This document records the unveiling of the Villers-Bretonneux Memorial by King George VI, the Queen of England and the President of the French Republic, on Friday 22nd July, 1938. The programme includes prayers, hymns and memorial dedication. The assumption is that a Legatee attended the service and saved the programme and it somehow made its way into the Legacy Archives. A significant memorial was built at Villers-Bretonneux to commemorate Australian losses in World War 1. This programme shows King George and the President of France opened the memorial together and that it was an important event in 1938.Paper program. 6 pages. Running order for the unveiling of the Villers-Bretonneux Memorial by King George VI, the Queen of England and the President of the French Republic. Friday 22nd July, 1938. Includes prayers, hymns and memorial dedication.memorial, world war one

The tape has not been played from the label it is Legatee Grat Grattan talking about Legacy House. Legatee Grattan was very important member of Legacy for many years. He was well placed to tell the story of the donation towards Dureau House as L/ Grattan was pivotal in it's story. BG Corporation of New York used 'Brown and Dureau' as agents in Melbourne for their spark plug manufacturing (for the American aircraft based in Australia during the war). A royalty of two shillings and sixpence was agreed. The entrepreneur President of BG Corporation was Richard Goldsmith. L/ Grat Grattan had a friend Mr Edwards who was managing director at Brown and Dureau and heard of the desire by Goldsmith to leave a permanent memorial to ex-servicemen in Australia (Children's Hospital was considered). Grat took Edwards to Market St and showed him the inadequacy of the building. It was agreed if Melbourne Legacy could come up with a purchased building in 10 days they would get the money needed. The property purchased was 'Storey Hall' in Swanston St (also called Hibernian Hall in other documents). After the war it turned out not to be suitable and a new building was required. Contents TBC 'Perhaps his most lasting monument is Melbourne Legacy House. Through his friendship with one of the principals of the firm, Brown and Dureau, Legacy was given a donation of 30,000 pounds in 1944. A condition of the donation was that Legacy had only eight days in which to buy a building. A building across the road from the Royal Melbourne Institute of Technology was bought for 18,000 pounds and the balance invested. The building was sold in the early '50s and the proceeds plus the invested money enabled Legacy to buy its headquarters, Dureau House, in Swanston Street in 1955."It may be confirmed when played but it is likely a significant recording of the history of the acquisition of Dureau House.Clear plastic cassette tape in a cardboard box.Cardboard box, rainbow, C20, Tape a letter. Cassette, side 1 - Legacy Week by Legatee Grat Grattan, 1, Rainbow, Tape a Letter. 10 minutes per side. side 2 - as above.legatee, grat grattan, dureau house

The Great Ocean Road may be the only road in the world which was built as a war memorial. In 1916, much of Australia was poorly served by roads, and it was suggested that returning servicemen could be given worthwhile employment by building roads in isolated areas. The plan was taken up for the Great Ocean Road, and work was dedicated to the memory of men who had fallen in World War 1. The road itself is a great feat of engineering. It wind around some of Australia's most rugged coastline. Now it is one of the world's most scenic routes, crossing gorges, along precipitous cliffs, through dense forests, and over steeply rolling coastline country.Great Ocean Road. K.G. Stepnell. 1st ed. Rigby Limited; Adelaide (S.A.); 1972. 36 p.; illus., maps. Hard cover. ISBN 0 85179 371 1great ocean road; roads; fishing; timber; twelve apostles;

