"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Painting with cardboard border in glass-fronted frame. Painted from an original black & white photograph, Catalogue Reg No. 1347 recorded as "Ringwood's first Post Office showing first Postmistress, Miss M. Thompson and her mother. 1890". (South side of Main Street (Maroondah Highway), approximately 300 meters west of Ringwood Railway Station). Writing on back of original photograph reads, "Grandma and Auntie Martha Thomson 1890". (Difference in painting date and photograph date indicates years as shown are approximate only). Sticker on back of frame - "Ringwood Framing Gallery, 233 Whitehorse Road Ringwood, Phone 8704930"

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].One of two undated paintings by Winifred Miles' viewed from the same vantage point in Wantirna. (See Registration Number 4836)Sticker on back of frame - "Ringwood Framing Gallery, 233 Whitehorse Road Ringwood, Phone 8704930"

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Painting with cardboard border in glass-fronted frame.Sticker on back of frame - "Ringwood Framing Gallery, 233 Whitehorse Road Ringwood, Phone 8704930"

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Painting with cardboard border in glass-fronted frame.Handwritten notation on back of frame - "Lilypond at Quambee Nth Ringwood 1912, and sticker - "Ringwood Framing Gallery, 233 Whitehorse Road Ringwood, Phone 8704930"

Hardcover w/ Dust Jacket2 Cards inside front cover - Card 1: "Dear Mrs Davies - Please find enclosed some notes that may be useful to the conservator - I thought you might like this card, it is the newest addition to our range - please do not hesitate to contact me about the watercolour - Your Sincerely, Ainsley Gowing" Card 2: Birthday note to John from Penleigh, 2000.australian biography, australian history, politics, government, walsh st library

Alan J. McConchie, a manufacturer’s agent, was elected to Kew Council in 1924, serving as a councillor for 21 years. He was elected Mayor of Kew in 1927-28, and again in 1945-46. During his second term as Mayor, he gained the support of Council for a pre-school plan which was the first of its kind in Victoria. The scheme established nursery schools and kindergartens as an extension of the existing baby health centres. Alan McConchie was active in Methodist Church work, and was one of the founders of the East Kew church, of which he was a trustee for 29 years. He was well known in the district as a cricketer and was a founder and past president of the East Kew Bowling Club. A Resident of Strathalbyn Street, he died in 1945 aged 60, while attending morning service at the East Kew Methodist Church. He is buried in the Burwood Cemetery. Handmade illuminated invitation to a notable Kew Mayor and MayoressAn illuminated invitation sent to the Mayor and Mayoress of Kew, Cr. and Mrs. McConchie, by a Citizens Committee to a Ball in the Kew Recreation Hall on 26 July 1928. The double page invitation is encased in an embossed maroon leather cover. The invitation was donated to the Society by a descendant of the McConchies in 2014.Inscription Cover: "To Councillor A.J. McConchie and Mrs McConchie". Inside cover in watercolour: "The Chairman Councillor George Ramsay and Members of the Citizens Committee desire the honor of the Company of HIS WORSHIP THE MAYOR OF KEW AND MRS. McCONCHIE at a BALL to be held in the Kew Recreation Hall Tuesday 26th July 1928 at 8 P.M. Tendered to them as a mark of recognition of the services rendered to the City during their Mayoral Year 1927".cr. a. j. mcconchie, mayor of kew (1927-28, 1945-46)

The remains of the 180 mine battery as painted by Alfred Perry in 1959. This is a watercolour and indian ink sketch on card. Yellow card attached with painting states: ' George Lansell Exhibit No 4. The remains of the 180 mine battery as painted by Alfred Perry in 1959. It was from the 180 that George Lansell laid the foundations of his fortune and indeed the fortunes of the district. With his capital behind the field mining flourished for nearly one hundred years and ensured employment for the many miners in the district.'Alfred Perryartwork, print, mining heritage, alfred perry, mining battery, 180 mine, victoria hill

Photos of watercolour paintings of Menzies Creek by Les Cope. - based on a photograph of Menzies Creek in the early 20th Century. It shows Kings' store, the railway station, and the stationmaster's house, as seen from Menzies Rd. - image of the Menzies Creek store around the 1950s. It shows a man and woman talking on a bench, a red postbox, a telephone box, and a streetlight. - based on a photo of Menzies Creek, c.1900. It shows Kings Store and Post Office, with a postman on horseback and a group of adults and children in front of store.

