From information Book "Reader's Digest/ Gallipoli/ 25th April 1915 - 9th January 1916/Centenary Commemorative Prints". Collection of 20 Prints' Refer Cat No. 7300. "John Hugh Allen died on 6th June 1915 at Gallipoli, a Lieutenant in the Worcester Regiment." Framed print. Print - colour print on paper. Colour photograph of a stained glass window. Depicts - top - a knight and an angel with the words "War" and "Peace" below figures. Below - battle scene of soldiers on left, on right, university buildings and quadrangle with figure in an academic gown in foreground. Words below - "In Memoriam John Hugh Allen/ Gallipoli 6th June 1915". Frame - Black plastic framing with glass front and MDF board backing with adhered black paper.Details below print'- "STAINED GLASS WINDOW War and Peace, All Saint's Anglican Church, Dunedin, New Zealand."framed accessories, prints, ww1, galli[poli, centenary

Presented to the ANZCA president David A Scott during the ANZCA ASM held in Brisbane, May 2017 by the College of Anaesthetists of Ireland. Silver plated, medium size plate with central inscription. Displayed on a wooden stand and presented in a blue wooden box[Presented to the / Australia and New Zealand College of Anaesthetists / on the occasion of their Silver Jubilee / from the / College of Anaesthetists of Ireland / May 2017]college of anaesthetists of ireland, asm, swatkins

These plans are line drawings by the State of Victoria for a Suction Hopper Dredge, which used a suction pump to bring up material from the bottom of a body of water. The plans are contained in a box from the Public Works Department, Ports and Harbours Division in Melbourne, which in the year 1910 was responsible for the dredging operations of coastal ports and harbours, and inland waterways. The stamped signature is that of Arthur Edward Cutler, Chief Engineer, Public Works Department of New South Wales. The steel steamer Matthew Flinders was constructed by Morts Dock & Engineering Co Ltd in Sydney, New South Wales. Identified as Ship No. 40 by the ship builders, this dredge, had twin screw engines that were made in Sydney. Its gross tonnage was 1180. It was launched on July 15th, 1916, and registered by the owner, Department of Public Works in Victoria, at the Port of Melbourne in 1917. Unlike bucket dredges, the Matthew Flinders did not use permanent moorings but instead had bow and stern anchors. It travelled forward on the bow anchor, taking up a strip of even-depth wilt from the bed below. A local newspaper noted that the Matthew Flinders has many advantages that were especially useful for its work at Warrnambool. Warrnambool Harbour had been experiencing silting and sanding for many years. The problem continued even after the construction of the Breakwater in 1890, which was overseen by New Zealand engineer Arthur Dudley Dobson. Melbourne’s Department of Ports and Harbours sent the new Matthew Flinders to dredge the heavy silting in the Warrnambool Harbour in May 1919. This work was previously done by the smaller dredge, the Pioneer. However, after a month of work, the Matthew Flinders was returned to Melbourne for alterations to make it suitable for work in the heavy seas it experienced at Warrnambool. Both dredges were sent up from Melbourne when required over the years to periodically attend to the silting in the Harbour, but the Matthew Flinders was preferred because of its efficiency. It was still dredging the Harbour even in July 1938. The ship’s original master was J G Rosney. In 1923 the master in charge was Captain Dunbar. In 1930 the dredges were no longer required as the Harbour was no longer suitable as port.These plans are significant for their close association with the suction hopper dredge, the Matthew Flinders I, which was call upon often to remove the silting of Warrnambool Harbour and allow shipping to continue in the Port of Warrnambool until 1930, when the Port of Warrnambool ceased to be suitable as a port. The work done by the Matthew Flinders is significant for its association with the Warrnambool Breakwater and the on-going issues with the silting of the Harbour. Plans with line drawings for the suction hopper dredge Matthew Flinders, rolled, in open-top wooden box. Created for the Public Works Department, Melbourne, Victoria. Stamped with signature and dated November I, 1911. Inscriptions: label on box, handwriting on box, drawings and outer layer of paper. Freighted by 1 Star, New Zealand Express Cargo.Signature stamp “A E Cutler” Date stamp “NOV 8 – 1911” Printed on one page “STATE OF VICTORIA / SUCTION HOPPER DREDGE / GENERAL ARRANGEMENTS OF MAIN ENGINE ROOM / SCALE 1/2 IN = 1 FT.” Label on box "1 [star symbol] / THE NEW ZEALA- - - / EXPRESS CAR - –“ Handwritten on base “PUBLIC WORKS / DEPARTMENT / - - LBOURNE” Handwritten in pencil on cover paper “MATTHEW Flinders”flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, plan, line drawing, dredge, pioneer, steel steam ship, twin screw engines, a e cutler, arthur edward cutler, chief engineer, public works department, new south wales, nsw, 1911, state of victoria, suction hopper, main engine room, public works melbourne, warrnambool harbour, lady bay, sanding, silting, breakwater, morts dock & engineering co ltd, j g rosney, captain dunbar, ship no. 40, matthew flinders i, matthew flinders, 1 star, new zealand express cargo

