, with title ""Corner of Collins and Elizabeth St, Melbourne, Australia 1903". Has been lined with brown paper on rear. Two screwed frame hanging supports on either side with four runs of string between them. Has Post Office, Town Hall and Scots Church Towers in the view. One cable car set and one motorised car along with many horse drawn vehicles. Has signed buildings for: Falk Carter & Verner City Hotel M.A Alexander R.H. Alston Blitz's DentistOn rear in black felt pen "$N/XX" and "1997"trams, tramways, melbourne, collins st, cable trams, elizabeth st

Framed photograph of Ron Scholten driving No. 601, during the 1990's? on a route 7, South Melbourne depot tram. Tram has an advertisements for John Ould Motors on the front dash panel. Photo by John Phillips. Framed in a wooden black frame with a think gold stripe, paper rear cover with a cotton hanging strip stapled in. Frame by Malvern Framing Gallery, 261 Glenferrie Road, Malvern, Vic 3144 with a 7 digit phone number - has the company sticker on the bottom of the frame on the rear.On top left of rear "Photo John Phillips" in pencil.trams, tramways, drivers, south melbourne depot, tram 601

Cream painted stand with a moving sprung table top attached. On top of the table sits a woven cane basket with a wooden base. The top edge of the basket is is plaited cane and painted gold. The other cane is painted white. It is lined with a piece of white towelling on which the baby would lie. Attached on the side of the base is a notched metal bar which has a sliding metal weight so the bar will balance. It is marked with 2, 4, 6, 8 etc up to 30 lb and a smaller upper bar measures ounces. There is a framed pamphlet hanging above the scales with instructions for using the scales.Ounce measures 0, 4, 8, 12, 1 (pound) Made in Germany 24767. Triangle shape with the word Seca inside

Dr Liam Hugh Wright was the first President of the RNZCOG, between 1982 and 1984.Head and shoulder portrait photograph of a man. The man is wearing an academic cap and gown, with a wide purple sash running around the collar of the gown. The man has grey hair, which is visible on the sides of his head, and is wearing a grey suit jacket, white shirt, and a tie with a dark coloured pattern beneath the robe. I set of vertical blinds is visible in the background. The photograph is framed in a dark coloured wooden frame with gold trim on the inner edge, surrounding the image. Handwritten text at top centre on the back of the frame reads 'MR LIAM WRIGHT/PRESIDENT RNZCOG'. A length of cord and two circular fittings have been attached to the back of the frame for hanging.

Winner of the 175th Anniversary of Edward Henty landing at Portland, Acquisitive Art Prize.Gouache on paper depiction of Edward Henty's arrival at Portland Bay. Cream coloured mat board. Light coloured wooden frame. Wire hanging cord. A colourful border depicting native animals as well as other items such as a steam train, shovel, cartwheels surrounds an image of the coastline. Each corner of the border shows a sailing ship. In the foreground are two Indigenous Australians seated on the floor surrounded by bushland. To the left stands a man in European clothing - green trousers and a striped top. He is ankle deep in the water. Behind him are two baskets which he holds with a chain. Behind that are two sheep. Top left is a parchment which says, Thistle the Pioneer, Nov 19th 1834.Front: Back - 'Jennifer McCarthy Edward Henty - Arrival 2009' - Brown texta Also framers sticker1834, the thistle, henty, colonial, portland bay

William Smellie (1697-1763) was a Scottish obstetrician who primarily practised and taught in London. Smellie was groundbreaking in his understanding of childbirth and became an influential teacher of obstetrics. He diligently studied the birthing process, particularly the descent of the baby’s head down the birth canal. His observations lead to him noting that many deaths occurred because of a lack of understanding of this process and the inappropriate handling of forceps. Smellie is generally given the credit for improving the forceps to make them easier to use and less likely to damage the baby. Smellie’s "Treatise on the Theory and Practice of Midwifery" was published In 1751 and became a widely influential teaching resource. Copies of this birth atlas are held in the Frank Forster Library, RANZCOG. The RANZCOG collection also holds a set of forceps supposedly used by William Smellie.Photographic of an engraving. Image depicts a man in silken clothing, including scarf/tie and turban. The image is a head and shoulders portrait, and the subject is facing the artist. The man has stubble on his cheeks and dark coloured eyebrows. Text printed below image reads 'W.S. M.D. Aged 56'. Handwritten inscription below printed text reads 'Wm. Smellie, aged 56'. The image is mounted in white card and housed in a black wooden frame. An old display label is affixed to the bottom left hand corner of the back of the object. Handwritten inscription at centre on the back of the work reads 'John Green Room/Presented by Frank Forster, 1975'. Two hooks and a wire are attached to the back of the frame for hanging.

