Wooden crosses were installed in the grass verge of the Shrine in 1995 to mark the 50th anniversary of the end of World War II. It was called the Field of Remembrance. These photos show some of the crosses, and with The Shrine in the background. The Field of Remembrance was publicised in editions of the Answer and featured on the cover of the October 1995 edition. The field of crosses was part of "Australia Remembers 1945 -1995". Crosses were available without charge (but by donation) at kiosk near the Shrine and names and unit numbers could be added and the cross placed in the Shrine grounds. The crosses were later gathered and burnt with the ashes being scattered on 11th November 1995. In the April 1997 edition of The Answer a poem was published that was written about the crosses. Patricia Fanke was awarded first prize in the Poetry section, Writing and Art Program run by the Department of Veterans' Affairs in September 1996.The 50th Anniversary of the end of World War II was a significant milestone marked in many ways by Legacy and the wider community.Colour photo x 3 of wooden crosses at The Shrine.Printed on the back "shrine of remembrance, answer

This is a study of Melbourne Legacy by the author William Paul Healy, from April 1973 to March 1975. The author was interested because of the reputation gained by Legacy over the preceding 50 years, for successfully delivering welfare services by volunteers to widows and their dependant children. He titled it 'The Task-Focused Volunteer: An Evaluation of the Work of the Legacy Club of Melbourne'. The aim of the study was to describe, analyse, explain and evaluate the work of Legacy. This has been done at great length and in summary the great value of Legacy is in the continuity of a Legatee with the one family i.e. the legatee maintained contact with the family through school, beginning work/university and other milestones in the life of a dependant family. It was thought that families in receipt of Legacy services functioned at a higher level than those who do not receive such services.Significant in that Legacy was seen as providing a high quality service. Some of the effectiveness seems to derive from the ease at which the legatee is able to establish a relationship with the family.White A4 paper pages with black type x 186 pages held together by two foolscap cardboard leaves.objectives, goals, activities

An article from the Melbourne Legacy Bulletin on the death of Legatee John Cooper (President of Melbourne Legacy in 1968). The article is a reprint of Legatee Kemsley oration at the funeral on 2 April 1980 at St Andrew's Anglican Church Brighton. The Bulletin published articles on Legatees when they passed away. Legatee John Cooper, born in 1919 and died in 1980. During his war service he served in 2/4th Field Regiment with 7th Division in PNG and Borneo, gaining the rank of Lieutenant. He joined Legacy in 1951 after being nominated by Legatee Dudley Gallagher. The article was part of an album of past presidents from 1965 to 1989. The folder included biographical details and obituaries, eulogies and death notices of prominent Legatees. The items have been catalogued separately.A record of Legatee John Cooper a past president of Legacy. The information was collected to record the lives of prominent legatees in a folder.Typed copy of a page from the Legacy Bulletin on the death of Legatee John Cooper - President 1968Bulletin No 2481. 8.4.1980. Page No 1 and 2past presidents, vale, john cooper

A portrait of Legatee Arthur Henson Smith who was a legatee that had rejoined to serve in the second World War. His ribbon bar indicates he had served in the first World War. His Vale notice that appeared in the Bulletin on 22 January 1973 says he had landed at Gallipoli on 25 April 1915. He went on to serve with the 2nd Brigade AFA and the 3rd Army Brigade Artillery. On 1 May 1940 he enlisted with the 2/9 Field Regiment of the 2nd AIF with the rank of Lieutenant-Colonel and served in Syria and the Middle East. Arthur Smith was inducted into Legacy in 1935 and served on many committees, until he reluctantly was put on reserve list in 1965 due to illness. He died in 1973. The portrait was in an album of photos taken in the 1940s (mostly 1945). A record of a legatee enlisting to serve in the second World War.Black and white portrait of Arthur H Smith, who was a legatee who re-enlisted in WW2. Part of a photo album with blue leather look back and front cover. From one of 20 pages with black and white photos. Legatee Arthur Henson Smith fought at Gallipoli, he ended WW1 as a Captain and finished WW1 as a Lieutenant Colonel. He died on 19 January 1973.legatee, portrait, arthur smith, vale

