Concert Ticket - Orchestral Community Concert, Bendigo, 18th Dec. 1929, Town Hall, Bendigo. In aid of Christmas Comforts for children of Unemployed. Organized by R.S.S.I.L.A. (Returned Soldiers, Sailors, I ?? League of Australia???) G. V. Lansell, President; N. McL Young, Treasurer. On reverse - stamped number '959'organization, club/society, r.s.s. i. l. a.

Photograph, sepia. Portrait of a young woman, well dressed, leaning up against a beautiful lounge looking chair.Bartlett Bros. Sandhurst.person, individual, female portrait, photograph. portrait of a young woman. i believe the same as photo 1339.2. unknown family collection.

'A small orange Old Gold chocolate box containing 2 newspaper columns. (i) Wonders of the North' series 1-100. 1938-1939. (ii). This series of clips contains references to Aboriginal/Indiginous people. 'Then and Now Public Men'. These clips have a young/older photo and the positions they held in their professional life. Both columns from the 'Sun-News Pictorial' newspaper.Wonders of the north 1-100 1938-9 Then and Nowplace, land, rural life, lydia chancellor, collection, australia, place, aboriginal, australian aborigines, aborigines, northern australian, australian flora, australian fauna, fauna, flora, plants, australian plants, australian animals, animals, australian lighthouses, lighthouses, sciences, botany, tourism, famous people, male, person

Three piece Poster, Information Board. Left on dark green background with yellow Corps Emblem with white text on the history of Vietnam during their 1st and 2nd tour. Centre section there is a coloured photograph of four soldiers standing in a field and four black and white Photograph to the right of the board of soldiers patrolling and resupplying with helicopter. On the right on a dark green background is a Roll of Honour to the many soldiers who lost their lives in Vietnam.2 RAR: This photo was taken by Elvon King of Delta Company in September of 1967. This photo was chosen without the knowledge of the historical significance of the shot, which proved to be very momentous. For within a very short time (about 30 seconds) of the photo being taken a wayward rocket from a U.S. gunship landed amongst this group of men in the photo, resulting in three of them being killed and forteen being wounded. Elvon King was one of the wounded. The three men in the photo are left to right Dennis (Dave) Enright who lost a and foot in the incident. Harry Leggett who received shrapnel wounds, and Stan Radomi who was killed outright. A very poignant moment in time. these thoughts about the incident from Wally Musgrave was one of those severly wounded at the time. What could have been a sunny afternoon at a Newcastle or Bondi Hotel or beer Garden..... After what could have been a week of patrolling, it was back inside the wire to scrub up and top up on fluids. Next morning, at 9.00, we went out side of the wire for a fire power, demonstration to satisfy a visiting General. The sun was shining, no seating, grass wasn't cut but we were young and so we thought bullet proof. then someone asked for the old Iroguois gun ship which had been firing rockets at a dead tree to be swung around to fire rockets over our heads. Why?? I haven't given "why" that much thought, but the 1 metre long port side rocket tumbled down amongst us and I'm sure everyone who was there can close their eyes and still see it today. This tumbling rocket landed where these three mates were standing amongst 11 and 12 platoon's young soldiers, chatting in the sun, then we were sailing through the air. I didn't see the devastation myself. I was under bodies. As first Dustoff priority we were off to 36 Evacuation Hospital at Vung Tau. There were two doos, one to the Morgue and one at the Hospital. Lucky me. I went through the Hospital door. eight major operations at once. three dead, forteen wounded and nothing on record!! Yeah it was a lovely Sunny Day at Nui Dat., we'll leave it at that! We can't change yesterday. I'm just another Nazho.poster, information board, 2 rar, elvon king

Ill, maps, p.127.non-fictionCome see my little dugout - way up on the hill it stands, Where I can get a lovely view of Anzac's golden sands.' The Anzac Book was the finest 'trench publication' produced during the Great War and was an instant bestseller when first released in 1916. Created by soldiers under enemy fire and in extreme hardship, the illustrations, stories, cartoons, and poems were intended as a Christmas and New Year diversion for soldiers facing a harsh winter in the trenches on Gallipoli. The way these young men powerfully captured their felt experiences and struggles in the trenches had a huge emotional effect on readers back home in Australia. From Desk to Dugout explores this particular moment in Australian literary and educational history and its intersections with the war at Gallipoli and the history of ANZAC.world war 1914-1918 - campaigns - gallipoli, gallipoli campaign - personal narratives

