The Stinson L - 5 Sentinel was a World War 11- era liaison aircraft used by the United States Army Air Forces, U.S Army Ground Forces, U>S Marine Corps and the British Royal Air Force. It was produced by the Stinson Division of the Vultee Aircraft Company (Consolidated - Vultee from mid- 1943). Capable of operating from short unimproved airstrips the L - 5 Sentinel delivered personnel, intelligence, and supplies to the front line. On return flights it carried wounded soldiers who were evacuated to rear area field hospitals for treatment. The L - 5 carried a pilot and observer. It had a length of 24.1 feet, wingspan of 34 feet, It had a maximum speed of 130 mph, a cruise speed of 100 mph with a range of 375 miles.The L - 5 was a significant asset to the allied war effort.Wooden propeller from Lycoming engine, with photograph of aircraft. Stinson L 5 Sentinal reconnaissance plane used in Korea and Vietnam. Propeller displayed from a similar plane.

Marie Lion migrated with her sister, Berthe Mouchette and her husband in 1885. Berthe established an art school in the city. After the death of her husband the sisters purchased a school, Oberwyl, in St Kilda in 1885. The school was later one of the LHLG schools. Berthe was the founder of the Alliance Française of Melbourne in 1890. With the Great Depression, the sisters had to sell Oberwyl and moved to Adelaide. They returned to France during WWI to nurse wounded soldiers. And returned to Adelaide in 1916 after Marie contracted an infection. She was the South Australia representative of the "Société d’assistance maternelle et infantile". After the end of the war a number of French villages were ‘adopted’ by cities in Australia. Dernancourt, a small village in the Somme was adopted by Adelaide, and Mme Mouchette and Mme Lion worked to raise funds to help in the rebuilding of the almost completely destroyed town.The picture shows the link with the French community. Ethel and her sister Frederica Godfrey could speak French and were well acquainted with the members of this community: Charlotte Crivelli for example. Frederica was secretary of the Alliance Française of Melbourne in the early 1900, in 1917 she also became Honorary Secretary of the French Red Cross, funded by Charlotte Crivelli.Portait of two ladies standing in the middle with 3 soldiers from the French Navy, a wounded digger and a young man.French sailors at zoo / Madame Leon (Lion is the correct spelling) & Miss Godfreylion, marie (1855–1922), mouchette, berthe (1846–1928) nee lion, alliance française of melbourne, société d’assistance maternelle et infantile, france, french, zoo, french red cross, crivelli, charlotte (1863–1956), anzac, french navy, oberwyl, ethel augusta godfrey 1861-1935, frederica godfrey

In 1920 the Prince of Wales embarked on a journey to Australia on behalf of his father, King George V. While the visit was intended to strengthen the relationship between Australia and the Empire, the main objective was to offer thanks to the Australian men and women for the sacrifices and contributions that they had made during World War I. The Royal Tour began in April 1920 and covered 110 cities and towns across the country. The Prince spent eleven days in New South Wales, nine days in Victoria, four days in Tasmania, eleven days in Western Australia, six days in South Australia and eight days in Queensland. On Saturday 5 June 1920, following a morning at the races in Flemington, the Prince spent the afternoon at ANZAC Hostel in Brighton, where he chatted to wounded soldiers and, according to the newspaper reports at the time, "won the hearts of all present."prince of wales, his royal highness, hrh, royal tour, anzac hostel, brighton, mayor, cr. thomas wilson, j.h. taylor, town clerk, soldiers, diggers, crowd, guard of honour, captain grieve, h.m.s. renown, north road, kamesborough, bayside

In 1920 the Prince of Wales embarked on a journey to Australia on behalf of his father, King George V. While the visit was intended to strengthen the relationship between Australia and the Empire, the main objective was to offer thanks to the Australian men and women for the sacrifices and contributions that they had made during World War I. The Royal Tour began in April 1920 and covered 110 cities and towns across the country. The Prince spent eleven days in New South Wales, nine days in Victoria, four days in Tasmania, eleven days in Western Australia, six days in South Australia and eight days in Queensland. On Saturday 5 June 1920, following a morning at the races in Flemington, the Prince spent the afternoon at ANZAC Hostel in Brighton, where he chatted to wounded soldiers and, according to the newspaper reports at the time, "won the hearts of all present."prince of wales, his royal highness, hrh, royal tour, anzac hostel, brighton, mayor, cr. thomas wilson, j.h. taylor, town clerk, soldiers, diggers, crowd, north road, kamesborough, bayside

