Australia Remembers 1945 - 1995. Commemorating 50 years since the end of World War II.Soft cardboard cover. Gold print on front / back over dark red background. Illustrated front / back & white photo of 2 uniformed soldiers. Black / white photo of a crowd scene on back. 80 cut, plain, glossy white pages. Illustrated black / white / sepia / colour photos, porters, paintings & drawings.book, remembers, 50 years, 1945 - 1995

204-page hardcover book Entitled 'Golden Years 1851 - 1951.' Published by the Victorian Government to celebrate the Centenary of the discovery of gold in Victoria. Editor in Chief E.A. Doyle Narrative by Frank Fitzgerald. Illustrated with numerous colour and B&W photos and paintings. Printed by The Specialty Press Ltd. Appendices include data on gold discoveries. Signed by John Ellison inside front cover.gold, victoria, centenary

Soft cover book. Cover - cardboard, white colour print on front, back. Green colour gloss background. Illustrated front - in colour copy of painting soldiers on horseback. Back - black and white photograph, horses with soldiers. 48 pages - cut, plain, white colour paper. Pictorial book. Illustrated in black and white - photographs and sketches.publication, book, pictorial, german weaponry, reference

Neville Mirvane Bunning was born in Rockhampton, Queensland in 1902. He was home taught until 1916 and then was a boarder at Geelong Grammar School, Victoria until 1921. He then returned to Queensland and worked on the family property. During this time he built ceramic kilns and taught himself the required skills for ceramiic production. During the Depression he went to Sydney and set up an artist's studio. In 1934 he went to England and studied, wrote and did commission work. Achieving local success and had work acquired by the Victoria and Albert Museum. Neville returned to Australia and became a lecturer at East Sydney Technical School until the outbreak of the Second World War. He joined the RAAF. After the War he joined the staff of the Art School of the Ballarat School of Mines and Industries until his retirement in 1964. Neville Bunning formed the Ballarat Artist's Society, a group which sponsored art and invite guests to speak to students and the public of Ballarat. He wrote a weekly column in "The Courier", the local newspaper where he encouraged people to be more aware of the trends in art. His works were included in the 1988 Australian Bicentennial Exhibition. His sympathetic understanding of Aboriginal culture is recorded in a letter written in 1937 to the Victoria and Albert Museum. Neville Bunning continued painting during his retirement. His last major exhibition was held at the Golden Age Gallery in Ballarat in 1983. The sketch books cover a range of topics using pen, ink and watercolour.28 A3 sketch books, spiral boundneville bunning, queensland, geelong grammar school, ceramics, kilns, depression, sydney, england, commission work, victoria and albert museum, east sydney technical school, art school, ballarat school of mines and industries, ballarat artist's society, second world war, raaf, australian bicentennial exhibition, golden age gallery ballarat, painting

Trudi HARLEY Born Korumburra, Victoria Born in country Victoria Trudi Harley graduated with a Bachelor of Education (Art and Craft) at Victoria College, Burwood. After teaching for 10 years in both Government and Independent schools in Melbourne she worked as a Sales Executive and Art Educator for Cavalier Art Supplies for 16 years. Recently Trudi Harley completed a Bachelor of Arts (Visual Arts) (Honours) with Distinction between 2008 – 2009, and a Master of Arts (Research), Visual Art between 2010 – 2012 at the University of Ballarat (now Federation University). Maintaining an artistic practice while in a business partnership Trudi Harley owns and runs Atelier Art Supplies in Williamstown, Victoria, which is a major supporter of the arts in the western suburbs of Melbourne/ 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.Artist's Statement: As an artist am continually drawn to ‘what makes us who we are’ and as a result the work, whatever it may be, is a reflection on what makes me who I am. In this I refer to perception, experience and memory as aspects that contribute to our sense of reality. By using these references I intend to engage the audience and develop a sense of connection and community through the visual image. ‘Fallen’ was not necessarily a reflection on my own life but of life in general as I recall at the time I had a family member who was struggling to cope with their own reality. I can also recall at the time reflecting on the adage ‘walk a mile in my shoes’ and the pressures we all face in life. Added to this were my own influences of upbringing, I have always been particularly drawn to fabrics and patterns as my mother was/is (getting a little old now) a seamstress and my father was a bit of a ‘perfectionist’. During my honours study I came across the term ‘Esperpento’ which included such visual elements as exaggeration and unusual viewpoints. Fallen was a comment on the psychology associated with expectations in life, or more importantly those expectations placed on offspring by their parents. This painting reflected the consequences of not living up to those expectations. It is unfortunate that in life, by the time you get to the point of realising that you have the opportunity to set your own standards, that you’ve probably embodied a great many set of values by osmosis and that you’ve now claimed them as your own. The view is from above to dramatize the subject, the figure placed compositionally in the top right hand corner to open up the picture plane and allow for the narrative to continue outside the visual area of the canvas. It was also in this painting that I rubbed back some of the darker oil paint to allow the lighter underpainting to show through.art, artwork, trudi harley, harley, carpet, portrait, self-portrait, alumni