Bibliography, index, glossary, ill (b/w)non-fictionA collection of anecdotes and excerpts from diaries that have never been published.australia - history - military - personal narratives, australia - military culture

Bibliography, index, ill (b/w) (plates), p,263.non-fiction This history traces Legacy's first fifty years in considerable detail, but places it firmly within its social environment. It will be of interest, not only to current and past members of Legacy, but students of Australian history and society, and all who are concerned with Australia's welfare services. legacy clubs of australia - history, australia - returned service personel

ill (b/w), p.208fictionA young soldier with the Canadian forces questions the meaning of heroism, of truth, and of good and evil as he describes life in the trenches during World War I. world war 1914-1918 - fiction, war stories

index, notes, ill, maps. p.600.non-fictionTen extended biographies of young men who exemplified Australia's gifted lost generation of World War I. They involve a range of backgrounds and experiences, all states and classes, and come from a variety of military units, not just the infantry.world war 1914-1918 - biography, australia - armed forces - biography

Bibliography, ill, p.223.fictionIt is 1915, during World War I at Gallipoli, and Lt. Roy Irwin is missing. The young woman who loves him, and the men who fought beside him, begin their search for Lt. Irwin. Later, in 1919, historian C.E.W. Bean returns to Anzac Cove with artist George Lambert and soldier Harry Vickers to solve the greatest mystery of the campaign, to discover Gallipoli's secret. Forward to 2015, and Dr. Mark Troy's quest to preserve the peninsula from roadworks is sidetracked by political intervention and diplomatic intrigue. But a flirtation with a dynamic young woman from Army Intelligence uncovers long-forgotten documents protecting Gallipoli's graves. In this eagerly awaited book, one of Australia's leading historians uses a playful hybrid of history and fiction - moving between the historical realm and the world of the imagination - to recreate the most dramatic moments of the Gallipoli campaign in World War I.gallipoli campaign - fiction, war stories

At the time of issue, anaesthesia was a practice still in its infancy. Proficiency in anaesthesia was determined by successful demonstration of a small number of administrations. It was also built into the existing medical qualifications and not a specialty in its own right. Dr Montefiore David Silberberg completed his training at the Melbourne and Children's Hospitals and went to London where he was clinical assistant to Sir James Mackenzie and was associated with Sir Thomas Lewis who did ground-breaking work on digitalis and electrocardiography. When he returned to Melbourne, he brought with him the first electrocardiograph used in medical practice in Australia. He started working in Collins Street and at the Melbourne Hospital as a specialist in heart problems. During World War I, he served in Egypt in 14 Australian General Hospital 1914-16. In 1919 he was appointed physician to outpatients at the Alfred Hospital while also working at the Children's Hospital and at Repatriation General Hospital. He was appointed inpatient physician at the Alfred Hospital in 1925 and, at about the same time, a University of Melbourne Stewart Lecturer in Medicine. He mentored many young cardiologists during his lifetime, providing instruction at the hospitals where he worked and holding regular extra-curricula meetings at his home.Handwritten certificate from the University of Melbourne acknowledging the proficiency of Montefiore David Silberberg in the administration of anaesthesia. The certificate has been adhered to a piece of cardboard which was the backing board when it was previously framed.Contents of handwritten certificate: This is to certify that / Montefiore David Silberberg / during the year 1906 / attended [scribbled over] has personally / conducted six cases of / anaesthetic + / proficiency in administring anaesthetics / 22.12.06 Es Embley MD / Hon Anaesthetist / Melb Hosp Handwritten in pencil at bottom of certificate: 9 + 6 3/4 / 6 - 4 3/4 Handwritten in pencil on reverse: K. BROWN / Dr. Kaye / 9 + 6 3/4 / 6 - 4 3/4 / 1/4 [indecipherable] / Dr Kaye [underlined] / 124 Anderson St / South Yarrasilberberg, cardiology, electrocardiograph, world war i, wwi, egypt, alfred hospital, children's hospital, repatriation general hospital, proficiency, anaesthesia