In 1920 the Prince of Wales embarked on a journey to Australia on behalf of his father, King George V. While the visit was intended to strengthen the relationship between Australia and the Empire, the main objective was to offer thanks to the Australian men and women for the sacrifices and contributions that they had made during World War I. The Royal Tour began in April 1920 and covered 110 cities and towns across the country. The Prince spent eleven days in New South Wales, nine days in Victoria, four days in Tasmania, eleven days in Western Australia, six days in South Australia and eight days in Queensland. On Saturday 5 June 1920, following a morning at the races in Flemington, the Prince spent the afternoon at ANZAC Hostel in Brighton, where he chatted to wounded soldiers and, according to the newspaper reports at the time, "won the hearts of all present."prince of wales, his royal highness, hrh, royal tour, anzac hostel, brighton, mayor, cr. thomas wilson, soldiers, diggers, crowd, north road, kamesborough, bayside

A black and white photogaph of a wounded VietCong soldier lying on a track where he fell after endeavouring to escape after a contact with D Coy 6 RAR/NZ (ANZAC) on the 20th June 1969, during Operation Lavarack.(l to R0 Cpl R Bunting, Pte T Spriggs, 2Lt A.G. Valentine, Cpl D.J.Severn and Cpl G.V. Robinson.photograph, d coy, 11 platoon, 6 rar/nz, operation lavarack, cpl r bunting, pte t spriggs, 2lt a valentine, cpl d severn, cpl g robinson, gibbons collection catalogue, viet cong

Example of Australian Army standard issue wound dressing used by soldiers during the 1970s to 1980s. The dressing is enclosed in a jungle green colour fabric package.

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

Tags were used to identify wounded or deceased soldiers. All soldiers were issued two tags: one to stay with the body and the other to go to the person in charge of the burial for record-keeping purposesRossac Henry Claude 1737 25 Btn....Left Aus 20 08 15 Born India Patna 14 7 1892 Enlisted Queensland Sent to Alexandria Landed Gallipoli 12 10 1915 France Marseille 19 3 16 wia 9 10 17 (France) returned to Aus for discharge (medical) 21 04 18 Awards1914-15 star British War MedalVictory Medal WWII V18817 Enlisted Royal Park served 1939-45 His daughter Mena Roussac also enlisted 2 tID tags for Henry Claude Roussac 1737 Signaller 25 Bn Ist AIF one is round made of brownish fibre board and the other is oval made of aluminiumFibre tag Roussac H C 1737 25 BN AI Bapt The other aluminium Sig. Roussac1737 25 Batt A.I.F.roussac henry, id tags, dog tags wwi, gallipoli, 25 bn. 1st a i f

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Black and white lithograph on paper depicting the elaborate stone and wrought iron (open) gate/ entrance to Pugh's artist colony 'Dunmoochin' situated at Cottles Bridge. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gate, fire, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Black and white lithograph on paper depicting the elaborate stone and wrought iron (open) gate/ entrance to Pugh's artist colony 'Dunmoochin' situated at Cottles Bridge.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, sunlight, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (very dark image) detailing Clifton Pugh's garden at Dunmoochin.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, garden, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white depicting the Print Studio at Dunmoochin.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, studio, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white detailing the Artist's Gallery at Dunmoochin, located within bush surrounds at Cottles BridgeBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gallery, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her Mother took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin.Lithographic print in black and white depicting Gate # 1 at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gate 1, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white depicting bushland and a pond reflecting light.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, pond, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Print - lithographBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, garden, evening, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (dark image) detailing the interior of Clifton Pugh's house at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, interior, house, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (very dark image) depicting Chehovskis' cottage at Dunmoochin. Small cottage, bushland and shrubs.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, cottage, lithograph

A black and white photograph of Medics watched by a South Vietnamese Army Intelligence Officer, prepare a wounded enemy VietCong soldier for treatment in the triage at the 1st Australian Field Hospital, Vung Tau (note text is missing from the bottom of the photograph)photograph, 1st australian field hospital, vung tau, vc soldier, gibbons collection catalogue, south vietnames army intelligence, medic

A group of widows at Legacy House preparing trays of rosemary to be given to the public on Anzac Day and worn as a sign of remembrance. Names unknown. In The Answer in 1995 an articles says: "Operation Rosemary. Since 1982 Legacy ladies have volunteered to make rosemary sprigs for the Anzac Day marchers. At a later date they also made sprigs for the Schools Shrine Service. . . don't worry, there are ladies here to show you how to make them and it's a chance to hav a chat and cuppa whilst you work together. Any day day that you can spare . . . please ring Joan Miller." A note on yellow paper from 01046 explains the source of the rosemary. It says the rosemary donated to Legacy each year for the sprigs of rosemary handed out to the public comes from nurseryman, Peter Hannah, who sourced a cutting from a bush in Frankston which was said to come from a cutting brought home from Gallipoli by a wounded soldier. Photos were in a scrapbook of photos spanning 1983 to 1991.A record of widows preparing rosemary as gifts for the public. Rosemary is sign of remembrance. Black and white photo of widows preparing trays of rosemary.widows, legacy promotion, rosemary