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade lamp base, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Handmade lamp base, irregularly ridged with applied green and yellow glazes. The lamp base has a hole for a cord above the foot.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), lamp bases, viola annie ayling, viola annie mcvicars

noombapee is an etching and lithograph by Gunditjmara and Keerray Woorroong artist Vicki Couzens. Couzens is a multi-disciplinary artist focused on strengthening her language and culture through research and creative projects. noombapee was created during a 2018 Collie Print Trust Printmaking Fellowship at the Australian Print Workshop. The work is an example of Couzens’ reclamation and celebration of Indigenous languages. The title is a Gunditjmara term which approximately translates to ‘have mercy’ or ‘forgiveness’. The word ‘noombapee’ appears multiple times in the lower right corner of the composition. The left side of the work includes a letter to the editor of the Warnambool Standard, dated 3 April 1940 and authored by Vicki’s ngapoon (paternal grandfather), Nicholas Couzens. Couzens explains that ‘he was an activist and advocate for our rights living on the Framlingham mission.’

This pamphlet was produced for the Warrnambool Branch of the National Trust of Australia (Victoria) for Heritage Week, April 16-23, 1989 and contains information written by Warrnambool residents about their locality. This was a co-operative venture by people with a common interest in protecting the natural environment near their home. Areas covered in the written information include: Formation of the Coast, Archaeological survey, Gunditjmara History, vegetation, history and recreational uses of the Lady Bay area. The map shows special places of interest including past and present navigational aids, sites of shipwrecks and other historical places of interest. The Warrnambool Branch of the National Trust was originally formed in March 1969 and merged with the Port Fairy Branch in late 1970. In October 1979, the Warrnambool Branch was reformed and operated into the late 1990's. This is an example of a publication produced by the Warrnambool Branch of the National Trust Australia (Victoria). It provides historical information and perspectives of the recreational uses in and around Lady Bay Warrnambool.An A2 piece of buff coloured thick paper folded into eight to make an A5 pamphlet. The front cover has green printing with the National Trust symbol of three eucalyptus leaves in green. There is a brown sepia photograph showing a view across Lady Bay with the suspension bridge across the Merri River in the foreground, Viaduct Road in the middle ground and the breakwater in the background. There is a purple inked stamp on the top right hand corner. The rear cover has brown writing and includes logos of bodies who assisted with the publication. There is a brown line drawing of the viaduct and pier at the Warrnambool Breakwater. The inside of the unfolded pamphlet contains a map of Lady Bay and adjacent area showing places of interest and shipwrecks marked in red circlesFront cover: Special Places Lady Bay Warrnambool National Trust of Australia (Victoria) Warrnambool Branch Ronald J. Cummingwarrnambool, lady bay warrnambool, national trust australia victoria warrnambool branch, heritage week 1989, lady bay shipwrecks

Dorian Le Gallienne (1915-1963) was born in Melbourne and studied music at Melbourne University Conservatorium and at the Royal College of Music, London. In 1951 he won a Commonwealth Jubilee Music Scholarship and studies in London for a further two years. Le Gallienne was recognized as one of Australia’s foremost composers. He was also well known as a music critic for Melbourne newspapers. On the local scene he wrote the music for Tim Burstall’s 1958 film “The Prize”; set in Eltham. From 1949 until his death, he lived with his friend Dick Downing in Yarra Braes Road. Their modest mudbrick “weekender” grew in stages to become one of the notable houses of the area. Bicentennial/Heritage Week Display, "The Eltham Tradition", Eltham Shire Office, 17-22 April 1988 Colour photographactivities, eltham shire office, heritage display, heritage week, dorian le gallienne, nora heysen, portrait

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A dish, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by the Australian art potter, Klytie Pate.Small, green glazed dish, highlighted with splashes of purple. Five ballerinas in the cavetto surround an undecorated well. The reverse is glazed a lighter green. Spur marks in the foot rim reveal that the dish was supported on stilts in the kilnSignature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), dishes, viola annie mcvicars, viola annie ayling

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.Parent file of the items in the Viola Annie Ayling collection of 1940s, 1950s, 1960s and 1970s ceramics. This parent file includes digital copies of a photograph of the ceramicist and also of her home at 128 Pakington Street, Kew, in 1951 where she practiced her art.128 pakington street -- kew (vic.), ceramics -- victoria (australia), viola annie mcvicars, viola annie ayling

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade oval footed dish, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Handmade, earthenware, footed oval dish, covered with a turquoise glaze. The feet, two of which has been repaired, were created from coils that were then luted to the base.The base bears the signature of the artist.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), dishes, viola annie mcvicars, viola annie ayling