Item in the collection of William John Sullivan, VX 57829. Refer Cat. No. 9523P for his service details.Hard cover book with dust cover. Hard cover - cardboard, dark green buckram cover, gold colour print on spine. Dust cover - paper, with gloss finish. Dark green background. White colour print on front, spine and back. Illustrated - front colour portrait photograph of 'Weary' Dunlop. Back - colour copy of watercolour painting of jungle operating theatre. 401 pages - cut, plain white paper. Illustrated black and white photographs, paintings and sketches.books, biography, ww2, pow, william john sullivan

Neville BUNNING (1902-1990) Born Rockhampton Neville Bunning taught Sculpture and Ceramics at the Ballarat Technical Art School between 1945 and 1964. During that time he started the Ballarat Artists's Society, a group tat sponsored art and invited modernist artists to visit Ballarat to speak to students and the public. Bunning wrote a weekly rt column in 'The Courier' where his insightful comments made readers aware of significant trends in 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 painting of a bird in flight.art, artwork, neville bunning, watercolour, ballarat artists society, ballarat school of mines, available, rooster, bird, animal

Document relates to item 199 - Watercolour painting of a Catalina Flying Boat by an unknown artist -tells the history of the Catalina Flying Boat as well as the service histories of Flight Lieutenant Owen Mortimer and his younger brother Flight Sergeant Air Gunner Reginald Roy Mortimer from West Wyalong, New South Wales who served from 1941 to 1945 - relatives of the Donor Dr Owen Campbell Mortimer. Flight Lieutenant Owen Mortimer completed 85 missions in the wartime South West Pacific area. Reginald Mortimer served as a Transport Driver with the Australian Army later remustering to the RAAF to train and qualify as Flight Sergeant Air Gunner.Black frame with gold painted inner edge containing cream coloured paper with black text.Catalina Flying Boat Royal Australian Air Force catalina flying boat, flight lieutenant owen mortimer, flight sergeant air gunner reginald mortimer, ww2, raaf

"THE/ WAR DIARIES/ OF/ WEARY DUNLOP/ JAVA AND THE BURMA - THAILAND RAILWAY 1942 - 1945" Book - item in the collection of Richard William McGILVERY, RAAF. Refer Cat. No. 7287P for his service details, photo, awards, HARD COVER BOOK WITH DUST COVER. Hard cover - cardboard with adhered red buckram, gold print on spine. Dust cover - paper, white print on front, spine and back on red background. Folded flaps with black print on beige background. Illustrated - front - colour seated portrait of Sir Edward Dunlop. Back - copy in colour of watercolour painting of "Weary Dunlop" operating in a jungle hospital by "Jack Chalker". 401 pages - cut, plain, off white paper. Illustrated black and white photographs and sketches.history, books, ww2, autobiography

The watercolour painting depicts a street scene with a grass hill in the background. The street forms the centre of the foreground and features a row of buildings and cars on both sides of the street. Long shadows extend from the buildings and trees with yellow leaves frame both edges of the work. Across the middle of the work green trees are used to separate the street from the hill in the background. The large grass hill features an outlined shape (Scout symbol) on the side and a building surrounded by trees on top. The work is mounted and framed in a brown and gold frame with glass.Front: Mervyn Hill/95 Back: Framing by W.D. & C.M. Davis RMB 1256 Casterton 3311 Phone (055) 75 3290

