A Wilson 'Triumph' metal tennis racquet, with double shaft, brown plastic throat bridge; plastic shaft casing featuring 'W' logo; and a handle wrapped in brown leather. White plastic butt cap also featuring manufacturer's 'W' logo. Manufacturer and model names on throat bridge (both sides). Materials: Metal, Plastic, Adhesive tape, Nylon, Painttennis

The photos are a collection held by T. J. IRELAND C/K853677 P.O. STOKER MECHANIC RN while serving on HMS TRIUMPH, Korea 1950-53. Many are of the landings at INCHON, Sept. 1950. .1) Kure Harbour, Japan 1950. Ships assembling for the landings at INCHON, Korea. Ships across the top, left to right: HMAS SYDNEY, Fleet Oiler, VSS ANTIETAM, Hospital Ship & Japanese Coaster. In the foreground on the right, HMS BELFAST, HMS TRIUMPH, HMS CONSORT. On rear most photos are written on in blue pen. .2) INCHON landings Walmi-Do in background and landing barges - could be one I was driving. .3) Island - Walmi-Do - US landing craft. .4) INCHON landings. .5) US landing craft. .6) INCHON oil tanks and military targets on fire. .7) Grounded coaster after an air attack. .8) Two North Korean supply ships hit by rockets. .9) Korean supply vessels camouflaged. .10) Rocket attack on Korean supply vessel. .11) Sunken coaster that was carrying arms and food. .12) Sunken coaster in harbour. .13) & .14) North Korean armour taken from an observation flight. .15) & .16) Chinese tanks and armour. .17) HMS BELFAST, Fleet Oiler, HMAS WARRAMUNGA .18) Targets from rocket attacks. .19), .20) & .21) "Seafires" coming to land on HMS TRIUMPH. .22) Rearming cannon and rockets on a "Seafire'. Photos not written on, information was supplied by T.J. IRELAND. The "Seafire" was a naval adaption of the Supermarine Spitfire for carrier use..1) Photo, sepia tone, aerial view over a harbour with warships, bomb damage foreground, hills and buildings in the distance. .2) Photo, black & white, aerial view of harbour, city with several fires from shelling. .3) Photo, black & white, aerial view of island with landing craft. .4) Photo, black & white, aerial view over ships and harbour. .5) Photo, black & white, aerial view over four landing craft. .6) Photo, black & white, aerial view over city and fires. .7) Photo, black & white, aerial view over islands, boat .... small island. .8) Photo, black & white, aerial view over harbour with two boats on fire. .9) Photo, black & white, aerial view over structures covered. .10) Photo, black & white, aerial view over ship being attacked. .11) Photo, black & white, aerial view over harbour with sunken ship. .12) Photo, black & white, aerial view showing harbour, fire and sunken ship. .13) Photo, black & white, aerial view, five tanks along a road. .14) Photo, black & white, aerial view, same area as .13) showing a wider area. .15) Photo, black & white, aerial view showing tanks and armour. .16) Photo, black & white, aerial view road with armour, vehicles, people and smoke in distance. .17) Photo, black & white, aerial view showing three ships together. .18) Photo, black & white, aerial view showing a road control with targets either side on fire. .19) Photo, black & white, aerial view with aeroplane coming onto the deck of a carrier. .20) Photo, black & white, aerial view of a fighter plane. .21) Photo, black & white, on deck of a carrier. .22) Photo, black & white, rearming a plane with ammunition on carrier deck. Photos are various sizes.photos, korea, rn, inchon

Information - on front cover - "CENTENARY EDITION/ BEERSHEBA/ TRAVELS THROUGH A FORGOTTEN AUSTRALIAN VICTORY/ PAUL DALEY/. A full-bodied, human telling of the deeds of the AUSTRALIAN LIGHT HORSEMAN/ TONY WRIGHT" On back cover. "It was a glorious triumph of arms for Australian/ Forces, a romantic moment of dash and bravura that/ stood out in the tragedy of World War 1. Yet it barely/ registers in Australia's national consciousness."Soft cover book. Cover - cardboard; black, gold and white print on front, spine and back. White background. Illustrated - front - black and white photograph of a trooper mounted on a horse with full kit. 339 pages, cut, plain, white paper. Illustrated - black and white diagrams of maps and centrefold collection of photographs. Inscription - front end paper.Front end paper - handwritten, black ink - donor's name and date, "Donated by Joy Wellings/ 16-8-2023".books, ww1, beersheba, australian army, light horse regiment.