Robert Lawson Tait (1845-1899) was a Scottish doctor and surgeon instrumental in the development of gynaecology as a field during the 19th century. Tait has been credited "with introducing a number of gynecologic surgeries, or surgeries related to women’s reproductive health. Those included procedures for treating abscesses, removing ovaries, and fallopian tubes, and treatment of the gallbladder." He also "argued for strict cleanliness during surgery as well as a more specific focus on performing surgeries to treat diseases of the female reproductive system. Tait’s surgical techniques and advocacy not only aided in the development of hygiene in surgery, increasing patient survival, but also helped develop the field of gynecology, which contributed to a centralized focus on the health of the female reproductive system." (Arizona State University, Embryo Project Encyclopedia)Black and white reproduction of a portrait photograph. Photograph is of a man in a dark coloured three-piece suit, with a white shirt and striped tie. The man has mutton chop sideburns and long, dark hair, which is parted about his right eye. The man is looking to camera right. The image is in an oval cutout on a white background. Handwritten reproduction of signature beneath the photograph reads 'Lawson Tait/1891'. The photograph is mounted in white card and housed in a black wooden frame. There is an old object label attached to the back of the object. A sticker noting the framer of the image (Jarman the Picture Framer) is attached to the back of the work at upper centre. A wire and two hooks have been attached to the back of the frame for hanging.

Colour group portrait photograph of the members of the RNZCOG Council. The group consists of nine men and one woman, arranged in two rows. Six men stand at the back, while three men and a woman sit in chairs in the front row. The group is pictured in front of a beige coloured wall. The wall features a gold coloured Roman numeral clock at centre behind the group, and a painting/print of a landscape on the right hand side. There are vertical blinds visible at the left of the image, and the roof of the room in which the photograph is taken can be seen to be sloped on the right hand side of the image. The photograph is framed in a brown wooden frame with gold trim. Handwriting on the back of the frame reads 'RNZCOG COUNCIL NAPIER MASTING CONFERENCE'. There is a cord stapled to the back of the frame for hanging.

Colour group portrait photograph of the members of the RNZCOG Council. The group consists of nine men and one woman, arranged in two rows. Six men stand at the back, while three men and a woman sit in chairs in the front row. The group is pictured in front of a beige coloured wall. The wall features a gold coloured Roman numeral clock at centre behind the group, and a painting/print of a landscape on the right hand side. There are vertical blinds visible at the left of the image, and the roof of the room in which the photograph is taken can be seen to be sloped on the right hand side of the image. The photograph is framed in a brown wooden frame with gold trim. Handwriting on the back of the frame reads 'RNZCOG COUNCIL NAPIER MASTING CONFERENCE'. There is a cord stapled to the back of the frame for hanging.

This artwork was created by French artist Edmé Jean Pigal (1798-1872) as part of a series entitled 'Album comique de pathologie pittoresque'.A framed print depicting a scene from a music room. On the left, a man is waving a violin and bow sitting in front of a music stand. On the right, another man has his hand on his chest and is coughing. A piano, string instruments and sheet music are visible in in the background, and a cello is depicted in the foreground. Text printed above image reads 'ALBUM COMIQUE'. Text printed below artwork reads 'Ambroise Tardieu Editeur & du Battain, No 12/ / Lith. de Langlume & de l'Abbaye No. 4. Larger text printed at the bottom of the artwork gives the title of the artwork: 'L'Asthme'. The print is mounted on card and framed in a gold painted wooden frame. There are two small stickers from Gibson's Auctioneers attached to the rear of the artwork. Two D-ring fittings and a wire are attached to the back of the frame for hanging.