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A pair of handmade bookends, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Pair of hand moulded abstract ceramic wall sculptures with holes and marks of the original wires on the reverse. The front and back are glazed while the interior has been left unglazed. The free-form shapes resemble waves which were initially covered with a white glaze which was then overgrazed in a semi-transparent turquoise glaze. Both pieces are signed by the artist on the reverse.Signature to bases: "V. Ayling"ceramics, pakington street -- kew (vic.), viola annie mcvicars, viola annie ayling, ceramic sculptures

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade vase, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Wheel-thrown, globular earthenware vase with a fluted neck, The vase has three glazes, its exterior glaze is a mottled greenish black which has dripped onto the foot rim. Internally it is glazed in cream, while the four petalled flowers encased in buds that form the exterior decoration are highlighted in pink, as is the interior of the rim. The base is signed with the artist's signature.Signature to bases: "V. Ayling"ceramics, pakington street -- kew (vic.), vase, viola annie mcvicars, viola annie ayling

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade, reticulated ceramic vase, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Wheel thrown ceramic vase with the body pierced between the moulded floral exterior. The vase is fully glazed in orange with the glaze pooling in the recessed sections to provide an opaque contrast. The five petalled flowers and leaves extend to the base, which is separately glazed in a paler colour and signed by the artist. Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), vases, reticulated containers, pierced work, viola annie mcvicars, viola annie ayling

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade vase, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Wheel thrown bulbous vase with a narrow neck. Subsequent to potting, the vase has been scraped from head to foot. An overall pink glaze, fading as it has dripped down the exterior has been highlighted with a second irregularly applied green glaze within the ridged surface. The artist has signed the base. Signature to bases: "V. Ayling" ceramics, pakington street -- kew (vic.), vase, viola annie mcvicars, viola annie ayling

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade ewer, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.A handmade eathernware lidded ewer, the exterior fully covered in an olive green glaze, while the interior is glazed in cream The lower section of the body, the spout and the lid reveal the coil work construction technique used, whereas the upper body is smoothed.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), ewers, pouring vessels, viola annie mcvicars, viola annie ayling

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade vase, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Freeform, heavily-potted earthenware vase, initially covered with a semi-transparent maroon glaze with a secondary green glaze applied over the top and allowed to drip over parts of the ground colour. The interior and foot of the vase are glazed in cream. The artist has signed her name to the base.Signature to bases: "V. Ayling"ceramics, pakington street -- kew (vic.), vase, viola annie ayling, viola annie mcvicars

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade ceramic container, expertly potted and glazed in a style that is representative of Australian ceramic design of the period.Wheel-thrown ceramic container, the interior and exterior fully glazed. Three glazes have ben used to decorate the object. The exterior had an initial glaze in chocolate brown with a second glaze of orange. The interior and the base are glazed in a pale cream colour. The artist's signature is on the base. Signature to base: "V. Ayling"ceramics, containers, pakington street -- kew (vic.), viola annie mcvicars, viola annie ayling

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade, abstract figurative sculpture, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Hand modelled ceramic sculpture of a Madonna and Child figural group. The abstract figures are fully covered in an olive green overglaze, apart from the base which is overglazed in cream. The base has an incised spiral beneath the glaze, which was used to decorate the hidden surfaces of a number of pieces, The base is signed with the artist's name around the edge.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), sculptures, abstract art, madonnas and child, viola annie mcvicars, viola annie ayling

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade dish, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Hand thrown earthenware dish, covered with a chocolate brown glaze into which a design on the cavetto and well has been incised. The cavetto has a design of four groups of joined semicircles filled with horizontal and vertical lines. The well includes an abstract representation of a flower. The signed, finely shaped foot and rim are glazed in cream with the artist's signature incised on the base. Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), dishes, viola annie ayling, viola annie mcvicars

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade dish, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.A large, eathernware dish, with a maroon ground and a mottled green and black glaze on the inside of the dish. The petals that form the floral design on the base are highlighted in a pink glaze. Each petal overlaps the rim. The artist's signature is on the base. Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), dishes, viola annie mcvicars, viola annie ayling

