These riding pants belonged to Captain Charles Rogers of the Australian Army (Light Horse unit). He was part of the mounted Guard of Honour during the visit of the Duke of Gloucester in 1934 when, during the Victorian centenary celebrations, the Melbourne Shrine of Remembrance was opened. Charles Rogers was well-known in Warrnambool in the 1930s, 40s and 50s as a horseman and Army member. He was often seen on horseback leading parades and celebrations in the city and was a long-serving Warrnambool Agricultural Show official as a judge of equine events. He died in 1961. The drapery and clothing store of Cramond and Dickson was founded in Warrnambool by John Cramond and James Dickson in 1855 and was a prominent business in Warrnambool until its closure in 1973. A branch of the store was opened in London in the late 1860s and was managed for some years by James Dickson. These riding pants are of interest because they belonged to Captain Charles Rogers, a Victorian Light Horse Regiment member and a well-known horseman in Warrnambool. The item is also important because it came from the well-known Warrnambool store, Cramond & DicksonThese are khaki riding pants. The knees are reinforced with extra stitching and the back of the waist has two buttons on a raised section and four buttons on the waist itself for the attachment of braces. The front opening has five buttons and the garment has two deep side pockets. The top of the garment is lined inside with brown material. On the left leg is a machine-made patch to cover a worn section. Cramond & Dickson Warrnambool & London C. Rogers charles rogers, cramond & dickson stores, history of warrnambool, jodhpur, victorian light horse regiment

Colour postcard of St. Kilda Road Melbourne with Shrine of Remembrance in background, with W6 913 inbound on route 4, showing 'CITY' and W2 345 outbound on route 4 to "Carnegie". Buildings in view are the BP building and part of Prince Henry's Hospital. Has on rear caption, "National View" by Murfett Pty Ltd. Australia, place for address and stamp. Taken late 60's, prior to route renumbering in 1970.trams, tramways, melbourne, st kilda road, postcards, tram 509

In the early 1900s black marble was being mined in the Bruthen district. Some was used for the Shrine of Remembrance in Melbourne and Australia House in London. 900 tonnes were shipped to London to be included in the construction of Australia House. This photograph shows the last 120 ton slab to be used to complete the sixteen dark Buchan marble Ionic columns in the Shrine of Remembrance in Melbourne. The Shrine of Remembrance was created to meet the needs of a grieving community after the extensive loss of lives in the First World War (1914 –18). Marble quarrying has been a significant part of the history of Buchan in East Gippsland. Its inclusion in the Shrine of Remembrance War Memorial is noteworthy.A black / white photograph mounted on a soiled grey buff card. It shows a man standing in front of a large vertical slab of marble.on front - " 120 tons in this piece. The final 6 columns for the Shrine of Remembrance were cut from it."buchan-marble shrine-of-remembrance-melbourne south-buchan-quarries

This photograph shows marble waiting to be loaded on the train at Nowa Nowa Station to be sent to Melbourne for the Shrine of Remembrance and Australia Housee in London. In the early 1900s black marble was being mined in the Bruthen district. Some was used for the Shrine of Remembrance in Melbourne and Australia House in London. 900 tonnes were shipped to London to be included in the construction of Australia House.Marble quarrying has been a significant part of the history of Buchan in East Gippsland. Its inclusion in the Shrine of Remembrance War Memorial is noteworthy.A black / white photograph mounted on a dark grey buff card. It shows a man and a dog sitting next to slabs of stacked marble.on back - " Marble stacked at Nowa Nowa Rail Station for Australia House."buchan-marble australia-house shrine-of-remembrance nowa-nowa-railway geology

