The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する　東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama

The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する　東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama

The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する　東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama

The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する　東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama

The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する　東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama

The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する　東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama

The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する　東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama

The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する　東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama

The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する　東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama

The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する　東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama

Soft cover book. Soft cover, cardboard: white, yellow and black print on front, spine and back. Front cover, background illustration montage of portrait photograph of a soldier in uniform and 2 typewritten letters in sepia tones. Back cover: sepia tones, photograph of a number of women working on typewriters. 440 pages, cut, plain, white paper. Illustrated black and white photographs.Collection of lettters from distressed families during WW1 to "Base Records" and the correspondence in reply signed by J.M. Lean.books, ww1, correspondence, biography

The medal was awarded to Trooper John Garbutt of the Prince of Wales Victorian Volunteer Light Horse (Ballarat) in 1880 for attaining fourth prize n the sword competition. In 1862, the units of the Mounted Volunteer Corps in Victoria were formed into a single regiment known as the Victorian Volunteer Light Horse. This title changed again in 1863, to the Prince of Wales Victorian Volunteer Light Horse ( Hussars ). In 1870 a uniform was adopted that was based on the British 19th Hussars. Troops were based at various times at Geelong, Ballarat, Kyneton, Bendigo, Castlemaine and Dandenong, as well as metropolitan Melbourne. In 1885, most of the Cavalry were incorporated into a newly formed Victorian Mounted Rifles. (http://www.awm.gov.au/collection/REL/18070.001) John Garbutt was Principal of Ballarat College 1877 - 1909. He was educated at Geelong National Grammar School and in 1860 was the first dux of the college. He was educated at Geelong National Grammar School and in 1860 was the first dux of the college. Fist class Honourman Arts and Laws at Melbourne University 1866; Two years a master at Geelong College; seven years master and three years senior master at Scotch College, Melbourne. Mein's 1964 History of Ballarat College states: 'To summarise, it may be fairly claimed that the College's War Record in 1914-1918 would have reflected great credit on a school with ten times its numbers...Some of the credit of the college war record must be attributed to the influence of Major John Garbutt, M.A. who was Principal of the College for 33 years...Nearly all the old Collegians who distinguished themselves in the war had been trained by him. Silver coloured maltese cross medal with decorative link attached to top and engraved on both sides. The medal was awarded to Trooper Whyte of the Prince of Wales Victorian Volunteer Light Horse (Ballarat) in 1877. Face: P.W.V.V.L.H. / BALLARAT TROOP / SWORD COMPETITION / 1880 Verso: 4th PRIZE / Trooper garbutt ballarat-college, principal-john-garbutt, prince of wales victorian volunteer light horse, medal, 1880, principal