On 19 April 1915, Brighton City Councillor T. Wilson moved to install a roll of honour in the Brighton Town Hall. "The men who had gone to the war deserved all the praise and consideration that could be given them. Nothing could be said too highly in their favour." The Roll of honour was unveiled at the Brighton Town Hall on Armistice Day, 11 November 1928, by the mayor, Cr. H.E. Pullman. It contained the names of the men of the municipality who gave their lives in World War I. A service was conducted by the Brighton Ministers' Association, under the presidency of the Rev. H. B. Hewitt, of St. Andrew's Church, Brighton. The roll of honour was made by H. Goldman Pty, Ltd, a Melbourne cabinet maker and designer who worked exclusively in Australian timbers. The two metal panels/tablets on either side of the honour roll were added at a later date and commemorate those who died in World War II.Polished wood and metal honour board attached to wall in the Brighton Town Hall. The board is a rectangular shape with a semi-circular curved top at the centre. The central section is a dark carved timber Honour Roll for WWI listing the names of Brighton residents who gave their lives in service 1914—1919. To the left and right of the honour roll are black metal panels/tablets that were added at a later date which commemorate those who died in WWII 1939—1945. The central section contains the honour roll of 228 names which are inscribed in gold with black shadow across three panels which are divided by four decorative round columns. The middle panel is arched at the top and under the arch is a decorative wreath in relief containing the City of Brighton crest within it, below which is "LEST WE FORGET" in gold lettering. The top of the left and right wooden panels each have carved decorative eucalyptus foliage and a bow hanging in the middle. A piece of metal with an incised quote "AT THE GOING DOWN OF THE SUN AND IN THE MORNING WE WILL REMEMBER THEM" is attached to the bottom edge of the central section. Below the metal bar on the left and right panels are the dates 1914 and 1919 in gold lettering, and in the centre "TO COMMEMORATE HEROIC & SUPREME SACRIFICE". The cast metal side panels are set back slightly from the central section and contain decorative wreaths at the top and quotes under them. The left panel has the incised inscription "IN GRATEFUL MEMORY OF THOSE WHO GAVE THEIR LIVES IN THE SERVICE OF THEIR COUNTRY IN THE SECOND WORLD WAR 1939—1945" and the right panel reads "GREATER LOVE HATH NO MAN THAN THIS THAT A MAN LAY DOWN HIS LIFE FOR HIS FRIENDS 1939—1945". They have square columns on their far ends and the capital of the columns and top and base decorations mimic the original timber design. brighton, roll of honour, honour board, lest we forget, brighton town hall, commemoration, wwi, world war i, wwii, world war ii, brighton city council, bayside, military, service, war memorial, h. goldman, harry goldman, h. goldman manufacturing company

On 23 July 1922, Brighton City Council adopted the recommendation from a sub-committee that the site for a war memorial be at Green Point, Brighton Beach. Brighton Council invited designs, limited to returned soldier architects and 18 designs were received. The first prize of £30 was awarded to the architecture firm Irwin and Stevenson and the designs were exhibited at the Brighton Town Hall in 1925. The bronze casting, using lost wax technique, was executed by sculptor Mr. Paul Montford, to the design of the architect and the central assemblage was believed to be the largest bronze casting in relief carried out in Australia at the time. The Brighton War Memorial was unveiled by His Excellency the Governor, the Right Honourable Arthur Herbert Tennyson Baron Somers, K.C.M.G., D.S.O., M.C., on Sunday 24th April 1927 in the presence of 4,000 people. The memorial was originally constructed to commemorate those from the City of Brighton who served in World War One but has since been augmented to commemorate those from the municipality of Bayside who have made the ultimate sacrifice during official periods of hostility.War memorial consisting of a sandstone cenotaph, granite base and sandstone terrace situated at Green Point, Brighton. The cenotaph is a truncated obelisk with classical decoration in stone and bronze. The cenotaph bears the Rising Sun badge in bronze relief near its top with bronze lettering running down the cenotaph reading "ERECTED IN HONOUR OF THOSE WHO FOUGHT IN THE GREAT WAR 1914 – 1919". A bronze relief assemblage of crossed weapons, a wreath, the lamp of valour and the Latin phrase "DUCIT AMOR PATRIA" (love of country leads me) sit above the base which is carved with the word "SERVICE". The terrace walls have bronze relief medallions with images of the head of an airman on the left and an infantryman on the right. The back of the cenotaph bears a torch in bronze relief near its top. On the sandstone wall behind the cenotaph are three large bronze plaques that lists the names of those from the City of Bayside who have served in the various conflicts in which Australia has been involved. At the back of the sandstone wall is carved lettering reading "HISTORY GAVE THEM A COMMON FAME. POSTERITY A COMMON MONUMENT" with 1914 carved on the left and 1919 on the right.brighton war memorial, memorial, cenotaph, green point, war memorial, brighton, service, paul montford, irwin and stevenson, rising sun, wreath, weapons, lamp of valour, great war, world war one, honour roll, honour board, roll of honour, ducit amor patriae, brighton beach, city of brighton, leighton major francis irwin, roy kenneth stevenson