The Phamtoms of Bridie is a highly readable blend of an engaging yarn and a fascinating portrayal of operational service in Vietnam as an infantry company commander leading some 100 fine young national service and regular soldiers in cloase quarter jungle fighting.operation bribie, 7 rar, 4 rar, 6 rar, special air service regiment (australian army), vietnam war, 1961-1975 - personal narratives - australian

Photograph of two young soldiers in black shorts on top of a n APC with a surf board at the beach at Vung TaliON BACK Vietnam 1966/67 1st APC Squadron 3 Cavalry Reg. "I consider this to be the ultimate surfing wagon. This Armoured Personnel Carrier was down at Vung Tan for repairs so the opportunity for a surf was taken with borrowed boards from the US Base. 20A was Lt Ross (Bluey) Guymeis carrier, driven by Tony Walsh. Later it became David Watts, driven by Max Nicholsonphotograph, vung tan, armoured personnel carrier

Translated by Andrew X PhamThe fascinating diary of a young Viet Cong doctor who died in the Vietnam Wardang, thuy tram, 1943-1970 - diaries, vietnam war, 1961-1975 - medical care - vietnam

I mourn, for he was young and Vietnam still wounds.vietnamese conflict, 1961-1975 - poetry, australian poetry - 20th century

A card encouraging customers to give a gift at Christmas to the boy who delivers or sells them their daily newspapers. Undated but perhaps early 20th century.Pink coloured card with greeting, verse and image of Santa Claus printed in blue. Stamped on the back.Printed on front: 'A Merry Xmas and a Happy New Year to You. Once a Year this Christmas comes - But I come round each day; I bring you all the news there is, in a most respectful way. A Christmas Gift just once a Year Would make me mighty glad; Although I'm only young you know - But an Honest Paper Lad. Stamped on rear: 'Cards, Books and Stationery. You will get satisfaction from McArthur's Agency St Kilda. Latest books & periodicals by every mail.'st kilda businesses, 20th century, st kilda - history, mcarthur's agency

Tatura Premiership Football Team, 1952.|Back row: C. Ryan, B. McHugh, T. Ryan, I. Bunn, T. Deane, W. Corrigan, J. Mactier, B. Young, K. Anderson, H. Parker.|Centre row: S. Vagg, K. Binion, P. Crawford, L. Joyce, V. McKenzie, R. Connors, F. Joyce, R. McDonald, B. Ransom.|Front row: J. Trevaskis, R. Warnett, R. Smith, R. Daly, W. Pritchard, D. Brown (cc), G. Kerrins, P. Warnett, E. Davies.|A local football team was in existence from about 1885, and it is interesting to note that the members were called the "Tatura Bohemians" in 1888!|In 1894, when D. Heaphy was the first President of Tatura Football Club, they joined the Goulburn Valley Football Association.|"Travel to distant matches was undertaken by horse and jinker, buggy and pair until Charlie Brady, the storekeeper, suggested that special trains be run and put up the guarantee" ...quote from W.H. Bossence "Tatura" history.|Tatura teams were Premiers in 1898, 1901-02, 1904-05, 1952-53.|Tom Hogan was the first local player to be offered a game in the city of Melbourne, soon followed by Archie Wilson.|Robert Mactier, V.C. had played football for Tatura before leaving for service in WW1.tatura, recreations, sports, costume, male