A book titled 'Scotland's Great Victory: The story of the Battle of Bannockburn. A thrillling account of one of the great triumphs of the Scottish arms.' London : Ward, Lock & Co., Salisbury Square, E.C. New York : Bond Street. 225 - 240 pgs. (ill.). This booklet is one of a series of 37 ' Ward & Lock's Penny Books for the People.' 'Historical Series.' Price one penny. There are also advertisements of note.books, biography, scotland, lydia chancellor, collection, ward & lock's penny books for the people, ward & lock's penny biographies, historical series, history, biographies, scotland, scottish history, battle of bannockburn, advertisements, book, books, king robert bruce, penny books

A Regent Triumph tennis racquet. Regent logo features across the base of the head and plastic butt cap. Model name features across the throat. 'R' trademark features at base of shaft. Model details feature on the left side of the shaft. Leather handle grip features quatrefoil perforations. Materials: Wood, Nylon, Glue, Lacquer, Metal, Ink, Plastic, Adhesive tape, Leathertennis

Shire of Grenville certificate awarded to school students who participated in victory celebrations after the end of the First World War. This certificate was awarded to Elsie Godden, a pupil at Linton State School.Colourful, illustrated certificate, shows winged angel on right hand side, and Australian flag in top left corner, with images of war and peace in lower section. The words "Peace on Earth / Goodwill Towards Man" are on a scroll top centre. A decorative border encloses the illustrations, the phrase "After the Great War of 1914-1919" is printed in the border at the top, and "The Triumph of Liberty and Justice" printed in the lower border.world war 1914-1918, linton state school, elsie godden, certificates

A transitional flat-top, wooden racquet with a laminated convex throat. Decal inscription of model type around crown on obverse: TRIUMPH. Decal of company trademark features on throat on obverse. Within a football device is the inscription: TRADE MARK/SCHMELZER'S/KANSAS CITY/SPORTING GOODS. Stamped inscription along right side of stem: THE/SCHMELZER COMPANY. Materials: Wood, Gut, Metal, Ink, Glue, Lacquer, String, Leathertennis

BOOK - ALEC H CHISHOLM COLLECTION. 576 hardback book with blue dust jacket. 'Triumph in the West' is based on the diaries and notes of Field Marshal Viscount Alanbrooke (1943 - 1946). Published by Collins, London in 1959 and printed by Collins Clear Type Press, London. B & W image of Alanbrooke opposite title page. Handwritten in ink on title page 'With best wishes from Alanbrooke 28.10.59. '2255 BRY' catalogue sticker on spine.Arthur Bryantbooks, military, world war 2, alec h chisholm collection, arthur bryant, alanbrooke, war diaries, world war 2.

Matches and match boxes were common and essential household items in the 19th century and early to mid 20th century. Today matches are used only irregularly. This match box holder was an advertising tool for Roy Pearson who had a motor service station at 100 Kepler Street, Warrnambool in the 1930s. The business was called the Super Service Station and Pearson was the agent for Triumph and Citroen cars. He sold petrol and used cars and did car repairs. In 1937 the business was run by Chorlton and GrahamThis item is of considerable interest showing the type of advertising used in Warrnambool in 1935. Apart from its utilitarian use of holding a match box, it is an advertising tool containing a 1935 calendar and it also uses humour as its main appeal. The holder features a face which shows a happy man when held one way (“This man calls at Pearson’s Service Station for satisfaction’) and a grumpy man when it is turned around (‘This man wishes he did call’). This is a metal match box holder, painted blue with yellow printing and an image of a man’s face. It has a 1935 calendar. It is much rusted on the inside and a little blotched on the outside. ‘Roy H. Pearson, Super Service Station, Ye Auto Fille Here, Phone 511, 100 Kepler Street, Warrnambool. This man calls at Pearson’s Service Station for satisfaction, This man wishes he did call’ pearson service station, warrnambool, match box holder

Books, hard yellow buckram cover, maroon & gold print, loose plastic cover, black & white illustrations. .1) Volume I The Gathering Storm - 638 pages .2) Volume II Their Finest Hour - 603 pages .3) Volume III The Grand Alliance - 716 pages .4) Volume IV The Hinge of Fate - 812 pages .5) Volume V Closing The Ring - 592 pages .6) Volume VI Triumph & Tragedy - 648 pagesbooks, military, history

.1) Medallion, round, metal silver colour, front has rising sun and crown at top, each side is an Australian sailor and soldier centre is a wreath with "Victory, The Triumph of Liberty and Justice the peace of 1919". Rear has a female form in billowing robe with "Peach 1919 Australia". .2) Medallion, round, metal, gold colour front has a kangaroo with "Anzac Day 1994 commonwealth medallion". Rear has a koala with "Anzac Day 1994 Commemorative Medallion. medallions, anzac, victory