Subdivision plans are historically important documents used as evidence of the growth of suburbs in Australia. They frequently provide information about when the land was sold on which a built structure was subsequently constructed as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens. The photograph is also aesthetically significant as it was taken by J. E. Barnes, a nationally significant photographer. He was the most important photographer to have worked in Kew. He was active as a photographer in the district from c.1906 until his death in 1921. Best known as 'the Embarkation Photographer' (see the Australian War Memorial collection), Josiah Earl Barnes was also the official photographer employed by the Borough (and later Town, then City) of Kew. He clearly also completed commercial jobs for local businesses, as is the case in this photograph of a house for a local real estate and financial agent. A modest weatherboard house with rough-cast rendered walls. The gabled entrance incorporates elements of the Japanese aesthetic. The strong lines of the dark timber gable are reinforced by the colour and shape of the pickets in the fence. In contrast to an earlier period, the chimneys appear truncated. The use of extensive double-hung sash windows in the front rooms reflects a new interest in light in houses. The use of separate sunshades over windows in an earlier period is here replaced by an extension of the roofline over the window. The photographer Josiah Barnes died in 1921; so, the photograph of the house must predate this date. The location of the house, which was advertised for sale, has to date not been identified. Illegible inscription. Photographer's information on mount.josiah earl barnes, j e barnes, photography - kew, interwar housing - victoria, 1920s housing - kew

Subdivision plans are historically important documents used as evidence of the growth of suburbs in Australia. They frequently provide information about when the land was sold on which a built structure was subsequently constructed as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens. The photograph is of additional aesthetic significance as it was photographed by J. E. Barnes. Josiah Earl Barnes is a nationally significant photographer. He was also the most important photographer to have worked in Kew. He was active as a photographer in the district from c.1906 until his death in 1921. Best known as 'the Embarkation Photographer' (see the Australian War Memorial collection), J. Earl Barnes was also the official photographer employed by the Borough (and later Town, then City) of Kew. He clearly also completed commercial jobs for local businesses, as is the case in this photograph of a house for a local real estate and financial agent.A photograph, mounted on board of a double fronted Federation-era brick villa in Kew, photographed for a local real estate agent and financier by J. E. Barnes of Kew. On the reverse of the photograph is a subdivision plan for the Normanby Estate, East Kew - 2016.0039.1. As can be seen from the image, there is a large tear on the surface of the photograph.The brown card on which the photograph is mounted includes the following handwritten description, which may aid the identification of the house: "Kew, 3 minutes from tram, 8 roomed DF Brick Villa, tile roof including two attics, sleepout, bathroom, heater, E Light, Entrance Hall, double doors, leadlights, laundry, garden, lawns, land 75 x 170, 1975 pounds". Also photographers inscription on mount, lower left: J. E. Barnes / Photo / Phone 1966 Haw. KEW.j. e. barnes, josiah earl barnes, j. earl banes - photographer, architecture - federation style, houses - kew, real estate photographs

The original, very large framed photograph of the ceremony of Unveiling of the Kew War Memorial, by His Excellency the Governor, Earl of Stradbroke KCMG, Sunday 30 August 1925. At the ceremony there were over five thousand in attendance crowding the intersection of High Street and Cotham Road. The voices of the Governor and the Mayor, Councillor Jabez Carnegie were amplified from four loud speakers on the dome of the memorial. A guard of honour from the 39th Battalion C.M.F. was present, together with the First Kew Troop of Boy Scouts. Restoration of the work by staff at the Grimwade Centre has been made possible by a contribution from Andrew McIntosh M.L.A.Iconic Australian photograph from the post-WW1 period. Nationally significant work reflecting how societies of the time invested social and spiritual values in commemorations of wartime.Framed large photograph. Kew War Memorial : Ceremony of Unveiling by His Excellency the Governor Earl of Stradbroke KCMG, Sunday 30th August 1925. Photo taken prior to cleaning and restoration. Digitally cleaned image included in carousel.Kew War Memorial: Ceremony of Unveiling by Sir Excellency the Governor Earl of Stradbroke KCMG, Sunday 30th August 1925 / Sears Studiokew war memorial - 1925, civic collection