Postcard, B & W, post WW1, contingent of New Zealand army marching through a London street led by a brass band. Dated 5 March 1919. Spectators on both sides of street. Five copies.postcard, ww1, new zealand army, london march, 1919

A black and white photograph of the crew of a New Zealand mortar, mounted inside an Australian Australian Personnel Carrier, cover their ears against the blast sound, as they fire in support of ANZAC infantry operating in Phuoc Tuy Provincephotograph, 1st atf base, nui dat, phuoc tuy province, 4 rar nz, mortars, apc, gibbons collection catalogue

The "letters to Lillie" show the international nature of the Mission to Seafarers. They are an important display of the handwriting style of the time, revealing courting attempts and give us an insight into life in 1925.Lillie Duncan was a member of the Harbour Lights Guild and this letter forms part of a collection of letters sent to her by different seafarers.Letter addressed to Miss Lillie Duncan, 11 Paxton St, East Malvern, Melbourne, Australia from Julius Kokx, U.S.S. Medusa, c/o Postmaster, San Francisco, 5th Div Calif. consisting of eleven parts: Part 0070.1 Envelope Part 0070.2 Medusa Mechanic Newsletter Parts 0070.3 - 0070.11 Handwritten letter The envelope is cream in colour with darker edges from aging whilst the pages are a lighter cream colour. Page 1 of the letter begins with the salutation "Dear Miss Duncan: I recieved both...".Page 2 of the letter begins with "girls in Melbourne. you are the only one...". Page 3 begins with "it but found out it...". Page 4 begins with "a girl like you...". Page 5 begins with "married. So what's a...". Page 6 begins with "and as goof as we...". Page 7 begins with "in and you must...". Page 8 begins with "Have a place to sit..." Page 9 begins with "it will be a long..." and ends with the salutation "The kind sailor as you call him x. Julius Knox." All pages of the letter are only written on one side except for page 9, on which Julius Knox has written his address in the States and in New Zealand.The envelope is torn across the back vertically towards the right of the flap but the flap is mostly in tact. It has three stamps. The first is a circular one in black ink towards the top centre of the envelope reading "AUCKLAND 21 AUG 3PM 1925 N.Z.". The second stamp is a large rectangular one in black ink in the top right of the envelope reading "ASK FOR AND BUY NEW ZEALAND MADE GOODS". The third stamp is slightly obscured by the the second ink stamp. It is a red and white stamp positioned at the top rigt of the envelope reading "Dominion of New Zealand Universal Postage One Penny".lillie duncan, letter, lhlg, julius kokx, uss medusa, auckland, new zealand, san francisco, california, lillian duncan

Black and white photograph of a large Scalebuoy Unit and other various parts and units arranged on the floor in front of the large unit. Photo pasted onto an album page and some newspaper cuttings from The East Anglian Daily Times dated Wednesday, April 7, 1937 on the back. Cuttings mention the Funeral of Capt. J. Brooks Close, Auckland Registrations of New Private Companies including Electronic Company of New Zealand, Ltd, Scalebuoys (New Zealand) Ltd and some travel arrangements of Richard H. S. Abbott.sciences, instruments - general, scalebuoy, bill ashman collection - correspondence, scalebuoy, east anglian daily times 7/4/1937, r h s abbott, capt james brooks close, electronic company of new zealand ltd, scalebuoys (new zealand) limited

Newspaper cutting titled New Private Companies, Auckland Registrations. Electronic Company of New Zealand, Limited, to market a device for treating water. R. H. S. Abbott, W. N. Abbott and A. K. Duthie has shares. Scalebuoys (New Zealand), Limited to market a device for treating water. Subscribers were A McG Grant, W A Fairclough, F C Mappin, C H Robertson, W H McCorkindale, W N Abbott, R. H. S. Abbott and J W Tattersfield.sciences, instruments - general, scalebuoy, bill ashman collection - correspondence, electronic company of new zealand limited, r h s abbott, w n abbott, a k duthie, scalebuoys new zealand limited, a mcg grant, w a fairclough, f c mappin, c h robertson, w h mccorkindale, w n abbott, j w tattersfield

Hardcover. Cover is brown with the title in gold lettering. Underneath the title is a symbol of a solid wreath surrounding the head of a ram. A fold-out map is included; Railway Postal and Telegraph Map of the North Island of New Zealand, 1889. non-fictionThe Picturesque Atlas of Australasia-Volume 3atlas, australasia, history

Scrap book made by donor's mother from the 'Taranata Daily News'1930s. (New Zealand) written in a blue linen covered book entitled 'Pulleys-Shafting-Bearings - Wendy's Dress Makers' collected by donor's mother.books, scrap