Transcription of the speeches given at a dinner at the Oakleigh Waverley Branch to honour Legatee Frank Doolan, who was a close friend of Stan Savige and a founding member of Melbourne Legacy. It was Doolan who suggested in 1925 that the object of Legacy be changed from the original intention to find work for returned servicemen to looking after the widows and children of those who had died. Although he refused nominations to be President throughout the ensuing years, he served on many committees, working tirelessly in the background. He was also a part of the campaign to build the Melbourne Shrine of Remembrance. He recounts the confrontation between Legatee Kemsley and Allan Spowers, the Editor of the Argus. His address at the dinner was self deprecating in tone and contained many interesting anecdotes about famous people he had worked with, including Stan Savige. He tells the story of how the Savige Toby Jug (00198) was created by Herb Greenway for an event to welcome Savige back from WW2, and how as a member of the Anzac Observance Committee he helped to distribute a couple of hundred Lone Pine seedlings around Australia. He also recounts the pride he felt in being asked to plant the Olive Tree of Peace at the Shrine of Remembrance in 1973 as part of the Legacy 50th anniversary celebrations. The olive tree was moved in 2002 into the new courtyard. He talks about being asked to propose the toast of Legacy at the 1965 Perth Conference and recounted part of what he said. He used the analogy of the cause of Legacy being like a cloak with threads of gold and silver, interwoven with the efforts of Legatees. The personal anecdotes reveal the human side of Legacy history, and attest to the social customs of the day.White foolscap paper x 13 pages with black type of a report on a dinner at Legacy House for L/ Doolan.Title page: 'Archive copy' handwritten in blue biro. Some pencilled annotations throughout.legatee event, tree planting, speech, frank doolan

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

The origin of the book goes back to 2007 when a tin of nitrate negatives (Cat No 1248.2) came to the Bendigo RSL Museum via Aylene Kirkwood (Eaglehawk Heritage Society) and her friend Jean Grinton, Jack Grintons Daughter. The tin of negatives had been sitting in a shed at Jeans place for many years. The RSL Museum sorted some to see what they were about and were mostly WW1 era overseas. The Museum had some reproduced by Wayne Eels a Dark Room Technician and the quality was amazing. A small number were shown at an exhibition in a talk by Museum Curator Peter Ball in March 2008. The exhibition was called “Snapshots and Stories” by Corrine Perkin from the Bendigo Art Gallery and included a number of Bendigo Historical groups. The RSL Museum by then had put together 44 images in 11 frames to make a story (cat No's 5880P to 5890P) and shown at the Bendigo District RSL Sub Branch Inc in April 2008. The exhibition included memorabilia from Jean Grinton. Corrine Perkin who was at the opening spoke to the Curator Peter Ball with the view that a travelling exhibition could be made from this. After discussions then began 12 months research between Corinne and Peter identifying people in the photos, places, deciphering Jack's Diary, researching the 38th Bn to gain an overall picture of Jack and Bert Grinton, producing photos for quality. Eventually an exhibition of photos (Cat No's 7100P to 7179P), story boards with photos (Cat No's 7180 to 7187) came into being. The opening was at the Bendigo Art Gallery on the evening of June 13th 2009 with Les Carlyon as guest speaker and went through until August 2nd. The exhibition was accompanied by memorabilia of Jacks Daughter Jean and Bert's Daughter Dorothy. The exhibition then went onto 4 more locations including the Melbourne Shrine of Remembrance. Jacks service details are in Cat No 1280, Berts are in Cat No 1320P.Book, cardboard cover, 64 gloss pages. Front cover shows Jack Grinton in Barracks hut 19 England in 1916. The book relates to the photo collection of Jack Grinton and his brother Albert (Bert) both in the 38th BN AIF. The publication is in 6 sections. 1. Preface - Karen Quinlan, Director Art Gallery. 2. Two brothers, a Camera and a War to end all Wars - Corrine Perkin, Exhibition Curator Bendigo Art Gallery. 3. The Great War - Les Carlyon, Journalist and Author. 4. Photographing War - Colin Harding, Curator photographic technology, national media museum UK 5. The Grinton Collection in 6 Sub Sections; Living behind the lines. The burden of war. Trip of a lifetime. Portraiture and remembrance. Quota 45: The journey home. Life after 1919.book, camera on the somme, grinton, 38th