Dr Graeme Ross Duncan was the second President of the RNZCOG, between 1985 and 1987.Head and shoulder portrait photograph of a man. The man is wearing an academic cap and gown, with a wide purple sash running around the collar of the gown. The man has grey hair which is visible on the sides of his head and is wearing glasses. The man is wearing a dark coloured suit jacket, white shirt, and a dark coloured tie printed with a crest. A set of vertical blinds is visible in the background. The photograph is framed in a dark coloured wooden frame with gold trim on the inner edge, surrounding the image. Handwritten text at top centre on the back of the frame reads 'MR G DUNCAN/PRESIDENT RNZCOG'. A length of cord and two circular fittings have been attached to the back of the frame for hanging. There is a sticker attached to the bottom right hand corner of the back of the frame which gives the details of the photographer (James White & Associates Ltd)

William Balfour Ker was a Canadian-American artist. He was also a declared socialist, and his political stance was often reflected in his art. This lithograph is a compelling illustration of the race against time sometimes faced by doctors when trying to get to a patient to assist in birth before the baby is born.A black and white lithograph. At top right, a stork is flying through the air, with a baby bundled in a cloth that it is holding in its beak. To the left, a horse drawn buggy follows rapidly behind, with the driver wielding a whip and urging on a speeding white horse. The artist's signature printed at bottom right corner of image reads 'WM.BALFOUR-KER'. The lithograph has been mounted and framed in wooden frame. The outer edge of the frame is black, and the inner edge is gold. On the back of the object, a small piece of paper bearing the title of the lithograph has been attached at bottom centre. It reads 'A HURRY CALL, THE DOCTOR v THE STORK'. A second tag attached to the back of the work reads 'From FF', suggesting the donor of this object was Frank Forster. An old display label is attached to the bottom left of the back of the work. A wire and two hooks have been attached to the back of the frame for hanging.obstetric delivery

This a cropped reproduction of a photograph taken by Charles Nettleton in c. 1868. Founded in 1856, the Lying-in Hospital was the second hospital to be established in Melbourne, after the Melbourne Hospital. It was, however, the first lying-in hospital in the Australasian colonies. The hospital was founded in a converted private house "Fairmont", which was located at 41 Albert Street, Eastern Hill (now East Melbourne). In 1858, the 'Lying-in Hospital' was relocated and opened in Madeline St, North Melbourne (now known as Swanston St, Carlton)." (The Women's) The building pictured here was eventually demolished in 1938 to make way for further extensions to the building. The original site in Albert Street was demolished in 1960, and the site is now occupied by the Melbourne Fire Brigade. A section of the wrought iron gates from the original site in Albert Street is held in RANZCOG's historical collection.Reproduction photograph of the front of a building. The building is three stories high. The lowest floor has eight large windows, with a door at centre, on the front side. One side window can also be seen at bottom right. There is a small flight of stairs leading up to the door. The second floor has eight windows in the same locations as the first floor, plus one additional window at centre instead of a door. The top floor is much smaller, with three small windows facing the front of the building. There are trees in the grounds in from of the building. House and grounds are enclosed behind a fence. There is a gate in the fence opposite the front door. Three figures are visible on the path outside the fence. One is at the centre of the image, and the other two are in the right hand corner. Text printed below image reads 'THE LYING - IN HOSPITAL circa 1870'. The image has been mounted and framed in a black wooden frame. An old display label for this image is attached to the back of the frame. handwritten text on backing board at back of work reads 'Probably prior to 1867 (J. Nattrass, 1968). Tape residue visible on backing board at upper right. A chain and two hooks have been added to the frame for hanging.

This is an image of the Rotunda Hospital in Dublin. Established as the Dublin Lying-In Hospital in 1745, it moved to its current location in 1757 and remains there to this day. This image was first published in Malton's 'A Picturesque and Descriptive view of the City of Dublin' in 1791.A colour engraving of a white building with a red roof. A tower, topped by a dome, rises above the middle of the building. There are four decorative columns on the front of the building, and the entrance to the building is surrounded by a metal fence. There are various figures in the foreground of the image. On the left, there is a well dressed family group consisting of three adults and a child. At left of centre, a figure is riding a horse, which is being preceded by a dog. At centre, in the middle background, one tall and one short figure stand next to the metal fence surrounding the building and are peering inside. At right of centre, a figure is driving a two horse buggy. On the far right, the shadowed figure of a beggar is holding out their cap. There is a smaller building to the left hand side of the featured building, and additional buildings are visible in the right side background. Clouds are visible behind the buildings. Text below image reads 'Lying in Hospital'. The print is mounted and framed in a black wooden frame with gold trim. A display label for this print is attached to the back of the frame. Handwritten inscriptions on the back of the frame of the artwork read 'Rotunda Lying in Hospital/Dublin // 19th British Congress RCOG 1971' and 'Original engraving/James Malton. London,/December 1795.' There is a sticker attached to the bottom right of the back of the frame featuring a printed image of a stork in read and the text 'FRIENDS OF THE ROTUNDA HOSPITAL'. There are two hooks and a wire attached to the back of the frame for hanging.