Strong association with the artist Gordon Thurling and demonstrates in a pen and ink drawing the last tram in Sturt St at the time of the closure of the SEC system.Black and white drawing of tram 39, with destination "Sebastopol" with Ballarat Town Hall in background, which has been coloured with green, grey and yellow watercolours. Has words "The last tram Sturt St. Ballarat - 19th September 1971" with a thick brown border. Printed onto off white paper and mounted onto heavy cardboard. Artist - Gordon Thurling, BTV6 graphic artist at the time. Second copy from donation of ?? added 20-6-2017 - see image i2.and 8546 for a photocopy of a coloured version.trams, tramways, town hall, drawings, last day, closure

The Victorian-era mansion Madford in Wellington Street had several incarnations before it was finally demolished. While the precise details of its original construction have not been discovered, we know that it was originally named Elm Lodge, and that the property was offered for sale in 1863 by Thomas Mitchell, of the firm Mitchell & Bonneau, wholesale ironmongers and merchants. The house was sold in about 1873 to William Siddeley (1827-1905), who was described on the occasion of his death as ‘the father of Australian shipping’. The next owner was Arthur Septimus King (1827- 99), who renamed the house Madford after his purchase of the property in 1875. It was A.S. King for whom this artwork was completed. Following King’s death in 1899, portions of the property were sold, including to the Borough of Kew in 1905, to form the Alexandra Gardens. Then, in 1920, the house and its remaining lands were sold to the Catholic Church who opened St Anthony’s Home for Children on the site in 1922. That building was promptly demolished, and the site redeveloped circa 1976.Gift of James Pearson, 2022This fine perspective drawing of the architectural elements of Madford [formerly Elm Lodge, later St Anthony's Home for Babies] is contrasted with the freer addition in watercolour of the layout and plants of the garden facing Wellington Street. The view selected is the south-facing main facade and the west facing side. After A.S. King purchased the house in 1875, it was extended with new wings at the rear to accommodate his large family. There is no indication of these extensions in the painting so its creation must predate the renovations, and probably depicts the original building on the site."MADFORD / The Property of A. S. KING Esq"elm lodge, madford, st anthony's home for babies, houses -- wellington street -- kew (vic.), thomas mitchell, william siddeley, arthur septimus king

"Charles E. Turner was an artist who exhibited at the Royal Academy in London, and specialised in landscape and marine views. Having served in the Royal Air Force in the First World War, reaching the rank of Captain, Turner worked as a war artist during 1939-45. Turner painted pictures of the Queen Mary and Queen Elizabeth for Cunard, which were made into a series of popular postcards. He also designed for Churchill Cigar Boxes, and, alongside paintings demonstrating his first-hand experience of combat, produced illustrations for Illustrated London News and Sphere magazines. Many of his oil and watercolour paintings of the two World Wars are preserved in the collection of the National Maritime Museum, London, and at the Imperial War Museum, London." (The National Archives UK)Representative and promotional example of service by MTS to the variety of ships visiting ports in the first half of the 20th C. Cardboard frontispiece of a calendar published by the Missions to Seamen. A colour painting titled "Mission Boat on her Rounds" by artist Charles E. Turner, represents an imaginary image of the mission boat with the Flying Angel flag sailing towards several ships.Written in pencil at the back: "With best wishes from the Chaplain and the LHL Guild"calendar, frontispiece, charles e. turner (1883-1965), hlg, harbour lights guild