Anzac commemorative medallion issued to the next of kin of Private Thomas Emanuel Rollings - 1983 - 24th Battalion, Wangaratta. See also 213. The Anzac Commemorative Medallion was instituted 1967. It was awarded to surviving members of the Australian forces who served on the Gallipoli Peninsula, or in direct support of the operations from close off shore, at any time during the period from the first Anzac Day in April 1915 to the date of final evacuation in January 1916.Bronze commemorative medallion depicting Simpson and his donkey on the front and Australia, New Zealand and the southern cross on the back.Medallion is set inside a plastic hinged lid box with a deep purple velvet lining. Original white cardboard box with two sections. Top section has brown paper label with handwritten address and white/blue stamp on outside. The medallion is cast in bronze and is approximately 75 millimetres high and 50 millimetres wide. The obverse of the medallion depicts Simpson and his donkey carrying a wounded soldier to safety. It is bordered on the lower half by a laurel wreath above the word ANZAC. The reverse shows a map in relief of Australia and New Zealand superimposed by the Southern Cross. The lower half is bordered by New Zealand fern leaves. The name and initials of the recipient is engraved on the reverse. The medallion is issued in a presentation box.Medallion - Front: "1915" "ANZAC" Back: "T. E. ROLLINGS" hand engraving Cardboard box - Top section: "St Kilda Rail., S.2 / Victoria / No. 8248"printed "Mrs A E Rollings / Eldorado / Victoria" handwritten "If not claimed in seven days return to :- Central Army Records Office, Albert Park Barracks, Melb" anzac, medallion, commemorative medallion, bronze, eldorado, 24th battalion, wangaratta, gallipoli, ww1

This decorative plaque displays the insignia of the Bank of Australasia, which was incorporated by the Royal Charter of England in March 1834. The bank began in Australia on 14th December 1835, opening in Sydney. The Acting Superintendent of the bank at that time was David Charters McArthur. He was Superintendent from 1867-to 1876. The Melbourne branch opened on 28th August 1838 in a two-roomed brick cottage on the north side of Little Collins Street, where two huge mastiff dogs were used at night to guard the bank. The government also provided an armed military sentinel. Due to the bank's rapid growth, a new building for the Melbourne branch was opened in 1840 at 75 Collins Street West. By 1879 the bank had been upgraded to a magnificent two-storey building on the corners of Collins and Queens Streets, with the entry on Collins Street. In 1951 the Bank of Australasia amalgamated with the Union Bank to form the Australia and New Zealand Bank, now known as the ANZ. Then in 1970, the ANZ merged with both the ES&A and the London Bank of Australia to form the ANZ Banking Group Limited. The ANZ Banking Group Ltd kindly donated a variety of historic items from the Bank of Australasia. BANK of AUSTRALASIA, WARRNAMBOOL – In 1854 Warrnambool had two banks, the Union Bank and the Bank of Australasia. Later, completely different bank businesses opened; in 1867 the National Bank of Australasia, then in 1875 the Colonial Bank of Australasia. The original Warrnambool branch of the Bank of Australasia was established in July 1854, and operated from a leased cottage on Merri Street, close to Liebig Street. The bank later bought a stone building previously erected by drapers Cramond & Dickson on the corner of Timor and Gibson Streets. Samuel Hannaford was a teller and then Manager at the Warrnambool branch from 1855 to 1856 and the Warrnambool Council chose that bank for its dealings during 1856-57. In 1859 Roberts & Co. was awarded the contract to build the new Bank of Australasia branch for the sum of £3,000. The land was on a sand hill on the northeast corner of Timor and Kepler Streets and had been bought in 1855 from investor James Cust. The new building opened on May 21, 1860. The bank continued to operate there until 1951 when it merged with the Union Bank to form the ANZ Bank, which continued operating from its Liebig Street building. Warrnambool City Council purchased the former Bank of Australasia building in 1971 and renovated it, then on 3rd December 1973 it was officially opened as the Art Gallery by Cr. Harold Stephenson and Gallery Director John Welsh. The Gallery transferred to the purpose-built building in Liebig Street in 1986 and the old bank building is now the Gallery club. Staff at the Bank of Australasia in Warrnambool included the following men but others were also involved: Samuel Hannaford, Teller then Manager from 1855-1856; W H Palmer, Manager from January 1857 until November 1869 when the Teller Basil Spence was promoted to Manager; H B Chomley, Manager from April 1873 and still there in 1886; A Butt, Manager in 1895-1904; J R McCleary Accountant and Acting Manager for 12 months, until 1900; A Kirk, Manager 1904; J Moore, staff until his transfer to Bendigo in December 1908; J S Bath was Manager until 1915; C C Cox, Manager until April 1923; Richard C Stanley, Manager 1923 to April 1928. The plaque has historical significance as it belonged to the Bank of Australasia which was established in Australia in 1835 by Royal Charter. The plaque is significant for its association with the Bank of Australasia in Warrnambool, the first bank in Warrnambool, established in 1854. The bank continued to operate until its merger in 1951 when it became the ANZ Bank, which is still in operation today. The Bank was an integral part of the establishment and growth of commerce in Colonial Warrnambool and throughout Australia.Plaque with insignia on glass in a rectangular varnished wooden frame. Insignia of the Bank of Australasia has been painted onto the glass in a mirror-like fashion. Insignia depicts a heraldic shield with sheep hung up by their waists and ships in full sail. Inscription on insignia. Stamp and handwritten inscription on the rectangular label with a blue border on the reverse.Insignia: "BANK OF AUSTRALASIA INCORPORATED BY ROYAL CHARTER 1835" Label's red oval stamp with "AUSTRALIA AND NEW ZEALAND BANK UNITED ARCHIVES" Label's handwritten black letters "AM1" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, commerce, banking, plaque, insignia, bank of australasia, insignia on glass, union bank, australia & new zealand bank, anz bank, david charters mcarthur, d c mcarthur, sydney, new south wales, currency, banknote, legal tender