This is a copy of a print originally published in 1774 by James Bretherton (British, active 1755–1799), after Henry William Bunbury (British, 1750–1811). Antiscorbutic pills were intended to prevent, or cure, scurvy. Black and white print, framed. Scene depicts two male 'quack' doctors (at image left) arguing over the relative merits of their antiscorbutic pills. The two men appear to have set up business directly opposite each other in the street, as a sign on the upper left of the image reads 'Dr WALKER'S/VERITABLE/ANTISCORBUTIC/PILLS/Beware of Impostors.' whilst a sign on the upper right of the image, directly opposite, reads 'TRUE/ANTISCORBUTIC/PILLS.' Directly behind the two men arguing, two dogs can be seen fighting each other. To the right of the men, the two wives of the doctors are also having a violent altercation, and to their right, two cats have their backs arched and are hissing at each other. There is a shield emblem resembling a coat of arms 'hanging' from the top centre of the image. The shield features images of two ducks, above the phrase 'QUACK QUACK QUACK'. Title for image is printed at bottom centre of image and reads 'MUTUAL ACCUSATION./Publish'd by Bretherton Ed. January 1774'. Text printed below image to the left of the title reads 'When once you've told and can't recall a Lye/Boldly, percist in't or your Fame will die.' (sic) Text printed below image to the right of the title reads 'Learn this ye Wives, with unrelenting Claws/Or right or wrong, Afsert your husbands cause.' (sic). Small text printed below bottom left corner of image reads 'Mr Bunbury del.' Small text printed below bottom right corner of image reads 'Js Bretherton f.'. Print is mounted on card and housed in a gold coloured wooden frame. A sticker for Gibson's Auctioneers is attached to the bottom right of the front of the frame, printed with the number '67'. There are two small auction house stickers stuck to the back of the frame of the work, as well as a sticker for the framer of the piece, Artist Framing Services. Two sets of D-rings and two wires have been attached to the back of the frame for hanging.

Ormond Andrews (b 1894 d 1987) was an original ANZAC who enlisted from Orbost. He lived at 19 McLeod Street in Orbost and opened Andrews Mensland in Nicholson Street, Orbost. From Allan McKenzie - "The other person in the photograph with Orme is my grandfather, George Piper from North Fitzroy Vic who was a pilot with the RAAF in WW1. Orme and George were very good friends in later life."This item is a reminder of a well-known Orbost identity.Two framed b/w photographs of Orme Andrews. 2420.1 is a photograph of two airmen in uniform - one standing (most likely George Piper). Orme Andrews is sitting. The frame is painted wood. The photo is inset with an embroidered mount and has a hanging wire. 2420.2 is a wooden framed photograph of Orme Andrews as an older man. He is wearing a suit and has an air force badge on the lapel of the jacket. It has a stand.2420.1 - has label written in pen -Mr Orme Andrews 2420.2 - has label - Mr Orme Andrews 1894-1973andrews- orme