Paul Raphael MONTFORD (1868 - 1938) Paul Montford moved to Australia to carve four buttress groups in granite for the Melbourne Shrine of Remembrance. In 1924 he was teaching at Geelong Technical College. Professor Alfred Mica Smith was a long term lecturer at the Ballarat School of Mines. The sculpture was commissioned by former Students of the Ballarat School of Mines working in Western Australia. One of those former students, William Corbould, remembered his first encounter with the professor fondly:- 'From the Registrar's Office I was led to be introduced to the Professor of Chemistry, one Mica Smith. The initial encounter gave me little encouragement - his large laboratory was filled with hundreds of bottles bearing strange labels with queer symbols on them. My heart sank. At the first opportunity I grabbed my hat and made for the door, but the good professor called me back. I pointed out that I was never any good at school ... so it was no use pretending to be clever enough to understand all those weird symbols! The Professor told me not to worry about that and took me to one of the benches where he found a blowpipe and a charcoal block. Mixing together two powders from bottles on the shelf he transferred a sample to the charcoal and directed the bunsen flame onto it. Soon it began to melt and a white bead appeared in front of my eyes. He then took a test tube and added a little colourless liquid from each of two bottles. A beautiful dark blue colour appeared. My interest was won.' Alfred Mica Smith was the well-loved Professor of Chemistry and Metallurgy at the Ballarat School of Mines between 1881 and 1922. Upon reaching the age of 78 Mica Smith retired having influenced generations of miners. At the time of his death Ballarat School of Mines Students’ Magazine reported: "In the annals of the School, the year 1922 will be noted chiefly as the last year in which Professor Mica Smith taught here. With his retirement, a memorable epoch closed. The Professor has served the School for 42 years with a service, the length and thoroughness of which are unique. … It is not quite realised in this city how famous the School became throughout the world, nor to what extent the Professor was responsible for its high position in the mining and metallurgical world. … This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Marble bust of Ballarat School of Mines Professor Alfred Mica Smith by Paul Montford. The bust is mounted on a jarrah pedestal made from timber donated by the Millar Timber and Trading Company. The bust was formally presented to the Ballarat School of Mines on Saturday 13 December1924 in front of Alfred Mica Smith and a large gathering. It is signed 'Paul R. Montford, Sc, 1924' at the back.Professor A. Mica Smith, 1924, Presented by His Old Students Associated with Western Australia as a Token of Affectionate Esteemart, artwork, ballarat school of mines, montford, paul montford, alfred mica smith, mica smith, marble, bust, sculpture

This pine tree (Allepo Pine, Pinus halepensis) a native of the Gallipoli Peninisula (Gelibolu, Turkey), was grown from a cutting obtained from the War Memorial Canberra and planted in the Mortlake Botanic Gardens in 2002. It replaces the original which grew outside the Mortlake RSL Hall which blew down in a storm c.2000. That tree (Allepo brutius)came from 'the original on Gallipoli' and was planted to commemorate 'fallen comrades' in 'the Jubilee year 1965.' However, two soldiers first brought home pine cones direct from that fateful battlefield. . One was Sgt. Keith McDowell of the 24th Btn. His aunt, Mrs. Emma Gray of Grassmere (Vic.) planted the seeds c. 1928 and four seedlings resulted. One was planted in Wattle Park, Melbourne, one at the Shrine of Remembrance, one at the Soldier's Memorial Hall at The Sisters (c.15 km. south of Mortlake) and one at the Warrnambool Botanic Gardens. The First World War (or 'Great War') and in particular the battle for the Gallipoli Peninsula is of immense national significance. Lone Pine or Plateau 400 was the scene of a major offensive on August 6th 1915. All the trees on the ridge at this point were cut down but one, which was dominated by the 'Lone Pine'. In three days of fighting more than 2,000 Australians lost their lives and seven Victoria Crosses were won. Two Australian soldiers souvenired pine cones - one was brought back to Victoria (see above). Many young men from Mortlake and district volunteered to fight in the Great War and the presence of this tree in our Gardens reminds us all of the local as well as the national sacrifice.l pine tree Small plaque on railing western side. gallipoli, lone pine first world war great war mcdowell, keith

This photograph shows men cutting marble slabs at Buchan on James Cameron's property. The marble was used in the Shrine of REmembrance in Melbourne. The slabs in the photograph were about 8.5 metres long. The Shrine of Remembrance was created to meet the needs of a grieving community after the extensive loss of lives in the First World War (1914 –18). Sixteen dark Ionic columns were made of .Buchan marble In the early 1900s black marble was being mined in the Bruthen district. Some was used for the Shrine of Remembrance in Melbourne and also Australia House in London. 900 tonnes were shipped to London to be included in the construction of Australia House. Marble quarrying has been a significant part of the history of Buchan in East Gippsland. Its inclusion in the Shrine of Remembrance War Memorial is noteworthy.A black / white photograph of four men working in a quarry with three large slabs of marble on the ground.on back - " Cutting marble slabs......"buchan-marble shrine-of-remembrance cameron-james geology