Alexander Black was a painter and decorator who operated a business in Timor St below Swinton’s. This ledger shows the items typically sold by the painting and decorating trade as well as names of local people and businesses such as T Redford, PJ McGennan, Smith Bakery, Sheldrick Brewery, and Co, Mr. Plowright and Victorian Railways and Gas works.This ledger provides a snapshot of daily life in the early 1900’s and documents the type of work completed by tradesman and their associated costs. It lists a number of people and organizations which are of historical interest to Warrnambool and district.Long thin rectangular ledger book. Worn dark aqua cardboard cover with black binding. Handwritten entries occupy three quarters of the ledger with line drawn through each entry. The entries relate to goods sold. Year written at top of page and dated in left hand column. warrnambool, warrnambool painters and decorators, black painters warrnambool,

The merchant marine has many followers in the area both past and present. Queenscliff and Point Lonsdale offer a great vantage point for ship spotting as they navigate the rip. The Museum has a large collection of paintings of ocean liners of the past which is of great interest to immigrants to this country especially those who travelled by sea in the past. Of significant interest to visitors who visit our display of ocean liners paintings. Migrants from the 50s to the 70s take great pleasure in finding their ship in the display. Unfortunately, nothing is know of the previous owner of the uniform.Chief engineer uniform on mannequin. Rank shown is that of Captain as the Chief Engineer was of equal rank to the Captain. However, the Captain retained overall authority on board ship. Uniform consists of cap, cap insignia, jacket, tie, trousers and additional two cap insignia and one shoulder insignia stored separately. [shirt and shoes shown are props] merchant marine, uniforms, insignia

Article written by Kate Herbert of the Herald Sun about Mirka Mora's angel tram, W2 243 part of the 1978 Transporting Art project, and the other associated artists, the sale of them, their painting, and demise including the Peter Corrigan tram - Mother Knows. Includes a photo of the front of the tram in Mt Eliza by Norm Oorloof.Yields information about Mirka Mora Transporting Art tramNewspaper part - page 50 from the Herald Sun 26/3/2000.transporting art, tram 243, w2 class, mirka mora

Alfred William Eustace (1820-1907), an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped beside the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. A.W. Eustace was a significant member of the Chiltern community during the 19th century and his artwork was displayed widely, even in European royal homes.Copy of sepia photograph of A.W. Eustace in a brown wooden oval frame with a copy of A.W. Eustace's signature across the bottom of the photograph.Sticker on back: 194 Sticker on back: MADE IN/ CHINA/ FABRIQUE 'AU/CHINEa.w.eustace, photograph, chiltern

Circa 1920, Red, Hard bound children's book 'Hi-Tum. Ti-Tum and Scrub ' showing a painting of a boy , a dog and a girl carrying an umbrella / author Jennie Chappell / inside front cover 'Private School Wattle St Second prize for writing awarded to Edna Beche , Christmas 1903 , A.L. Parkhurst Teacher / water colour painting on first page /HI-TUM. TI-TUM AND SCRUB '- A story of three kittens by Jennie Chappell author of 'My friend Kathleen ', 'Terrie Travels ' ' The lost Doll etc., Illustrated by Audrey J Watson, Blackie and Son Limited, London, Glasgow and Dublin / illustrations include pen and ink sketches / part of a series of books listed in the last few pages include - Blackie and Sons - Books for Young People - Eighteen penny seriesJennie Chappellbooks, children's, story book, 'hi-tum. ti-tum and scrub / jennie chappell / illustrated by audrey j watson / blackie and son limited , london , glasgow and dublin /

Two Bendigo Advertiser newspaper articles with Amy Huxtable Women's Editor and a part of her series titled, 'At the Art Gallery.' The first article is titled 'The Story Teller with a touch of magic.' Peter Leonard is a story teller and a puppeteer and is performing at the Bendigo Art Gallery. It includes a photo of Mr. Leonard and also a photo of his puppets. The second article is titled, 'Gift paintings and furniture for art gallery - Newson collection now on display.' The late Mr. A. L. Newson and his wife Mrs. Jean Newson donated a collection of paintings and rare prints and antique furniture to the gallery and these are now on display at the Bendigo Art Gallery. There is a photo of 'Gums' by W. B. McInnes from the Newson collection and also a photo of an elegant antique cabinet also donated. 1/06/1977.bendigo, buildings, bendigo art gallery, lydia chancellor collection, collection, bendigo, bendigo art gallery, art, art work, puppetry, donations, paintings, antiques, gifts, newson collection, at the art gallery, amy huxtable