Peacock Hall was opened by Premier Alexander Peacock. Stained glass windows by Amalie Feild (later Colquhoun).are located across both ends of the hall, as well as Honour boards listing students' war service in both World Wars. Boards along the side walls also list School Captains, Council Members, the Dux of the School as well as University graduates. The memorial mural tablet for the hall was designed by George Dancey. The tablet was unveiled by Major Baird on 9 April 1920 and features a finely executed mosaic mural symbolising the triumph of Good over Evil. world war one, ballarat high school memorial hall, stained glass, amalie feild, amalie colquhoun

Ordsall, renamed Southesk in the 20th century was built for John Halfey in or before 1865. The house was rebuilt in the 1870s to designs by architect Michael Hennessy. In 1882 the house was redecorated by the firm of Culls Hill & Co., who hired the artists 'Mr Vandenbrandt' and 'Signor Rizzi" to paint the ceilings of the ballroom and the drawingroom. The artistic triumph was described in detail in The Argus, 30 October, 1882. In 1947, Southesk was purchased by the Kew City Council. For 23 years it was used as a meeting place for community groups. The house was then demolished in 1970 to make way for a new Town Hall.This is the earliest known photograph of Ordsall / South Esk, a significant mansion in Kew, built for John Halfey and now demolishedMembers of the Kew Congregational Church in front of one of the verandas of Southesk, circa 1900.congregational church - kew (vic), south esk - south esk - ordsall - kew (vic)

'Ordsall', renamed 'Southesk' in the 20th century was built for John Halfey in or before 1865. The house was rebuilt in the 1870s to designs by architect Michael Hennessy. In 1882 the house was redecorated by the firm of Cullis Hill & Co., who hired the artists 'Mr Vandenbrandt' and 'Signor Rizzi" to paint the ceilings of the ballroom and the drawingroom. The artistic triumph was described in detail in The Argus, 30 October, 1882. In 1947, Southesk was purchased by the Kew City Council. For 23 years it was used as a meeting place for community groups. The house was then demolished in 1970 to make way for a new Town Hall.Rare, and possible unique fragment of a plaster cornice from one of the most architecturally distinctive houses in Kew, demolished 1970.Section of plaster cornice removed from Southesk on the corner of Charles Street and Cotham Road, Kew, when it was demolished in 1970 by the City of Kew. The cornice has a narrow layer of previously coloured plaster which is now overlaid with a grey distemper. The foundation of the cornice is moulded cement. Remnant flowers moulded in the central band of the cornice include a rose and a sunflower. The plaster decoration was probably located in the entrance hall, dining room or ballroom, all of which were created in the 1870s by Michael Hennessy and decorated by the firm of art decorators, Cullis Hill & Co in 1882.Nilordsall, south esk, cullis hill, plasterwork, cornices, victorian interiors

Ordsall, renamed Southesk in the 20th century was built for John Halfey in or before 1865. The house was rebuilt in the 1870s to designs by architect Michael Hennessy. In 1882 the house was redecorated by the firm of Culls Hill & Co., who hired the artists 'Mr Vandenbrandt' and 'Signor Rizzi" to paint the ceilings of the ballroom and the drawingroom. The artistic triumph was described in detail in The Argus, 30 October, 1882. In 1947, Southesk was purchased by the Kew City Council. For 23 years it was used as a meeting place for community groups. The house was then demolished in 1970 to make way for a new Town Hall.The interiors of the two main reception rooms at Ordsall included some of the most outstanding domestic frescos painted in Australia in the late Victorian period. These frescos were executed by artists hired by the firm of Cullis Hill & Co. While a number of photographs were taken of the interiors prior to the house's demolition in 1970, this small fragment of the fresco is one of only three extant. The fresco allows conservators to examine and evaluate fresco techniques of the period.One of only two fragments of the painted domed ceiling of the ballroom of Ordsall (later renamed Southesk) which once stood at the corner of Cotham Road and Charles Street, Kew. This triangular piece of the fresco is of a cherub's face.Label: 'This is from the "Southesk" ballroom 14-7-70'ordsall, southesk, cullis hill & co.