This print was an 1885 Christmas gift from the publishers of the Australian Town and Country Journal to their subscribers. At that time Queen Victoria was 65 years old although she may not have been that age when the portrait was painted. The print shows Queen Victoria’s signature in the bottom right corner. It cost sixpence per copy and operated from 1870-1919. The Australian Town and Country Journal was printed weekly, on Saturdays, in Sydney. The edition on December 26, 1885, contained 51 pages. The Journal claimed “Circulation Ten Thousand Copies, Greater than any other Weekly in Australia.” The frame of the print has a solid back of thick timber panels and is crudely made. The edges of the frame appear to have an underlying plaster base that has been covered with a layer of wood. The corners are reinforced with metal protectors. The subject of the print is Queen Victoria, Queen of the United Kingdom of Britain and Ireland. She was born as Princess Alexandrina Victoria of Kent on May 24, 1819. She became Queen on June 24, 1837 when King William IV died. She married Prince Albert of Saxe-Coburg and Gotha on February 10, 1840. Queen Victoria lived and reigned until her death on January 22, 1901, at age 82 years, after reigning for sixty-three years and seven months. This portrait is significant historically for its origin as an inclusion the Australian Town and Country Journal, a late 19th century Australian weekly newspaper, in circulation for almost fifty years. The portrait gifted to the newspaper’s subscribers is historically significant as an example of the connection between the people in the British Colony of Australia, with the value and respect held for the Queen of the Colony. The frame of the portrait, of solid and protective construction, shows the value that the owners placed on this portrait.Print behind glass in a brown wooden frame; coloured print of a portrait of Queen Victoria, made in watercolours. The Queen is wearing a blue sash, crown, and white ribbon pinned to the sash along with a cameo brooch and Royal Emblem. The portrait has an oval floral border of roses in pastel colours. Text is printed outside the border, as a title above and a signature below, in the lower right corner. The back of the frame is made of heavy timber panels with holes for attaching wire. The timber frame is over a white layer of soft substance, perhaps plaster. "Presented to the Subscribers of the Australian Town and Country Journal, December 25th 1885" “Victoria R”flagstaff hill, warrnambool, flagstaff hill maritime village, flagstaff hill maritime museum, maritime museum, shipwreck coast, great ocean road, queen victoria, princess alexandrina victoria of kent, portrait of queen victoria, australian town and country journal, presented to subscribers, 1885

Published articles about the painter George Rowe: a. article from un-named magazine - ''A nineteenth century romance - George Rowe and his wife Philippa Curtis’’ (2 pages); b. second part of article, continued from a. (3 pages); c. single page titled ''George Rowe's Town'' re exhibition devoted to George Rowe's life in Cheltenham, England (no date). (Transferred to Box 652 June 8) g. Laminated Print of George Rowe's watercolour painting of Pall Mall Sandhurst 1857. Original held by Bendigo Art Gallery.George Rowe, Pall Mall, Sandhurst, 1857. Water Colour. Bendigo Art Gallery.ephemera, mementoes, general interest, george rowe. cheltenham

BHS CollectionWatercolour by John Hall. Gold frame, cream mount board. Painting shows a minescape with many poppet heads and chimneys in middleground. Mine building in foreground has 'Duchess Tribute' written on side of shed. Mine dam in immediate foreground in front of mine buildings. On back of frame, written on copy of image that painting was taken from: 'Devonshire Group of Mines, Snob's Hill and Mungo Mines in background. Written across bottom from LH side ' Duchess Tribute, West United Devonshire, Phoenix, Duchess of Edinburgh, United Devonshire, South Devonshire.'John Hall, Eaglehawkbendigo, mining, duchess tribute

gouache and pencil on paperrob mchaffie, watercolour, people, brighton, bayside, church street, woolworths, supermarket, elderly, dog, pet, ramp

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.Ink Drawing of Mount Helen Campus on paper.art, artwork, mt helen campus, watercolour, watercolor, watercolourist, watercolorist, requires framing, e.j. barker library, mt helen library, graham hawley, ballarat, mount helen campus