Stanley Couzens of the Wathourong community was commissioned by Geelong Wool Combing Ltd to create a painting of the You Yangs and Corio Bay to be reproduced on a jumper. The jumper itself was designed by Jeni McMahon using Merino wool from her property McMahon Farm Pty Ltd. Jumper was presented as a gift at the opening of the Geelong Wool Combing LtdWoolen Jumper containing red, mustard, green and cream depicting Indigenous artwork. Sold colour cuffs and collar of black. Size XL, label stitched to inside neck with paper swing-tag attached. jumper, indigenous, wool, geelong, 1993, geelong wool combing ltd, stanley couzens, jeni mcmahon, woolmark, you yangs, corio bay, wathourong, snake, fish

Scott PEARCE (1972 - ) Scott Pearce was awarded at Ballarat Arts Foundation Award in 2005. He completed at Bachelor of Visual Art: Painting (Honours) at the University of Ballarat (now Federation University) in 2007. 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.Framed drawing of an overflowing carpark on Christmas Eve, art, artwork, scott pearce, pearce, carpark, drawing, alumni, christmas

Bosuns chair and harness with pulley. This device suspended a person from a rope and seat to perform work duties in safety. It includes a chair made from a flat piece of wood threaded through with a cable attached to pulleys, which move people or goods up or down heights such as the lighthouse, where it was used for painting the lighthouse and other tasks. It has first level contributory significance for its relative completeness, historic value and provenance to the lightstation.Chair (wooden piece of wood with cable threaded through 4 holes) with cables joining together above seat. Two metal pulleys with wire cable attached.

A photo of widows in the Legacy club rooms. There were many activities provided for widows. The date is unknown. There were weekly workshops for craft and others for painting. The timetable for activities was published in The Answer (prior to Sept 1992 it was called the Melbourne Legacy Widows' Newsletter) each month. These regular meetings and workshops provided important opportunities for widows to meet and be active.A record of the type of activities Legacy provided as a social outlet for the widows.Black and white photo of widows in the Legacy clubrooms.widows, activities

Alun LEACH-JONES (1937- 24 December 2017) Born Maghull, Lancashire, United Kingdom Arrived Australia 1960 Alun Leach-Jones is recognised as one of Australia's leading abstract colour painters. He spent his childhood in the Welsh village of Glasfryn, Denbighshire. At the age of 14 he started a three year apprenticeship with the Solicitors Law Society, Liverpool illuminating manuscripts and hand copying legal documents. While working with the law society Leach-Jones studied painting and drawing in the evenings at the Liverpool College of Art between the years 1955-57. He immigrated to Australia in 1960, settling in Adelaide and attending the South Australian School of Art, after which he travelled and exhibited throughout Australia and abroad. In 1966 Leach-Jones celebrated Noumenon series was shown with Australian Galleries in Melbourne and he was immediately recognised as being part of what was then labelled as ‘the New Abstraction’ in Australian art. Later in 1968 his work was included in the influential exhibition "The Field" held at the National Gallery of Victoria. 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. Purchased by the Council of State College of Victoria, Ballarat, 1974art, artwork, leach-jones, alun leach-jones, abstract

Uncle Brian McKinnon (b. 1957 – d. 2023) was a Geelong-based artist and descendent of the Amangu and Wongai people of Western Australia. He created powerful mixed media works that explore his campaign for Aboriginal rights and his childhood experiences growing up in Western Australia. Scars is a deeply personal and political work that reflects on some of the ways in which Aboriginal people have historically been discriminated against and marginalised because of the colour of their skin and cultural practices. Originally exhibited with two other paintings, it was also made in honour of the artist’s children and their struggle to maintain positive self-esteem. Uncle Brian McKinnon said his children inherited keloids from their ancestors: ‘These keloids look like body scars. In this work, I have placed them in the past and the presence of their ancestors through the act of beautifying the marks, which reflect the landscape and the identity of the person wearing the beautification marks. Although the marks on my children are not so beautiful and they are ostracised because of them, this made me think of racist policies and of course the referendum and when my people were seen for the first time as being human.’