Open Monument is a contemporary artwork acknowledging the history of Chinese people in Ballarat. The Chinese diaspora was global and many Chinese people came to Ballarat and the Victorian Goldfields. The work details some of the personal Chinese family memories of Ballarat from the goldrush forward. The 33 marble laser-etched panels include found images and texts mounted on a modernist metal architectural feature holding back a grassed hill landscape. Within the side walkway of gravel and composite stone is an etched of local activities relating to the Chinese community achievements that can be added to by the community.Open Monument is of aesthetic and historical significance to the people of BallaratArchitectural artwork consisting of large marble panels on a corten steel frame imbedded into a grassed mount.Inscription on plaque: Open Monument 無極紀念碑 ​/ Artist: John Young ​/ Officially Launched by Mr Yumin Song / Chinese Consul-General to Victoria​ / 6th September 2015​ / Open Monument unearths stories of the Chinese diaspora in Ballarat, a name which means/ “resting place” to the traditional custodians - the Wadawurrung and Dja Dja Wurrung people.​/ The monument comprises of two artworks: Transculture, a granite-panelled work, evoking stories of alternative worldviews, / modernity, leisure and toil. Whilst Timeline traces the major contributions of the Chinese community in Ballarat, every decade / from the 1850s until the present. The timeline then folds out to 2170, anticipating imaginary future contributions.​ / The monument is open to future interpretations of this history. ​/ I thank you for visiting and acknowledging the contributions and memories that meant so much to / those who have gone before us./ - John Young Zerunge​ / Patron: Mr Henry Thai OAM JP​ / President of Ballarat Chinese ​/ Community Association Inc​ / The following generous donors to this project are acknowledged with gratitude​/ City of Ballarat​ Sovereign Hill Museum Association Inc.​ Ballarat Chinese Community Association Inc.​ Mr Henry Thai OAM JP & Mrs Sandra Thai ​ Mrs Shirley Doon & Family in memory of Harry Doon​ Chinese Masonic Association Inc.​ Mr Mean Te and Mrs Meng Khun​ Mr Jack Nguyen MA JP & Mrs My Tang​ Mr Tony and Mrs Elise Yu​ Mr Chang Zhen Zhen & Family​ Australian Lian Jiang Association​ The Federation of Chinese Associations Vic​ The Leesoon Family​ Mr Stephen K.F Ng OAM JP​ Dr Che Sam Lo MD phD JP OAM​ Elderly Chinese Home Inc.​ The Federation of Chinese Org from VN Cambodian and Lao Association of Vic. Inc.​ Bright Moon Buddhist Society​ Nam Pon Soon Club House​ See-Yup Society​ Mr Peter Chong Wai Lo​ Mr Qing Song Lin​ Mr Binh Quoc Mao & Mrs Thuy Cam Thai​ Mr Alexander Mao​ Mr Yuet Lung Kwok JP​ Mr Tai The Tran​ Mr Phillip K. L. Tran​ Mr William K. L. Tran​ Mr Quang Khon Tran JP​ Mr Kouy Taing​ Mrs Kieng Hor Lou​ Mr Bill Chang Piu Au​ Mr Maurice Kwok Leong ​ Mrs Eunice J. Leong​ Mr Vi Minh Tran JP​ Mr Frank Cheng​ Mr David Cheng​ Mr William Thai​ Mr Lizhen Lin​ Mr Phillip Richard Thai​ Mr Hoan Ping Kow​ Mrs Xao Nhu Kow​ Mr Huy Thai​ Mr Yun Kuen Lo​ Mr Chiu Yip & Mrs Yuan Han Cho​ Mrs Jacqueline Louise Thai Greenwood​ Mr Joe Hap Chi Chao & Mrs Rosana Wei Ning Chao​ Charity & Multi Art Association of Victoria Inc.​ Mr Billy Cai​ Miss Nikki Cai​ Miss Su-Ling & Miss Lily Mays-Doon​ Mr Anthony Doon​ Mr H J Moy & Family​ Chinese Australian Cultural Society Ballarat Inc​ open monument chinese, chinese history ballarat goldfields, china, ballarat, goldfields, john young, chinese, mining, multicultural, immigration, tong way, goon, joss house, embroidery, billy butterfly, chinese market gardens, red lion hotel, ah soon, mayor of main road, chinese herbalist, yee lee, james hong, cheok cheong hong, john ah loo, wathawurrung, robe, lowe kong meng, louis ah mouy, tongway, gallipoli, william lung

Extols the virtues of Waikiki as a holiday destination/escape machine, the less-than-Good Taste of the resort combined with its virtues/religious dogma of American middle-class vacation standards. Boyd describes a day of the typical young American hotel occupant, and Honolulu's uniform air of confidence attracting American tourists. This manuscript was published in 'The Sunday Australian' with the title ‘Why I love Waikiki’ on 23/05/1971.Original manuscript of ‘Why I love Waikiki’ published in 'The Sunday Australian', 23/05/1971.Typewritten (1 c copy and 1 p/copy), pencil edits, quarto, 11 pagesSent 12 May 71 - in pencil on front pagewaikiki, honolulu, american tourism, second rate californian architecture, american middle-class vacation standards, robin boyd, manuscript, ohm2022, ohm2022_16