Notes, some taken from the Bendigo Advertiser 10/71895, 12/7/1895, and 23/12/1885. Items mentioned are: Snakes of the Whipstick, Science Society, Elliott's Reef Company, Sandhurst Museum, Snakes common to Bendigo, Snake Bite, The Whipstick Water Supply - Bendigo Advertiser 23/12/1885, Are Slides guides to Mining, Mr Wilson Froggatt's return from New Guinea, Death and a short obituary of Dr MacGillivray, Some of the work of watercolour and pencil artist, Mr R H Nancarrow, of Neilborough, and a description of Dr Mac's new residence on the lower corner of Rowan and Forest Streets.bendigo, history, early bendigo, peter ellis collection, bendigo advertiser 10/7/95 pg 3 & 12/7/95, snakes of the whipstick, school of mines, r brough smyth, science society, dr macgillivray, eaglehawk prospecting committee, elliott's reef company, sandhurst museum, prof halford, mr r bloomfield rees, professor mccoy, mr vahland, mr robshaw, the whipstick water supply, bendigo advertiser 23/12/1885, mr nancarrow, mr wilson froggatt, sir edmund strickland, geographical society, paul howard, isabella shields, sandhurst mining board, mr r h nancarrow - artist - watercolour & pencil, arnott's patent ventilators

"Victoria the Golden" documents life in Victoria between 1850 and 1862 as viewed by artist William Strutt. Momentous events in the Colony’s history such as Separation Day (1 July 1851), the sitting of the first Legislative Council (13 November 1851), the death of Burke (June 1861) and the Black Thursday bushfires (6 February 1851) are depicted. In 1907 the Premier of Victoria Thomas Bent purchased "Victoria the Golden" from Strutt for £120 and presented it to the Library. The album depicts events in chronological order with what Strutt considered “fidelity to nature and accuracy”, so that present day Victorians may view the sketches “as records of what we may now look upon as the dim past in the rapidly progressive history of Victoria”. Victoria the Golden is celebrated as one of the Parliament’s great treasures. It is a testament to William Strutt’s skill as a draughtsman and contains over 100 assorted images which were executed between the years of 1850-1862. Strutt’s particular talent was to be able to step back and record each event with particular care to detail. Many of the pieces contained within this album are littered with notes, such as the correct resting position of a corporal’s sword or details about the cloth and cut of a subject’s jacket. Strutt also notes in one of his many sketches of the new Legislative Council chamber at Spring Street that the President, Sir James Palmer, is seated ‘a little too high’ (page 30). Throughout the album, Strutt’s illustrations bring to life the diverse nature and peoples of the new colony. His range of subjects is comprehensive and includes parliamentarians, lawyers, wives and daughters, merchants, labourers, police and military officers, indigenous communities, farmers, miners, prisoners and explorers. The everyday and the extraordinary are depicted with each turn of the page. 44 leaves heavy card, approximately 1mm thick. Sketches, watercolours and prints of varying sizes and papers are glued onto the pages. Full leather binding in blue leather with title and decorative border in gold. There are four raised bands on the spine, with gold decoration on the bands and at the head and tail of the spine. Marbled end papers and flyleaves. Gold on the edges of the book block. Card pages have a sheet of mottled blue paper on recto. Album leaf connection is a guarded system with stiff stubs and cloth hinges. Each page has a sheet of glassine paper attached at the binding edge to protect the images. Many pages stamped with "Parliament of Victoria" verso. Printed in gold, recto: "VICTORIA THE GOLDEN/ SCENES,/ SKETCHES,/ AND JOTTINGS FROM NATURE./ BY/ Wm. STRUTT/ MELBOURNE, VICTORIA./ 1850-1862" First pages include handwritten 'introductory remarks' and index of plates.parliament of victoria, colony of victoria, separation day, victorian legislative council, burke and wills expedition, wills, william john, 1834-1861, burke, robert o'hara, 1821-1861, strutt, william, 1825-1915, bent, thomas sir, 1838-1909, native police corps, fawkner, john pascoe, 1792-1869, black thursday bushfires, gold rush, princes bridge, melbourne

Watercolour and black pen, painted by Alf Perry 1954. Painting shows elevated weather board house, two brick chimneys. Stairs up to front verandah. Written across the top :'The late Jacob Perry's residence. Jobs Gully.Written on bottom of artwork ' As it was 1920, Alf Perry 1954. Written by Alf Perry, in pencil on the back, is the following: ' Drawn from the house in March 1954 but as I knew it in 1920. A verandah is built at the right hand side of the house now. The window below floor level at the right let in light to the little workshop my grandfather used. I used to go up and make (?) little bone knives and forks out of ordinary bones. Alf Perry 1954'.house, private, jacob perry, jobs gully