A black and white photograph of Lt Col Alan Morrison, Woodside, South Australia, Commanding Officer, 9th Battalion. The Royal Australian Regiment, discusses the "Maori Challenge" that had just been completed by a New Zealand Maori gunner.photograph, lt col a.l. morrison, 9 rar, new zealand maori, gibbons collection catalogue

A black and white photograph of 1st ATF Commander Brig Sandy Pearson with the Commanding Officer of the 4th BattalionNew Zealand (ANZAC) at the battalion locally produced farewell concert at Nui Dat, enjoy a Digger comedians "send up" of their officersphotograph, brig sandy pearson, 4th nz battalion, 1st atf base, nui dat, gibbons collection catalogue, digger

This jar was used by the Hunt family on their dairy farm at Cudgee.Stoneware jar with stopper and wire handle. The cream body has instructions for use. From where the bottle slopes to the stopper is glazed brown. The stopper is rubber and the handle coiled wire.Stopper: 'Sharpe Bros Australia and New Zealand'. Body: Keep the Stopper Tight. This Jar is the absolute property and must be returned to Sharpe Bros. Australia & New Zealand Original and Largest Hygenic Brewer CAUTION. Persons Damaging Wilfully Retaining, Trading with or Misappropriating the use of this jar WILL BE PROSECUTED Sharpe Bros Trademarkallansford, cudgee, mervyn hunt, sharpe bros, stoneware jars, dairy farming, bottles, china ware

Bruno LETI (1941- ) Born Rome, Italy Arrived Australia 1950 Bruno Leti was nine years old when he came from post World War Two Italy. Known as a painter, printmaker, photographer and publisher of artists’ books, he studied at RMIT, studying Printnaking under Tate Adams, and Melbourne Teachers' College. He has taught art in Italy, Canada, USA, and Melbourne, Australia. Bruno Leti lives and works in Melbourne. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.This etching by Bruno Leti was exhibited as part of "Parallel Prints", a limited edition print project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection.trees, printmaking, etching, bruno leti, artist, artwork, parallel prints, landscape

Deborah WILLIAMS (1967 - ) Printmaker Deborah Williams completed a Masters by Research at the National Art School, Sydney in 2011. She later worked at RMIT in the Visual Arts TAFE program teaching Printmaking and is the Advanced Diploma Coordinator, and sessional lecturer in the Drawing and Printmedia department at the Victorian College of the Arts, School of Art. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed etching exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection.Edition 2/36deborah williams, parallel prints, artist, artwork, printmaking etching, dog, animal, shadow

Antoinetta COVINO-BEEHRE born Avellino, Italy arrived Australia 1968 This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.This work was exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection. lls '2/36' lc 'Shadow of the Night' lrs ''Antoinetta Covino-Beehre'artist, artwork, antoinetta cravino-beehre, printmaking, parallel prints

WWI Historical significanceANZAC medallion with crown on top and Simpson and his donkey engraved on the medalion1915, ANZAC on one side with a map of Australia and New Zealand with the Southern Cross engraved on the other. The name E. Bourke is engraved on the bottom.

Wooden shield with crest topped with crown and gold rim, blue inner ring.Melbourne Communication Unit Royal Australian Airforce. Ocius Alis Back: Badges & Crests 52 Barry’s Point Rd. New Zealand

Ten medals in wooden frame, five medals attached to ribbons of various colours and five medals on metal bars. Awarded by Vietnam Government to Australian and New Zealand personel after 180 plus days in Vietnam between 1964 and 1973.medals, vietnam government, new zealand