1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

Re. Rex Collis Mathias (1907-1986) was a peace activist and spoke to the public on the Yarra Bank under the banner of "voice of Methodism". He led the Young People's Department in 1939 and in 1940 was Chaplain of Wesley College. He was Director of General Conference, Department of Christian Education. Rev. Stanley I Weeks was Secretary General and spent many years in overseas missions, particularly India.Gloss, black and white image of Rev. Stanley I Weeks and Rev. Rex Mathias.methodist, mathis, r. c., weeks, s. i., "voice of methodism", yarra bank

No 1: Matron Eagleton with Nursing Staff, Ballarat & District Hospital. Priscilla Wardle, far right - trainee nurse 1905-1908. No 2: This could be a group of trainee nurses at Ballarat Hospital. Circa 1906/1907. The nurses with the grey looking sleeves in this black and white photograph may be wearing the lilac uniform of Trainee nurses. The sitting nurse on the far right may already be qualified because she appears to be wearing the white of a trained nurse. Sitting in the middle with the cheeky grin could be Priscilla and the standing nurse on the far left could be Edith Popplewell. No 3: This photograph is labelled 1907 and Priscilla would have just commenced her training. She appears to be “fanning” a female patient presumably to cool her down. This could be upstairs in the Queen Victoria’s Women’s Ward. Priscilla graduated as a nurse in 1908. In this photograph Priscilla was at age 23 years. No 5: Sheila Kelly (left) and Priscilla Wardle. This photograph is labelled 1909 and shows Priscilla in an all white uniform indicating she has qualified as a nurse. Sheila Kelly appears to have darker sleeves/blouse (lilac) and may still be a trainee. No 6: There is a very good chance that this photograph is Edith Popplewell, standing left, Lily MacKenzie , standing on the right and Priscilla seated. Writing in her album is very hard to read but it appears to be “Pop McK & I”. The arm bands with the St John Cross denote they are “charge nurses” maybe in charge of a ward. Taking all this into account the photograph could be circa 1909/1910. No 8 & 9: Priscilla painting what appears to be a gate while wearing her nurse uniform. She has a big grin on her face. Together with Lily MacKenzie they were the principals in the Mount Stuart Private Hospital at 18 Duke Street. Daylesford. This property is now known as Mount Stuart House. Priscilla appears to be on Central Spring Road with the Daylesford Post Office in the background. Photograph 9 is labelled 1914 which would make it near the end of their tenancy between 1911 and 1914. No 10: This photograph raises some questions. Priscilla appears to have darker sleeves /blouse (lilac) which may indicate she is still a trainee however Priscilla is also wearing a “charge nurse” arm band. While my research shows trainee nurses can be a “charge nurse” this is not common practise. The scene appears to be at the door of a house/home. I am not sure if the children’s ward/orphanage at the Ballarat Hospital at this time was in such a building. It could be that it is at the Mount Stuart Hospital but this would mean Priscilla and Lily have duplicated the wearing of the “charge nurse” arm band. The St John’s logo looks different too. Priscilla Isabel “Pearl” Wardle (1884-1967). The armband indicates Priscilla is a Charge Nurse at the Ballarat Hospital. Nothing else known. No 11: Mary & I at Mount Stuart – House Daylesford – This is probably the nursery at the Mount Stuart House Private Hospital being run by Priscilla Isabel “Pearl” Wardle (1884 – 1967) and Selina Lily (Lil) MacKenzie or McKenzie (1882 – 1975) between 1910 and 1914. Mary is certainly Mary Young MacKenzie or McKenzie (1865- 1942) Lily’s stepsister who trained at Ballarat Hospital as “Mary Young “at the same time as Priscilla and Lily. Mount Stuart House still stands at 18 Duke Street Daylesford. Photo date 1912. No 12: Priscilla wearing her distinctive Queen Alexandra’s Imperial Military Nursing Service Reserve cape and badge. Possibly while nursing in London for a month in 1919 after the war. No 12A: Priscilla Wardle - WW1 Diary, OCR enabled. No 13: Priscilla and friends at No. 7 General Hospital, Malassises, Saint Omer, France in July 1915 The old