Marine art, Maritime artLarge framed glazed landscape format painting depicting in foreground a rusty hull of a ship against a deep aqua blue sky. The hull appears to be in a dry dock with a stylized figure with a red top and blue pants looks down from the prow at the set of low buildings and yard in the foreground. Another ship appears to be moored behind the rusty hull but only the bridge of the ship is visible. At near right in foreground there appear to be two rounded graves or headstones.The frame is sharply beaded and with gilding. The painting has a window mount and is glazed with glass. Paint surface is thinly but intensley painted and seems to be gouache or watercolour on paper. Sealed at back with brown paper mostly intact and a corded hanging system.at lower right corner quadrant there seems to be a mainly rectangular ciphertankers, marine painting, artwork-paintings

Isabel Huntington was a painter, craft officer and craft worker. She studied at Ballarat High School, Ballarat Technical Art School (a division of the School of Mines) and RMIT, and was a member of the Victorian Artists' Society and the Contemporary Art Society. In 1945 she was appointed Director of Handcrafts for the Victorian Division of the Red Cross Society. Isabel Huntington had previously held the position of Supervisor of Handcrafts at Heidelberg Military Hospital for three and a half years. She was a member of the Arts and Crafts Society. Isabel Huntington had five 'one-man" shows, three in Melbourne, one in Ballarat and one in Hamilton, Victoria. Ursula Hoff (from the National Gallery Victoria) judged the 1965 Albury awards for watercolour, and religious paintings in oils, awarding the prize to Isabel Huntington. In the same year Isabel Huntington travelled to Europe. After returning from overseas she taught at Rosanna High School, Victoria. Isabel Huntington lived at Montmorency, Victoria, and was there at the time of her death. Born Isabel McCausland, she married Robert Huntington in 1931. women of note, isabel huntington, ballarat school of mines, ballarat high school, ballarat technical art school, royal melbourne institute of technology, rmit, victorian division of red cross, director of handcrafts, rosanna high school, montmorency, heidelberg military hospital, supervisor of handcrafts, art shows, melbourne, ballarat, hamilton, mccausland, robert huntington

A programme of an art exhibition of 77 pieces of artwork by Lieutenant Daryl Lindsay in 1919. The Introduction was written by the war correspondent CEW Bean. Mr Lindsay's connection with Legacy is not known. A legatee Ray W___ donated this copy of the exhibition programme and the original of the cover print and a watercolour 'The road to Poperinghe' to Legacy in October 1984. At one stage they were in the Comradeship Room. As at December 2019 the original of the cover print is on loan to the Shrine of Remembrance and on display. The caption at the Shrine reads," 'Soldier'1918 by Daryl Lindsay (1889-1976). Daryl Lindsay was appointed an official war artist in 1917. He had worked as a batman for his brother-in-law Will Dyson, also an official war artist, from the end of 1916. Lindsay's sketches documented the facial injuries of soldiers, in order to assist then plastic surgeons undertaking facial reconstruction at Queen Mary's Hospital in Sidcup, Kent. His artistic skills led to his appointment as an official medical artist at the hospital in 1918." The notation H34 in red pen shows that it was part of an early archive project that was trying to capture the history of Legacy. A soldier put together artwork about World War One and exhibited it in Melbourne in 1919. Later two of his artworks were donated to Legacy.Dark brown cover with cream insert of a sketch of a solider. Coffee coloured pages x 6 with navy text held in place by a bronze colour thread.Handwritten H34 in red pen. Handwritten inside front cover a note added in 1984 about the donation of a original artwork to Legacy. "Presented to Melbourne Legacy by Legatee Ray W___ on Founders Day 25 Sept 1984 with the original of the cover print and water colour "The Road to Poperinghe", both hung in Comradeship Room October 1984."history, world war one, daryl lindsay