The S.S.'Diomed' was the last of the Blue Funnel Line's coal-burning cargo ships. Launched in 1922 she made her last voyage from Australia to England in 1952 where she was broken up. The ship had been in service in Australia for thirty years, and as a parting gesture the ship's bell was presented to the Mission to Seafarers, Victoria by Alfred Holt & Co, the ship's owner in 1953 (see MTSV 0084 for the catalogue record of the ship's bell).Lay reader, Randall Stewart Murray, was a regular visitor to the s.s. Diomed over a number of years and accepted the offer of the ships brass bell when the ship was being broken up in 1953. This bell was on display in the Port Melbourne Mission and is now on the stage in the Flinders Street Mission.A black and white photograph of a ship at sea, the s.s. "Diomed", in a glazed, thin, black, wooden frame: verso detailed labels and information on torn brown-paper backing. String hanging system.Three labels. Label 1, Blue funnel line description of four ships. Label 2, "deans" framer's label with hand-written numbers: D13290 and 239/021. Label 3, Seabridge Australia Pty Ltd with donor details.s.s. diomed, blue funnel line shipping, seabridge australia pty ltd, deans melbourne, steamship, cargo ship, port melbourne, r. stewart murray, randall stewart murray, 1953, seabridge australia

This hanging knee was from the 1850 wreck of the schooner Enterprise. The 'hanging knee' or a 'ship's knee' is used for bracing a frame or supporting a beam. It is either a naturally bent piece of wood or wood cut into a bend like an elbow. The knee can be used in the frame of a boat or ship to spread load. THE “ENTERPRISE” 1847-1850 The wooden, two-masted schooner Enterprise was built in New Zealand in 1847 and registered in Melbourne, Australia. The Enterprise carried cargos of agricultural produce and other commodities for trade between the ports of the Colony. On September 14, 1850, the Enterprise was at anchor in Lady Bay under its Master, James Gardiner Caughtt, loaded with a cargo of wheat and potatoes. A strong south-easterly wind caused the vessel to drag on its only anchor and the rudder was lost. The gale-force wind blew it sideways and it became grounded. A local indigenous man, Buckawall, braved the rough sea to take a line from the shore to the Enterprise. All five members of the crew were able to make it safely to land. The Enterprise was wrecked. The Enterprise wreck was in an area called Tramway Jetty in Lady Bay. Since then the area became the location of the Lady Bay Hotel and now, in 2019, it is in the grounds of the Deep Blue Apartments. In fact, with the constantly changing coastline through built-up sand, the wreck site is now apparently under the No 2 Caravan Park on Pertobe Road, perhaps 150 metres from the high tide. Its location was found by Ian McKiggan (leader of the various searches in the 1980s for the legendary Mahogany Ship). DIFFERENTIATING the New Zealand Schooner “Enterprise” from John Fawkner’s “Enterprize“ Dr Murray Johns, Melbourne, says in his article The Mahogany Ship Story “… As I documented in 1985, the Warrnambool wreck was of an entirely different ship, also called Enterprize [with the spelling ‘Enterprise’], but built in New Zealand in 1847. Fawkner’s ship had already been sold to Captain Sullivan in 1845 and was wrecked on the Richmond Pier in northern New South Wales early in 1847. “ - (further details are in NOTES: and FHMV documents) The hanging knee is significant for its association wreck of the Victorian Heritage Listed schooner Enterprise, VHR S238, being a New Zealand built but Australian owned coastal trader. The wreck was also significant for its association with indigenous hero Buckawall who saved the lives of the five crew on board.Portion of a ship's rib; a hanging knee, wooden, from the schooner Enterprise, 1847-1850. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, hanging knee, ship's knee, knee bracing timber, wooden ship building, carpentry, shipwright trade, buckawall, lady bay, enterprise, coastal steamer, ship's rib, indigenous hero, indigenous rescue

Poster - paper, with white print, foreground full length black and white portrait photograph of an indigenous soldier. Background muted red to brown colours. Frame - top and bottom, timber slats adhered to the poster paper with top hanging string.Lettering on Poster. "Commemorating Indigenous Service in the First World War".framed accessories, poster, anzac day

Robert H. Baron featured on the left, soldier on the right is unknown. Part of the "Robert H. Baron" No. 3596 and Cooper Collections. See catalogue No. 1981P for details of R.H. Baron's service.Framed black and white photographs of two WW1 soldiers in uniform. Brown wooden frame. Photographs are set side by side in cloth covered card mat. Flags of Allied countries embroidered on mat above photographs. Australia's Red Ensign featured in the middle of the array of flags. "FOR UNITED PEACE" embroidered on a banner below flags. Red Ensign set in a white embroidered circle. Glass front. Wire attached to back for hanging on a wall.robert h. baron, cooper collections, photograph, ww1 flags