117 pp : illustrated : Appendices Chapters: Preface / Robert Baker p4. The collection / Robert Baker p5. Cartwheel penny / Robert Baker p6. Creek and old watering stage / David White p10. John Carson: Mayor 1863–4 1 / Julie King p4. Wedding dress / Suzanne McWha p18. Back to Kew 1875 / Judith Scurfield p22. Barnard’s clock / Margaret Robinson p26. Denbigh quilt / Suzanne McWha p28. Fragments of art decoration / Robert Baker p32. Mr Richardson’s sock / Felicity Renowden p36. Kew Volunteer Fire Brigade / David White p38. Kew Where We Live / Judith Scurfield p42. [MMBW} Detail Plan No. 1580 / Judith Scurfield p46. Adeney Avenue / Suzanne McWha p50. Young Workers’ Patriotic Guild / Margaret Robinson p54. Roll of Honor [Thomas Rand] / Robert Baker p56. Alice Anderson in her tourer / Felicity Renowden p60. Kew War Memorial / David White p62. Beaded dance dress / Suzanne McWha p 66. The great flood of 1934 / Desley Reid p68. Depression-era toolbox / Robert Baker p72. War Savings Street / Julie King p74. Kew Public L.ibrary / Suzanne McWha p78. Signature supper cloth / Desley Reid p82. View from the garden of Rockingham / Desley Reid p86. Cr Marie Dalley / Felicity Renowden p90. Centenary of Kew / Robert Baker p94. Doris Dickinson’s gown / Julie King p98. [Model Dairy] Milk bottles / Robert Baker p100. Kew Civic Centre / David White p102. Bicentennial tapestries / Margaret Robinson p106. Crest of the City of Kew / Desley Reid p110. Town Crier [outfit] / Desley Reid p112. Acknowledgements p114. List of works p115.non-fiction'Stories They Tell : A history of Kew through objects' explores diverse narratives from European settlement to the first decades of the twenty-first century. These stories use as their starting point artworks, texts and artefacts from the nationally significant collection of the Kew Historical Society. Limited to 100 copies.collection -- kew historical society, museum catalogues, henty family, cartwheel pennies, kew lunatic asylum, patchwork quilts, john carson, george bouchier richardson, gb richardson, coombs family, james dannock, back to kew 1875, francis barnard, denbigh family, cullis hill & co, ordsall, southesk, kew volunteer fire brigade, jfc farquhar, henry kellett, mmbw detail plan 1580, william nicholls anderson, young workers patriotic guild, roll of honor -- town of kew, alice anderson, kew war memorial, flapper dresses, fairfield bridge, chandler highway bridge, warren trestrail, furniture -- 1930s, war savings streets, kew library, children's libraries, voluntary aid detachments - kew (vic.), rockingham, james govett, centenary of kew, mayoresses -- kew (vic.), model dairy -- kew (vic.), doris dickinson, crests -- city of kew (vic.), town criers -- kew (vic.), joy stewart, australian bicentennial -- kew (vic.), kew civic centre, ak lines mcfarlane marshall, adeney avenue -- kew, wwi

The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. Modern photographic postcard of the QPO Restaurant and the former Kew Court House. At the front of the restaurant is the Kew War Memorial, the drum of which at this stage was incorrectly painted a shade of green, which the Council later changed after representations from the Kew Historical Society and a heritage report.QPO Bar, Restuarant & Function Centre/ Cnr High Street & Cotham Rd. Mel Ref 45 C6 MacKenzie photography / Copyright margiesphotos.com.auqpo restaurant, kew post office, kew court house, kew war memorial, postcards -- kew (vic.)

Collection of thirty-nine postcards donated by Jillian Rigby which had been owned by her grandparents, George and Edith Weir, who from c.1917 lived at 84 Princess Street, Kew. The mostly 'mint' postcards were purchased in Victoria and while travelling overseas. The sole dated postcard is dated from 1929. The postcards are numbered sequentially from 2017.0058.01-39. The remainder of the collection donated by Jill Rigby which was once owned by the Weirs of Broken Hill and Kew consist of costumes, costume accessories, photographs, and documents.The postcards in the Weir collection, especially those purchased on a trip or trips to the mother country, i.e. United Kingdom, represent a representative sample of sites that were considered significant to those Australians undertaking a reverse grand tour by member of the erstwhile colonies. Those postcards which are early views of Melbourne must have been produced commercially for some decades from the early part of the 20th century.Atlantic Hotel and War Memorial, Newquay, Cornwall. The postcard was probably purchased by George and Edith Weir on a trip to England and Scotland, circa 1928."Atlantic Hotel and War Memorial, Newquay"postcards, george and edith weir, atlantic hotel - new quay, war memorial - new quay, postcards -- newquay (uk), weir collection