John Anning MacLeod John was born in Ballarat as the second generation of Ballarat MacLeod’s, with his grandfather arriving in Geelong on the Hornet in 1857 as an 11 year old child with his 60 year old father John and mother Mary aged 37 years and 5 brothers and one sister. He grew up on the corner of Drummond Street and Mair Streets, opposite what became St John of God hospital, at his parents house of Dunvegan. John entered Ballarat College as a junior student in 1923. He received 3rd in Form prizes in both 1924 and 1925. His sister Margaret, attended Clarendon Ladies College. The household employed a chauffeur, a cook, a gardener and a ladies maid to care for them. In the 1930’s his father lost his fortune in the collapse of the jute future’s market so the staff were dismissed and he left Ballarat to go to Geelong College as a boarder. He was an officer in the Geelong College cadet corps and joined the Army as a private and rose to the permanent rank of Major after meritorious performance in the intelligence area of operations. He served in North Africa, in Palestine, Egypt, Moratai, the Philippines, Java and New Guinea. He was awarded his Military MBE by King George VI for exceptional devotion to duty and for brilliant coordination work amongst the allied intelligence team. During the war he met Mary Monica Carrol Bateman, a lietenant in the 2/4th Army General Hospital at a dinner party in Brisbane. The couple had four children, Hamish John Torquil born in 1945, Rory Hugh Alexander born in 1947 and twins Ian Donald and Katriona Margaret born in 1948. After the Second World War he worked for Lumley’s Insurance Brokers in London for a couple of years to follow up his accountancy training and then returned to Ballarat due to his father’s failing health and took over the management of John MacLeod and Co, Wholesale grocers and Merchants in Lydiard Street, Ballarat. The business had been started by his great grandfather and they produced the famous Sirdar brand of products and a special tea blend called Afternoon Cup. There was a spice mill in nearby Market Street and there they roasted peanuts, coffee and ground spices for packaging and distribution to the small corner shops who were the mainstay of commercial grocery. In the 1950’s John MacLeod and Co merged with James McKay and Sons to form McKay MacLeod Pty Ltd., wholesale tobacco, wine and spirits and grocery merchants who also manufactured the Sunny South brand of sweet mustard pickles, brewed vinegar and tomato sauce. He introduced the semi-automated system for extensions and financial records on the Bradma plates that saved staff the problems of sorting out the calculations for sales tax, miscellaneous charges etc. that greatly sped up the transactions at the checkout points. A new warehouse and office complex was built in Mair Street east up near Humffray Street, with the manufacturing factory on the opposite side of the street. They had a shop in St Arnaud and one in Geelong which was the local wholesaler for supplying to the corner shops of the greater Geelong area. With the development of supermarkets the demise of the corner store began and so the sales profiles began to diminish. He unsuccessfully stood for Liberal Party pre-selection for the seat of Ballarat in 1948 and served on the Liberal state finance and executive team for many years before resigning over the issue of conscripts being sent to Vietnam. He was instrumental in leading a group of Ballarat academics in opposition to the Vietnam war and publicly resigned from the Liberal Party over their foreign policy. John MacLeod saw the writing on the wall of the business in the early 1970’s and suggested that the firm restructured with focusing on tobacco, wine and spirits. His partners did not agree and so he sold out and retired to Barwon Heads. After a few years of golfing and surfing he became frustrated and joined SCORE, the Service Corp of Retired Executives. In this role he worked for ten years in the Geelong area solving accounting problems for Geelong small businesses and so helped Beaumont’s bakery back onto its feet. He worked gentlemen’s hours of 10 am to 3 pm which allowed him to have time for a round of 9 holes on the golf course at the end of the day and to have a surf before breakfast. He fully retired at the age of 65 and had ten years of voluminous reading of local library books before dying of burns at the age of 75. His war record has been documented in other archives at the College. He was a member of the Naval and Military Club and of the Barwon Heads Golf Club. He had good crafting skills and built a series of steam driven boats for his four children that used to be sailed at home on Lake Wendouree, Lake Learmonth and on the sheltered waters of the Barwon River. The boats are now being restored to operational order to be sailed by his great grandson Grayson Girardi. Red cloth bound book with title printed in gold lettering on spine, embossed publisher's mark centre of front cover and school crest in gold relief on front cover; book plate inside front cover. Book plate inside front cover: School crest / Ballarat College / I form / 3rd in form Prize / Awarded to / J MacLeod / December 1924 A Richardson B A Principaljohn-macleod, ballarat-college, book-prize, 1924