In the early 1900s black marble was being mined in the Bruthen district. Some was used for the Shrine of Remembrance in Melbourne and Australia House in London. 900 tonnes were shipped to London to be included in the construction of Australia House.Marble quarrying has been a significant part of the history of Buchan in East Gippsland. Its inclusion in the Shrine of Remembrance War Memorial is noteworthy.A black / white photograph of a quarry pit with marble slabs on the ground.on back - "Marble blocks for the Shrine of Remembrance..."buchan-marble shrine-of-remembrance australia-house

This photograph shows men working on cutting marble at South Buchan for Australia House in London. In the early 1900s black marble was being mined in the Bruthen district. Some was used for the Shrine of Remembrance in Melbourne and Australia House in London. 900 tonnes were shipped to London to be included in the construction of Australia House. DESCRIPTIONA paper covered booklet which is a pictorial souvenir Of Australia House in London. Pictures show Buchan marble features of the building.SIZE H-266mm W-192mm OBJECT REGISTRATION654KEYWORDSbuchan-marble australia-houseHISTORICAL INFORMATIONAustralia House is the oldest Australian diplomatic mission and it is the longest continuously occupied foreign mission in London. King George V laid the building’s first foundation stone in 1913 but it was not until August 1918 that he officially opened the completed building. The stringencies of World War I – principally shipping difficulties and labour shortages – had delayed construction considerably. Federation of the six Australian states formally took place on 1 January 1901 but it was not until 1906 that the Federal Government sent an Official Secretary to London to represent Australia. In the intervening years Australia was represented by State Agents-General, the first of whom was the Agent-General of Victoria. The building is significant for its unique design, Beaux Arts style and the materials used in its construction.Marble quarrying has been a significant part of the history of Buchan in East Gippsland. Its inclusion in Australia House in London and the shrine of Remembrance in Melbourne is noteworthy.A small black / white photograph of men in the background of a marble quarry. There is also a copy.on back - " Cutting Australian Home Marble at Sth Buchan"buchan-marble geology australia-house

In the early 1900s black marble was being mined in the Bruthen district. Some was used for the Shrine of Remembrance in Melbourne and Australia House in London. 900 tonnes were shipped to London to be included in the construction of Australia House.Marble quarrying has been a significant part of the history of Buchan in East Gippsland. Its inclusion in the Shrine of Remembrance War Memorial and Australia House in London is noteworthy.A large black / white photograph of men working in a marble quarry.buchan-marble geology shrine-of-remembrance australia-house-london

This photograph shows Buchan marble being transported by horse and wagon to Nowa Nowa Railway Station. Lnidsay Cameron is the driver on the right. In the background is the Commercial Store of T. L. Sherrington, General Merchant, Bruthen. In the early 1900s black marble was being mined in the Bruthen district. Some was used for the Shrine of Remembrance in Melbourne and Australia House in London. 900 tonnes were shipped to London to be included in the construction of Australia House. Marble quarrying has been a significant part of the history of Buchan in East Gippsland. Its inclusion in the Shrine of Remembrance War Memorial and Australia House in London is noteworthy.A black / white photograph on a grey buff card. it is of four horse drawn wagons in front of a general store - "T L Sherrington General Merchant". There are five men standing on the trays and a man in a suit and hat holding a Gladstone bag is standing front left. a dog is lying on the ground between the wagons. The wagons are carrying large slabs of marble.on back - " Marble passing through Bruthen on way to railway"buchan-marble geology cameron-lindsay transport-rail transport-horse-drawn