Author George Odgers Endorsed by the Australian Defence Forces .1) Diggers from 1860 to 5 June 1944 The royal blue & dark yellow hard cover book with dust jacket. On the front cover is a picture of a painting in the centre of horses, guns & soldiers on a battlefield with stars of the Southern Cross around the picture 272pp. .2) Diggers from 6 June 1944 to 1994 The royal blue & dark yellow hard cover book with dust jacket. On the front cover is a picture of a painting of a group of soldiers during a battle. 2 tanks & palm trees in background. Stars of the Southern Cross around the picture 272pp. Page numbering in Volume 2 continues on from last page number in Volume 1. .3) Blue cardboard sleeve Open sided royal blue & dark yellow box slip cover for 2422.1 & 2422.2. Portrait orientation LHS has photo of 4 fighter pilots walking away from an aeroplane. Stars of Southern Cross around photo. RHS has picture of a painting of a group of soldiers during a battle. 2 tanks & palm trees in background. Stars of the Southern Cross around the picture. Bottom section of the box is missing.books-military-history, containers, military history

One of several Dandenong Creek marker posts inscriptions: "Busch's Weir was located at this section of the creek between 1930s to 1960s. In the 1930s, German migrant Hermann Otto Busch and his wife Dorothea moved to Bayswater and opened the Waldheim Farm Guest House. Busch built a concrete weir to create a popular swimming and fishing destination. The weir was a thriving attraction until the 1960s. Although little remains, it is fondly remembered by the Heathmont community. City dwellers would retreat to the guesthouse and wander down to Dandenong Creek to enjoy a weekend in the 'country'. Busch's guest house, tea rooms, and weir attracted locals and tourists alike."A private weir on Dandenong Creek Bayswater and Heathmont, 1930s-1967. Landscape layout soft covered book by Heathmont History Group (Ringwood & District Historical Society.Front cover image: A 1956 painting by Hermann Busch of his weir. The publication of this book has been made possible by a financial grant from Melbourne Water, as part of the Enhancing Our Dandenong Creek program. We particularly acknowledge the encouragement and support of Sarah Watkins, Senior Planning Engineer, MW.

Photograph of G class 50 in Glenhuntly Road with many passengers. Tram has the destination of Elsternwick. In the background is an Ironmonger's shop (W J Marsh) and a Milliner's shop and a cake and confectionary shop.Yields information about G class tram No. 50 in the mid 1920s.Black and White Copy Negative and print with notes on the rear.On rear of the print in ink and pencil "MMTB Car scrapped a year ago, G class No. 50 (with small windows, only one of its kind), Prahran & Malvern TT, Glenhuntly Road 1925. (old style painting and monogram). " Has the Ken Magor stamp and Wal Jack stamp with "T66" written in.trams, tramways, g class, glenhuntly rd, tram 50

“The painted works are very intricate to make as I work in various sized brush strokes to make the images appear hand-drawn" This artwork by artwork by Briony Galligan was installed from Friday 20th November 2020 to 1 November 2021. Open Every Door consists of two wall paintings, each will remain at the site for 6 months, and a website publication. In April 2021 Briony installed the second artwork A Lover not a Fighter. Each abstract wall painting references queer histories and art makers, as well as abstract drawings made by Deakin’s Spiritualist contemporaries, such as Georgiana Haughton (1814-1884). The work was part of a City of Ballarat annual commission program to create temporary public artworks in Alfred Deakin Place, Ballarat. The artwork featured on a prominent site near the Art Gallery of Ballarat Annex. Currently a destination for art lovers and students from Federation University’s Arts Academy, Alfred Deakin Place is actively programmed as a space for new and innovative, contemporary public art. painted wall

David Armfield: David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1930s on painting trips and used to camp on the banks of Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires.Ceramic stoneware. Reduction fired, dolomite glaze, wax resist decoration over iron. Decorated/painted by David Armfield. Cast by Joan Armfield.