20th Light Horse Regiment serving in a infantry role was posted to Merauke on the southern coast of Dutch New Guinea (now the Indoneasian province of Papua) in 1943. It was the only Australian Light Horse regiment to serve overseas in WWII. Sergeant Adrian Dunne, a native of Tocumwal NSW, was killed in action 12 November 1944. He was aged 25.Rare evidence of the service of the only Australian Light Horse regiment to serve overseas in World War II (1939-45). Timber framed display panel containing Australian Commonwealth Military Forces hat badge (Rising Sun), 'Australia' metal shoulder title, 1939-45 Star, Pacific Star, 1939-45 British War Medal and 1939-45 Australian Service Medal; and Colour patch of 20th Light Horse Regiment, black over gold. Objects are protected by a Perspex front cover sheet. Sgt Dunne's name is spelled incorrectly on the panel.20th Light Horse / Sgt Adrian Dunn / VX81616 Tocumwal / Killed Dutch New Guinea 1943.military, world war two, wwii, dunn, merauke, new guinea

Captain Robert Westrup Salmon was born at Daisy Hill near Talbot 12 July 1862. He joined the Victorian Mounted Rifles in 1883; was commissioned Lieutenant in 1892 and appointed Adjutant (Volunteer) of 2nd Battalion VMR in 1892. He embarked with the 1st Contingent VMR to South Africa in 1899 with the rank of captain. At the battle of Jasfontein (Garsfontein) he was highly complimented in the London Times and other English newspapers for the skilful manner in which he handled the Mounted Infantry under his command. At the time of his death from Enteric Fever on 16 March 1900 at Naauwpoort South Africa he was Staff Captain of the Australian Regiment. Captain Salmon was a councillor of the Borough of Talbot, trustee of the Racing Club and the Cemetery; member of the Board of Directors of the MUIOOF; past master of the Masonic Lodge; church warden of St Michael’s Church Talbot and secretary of the Fire Brigade. The plaque was discovered by retired Military Police officer, Captain Watson and donated to 8/13 VMR Museum circa 1983. Rare example of a memorial plaque to an officer of the Boer War. It is not known where or if it was originally mounted but a church building would seem likely. Large bronze plaque to the memory of Captain Robert Westrup Salmon who died of Enteric Fever while serving with the 1st Contingent Victorian Mounted Rifles during the Boer War. A framed display with photograph of the donor Captain Watson handing the plaque to Officer Commanding 'A' Squadron 8/13 VMR at Buna Barracks Albury in 1984 now accompanies the bronze plaque.Cast in raised lettering surrounding a Victorian Mounted Rifles badge "The tribute of the Officers of the Victorian Mounted Rifles Non-Commissioned Officers & Men to the memory of Captain RS Salmon Talbot who died at Naauwpoort South Africa 16th Mar. 1900"salmon robert westrup captain, talbot, boer war

The dress was in the cupboard of Muriel Kerr, the donor's recently deceased mother. The donor remembers being shown it and trying it on in the late '70s or early '80s and being told that it belonged to her great-grandmother, Lilian Armstrong Ballantine (nee Power) [1887-1967]. Lilian Ballantine lived at 31 Harp Road (now the site of the Leo Baeck Centre) from the early 1920s to 1967. Lilian's married Archibald Dill Ballantine [1883-1947], in 1910. He was a member of the Monumental firm of A&G Ballantine, responsible for the Kew War Memorial (and possibly the Springthorpe Memorial). Lilian was highly involved with the Finlay McQueen Memorial Church [ie the East Kew Presbyterian Church]. Lilian's daughter, Mary (the donor's grandmother) married Alan McQueen, the son of Finlay McQueen, the first Minister of the East Kew Church. Mary Macqueen lived at 1 Oswin Street; she was a well-known artist. The dress is significant due to its associations with a family with strong connections, through a number of generations, to Kew East and its spiritual institutions. The garment's integrity and design also contribute to its aesthetic significance as a representative item of women's outerwear during the first decades of the twentieth century.Pale blue striped muslin single-piece dress with lace, tulle and embroidery at the neck and on the cuffs. The lace at the neck and cuffs is embroidered with coloured flowers, and edged with tulle. Bordering the v-neckline is a deeper blue guipure lace (possibly added later). There is a satin flower on the right side of the skirt which gathers the hem, exposing the deeper blue cotton underskirt. The dress has a narrow band of blue satin at the high waist. The cotton underskirt is attached by thread in places to the outer layer. Both the outer and under layers are attached with metal hooks and eyes. Edging the cuffs and hem of the dress is blue commercial fringing. The exterior of the dress has a slight brown tinge which is not apparent on the inside hem, suggesting that it has been discoloured through exposure. There are minor stains.women's clothing, edwardian dresses, lilian ballantine, australian fashion - 1910s, mary macqueen, finlay mcqueen memorial church, east kew presbyterian church, alan mcqueen, kew war memorial, archibald dill ballantine, leo baeck centre, 31 harp road -- kew (vic.), a&g ballantine, women's clothing -- 1900s, fashion - 1900s, fashion design