John Anning MacLeod John was born in Ballarat as the second generation of Ballarat MacLeod’s, with his grandfather arriving in Geelong on the Hornet in 1857 as an 11 year old child with his 60 year old father John and mother Mary aged 37 years and 5 brothers and one sister. He grew up on the corner of Drummond Street and Mair Streets, opposite what became St John of God hospital, at his parents house of Dunvegan. John entered Ballarat College as a junior student in 1923. He received 3rd in Form prizes in both 1924 and 1925. His sister Margaret, attended Clarendon Ladies College. The household employed a chauffeur, a cook, a gardener and a ladies maid to care for them. In the 1930’s his father lost his fortune in the collapse of the jute future’s market so the staff were dismissed and he left Ballarat to go to Geelong College as a boarder. He was an officer in the Geelong College cadet corps and joined the Army as a private and rose to the permanent rank of Major after meritorious performance in the intelligence area of operations. He served in North Africa, in Palestine, Egypt, Moratai, the Philippines, Java and New Guinea. He was awarded his Military MBE by King George VI for exceptional devotion to duty and for brilliant coordination work amongst the allied intelligence team. During the war he met Mary Monica Carrol Bateman, a lietenant in the 2/4th Army General Hospital at a dinner party in Brisbane. The couple had four children, Hamish John Torquil born in 1945, Rory Hugh Alexander born in 1947 and twins Ian Donald and Katriona Margaret born in 1948. After the Second World War he worked for Lumley’s Insurance Brokers in London for a couple of years to follow up his accountancy training and then returned to Ballarat due to his father’s failing health and took over the management of John MacLeod and Co, Wholesale grocers and Merchants in Lydiard Street, Ballarat. The business had been started by his great grandfather and they produced the famous Sirdar brand of products and a special tea blend called Afternoon Cup. There was a spice mill in nearby Market Street and there they roasted peanuts, coffee and ground spices for packaging and distribution to the small corner shops who were the mainstay of commercial grocery. In the 1950’s John MacLeod and Co merged with James McKay and Sons to form McKay MacLeod Pty Ltd., wholesale tobacco, wine and spirits and grocery merchants who also manufactured the Sunny South brand of sweet mustard pickles, brewed vinegar and tomato sauce. He introduced the semi-automated system for extensions and financial records on the Bradma plates that saved staff the problems of sorting out the calculations for sales tax, miscellaneous charges etc. that greatly sped up the transactions at the checkout points. A new warehouse and office complex was built in Mair Street east up near Humffray Street, with the manufacturing factory on the opposite side of the street. They had a shop in St Arnaud and one in Geelong which was the local wholesaler for supplying to the corner shops of the greater Geelong area. With the development of supermarkets the demise of the corner store began and so the sales profiles began to diminish. He unsuccessfully stood for Liberal Party pre-selection for the seat of Ballarat in 1948 and served on the Liberal state finance and executive team for many years before resigning over the issue of conscripts being sent to Vietnam. He was instrumental in leading a group of Ballarat academics in opposition to the Vietnam war and publicly resigned from the Liberal Party over their foreign policy. John MacLeod saw the writing on the wall of the business in the early 1970’s and suggested that the firm restructured with focusing on tobacco, wine and spirits. His partners did not agree and so he sold out and retired to Barwon Heads. After a few years of golfing and surfing he became frustrated and joined SCORE, the Service Corp of Retired Executives. In this role he worked for ten years in the Geelong area solving accounting problems for Geelong small businesses and so helped Beaumont’s bakery back onto its feet. He worked gentlemen’s hours of 10 am to 3 pm which allowed him to have time for a round of 9 holes on the golf course at the end of the day and to have a surf before breakfast. He fully retired at the age of 65 and had ten years of voluminous reading of local library books before dying of burns at the age of 75. His war record has been documented in other archives at the College. He was a member of the Naval and Military Club and of the Barwon Heads Golf Club. He had good crafting skills and built a series of steam driven boats for his four children that used to be sailed at home on Lake Wendouree, Lake Learmonth and on the sheltered waters of the Barwon River. The boats are now being restored to operational order to be sailed by his great grandson Grayson Girardi. john-macleod, ballarat-college, 1925, book-prize

.1) This certificate was presented to individual members of the Kennington Sub Branch of the Red Cross..1) Colour photo of a certificate titled “After the Great War of 1914 - 19” presented to “Kennington Red Cross Society” members. Illustrated with an angel, flag and dove and record of work done by the branch listed. .2) Copy of a photograph B & W of a group of Red Cross members in front of a weatherboard building with hand written information. .3) Laminated copy of a certificate , Black and red print, illustrated sepia poster..1) Hand written in black ink, “Mrs V.Smith, J Lansell, A Montgomerie”. .2) Hand written in black ink, “1914 - 18 Wilson St (Long Gully) Methodist Church/Red Cross Branch”. .3) Handwritten, “Kennington Branch” and signed by President and CEO of Australian Red Cross.red cross, kennington sub branch, 100 years