Sir Edmund Herring had a military career before becoming the Chief Justice of Victoria in 1944. Sir Edmund served as an artillery officer with the British Army in World War One and was awarded the Military Cross. While he returned to the Law between the wars, becoming King's Counsel in 1936, he continued his military associations through Australian Militia Forces, rising to colonel by the start of the Second World War. At the outset of WWII Herring was appointed as Commander of the Royal Artillery for the Australian Sixth Division. Herring saw service in North Africa and Greece and was in charge of Australian Northern forces in 1942, afterwards working with General Blamey in Papua New Guinea. Sir Edmund was appointed Chief Justice, straight from his army command in 1944. As Chief Justice he quickly established the Law Reform Committee and after the war oversaw the extension of the Supreme Court buildings, with the creation of new Courts. He was considered an able administrator, but his refusal to appoint Joan Rosanove a Queen’s Counsel throughout the 1950s, did not sit well with many legal practitioners. After his retirement from the Bench, he continued in his many public activities, including trustee of the Shrine of Remembrance and the Australian War Memorial and a member of the Melbourne Grammar School Council, as well as Lieutenant Governor of the State of Victoria, a position he held from 1945 to 1972. Herring was also an outspoken social critic; between the wars he had been a member of the White Guard, who were a far right group acting against communism. During the Cold War period of the 1950s, Herring spoke out in favour of the British Empire and the American alliance. The portrait of Sir Edmund Herring is the second one that Sir William Dargie (1912-2003), completed of Sir Edmund; his first effort in 1944/45 won the Archibald prize. Dargie won the Archibald prize a record eight times. His fame as a portrait painter was not without controversy, as he was considered ‘safe’ and the favourite of conservative sitters, particularly as many of his Archibald winners were of ‘Captains of Industry’. While no Archibald prize was awarded for this portrait, it is an interesting counterpoint to Dargie’s 1944/45 portrait. The portrait of Sir Edmund Herring is significant because of whom it portrays and the artist William Dargie who painted it.Portait in oils of Sir Edmund Herring. This is a half portrait of Sir Edmund in his red judicial robes. Gold leaf frame, with plaque.Plaque reads "The Honourable Sir Edmund Francis Herring, KCMG, KBE, DSO, MC, ED. Chief Justice of the Supreme Court 1944-1964"edmund herring, william dargie

The portrait of Chief Justice Sir Edmund Herring is significant because of whom it portrays and who painted it. Sir Edmund Herring (1892-1982), had a military career before becoming the Chief Justice of Victoria in 1944. Sir Edmund served as an artillery officer with the British Army in World War One and was awarded the Military Cross. While he returned to the Law between the wars, becoming Kings Counsel in 1936, he continued his military associations through the Australian Militia forces rising to colonel by the start of the Second World War. At the outset of World War Two Herring was appointed as Commander of the Royal Artillery for the Australian Sixth Division. Herring saw service in North Africa and Greece and was in charge of Australian Northern forces in 1942, afterwards working with General Blamey in Papua New Guinea. It was at this time that Herring confirmed the death sentences of 22 Papuans who had been found guilty of murder and treason. Sir Edmund was appointed Chief Justice, straight from his army command in 1944. As Chief Justice he quickly established the Law Reform Committee and after the war oversaw the extension of the Supreme Court buildings, with the creation of new Courts. He was considered an able administrator, but his refusal to appoint Joan Rosanove a Queen’s Counsel throughout the 1950s, did not sit well with many legal practitioners. After his retirement from the Bench, he continued in his many public activities, including trustee of the Shrine of Remembrance and the Australian War Memorial and a member of the Melbourne Grammar School Council, as well as Lieutenant Governor of the State of Victoria a position he held from 1945 to 1972. Herring was also an outspoken social critic, between the wars he had been a member of the White Guard, who were a far right group acting against communism. During the Cold War period of the 1950s, Herring spoke out in favour of the British Empire and the American alliance. The portrait of Chief Justice Sir Edmund Herring is significant because of whom it portrays and who painted it. The portrait of Sir Edmund Herring is the second one that Sir William Dargie (1912-2003), completed of Sir Edmund, his first effort in 1944/45 won the Archibald prize. Dargie won the Archibald prize a record eight times.Portrait in oils of Sir Edmund Herring, Chief Justice of the Supreme Court of Victoria (1944-1964). Sir Edmund is seated, this is a half portrait, dressed in his red judicial robes. The sitter takes up most of the frame and there is very little extra information in the picture. signed lower left "Dargie'. Plaque with the following details : Sir Edmund Francis Herring, KCMG, KBE, DSO, MC, ED. Chief Justice of the Supreme Court, 1944-1964.judges, herring