1. Badge awarded to soldiers wounded in action during WW2. 2. Honour Cross or Hindenburg Cross created in 1934 to commemorate service of German people during WW1. Under Hitler was the only official service decoration to be worn.1. Original egg shaped WW2 wound badge. Edges have flower garland. In middle is a German Infantry helmet with a Swastika over two crossed swords. Dark grey metal and pin on back. 2. Replica of WW1 German Honour Cross. Brown metallic badge with two crossed swords over a cross (Hindenburg Cross). A ring on top to hang on a ribbon 1914-1918. In centre of Circle of flowers.1. Nil other than a Swastika on a hat. 2. "1914", "1918" on front. honour cross, wound badge, german, ww2/ww1

A black and white photograph of a wounded enemy VietCong soldier is being taken to the 1st Australian Field Hospital, Vung Tau, South Vietnam by two Corporal medics. A South Vietnamese army interpreter/intelligence officer is close by. (note text is missing from the bottom of the photograph)photograph, 1st australian field hospital, vung tau, gibbons collection catalogue, medic, viet cong, south vietnames army intelligence

A group of widows at Legacy House preparing trays of rosemary to be given to the public on Anzac Day and worn as a sign of remembrance. The trays say "Rosemary, A gift from Legacy". 00602.2 the lady in blue holding a Rosemary tray is Gwen Gunn who was one of the organisers of the Rosemary trays for many years. Other names unknown. In The Answer in 1995 an articles says: "Operation Rosemary. Since 1982 Legacy ladies have volunteered to make rosemary sprigs for the Anzac Day marchers. At a later date they also made sprigs for the Schools Shrine Service. . . don't worry, there are ladies here to show you how to make them and it's a chance to hav a chat and cuppa whilst you work together. Any day day that you can spare . . . please ring Joan Miller." A note on yellow paper from 01046 explains the source of the rosemary. It says the rosemary donated to Legacy each year for the sprigs of rosemary handed out to the public comes from nurseryman, Peter Hannah, who sourced a cutting from a bush in Frankston which was said to come from a cutting brought home from Gallipoli by a wounded soldier.A record of widows preparing rosemary as gifts for the public. Rosemary is sign of remembrance. Colour photo x 3 of widows preparing trays of rosemary.widows, legacy promotion, rosemary, activities, gwen gunn

A group of widows at Legacy House preparing trays of rosemary to be given to the public on Anzac Day and worn as a sign of remembrance. Inez Bruce is the lady in apricot in all three photos, other names unknown. Date was probably 1989 or 1990. In The Answer in 1995 an articles says: "Operation Rosemary. Since 1982 Legacy ladies have volunteered to make rosemary sprigs for the Anzac Day marchers. At a later date they also made sprigs for the Schools Shrine Service. . . don't worry, there are ladies here to show you how to make them and it's a chance to hav a chat and cuppa whilst you work together. Any day day that you can spare . . . please ring Joan Miller." Photos were in a scrapbook of photos spanning 1983 to 1991. A note on yellow paper from 01046 explains the source of the rosemary. It says the rosemary donated to Legacy each year for the sprigs of rosemary handed out to the public comes from nurseryman, Peter Hannah, who sourced a cutting from a bush in Frankston which was said to come from a cutting brought home from Gallipoli by a wounded soldier.A record of widows preparing rosemary with Australian flags as gifts for the public. Rosemary is sign of remembrance. Colour photo x 3 of widows preparing trays of rosemary and Australian flags.widows, legacy promotion, rosemary

A group of widows at Legacy House preparing trays of rosemary to be given to the public on Anzac Day and worn as a sign of remembrance. The trays say "Rosemary, A gift from Legacy". The lady in blue is Gwen Gunn who was one of the organisers of the Rosemary trays for many years. Other names unknown. The widows clubs have been preparing trays of rosemary sprigs In The Answer in 1995 an articles says: "Operation Rosemary. Since 1982 Legacy ladies have volunteered to make rosemary sprigs for the Anzac Day marchers. At a later date they also made sprigs for the Schools Shrine Service. . . don't worry, there are ladies here to show you how to make them and it's a chance to hav a chat and cuppa whilst you work together. Any day day that you can spare . . . please ring Joan Miller." A note on yellow paper from 01046 explains the source of the rosemary. It says the rosemary donated to Legacy each year for the sprigs of rosemary handed out to the public comes from nurseryman, Peter Hannah, who sourced a cutting from a bush in Frankston which was said to come from a cutting brought home by a wounded soldier.A record of widows preparing rosemary as gifts for the public. Rosemary is sign of remembrance. Colour photo x 3 of widows preparing trays of rosemary and Australian flags.widows, legacy promotion, rosemary, gwen gunn