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade container, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Handmade, initially thrown lidded container, with applied decorative coils as decorative elements. The pot has a vibrant yellow glazed ground with highlighting in green glaze. The underneath of the separate lid continues the circular design with an incised spiral design. The base is signed with the signature of the artist.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), containers, viola annie mcvicars, viola annie ayling

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade dish, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Hand built deep dish, glazed in maroon and green. The maroon ground includes a splash of green in the centre of the dish. This is the only ceramic piece in the collection that is both signed and dated.Signature to base: "V. Ayling / 1954"ceramics, pakington street -- kew (vic.), dishes, viola annie ayling, viola annie mcvicars

Dedication to the Aboriginal soldiers who formed a special all volunteer platoon at No 9 Camp Wangaratta in Victoria from late 1940 until February 1941. No 9 Camp was set up at the Wangaratta Showgrounds to allow the formation of the 2/24th Australian Infantry Battalion prior to leaving for Egypt. Major Joseph Albert Wright a WW1 Light Horse veteran was in charge of this platoon the only Aboriginal squad in the Australian Military Forces at that time. Aboriginals from Lake Tyers enlisted at Caulfield between June and July 1940. 7 of the 13 who enlisted in June 1940 were discharged as members of the 2/23rd Battalion. 10 were discharged on the 22/3/1941 as Services No Longer Required, 1 discharged in November 1940, 1 in January 1941 and another in April 1941. Dedication to Aboriginal soldiers who formed a special all volunteer platoon at No 9 Camp Wangaratta in Victoria from late 1940 until February 1941. No 9 Camp was set up at the Wangaratta Showgrounds to allow the formation of the 2/24th Australian Infantry Battalion prior to leaving for Egypt. Major Joseph Albert Wright a WW1 Light Horse veteran was in charge of this platoon the only Aboriginal squad in the Australian Military Forces at that time.Large timber frame with orange mount containing boomerang three flags six photographs and narrative plaques9 Platoon Wangarattaaboriginal, 9 platoon, wangaratta, no 9 camp

Part of the Cooper Collection. "John Percy VERCOE", No. 2530, enlisted 18/5/16 in 5th Reinforcements, 60 BN. Aged 30 years. Embarked for England 25/9/1916, embarked for France 4/2/1917, WIA 26/4/1918. GSW to left eye, severe. Left eye excised England 30/4/1918. RTA 23/9/1918. Discharged from the AIF 4/1/1919. Passed away 30/12/1925. John received a Congratulatory card from MAJ.General J.H. Hobbs, K.C.B, V.D. Commanding 5th Aust. Division - for bravery and devotion to duty in dressing and carrying wounded to the Regt. Aid Post during a counter attack on Villers Brettoneux on the night of 24/25th April 1918.Brass map of Australia fashioned into a bracelet. Band is secured with a clip. Owners details engraved on the map.Engraved in the face of the map: 'No.2530, PTE J.P. VERCOE, 60TH BATT, AIF, 1916.cooper collection, trench art, john p. vercoe

Cpl Gordon Maxwell Ferguson served with the Royal Australian Infantry Corps and he served in Vietnam from June 1965 to August 1965 with 1st Battalion, The Royal Australian Regiment. Copt/Major Peter John Naughton served with the Royal Australian Army Dental Corps. He did two tours of Vietnam, the first from May 1965 to May 1966 with Australian Logistics Support Company and the second from March 1968 to April 1968 with Ships Army Staff (HMAS Sydney). L/Cpl David Maxwell Munday served with the Royal Australian Infantry Corps and served in Vietnam from May 1965 to July 1965 with the 1st Battalion, The Royal Australian Regiment when he was badly wounded. He was awarded the Military Medal.A Collection of Newspaper Clippings from three separate donors. The first is titled "this Was one Man's War" which is a story on Cpl Gordon Maxwell Ferguson describing part of his time serving. Also mention in the article is Pte L.A. Bakker. The second article is a photograph of a small Vietnamese boy being treated by Australian Army dentist Capt Peter Naughton with is assistant Sgt Brian Wilson. There is an article under the photograph starting with the words A RAAMC Officer now in Britain. The third article is titled 'Digger gets medal' is about the bravery of L/Cpl David Maxwell Munday who was awarded a Military Medal. These are on page seventeen of Personal Collections 5.newspaper clippings, cpl gordon maxwell ferguson, ferguson gordon maxwell, 212779, royal australian infantry corps, 1st battalion, the royal australian regiment, major peter john naughton, capt peter john naughton, sgt brian wilson, 215193, royal australian army dental corps, australian logistics support company, ships army staff (hmas sydney), munday david maxwell, l/cpl david maxwell munday, 214922, military medal