King George V portrait at top between Union Jack & Australian flags. LHS: General Sir W R Birdwood. RHS: Lt General Sir J Monash. LHS: List of Honours awarded. RHS: Honours Awarded. Portraits of Officers commanding with a list of their division's units, engagements & casualties. Ornate brown frame, glass front, cardboard backing.Printed in colour top centre: "Record of Australia's Voluntary Effort in the Great War (AIF) August 4 1914 - June 28 1919"documents-posters, military history, ww1 record

The All Australian Memorial (Victorian Edition) A Historical Record of National Effort During The Great War. Australians Roll of Honour 1914 - 1916, Heroes and Helpers.Hard cardboard cover, dark red buckram, gold print on front & spine. Australian Commonwealth Military Forces badge on front. 158 cut, gold page edges, beige pages. Black / white / sepia photos, drawings, maps & portraits. Many photos mounted on cardboard mounts. Fold out photos & maps. Flyleaf & end papers are dark brown. Dedication page.Dedication page contains a card & printed portrait photo & information on Allan SCHWENNESEN “SCHWENNESEN A W, L-Cpl D Coy; 5th Batt; s. of Henry and Harriet Schwennesen 13 Arthur-St; Bendigo b. at Petersburg, S.Aust Sept 30 1897; educ. Talbot SS; clerk; enl. Bendigo, April 25, 1915 War Service; Gallipoli (Landing Evacuation); France”book, memorial, all australian

The All Australian Memorial (Victorian Edition) A Historical Record of National Effort During The Great War. Australians Roll of Honour 1914 - 1916, Heroes and Helpers.Hard cardboard cover, black buckram, gold print on front & spine. Australian Military Forces badge illustrated on front. 158 cut, gold page edges, beige paper. Black / white / sepia photos, drawings, maps, portraits, etc. Many photos mounted on cardboard mounts. Fold out photos & maps. Fly leaf & end papers are dark green. Some photos missing. Inscription stamp.Inscription on front end paper handwritten in blue ink: “Desmond V B?er 146 Queen Street Bendigo” Title page: “RSL stamp”book, memorial, all australian

Taken from foreword: Resource & guide for students & for anyone wishing to research Australian soldiers of the Great War 1914 - 1918.Eight copies of 'Digging for Diggers - A guide to researching an Australian soldier of Great War 1914 - 1918'. Soft cardboard cover, adhesive plastic cover applied. Gold / white / purple print on front, spine & back. Purple background, illustrated in colour, 2 portraits, Roll of Honour & service medals. 69 cut, plain, white, pages. Illustrated black / white photos. Black ink stamp on title page & inside back cover C.C.B. LA VALLA LIBRARY RESOURCE CENTRE Red ink stamp over black ink stamp: CANCELLEDbooks, service records, world war one

ARTHUR STANLEY SPOONER No 379 enlisted in A Coy 38th Batt on 25.2.1916 age 24 years 7 months. Embarked for England 20.6.1916, hospitalised 2.8.1916 with Influenza, hospitalised 23.9.1916 with displaced Cartlage, classified BIA. Moved through Training Battalion & No 2 Convalescent Depot in England. Returned to Australia 27.9.1917 for discharge classed Chronic Synovitis left leg, Odema left leg & discharged from the AIF 20.2.1918.Tan wooden frame, glass front, newspaper backing. Print in red & black ink."Arthur S Spooner Australian Imperial Force Served with honour & was disabled in the Great War Honourably discharged 20.2.18 George R J Certificate No V1308"documents - certificates, frame accessories, military history - service records

The entry of Bowrey as a VC winner at Rorkes Drift is incorrect.Frame is mid brown coloured timber frame without glass. Honour Board is mid brown coloured timber with hand painted gold & black printing. Top: In Remembrance And Esteem Of Our Members Who At All Times And In All Places Served In the Forces For King & Empire Lists Members who served in the forces under the following headings: Zulu War 1879 Includes the entry BOWREY F R awarded VC at Rorkes Drift. Boer War 1899 - 1901 Great War 1914 - 1918 World War 1939 - 1945 memorials-honour boards, military history - service records, trades -carpentery, passchendaele barracks trust