Ordsall, renamed Southesk in the 20th century was built for John Halfey in or before 1865. The house was rebuilt in the 1870s to designs by architect Michael Hennessy. In 1882 the house was redecorated by the firm of Culls Hill & Co., who hired the artists 'Mr Vandenbrandt' and 'Signor Rizzi" to paint the ceilings of the ballroom and the drawingroom. The artistic triumph was described in detail in The Argus, 30 October, 1882. In 1947, Southesk was purchased by the Kew City Council. For 23 years it was used as a meeting place for community groups. The house was then demolished in 1970 to make way for a new Town Hall.The interiors of the two main reception rooms at Ordsall included some of the most outstanding domestic frescos painted in Australia in the late Victorian period. These frescos were executed by artists hired by the firm of Cullis Hill & Co. While a number of photographs were taken of the interiors prior to the house's demolition in 1970, this small fragment of the fresco is one of only three extant. The fresco allows conservators to examine and evaluate fresco techniques of the period.One of only two fragments of the painted domed ceiling of the ballroom of Ordsall (later renamed Southesk) which once stood at the corner of Cotham Road and Charles Street, Kew. This roughly square piece of the plasterwork shows a woman's head. Given the size of the face, it is believed that this section of the fresco represents one of the four 'geographic depictions of the earth including the seasons, night and morning'.Label: 'This is from the Southesk Ballroom 14-7-70'cullis hill & co., fresco, ordsall, southesk

Ordsall, renamed Southesk in the 20th century was built for John Halfey in or before 1865. The house was rebuilt in the 1870s to designs by architect Michael Hennessy. In 1882 the house was redecorated by the firm of Cullis Hill & Co., who hired the artists 'Mr Vandenbrandt' and 'Signor Rizzi" to paint the ceilings of the ballroom and the drawingroom. The artistic triumph was described in detail in The Argus, 30 October, 1882. In 1947, Southesk was purchased by the Kew City Council. For 23 years it was used as a meeting place for community groups. The house was then demolished in 1970 to make way for a new Town Hall.The interiors of the two main reception rooms at Ordsall included some of the most outstanding domestic frescos painted in Australia in the late Victorian period. These frescos were executed by artists hired by the firm of Cullis Hill & Co. While a number of photographs were taken of the interiors prior to the house's demolition in 1970, this small fragment of the fresco is one of only three extant. The fresco allows conservators to examine and evaluate fresco techniques of the period.A fragment of the painted domed ceiling of the drawingroom of Ordsall (later renamed Southesk) which once stood at the corner of Cotham Road and Charles Street, Kew. This rectangular fragment of painted plaster is a small section of the rectangular frieze of neo-gothic scenes that were a feature of the drawingroom ceiling. The fragment differs from those remaining from the ballroom in that it includes a section of gold leaf.Label: 'This is from "Southesk" drawing room'ordsall, southesk, cullis hill & co., halfey, john

Designed by C Douglas Richardson, ‘The Peace of 1919’ medalet was issued by the Defence Department to school children throughout Australia to commemorate the signing of the Versailles Peace Treaty in 1919.One side of the medal features a symbolic female figure of Peace, holding a sword and standing on a plinth marked ‘PEACE 1919’. Behind her flies a dove, and at her left and right feet are two figures freed from their shackles. The reverse features a central panel surrounded by laurel leaves, surmounted by the King’s Crown with the word ‘VICTORY’ over the rays of the rising sun. A sailor and a digger stand at ease on either side of the panel on which is cast ‘THE / TRIUMPH / OF / LIBERTY / AND / JUSTICE’. Below the leaves is a very small panel with the words ‘THE PEACE OF 1919’, ‘AUSTRALIA’. versailes peace treaty, medal, defence dept., school children

Photocopies of photos. On front written in pencil 1962 Marlene Hazeldene (now Llewellyn) has originals, has framed life governorship Home and Hospital, have originals both hospitals annual reports. Image on front shows Triumph sports car with women sitting up high on seat, in Easter Parade. Presumably Marlene Hazeldene. On back, photo of 4 women, one man. Women dressed formally in suits, dresses and hats. One woman has Mary Keating written on sash. Man in suit. In pencil '1958'. And Bendigo Advertiser.bendigo, bendigo easter fair, 1958, 1962 popular girls

Circular medalet with a plain edge and integral suspension loop. The obverse features a symbolic female figure of Peace, holding a sword and standing on a plinth marked 'PEACE 1919'. Behind her flies a dove, and at her left and right feet are two figures freed from their shackles. The reverse features a central panel surrounded by laurel leaves, surmounted by the King's Crown with the word 'VICTORY' over the rays of the rising sun. A sailor and a digger stand at ease on either side of the panel on which is cast 'THE / TRIUMPH / OF / LIBERTY / AND / JUSTICE'. Below the leaves is a very small panel with the words 'THE PEACE OF 1919' and the manufacturer's name.military, world war 1, peace medal