Pilot Officer Robert Charles CARVER, 24, was a career air force officer in No. 2 Squadron, RAAF. On 3 November 1970 the Canberra bomber in which he was in disappeared from a radar screen while returning from a night bombing mission in the northern I Corps Tactical Zone of South Vietnam. An extensive aerial search of the area failed to find any trace of the aircraft or crew and was called off after three days. In April 2009 the wreckage of the Canberra bomber was located in thick jungle in Quang Nam Province near the Laotian border. Human remains discovered near the site were identified in July 2009 as those of Carver and his crew and were repatriated to Australia on 31 August 2009 for burial in separate military funerals.White Wooden Cross with red knitted poppy with green and black centre. The name Carver, Robert Charles 0119223 is stenciled on in black. An Australian flag has been fixed on the back of the Cross. Rank -Pilot Officer - Royal Australian Airforce, No2 Squadron. He died in Vietnam 3rd December 1970Carver, Robert Charles 0119223cross, carver, robert charles, air force officer, royal australian air force, robert charles carver, 0119223, pilot officer, no 2 squadron', 1 corps tactical zone, canberra bomber, quang nam province, laotian border

Pilot Officer Robert Charles CARVER, 24was a career air force officer in No. 2 Squadron, RAAF. On 3 November 1970 the Canberra bomber he was in disappeared from a radar screen while returning from a night bombing mission in the northern I Corps Tactical Zone of South Vietnam. An extensive aerial search of the area failed to find any trace of the aircraft or crew and was called off after three days. In April 2009 the wreckage of the Canberra bomber was located in thick jungle in Quang Nam Province near the Laotian border. Human remains discovered near the site were identified in July 2009 as those of Carver and his crew and were repatriated to Australia on 31 August 2009 for burial in separate military funerals.Framed black and white head and shoulders photo of P.O. Carver (Missing In Action) in dress shirtphotograph, missing in action, p.o. robert carver, mia, no 2 squadron', canberra bomber, quang nam province, laotian border, royal australian air force, 0119223

Pilot Officer Robert Charles CARVER, 24, and Flying Officer Michael Patrick John HERBERT, 24, were both career air force officers in No. 2 Squadron, RAAF. On 3 November 1970 their Canberra bomber disappeared from a radar screen while returning from a night bombing mission in the northern I Corps Tactical Zone of South Vietnam. An extensive aerial search of the area failed to find any trace of the aircraft or crew and was called off after three days. In April 2009 the wreckage of the Canberra bomber was located in thick jungle in Quang Nam Province near the Laotian border. Human remains discovered near the site were identified in July 2009 as those of Carver and Herbert and were repatriated to Australia on 31 August 2009 for burial in separate military funerals.Stainless steel open-ended bracelet engraved with missing serviceman's full name and date missing. In a buff square velvet satin-lined box.Robert Charles Carver, 04/11/70mia, robert charles carver, mia 4/11/1970, robert carver mia, royal australian air force, 0119223, pilot officer, no 2 squadron', 1 corps tactical zone, canberra bomber, laotian border, quang nam province

Pilot Officer Robert Charles CARVER, 24, and Flying Officer Michael Patrick John HERBERT, 24, were both career air force officers in No. 2 Squadron, RAAF. On 3 November 1970 their Canberra bomber disappeared from a radar screen while returning from a night bombing mission in the northern I Corps Tactical Zone of South Vietnam. An extensive aerial search of the area failed to find any trace of the aircraft or crew and was called off after three days. In April 2009 the wreckage of the Canberra bomber was located in thick jungle in Quang Nam Province near the Laotian border. Human remains discovered near the site were identified in July 2009 as those of Carver and Herbert and were repatriated to Australia on 31 August 2009 for burial in separate military funerals.Stainless steel open ended bracelet engraved with missing servicemen's full name and date missing. In a buff square velvet satin-lined box. Date, 03/11/70 on the bracelet.Michael Patrick John Herbert 03/11/70mia, michael patrick john herbert, flying officer michael patrick john herbert, royal australian air force, 044310, pilot, no 2 squadron'