The original St Peter’s was built in 1922 as a World War memorial church. It burned down on Black Saturday, February 7, 2009. This folder includes brief research on the local World War One Anzacs of Kinglake remembered at the church including the names Farlow, Ford, Ingham, Jarvis, Lawrey, Mains and North some of whom are remembered on the Shire of Eltham War Memorial at Kangaroo Ground. Also, information how to research WW1 veterans, brochure om Shrine of Remembrance and newspaper article on firespotting at the Kangaroo Ground TowerNewspaper articles, website printouts and handwritten notes HG Booklet 114harry gilham collection, st peter's kinglake, ww1, ford, samuel farlow, john henry ford, jarvis, francis ingham, george mains, c. north, fire spotting, kangaroo ground, shrine of remembrance

A book of photographs of paintings of the waterfalls of Victoria painted by Dacre Smyth.A book of photographs of paintings of the waterfalls of Victoria painted by Dacre Smyth. Each painting has the name of the waterfall, the date the painting was painted and a short poem accompanying the photograph. Commodore Dacre Henry Deudraeth Smyth, AO was a senior officer in the Royal Australian Navy, an artist and a poet. He joined the RAN in 1940, and participated in the D-Day landings and the Battle of the Coral Sea before retiring as a commodore in 1978. He served as Deputy Chairman of the Trustees of Melbourne's Shrine of Remembrance and was a Life Governor of the Shrine. He became well known after his retirement for landscape and seascape painting, publishing fourteen books containing his paintings and poems. He married Jennifer Haggard in 1952, and had four daughters and a son. He died in 2008.Hardcover. Front dust cover has a photograph of a painting of Erskine Falls painted by the author. Back cover has 4 photographs of paintings of Wannon and Nigretta Falls in summer and winter. Inside cover of book, both back and front have a map of Victoria with various towns shown and the location of all the waterfalls in Victoria.Signature of the author and painter, Dacre Smyth. Artist's Acknowledgements / I am most grateful to all who helped in the production of this book:- / Alan Copeland / Allan Tuite and staff at Crystal Offset Printers for the production and printing of this book / Photography Ralph Petty / Colour Separations front & back cover Scanagraphix & Image Scan / Binding J.P. Bookbinderswaterfalls, victoria, melbourne, paintings, poem, poetry, photograph, dacre henry deudraeth smyth, royal australian navy, d-day landings, battle of the coral sea, shrine of remembrance, jennifer haggard

Gold tinted wooden frame, glass front, white cardboard backing. Coloured photo of Shrine of Remembrance with eternal flame in foreground, mounted on grey border.Sticker in back: “Shrine of Remembrance Melbourne Victoria Natural Beauty Photography by Val Morris”photography-photographs, frame accessories, trades -carpentery, shrine

The Shrine of Remembrance was built between July 1928 and November 1934 on St Kilda Road Melbourne, in memory of those who served and those who died in the World War of 1914-1918. It now also commemorates those who served in subsequent conflicts.4 p. pamphlet, text and colour photographshrine of remembrance melbourne, world war 1, war memorials

Several items were given by a seafarer, Mr Nicholas Garlick (1926-2009) into the care of Father Brady who retired from St Pauls Cathedral, Melbourne in 2018. Father Brady later donated the collection of; objects, documents and an extensive collection of cruise ship menus (1937-end of 20thC) to the Mission via the intermediary William Hastie, volunteer at the Mission for Seafarers.Possibly a pamphlet printed for VIP guests and families attending the ceremony.Two page Anzac Day memorial service pamphlet/leaflet. Smooth/shiny paper, two ink colours (magenta and bluish green), picture of slouch hat at top right corner, and the insignia of each Australian armed force (navy, army, airforce) along the bottom of the pamphlet. The order of ceremony is printed in red ink on the two inner pages. The back features a photo of the Brisbane Shrine of Remembrance and the poem 'The Glory of the Soldier' by Joyce Kilmer.1967, anzac day, brisbane, shrine of remembrance, brisbane, joyce kilmer, poetry, war memorials, william hastie, nicholas garlick, father brady

This volume is a resource for primary schools to investigate the wartime experiences of Aboriginal and Torres Strait Islander people from the First World War to the present.66 pages, colour illustrations, fold out map. Spiral binding with fold around outer cover.world war i, indigenous australians, aborigines, torres strait islanders

This volume is a resource for secondary schools to investigate the wartime experiences of Aboriginal and Torres Strait Islander people from the First World War to the present.66 pages, colour illustrations, fold out map. Spiral binding with fold around outer cover.world war i, indigenous australians, aborigines, torres strait islanders