The Kew War Memorial was planned and constructed at the apex of Cotham Road and High Street, Kew. It was built to commemorate those soldiers from Kew who served in the First World War. The Memorial was designed by the architect Harry Tompkins. It was unveiled by the Governor of Victoria in 1925.An early photograph of this iconic Memorial that locates it in its context. Small black and white photographic positive showing the Kew War Memorial in 1927, two years after its opening. The shops, known then as 'The Block' can be seen behind the Memorial.Annotated verso "Kew Memorial"kew war memorial, war memorials -- kew -- victoria -- australia, architects - harold tompkins, cotham road, high street -- kew (vic.), wwi

written by serving personnel of the RANpublished for RAN by the Australian War MemorialHard cover non fiction book

written and prepared by serving personnel of the RANWritten by serving personnel and published b y the Australian War Memorialhard cover non fiction book

Gives photographs and brief profiles of the RSL members commemorated on the Wall of Remembrance at the North Balwyn RSL Memorial Hall. The building was opened in 1959 and closed in June 2015. The North Balwyn RSL clubrooms were then incorporated into the newly-created Greythorn Community Hub.north balwyn rsl sub-branch (vic), returned services league of australia, greythorn community hub, veterans - victoria- biographies, war memorials, plaques, plaquettes

Copy negative by Ken Hall from a c1933 City of Camberwell brochure. The original appears to have had a crease mark across it as this is evident on both copies.Black and white photo of the First World War memorial erected on the high point in Beckett Park, Balwyn. Taken with the memorial in the foreground and looking to the south-west. The Australian flag is flying on top of the monument and in the background are rows of trees dividing largely clear land.On the rear: Copy 1: "1153 Repeat of No 164" in top left hand corner in lead pencil in Jocelyn Hall's hand. Copy 2: "1153 Repeat of No 164" in top left hand corner in lead pencil in Jocelyn Hall's hand and "Soldiers War Memorial / Beckett Park / Erected 1918" in blue biro centre right.first world war, war memorial, beckett park

The Shrine was opened on Sunday 7 April 1918. Mrs C H D Steele, President of the local Patriotic League, is credited with the idea of building The Shrine as a fitting memorial to the WW1 soldiers of the district. The Surrey Hills Progress Association coordinated raising funds from local residents. John Kendrick Blogg carved the beautiful honor roll in Indian teak and Australian white mahogany and the design of the Shrine was by John Stevens Gawler, architect of Gawler & Drummond. Both men donated their services. It was one of the first WW1 memorials to be built and is noted for its use of Australian motifs, wattle blossom and gum leaves. The boomerang over the full width of the monument was said to be symbolic of both those who did and did not return. Surrey Hills Progress Association coordinated fundraising to build the memorial. The photo comes from a souvenir brochure printed for the dedication of The Shrine on 7 April 1918. There is a bound copy of a history of The Shrine by Robin Doble in the collection.Black & white photo of the artist's impression of The Shrine in the Surrey Gardens. The photo is part of a souvenir booklet, a copy of which is also held in the collection.surrey gardens, john kendrick blogg (mr), surrey hills progress association, john stevens gawler, gawler and drummond, the shrine, war memorials, sarah margaret russell (miss), sarah margaret steele (mrs), mrs charles henry dillon steele