monastery being used as a hospital can be seen in the background. The tents are the nurses quarters. This photograph may have been taken at the same time as the group photograph on page 250 of the diary transcription. Priscilla is thought to be the nurse at the centre in the QAIMNSR uniform. The nurses quarters at the No 7 General Hospital in Saint Omer in France where Priscilla worked for most of the first year of her Diary. Their Monastery (Hospital) at Malassises can be seen in the background. No 15: Priscilla is an Acting Sister working at the 2nd General Hospital for Officers in Havre, France, between March and July 1918. The nurses were enjoying their “tea party”. (see also page 253 of the Diary transcription) No 17: Priscilla at Havre - at 2nd General Hospital (Officers Hospital) in Havre., France Friday 29 March 1918 to Monday 29 July 1918 note the two dark bands on her right sleeve denoting that she is an “Acting Sister”. Priscilla is 34 years of age in this picture and in the three weeks prior to this posting she met Cyril Terence Charles Kirby (1892-1968) her future husband at the 42nd Stationary Hospital in Flixecourt while he was serving with the British Army during the battle and evacuation of Amiens. No 18: Priscilla Wardle at No 8 Stationary Hospital Wimereux, France - from Saturday 24 June 1916 to Tuesday 18 September 1917, Priscilla worked at this hospital for 15 months her longest time in one hospital. during the war. While at Wimereux on Sunday 1 July 1917 she was appointed an Acting Sister. Priscilla once said she disliked nursing in her cape and badges and here she is in her favourite “uniform” for work “the robe” as she called it. She may be leaving the “operating theatre” at Wimereux in this photograph. No 19: Priscilla worked in various operating theatres throughout France. This could be after she became an anaesthetist in 1918 and worked with this team. She is wearing her favourite uniform which is more comfortable. She did not like the collars and capes that were required to be worn. No 20: Priscilla and Sister Michael Meeke? (details not found) are having a quiet drink at the 2nd General Hospital for Officers in Havre, France. Note the dark bands on their sleeves denote their rank as nursing “Sisters”. While it looks like they are smoking look more closely they are in fact holding a “flute” style probably “cocktail” glass. Tea parties and cocktails, Havre could almost have been fun. No 22: 1913 – Ballarat nurse Priscilla Isabell “Pearl” Wardle (1884-1967) in Cannes on the French Riviera during leave from between Friday 20 February 1918 and Friday 6 March 1918.Priscilla is second from the left wearing her distinctive QAIMNSR cape of grey with dark “wine” coloured border. The other nurses are wearing their “travelling” army uniform. They were rudely called “Salvation Army Lassies” by American nurses for the way they were dressed. (see page 232 of Priscilla’s War Diary) The description of 1913 on this photograph is confusing. No 23: Priscilla with her best friend Edith Victoria Donaldson somewhere in the “mysterious far east” on their trip on the Orontes. Priscilla is second from left - this may have been taken at Durban during Priscilla's return to Australia in 1919. No 25: Priscilla Wardle, Ballarat nurse in her Queen Alexandra’s Imperial Military Nursing Service Reserve (QAIMNSR) uniform. Notice the distinctive grey cape with “wine coloured” border Priscilla is also wearing her QAIMNSR qualification badge (medal) on the right side. Because she has no dark (wine coloured) bands on her sleeves so this photograph may be before 1 July 1918. No 26: Priscilla met her husband to be English army Lieutenant Cyril Terrence Charles Kirby during the battle and subsequent evacuation of Amiens in France. As an army nursing “Sister” Priscilla also held the rank of Lieutenant. Priscilla was stationed at the 42nd Stationary Hospital between 7/3/18 and 23/3/18. She had just completed a fortnight break at Cannes on the French Riviera. They were married at Priscilla’s home “Waverley" at 215 Dawson Street Ballarat on Saturday 15 November 1919. Nov 15, 1919 – Mr and Mrs Kirby. The bride Priscilla Isabell “Pearl” Kirby (nee Wardle) (1884-1967) and the groom Cyril Terence Charles Kirby (1892– 1968) on their wedding day. Priscilla was 34 