A note that Legatee Frank Doolan wrote to capture an encounter with a widow. "Mrs Nora Sennett, a cousin of the late Sir Stanley Savige recently wrote to enquire of the whereabouts of the oil painting which had been presented by her late husband to Legacy on the occasion when Stan Savige had opened an exhibition of his work in the Athenaeum Gallery. Mrs Sennett was visited at her new domicile in the MECWA block of single units in Warner St Malvern, and was assured that the painting was well cared for and was hung in a prominent place in Melbourne Legacy Comradeship Corner. She is one of our senior widows now aged 87, and was one of a family of five girls, all of whom are still living and who were one of the early families of Korumburra. Mrs Sennett explained how her late husband, who served with the 39th Battalion (EGGS ARE COOKED) was with General McNicoll on the site of the painting at Passchendaele. and the General remarked that he should paint the scene some day. It certainly captures the atmosphere of devastation caused by artillery barrage, and emphasises the duck boards which were initiated by the AIF to help communication over the blasted terrain of mud, and shell holes of Flanders Fields. FJD' Was with other memorabilia that has come from Frank Doolan from both his war service and his time with Legacy. He was on the archive committee and made attempts to collate the history of Legacy. This note shows that there was a painting of Passchedale painted by Stan Savige's cousin and donated to Legacy. Plus Legatees were still visiting the widow of the painter in 1974.A note x 2 pages written by Frank Doolan about a visit to a widow.Report is handwritten. In top right corner 'Report from L/tee F. Doolan Feb 1974' is in red type.world war one, legatee

Refer Cat No. 7504, 7505, 7506, 4 book collection.Hardcover book. Cover - cardboard, with light brown buckram cover with dark brown print on front and spine. Illustration in dark brown - soldier in silhouette. End papers - illustrated brown and cream colour tones - maps back and front, 128 pages - cut, plain, cream colour paper, illustrated colour, black and white and sepia illustrations, photographs, paintings.books, army, ww2

From information book - "Reader's Gigest/ Gallipoli/ 25th Aril 1915 - 9th January 1916/ Centenary Commemorative Prints". Collection of 20 prints Refer Cat No. 7300.Framed print. Print - colour print on paper. Copy of an oil on canvas painting. Depicts a "Hospital ward where several nurses attend a patient in bed", against a background of "beds being made ready in the ward" and "Stretcher bearers carrying in more wounded". Frame - black plastic framing with glass front and MDF board backing with adhered black paper.Details below print - in black ink. "GEORGE COATES (1869 - 1930). First Australian wounded at Gallipoli arriving at Wandsworth Hospital, London". 1921. "Served with the Royal Army Medical Corps at 3rd London General Hospital at Wandsworth". 1919 Commissioned to do portrait work for the Australian War Records section. framed accessories, pprints, ww1, gallipoli, centenary

This is the program of the 2014-5 exhibition at the Warrnambool Art Gallery, ‘From the Sacred to the Profane – The Challenges and Possibilities of Renaissance Art’. This exhibition was a joint project between the National Gallery of Victoria and the Warrnambool Art Gallery and was officially opened in December 2014 by the Director of the National Gallery of Victoria, Tony Ellwood. This program is of interest as a souvenir of an exhibition in Warrnambool that was an important one as it featured historical and valuable works of art from the National Gallery of Victoria. This is a sheet of paper folded to make six sides. One side has a plasticized surface. The pages have a black background with white and red printing on five sides and a colour photograph of a painting on the front page. The back page has the logos of the Warrnambool Art Gallery Foundation, the Victorian State Government, Arts Victoria, Warrnambool City Council and Deakin Worldly.national gallery of victoria, warrnambool art gallery, art in victoria, renaissance art, warrnambool history

The document is the Mid Tour Report by SSGT N.J. Collins RE, a British Army Senior NCO on a two-year exchange to the Army Survey Regiment. A4 size, Stapled, Front cover has a reproduction of a painting of Fortuna Villa in bottom half. Back cover has a difficult to see street scene of Pall Mall, Bendigo with a paragraph describing Bendigo's history superimposed. 19 Pages. The actual Report is contained on Pages 1-16. Annex A is 2 x pages plus a contents page.Green Hi-Light on parts of pages 10 and 11.royal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr

"Australian War Diary" Australian Armed Force4s in a Changing World: 1870 - 2010.Hard cover book Hardcover cardboard with Glossy paper finish. White print on front, spine and back. Cover black and white and colour illustrations - montage of photographs in strips top and bottom, front to back of various Armed Forces scene. 303 pages, cut, plain white paper. Illustrated black and white and colour photographs, posters and paintings.books, military history, australia

Biography of Leonard Keysor. This is the personal story of one of Australia's 9 VC recipients at Gallipoli & the story of his family. Compiled by his great neice, Kiera Quinn Lockyer.Soft cardboard cover, black print on front, spine & back. Mottled beige background with two black & white photos on front. Larger photo is a painting of a soldier in uniform on the battlefield, smaller photo is a half portrait of a soldier in uniform. 302 pages, cut plain paper, illustrated with black & white photos of people, certificates, medals, ships & buildings.Front flyleaf signed in black ink: “Keira Quinn Lockyer”books-military, photography-photographs, keysor, vc