The Honor Roll and Shrine in the Surrey Gardens were opened on Sunday 7 April 1918, prior to the cessation of fighting. Mrs Charles H D Steele (MS: Sarah Margaret Russell), president of the local Patriotic League, is credited with the idea of building The Shrine as a fitting memorial to the soldiers of the district. The Surrey Hills Progress Association coordinated raising funds from local residents. John Kendrick Blogg carved the beautiful honor roll in Indian teak and Australian white mahogany and the design of The Shrine was by architectural firm Gawler & Drummond. John Stevens Gawler was a partner in the firm, lived locally and also enlisted. Although he may have been overseas during some of the design process he is often credited with the design. Both men donated their services. The 2 cannons in the gardens were acquired by Mr Arthur Brookes in 1901 to commemorate the end of the Boer War. He was popularly known as 'Empire Brooks' and the cannons as 'Brooks' Babies'. They were originally placed in the grounds of the Guildford Road Recreation Oval. Arthur Brooks was an active community member and one of the founding members of the Surrey Hills Progress Association. Original photo was contained in a booklet printed by Camberwell Council in 1933.This is one of the earliest known photos of 3 elements important in designating the Surrey Gardens as one of the City of Boroondara's heritage gardens, now protected by a heritage overlay. The Shrine was one of the first WW1 memorials to be built in Australia and possibly the first in Victoria. It was unveiled prior to the end of hostilities and was built entirely through local community effort. The design of The Shrine, reflective of domestic architecture, is unusual. Its Honor Roll is also a noted example of sculptor John Kendrick Blogg's work and valued especially for its incorporation of Australian motifs, wattle blossom and gum leaves. The boomerang over the full width of the monument was said to be symbolic of both those who did and did not return. Black and white photo of part of the Surrey Gardens, located between Union Road and Norfolk Road, Surrey Hills. It shows The Shrine, the cannons installed to commemorate the end of the Boer War and the Memorial Cross. Taken from within the park looking east. surrey gardens, shrine of remembrance, monuments and memorials, boer war, mr john kendrick blogg, mr arthur brooks, mrs charles steele, mrs sarah steele, miss sarah margaret russell, cannons, mr john gawler

Images of John Wicking at the Association's Christmas Party held at the Malvern Town Hall. In the first picture Mr Wicking reads from a prepared speech on the stage, with a Christmas model of a reindeer and sleigh behind him as well as seated people. In the second image John and Janet Wicking are talking to another couple in the foyer of the Malvern Town Hall, with the Gilbert/Montford war memorial in the background. The third image is of John Wicking and John Wilson, sitting side by side at long tables, talking to the people around them.3 x B/W photographsXMas Party 77 40A/3, 10, 15john wicking, janet wicking, john wilson, association for the blind

In particular I have been using these methods of construction [slab] to interpret the traditionally spherical form of the teapot as a cubist painter might by squaring it up and transposing curved surfaces into planes and angles. These geometric versions provide flat surfaces for pattern making and light reflection, and the objects become increasingly more decorative than functional. I find enormous pleasure in bending convention to the verge of impracticality. But not so radically that l miss the challenge of producing a form that still incorporates most of the elements of a properly functioning teapot, such as the height of the spout to the pot, the ease of filling, emptying, and handling. Surface decoration plays a vital role in reinforcing the abstraction. Bold areas of black underglaze are applied with distinct boundaries dictated by the form’s angles and planes. In pairs or ad hoc groupings the teapots react with each other and the spaces between to present complex geometric patterns. High firing produces a dense, almost vitrified body and the surface quality I admire without the need for glaze. Although some with more functionality may be glazed inside.(http://www.diannepeach.com/, accessed 23 July 2021)Dianne PEACH (1947- ) Since being introduced to pottery by Milton Moon and David Smith in the mid 60s Dianne Peach initially focused on wheel thrown functional war, which expnded include the infinite possibilities of slab building and casting. This work was purchased from the "Fresh Clay' Exhibition in 1983.Electric kiln fired slip cast earthenware teapot with stencils and coloured glazes. Purchased from the 'Fresh Clay' exhibition, 1883.dianne peach, jan feder memorial ceramics collection, jan feder, ceramics, teapot, fresh clay exhibition

Print of original oil painting by Will Longstaff depicting a host of ghostly soldiers marching across a field in front of the Menin gate War memorial at Ypres, Belgium.Plaque on frame "Menin Gate at Midnight / copyright reserved / by / Will Longstaff / presented to the Commonwealth Government of Australia / by / Lord Woolayinton