years of age and Cyril 27 years of age however their marriage certificate states that they were both 34 years of age. Their marriage certificate states they were married at Waverley, Dawson St, South, Ballarat in a Presbyterian service conducted by the Rev. John Walker, a Minister of the Presbyterian Church of Australia and the Moderator General of the Church we think for Victoria. Was it in an outdoor setting as the surrounds in this photograph seem to indicate. Their witnesses were Robert and Olive, Priscilla’s brother and sister. Cyril signed as C. Terence. C. Kirby and Priscila signed as Priscilla I. Wardle. The certificate lists Cyril (Terence) as a Bachelor, Born at sea on a British ship and his occupation as Sailor. His father interestingly is listed as Charles John Kirby, of independent means and his mother as Emily Newman. Priscilla is listed as a Spinster, born in Ballarat with occupation as a Nurse. Her father is listed as Henry Thomas Wardle, Timber Merchant and her mother as Isabella Allan. They are both resident at 215 Dawson St. Ballarat which was Waverley the Wardle family home. No 28: Reverse in Poppy’s handwriting: “Lovingly yours Poppy, Dec 1908” Taken the year after Poppy qualified at BBH. No 29: Reverse in Poppy’s handwriting: “With much love to you Cilla, Poppy 1915” This picture was taken in the same year as the Marquette sinking incident. Edith Catheina Popplewell RRC (1884-1972) in her New Zealand Army Nursing Service (NZANS) Uniform. Poppy is at age 29 years in this photograph. Poppy was awarded the Royal Red Cross (RRC) medal for her heroism during the sinking of the Marquette transport ship. She lost her best friend NZ nurse Lorna Ratray. No 30: Taken in Cairo. Poppy is in the centre and wearing her New Zealand army badge and cape. The two nurses on either side are Australian nurses probably wearing their unique silver Australian Army sunrise badge and cape. No 31: Reverse in Poppy’s handwriting: “Ward 7 on Xmas day 1917, with my love, Poppy, A Happy New Year to you – had the sweetest letter from Bobbie”. (Bobbie is Priscilla’s brother Robert). It is thought the nurse in the centre of the three on the left is Poppy. It is 1917 two years after the Marquette sinking. Poppy appears to be a “sister” note the two dark bands on her sleeve. The uniform also matches that of Poppy 2. This photograph is in Post Card form very common during WWI. Edith Popplewell RRC is the “Sister” in the middle of the group of three nurses on the left. She is a sister not a general nurse because of the two bands on her left wrist denoting her rank. She was in fact the Charge Nurse ( in charge) of Ward 7 at this time. Note the Christmas decorations. Poppy is at age 33 years of age in this photograph.Bobbie is Priscilla’s brother Robert Norman “Bobbie” Wardle (1895-1979). No 32: Lilly MacKenzie & Poppy – Otaki - Australian nurse Selina Lily (Lil) MacKenzie sometimes McKenzie (1882– 975) grew up and trained as a nurse in Ballarat Victoria. After completing her training Lily and Priscilla Isabell “Pearl” Wardle (1884 – 1967) conducted the Mount Stuart House Private Hospital in Daylesford Victoria. In late 1913 Lily travelled to Otaki, 32 kms north of Wellington in New Zealand and worked at the Otaki Cottage Hospital with close friend Edith Catheina Popplewell “Poppy” (1884-1976) who also grew up and trained as a nurse at the Ballarat Hospital. In 1914 Lily was matron of a private hospital in Taihape 150kms north of Wellington. Both Lily and Poppy volunteered for New Zealand but as New Zealand were not accepting Australian trained nurses she returned to Australia and enlisted in the Australian Army Nursing Service (AANS) in October 1915. Lily went on to serve in Egypt, England, France and Italy where she was awarded the Royal Red Cross (RRC) medal for her service. This photograph is while Lily and Poppy were working at Otaki Cottage Hospital in New Zealand. Circa 1914. trainee, charge sister, ballarat, hospital, 1905, 1908, ww1, mount stuart house, sleeman, wardle, popplewell, mackenzie, military, queen alexandra's imperial military nursing service reserve, daylesford, nurses, private hospital, edith popplewell, france, cairo, diary, ww1 diary, havre, lily mackenzie, eagleton, matron, otaki, new zealand, donaldson, malassises, kelly, young, kirby