From the Quarry Hill Congregational Church. 1914 The Great War 1918. gold printed names Heavy timber frame."Greater Love Hath No man than this"memorials-honour boards, military history-service records, church,

Church HONOR Roll board, heavy frame timber with gabled top. All inscriptions are in gold lettering. At the top, “Buckley St Methodist - SS - HONOR ROLL, For God and Country” At the bottom, “1914 The Great War 1919”memorials-honour boards, military history-service records, buckley street

Pte HARRY THOMPSON No 69437 New Zealand Expeditionary Force WW1. Refer 2027 for his service details. Illustrated certificate, brown & black ink printed on cream paper, mount in brown & green cardboard & brown frame.The Great War 1914 - 1918 Certificate of Service in the NZEF for Pte Harry Thompson 69437 Stamp on back: Bethany Gallery 116 Bridge St Bendigodocuments - certificates, military history-service records

Copyright J W SANDERS (late AIF).Black decorative wooden frame without glass. Poster in colour with white border & cardboard backing. Poster shows history of 1st, 2nd, 3rd, 4th & 5th Australian Divisions, also campaign medals.Printed top section of frame: “RECORD OF THE AUSTRALIAN IMPERIAL FORCE IN THE GREAT WAR 4TH AUG. 1914 - 28TH JUNE 1919”documents-posters, military history-army, aif

Originally would have been issued with a scroll & letter from the King but neither with plaque. 1914-1918 Memorial Plaque In early 1920 it was announced that the next-of-kin of all Australian servicemen and women whose deaths were attributable to the First World War would receive a memorial plaque and scroll "as a solace for bereavement and as a memento". The memorial plaques were not uniquely Australian. In fact they were designed and produced in Britain and issued to commemorate all those who died as a result of war service from within the British Commonwealth. The idea for the plaques was originally conceived mid-way through the war. In 1917 a competition was announced to obtain a suitable design and 800 entries were eventually received. The winner, Mr. E. Carter Preston of Liverpool, England, was chosen in 1918. He was awarded a prize of 250 pounds. Mr Manning Pike directed the manufacture of the memorial plaques at the Memorial Plaque Factory set up at Acton, London. Some later plaques were also made at the Woolwich Arsenal. The cost of manufacturing so many plaques must have been considerable. Each plaque had the name of the soldier commemorated individually embossed (some were engraved) as part of the design. The full name was given without any indication of rank or honours to show the equality of sacrifice of all those who had lost their lives. The scroll designed to accompany the plaques was of thick paper, headed by the royal coat-of-arms, and bore the following message: "He whom this scroll commemorates was numbered among those who, at the call of King and Country, left all that was dear to them, endured hardness, faced danger, and finally passed out of the sight of men by the path of duty and self-sacrifice, giving up their own lives that others might live in freedom. Let those that come after see that his name is not forgotten". Underneath the message the serviceman or woman’s name, rank, honours and unit were written by hand in red ink. Because of the late arrival in Australia of the plaques many scrolls were sent out separately. A message from the King, "I join with my grateful people in sending you this memorial of a brave life given for others in the Great War", was included with the scroll. The first plaques were distributed in Australia in 1922. Each plaque was sent out from Base Records Office at Victoria Barracks in Melbourne by second-class mail. Approximately 60,000 plaques were issued in Australia. Families of deceased members of the Royal Australian Navy and the Australian Army Nursing Service also received plaques and scrolls Bronze Memorial Plaque 1914-1918 for 4876 Pte. Harry Milne , 46 Battalion KIA 10/5/1918, In a cardboard square envelope. http://www.awm.gov.au/research/people/roll_of_honour/person.asp?p=493414Embossed around edge of plaque "HE DIED FOR FREEDOM AND HONOVR" Name of serviceman embossed on plaque right of centre "HARRY MILNE"ww1, dead mans penny, kings penny, memorial plaque