Medals .3) to .6) belonged to David William Ralph Davies No V245464, enlisted on 19.12.41 age 19 years. At discharge from the Army on 5.12.46 he was a Pte in 57/60th Aust Infantry Battalion.1) Medal, circular, metal, issued to Commemorate Anzac Day 1918. Obverse has head of a soldier with Slouch Hat with wording "Honor to the AIF". Reverse has the words " Gallipoli, France, Palestine". .2) Medal, circular, metal, issued to School children to commemorate Victory and Peace in 1919. Obverse depicts a Women, reverse has figures of a Sailor and Soldier with the wording "Victory the Triumph of Liberty and Justice, the Peace of 1919". Medals, ribbons, single, (4) re D.W.R Davies. .3) Pacific Star. .4) 1939-45 Star. .5) War Medal 1939-45. .6) Australian Service Medal..3) .4) .5) .6) "V245464 D.W.R Davies"medals, memorabilia, military

Formed in 1990 by a group of current and former social services and administrative staff at the then-Brighton Council, the Lovely Learned Luscious Ladies of Brighton were a group bound by friendship, humour, fun and a delightfully strange knitting project. Each member took turns to add ten rows ten rows of knitting to the piece, following a series of handwritten rules on an attached card. The wool used was not to be bought, but could be "begged, borrowed or stolen", and previous work was not to be altered. The ladies met bi-monthly over dinner at local restaurants and hotels to swap gossip, play games and share the progress of the knitting. The work of twelve women over eighteen years, the piece documents fond memories, personal passions, wedding celebrations, the birth of a grandchild, footy triumphs, holidays and major events. It is a testament to a close-knit friendship, as expressed on the rules card: "MAY THIS PIECE SERVE TO BIND US TOGETHER".Irregular-shaped knitting project consisting of multicoloured knitted stripes in a variety of yarns and stitches created by a group of women over a period of eighteen years. The piece includes numerous additions and embellishments by the various makers, including sequins, beads, shells, badges, ornaments and laminated images.Attached yellow laminated rectangular card with handwritten rules: "1) Nominated member is to knit (in any stitch of choice) 10 rows of your best by the next meeting. 2) The yarn to be used is not to be purchased for the job but can be begged, borrowed or stolen. 3) The colour of yarn is to be left to member's discretion, but judgement will be passed by others. 4) The nominated member will not tamper with, pull out or destroy a previous member's work. 5) On returning the work to the meeting the member shall declare to what genuine purpose the piece will be put on completion (as a guide for future knitters), e.g. rug for favourite chardy, cock sock for lover. 6) The next knitter can (and shall be encouraged to) change the purpose as stated by the previous knitter. 7) This tag must not, without the permission of a majority of members, be removed. MAY THIS PIECE SERVE TO BIND US TOGETHER."brighton, brighton council, social groups, knitting, 1990s

Object. Silver coloured metal medal with suspension piece at crest with suspension ring.Obverse: The figure of Peace on a pedestal with two flying doves. Inscribed ''PEACE 1919 AUSTRALIA''. A figure in chains on the left and another entangled in bushes. Reverse: An Australian Soldier and Sailor support a wreath. Above the wreath is the word ''VICTORY''. Within the wreath is ''THE TRIUMPH OF LIBERTY AND JUSTICE''. Below the wreath on a plaque, ''THE PEACE OF 1919''. These Peace medals were issued to every child in Australia aged 0-14 years (and up to 16 years if their parents were in the Armed Forces. 1.670.000 medals were made. They were issued with a red, white and blue ribbon and a pin. Victorian children received their medals on 18/19 July 1919.numismatics, medals - civil, peace medal 1919

Object. Silver coloured metal medal with suspension piece at crest with suspension ring.Obverse: The figure of Peace on a pedestal with two flying doves. Inscribed ''PEACE 1919 AUSTRALIA''. A figure in chains on the left and another entangled in bushes. Reverse: An Australian Soldier and Sailor support a wreath. Above the wreath is the word ''VICTORY''. Within the wreath is ''THE TRIUMPH OF LIBERTY AND JUSTICE''. Below the wreath on a plaque, ''THE PEACE OF 1919''. These Peace medals were issued to every child in Australia aged 0-14 years (and up to 16 years if their parents were in the Armed Forces. 1.670.000 medals were made. They were issued with a red, white and blue ribbon and a pin. Victorian children received their medals on 18/19 July 1919.numismatics, medals - civil, peace medal 1919

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