The Friendly Societies Carnival at Mentone on Easter Monday, 1916 during WW1 was arranged to showcase the local activities and raise funds for the 'Discharged Wounded Soldiers Fund' = £140 was raised. As elsewhere in Australia most of the local young men had enlisted in the AIF and some were coming home wounded - many were killed on overseas battlefields. This Parade was led by the Cheltenham Brass Band, followed by the Friendly Societies AOF, IOR, HACBS, PAFS, and ANA. The PAFS - Protestant Alliance Friendly Society - had 2 entries 'Fruit & Vegetable Display' and 'The Murder of Nurse Edith Cavell' both floats won their category. Ella Allnutt portrayed Nurse Cavell. The Carnival gave prizes for sports events on the Mentone Oval and a concert was held at night at the Mentone Ice Skating Rink. "The Cheltenham P.A.F.S. had, as their tableaux, the murder of Nurse Cavell, in which Miss E. Allnutt took the roll of the nurse and other participants were Miss V. Rose and Messrs. A. Clark, F. Robinson, E. Hutchins, S. Butler and A. Biehl." 1916 'MOORABBIN'S PATRIOTIC CARNIVAL.', Brighton Southern Cross, 29 April, p. 2. World War 1 1914-1918 had a devastating impact on many early settler families whose sons had volunteered to serve in AIF. 1916 many of these young men were returning injured or had been killed overseas The Community rallied around to support these men and their families by holding fund raising events like the CarnivalBlack & White photograph of a decorated float with a Tableau ' The Murder of Nurse Edith Cavell' in the Friendly Societies Carnival Cheltenham 1916Front Handwritten ; Procession ( part of ) to honour Sister Edith Cavell an English nurse executed by the Germans in Brussels (BELG.) in 1914 (1st World War)cheltenham brass band 1916, ww1 1914-1918, cavell edith, friendly societies, protestant alliance friendly society, moorabbin, cheltenham, dendy henry, dendy's special survey 1841, assisted emigrants early settlers, pioneers, market gardeners, marigold flowers, pharmacy, charman stephen, gettens mary, charman harriet, methodist church, primitive methodists, box william, box elizabeth, state schools, education, moorabbin shire, moorabbin roads board, city of moorabbin, kingston city council

Hard cover book, buckram material, 304 pages, black & white photos. Top 1/3rd has additional painting of charging trench soldiers. Centre 1/3rd has black background with white ink. Bottom 1/3rd has black & white photo of walking wounded British & German soldiers.books - albums - military, photography-photographs

A photo of Mrs Billie Sims receiving a certificate. The blue paper label says: "Legacy Helping to keep the Aussie Flag Flying" President of the Australian National Flag Association of Victoria, Mr Ross Watson, O.A.M. (right) together with the Secretary of the Association, Mr Henry Farrell, thanked the ladies of Melbourne Legacy for their contribution to help keep the Aussie Flag Flying. Through the President of Melbourne Legacy Widows' Club, Mrs Billie Simms, Ross Watson presented a framed certificate to mark the splendid work of Melbourne Legacy Widows in attaching miniature Australian flags to thousands of sprigs of rosemary prepared for Anzac Day marchers and for the 2,000 plus school children who attend Legacy's annual Anzac Commemoration Ceremony at the Shrine of Remembrance." Similar to another certificate from the Australian National Flag Association given to the Melbourne Legacy Club in June 1984. It was with a group of photos from 1988 to 1990 in a folio with paper labels (see items 01042 to 01049). The explanation of the source of the rosemary was in the same folio but the described photo is missing. It says the rosemary donated to Legacy each year for the sprigs of rosemary handed out to the public comes from nurseryman, Peter Hannah, who sourced a cutting from a bush in Frankston which was said to come from a cutting brought home by a wounded soldier.A record of widows preparing rosemary as gifts for the public and the story behind the source of the rosemary. Rosemary is sign of remembrance.Colour photo of a widow receiving a certificate, a blue paper label and a yellow document explaining the source of the rosemary.Blue paper label explains the certificate in black type.widows, rosemary

Puttees were long established items of a soldiers kit. Although time consuming items to tie correctly, puttees were a very comfortable and practical method of ensuring that mud and loose debris would not enter the tops of ankle length boots. Short puttees were common during the second world war.A pair of dark khaki woven wool cloth bands that were wound around a soldier's ankle. Each puttee has cotton stitching across one end, with the other end stitched into a triangular shape. Attached to the triangular end is a long khaki woven cotton strap that was used to secure the puttee in place. Cotton stitching is across the end of the cotton strap.V307 1944 D (broad arrow) Dputtees, clothing