Karl Duldig’s ceramic bowl is a particularly interesting example of Karl’s ability to creatively respond to a new environment with a fresh visual repertoire, in this case, the flowering Eucalyptus in a design reminiscent of traditional European folk art. The bowl is an excellent example of the utilitarian and decorative studio pottery produced by Karl and his wife Slawa Horowitz-Duldig between 1944 and 1960. Clay was an important medium for Karl. When he was forced to flee Austria for Switzerland, working with clay became a convenient medium; and he continued to expand his use of clay in Singapore. In Australia his work in clay extended from domestic hand-made pottery to public sculptures and architectural reliefs. In 1944 Duldig purchased a kiln, which was installed in the garage of the family’s St. Kilda flat, soon after a pottery wheel was acquired. It was the beginning of a cottage industry that supplemented the family income during the war years and beyond. Duldig initially sold his decorative ceramic wares through a local florist in St. Kilda, and subsequently through shops such as the Chez Nous French Art Shop (Howey Place) and Light and Shade (Royal Arcade), and the Primrose Pottery shop in Collins Street. The Primrose Pottery shop was an extremely important commercial outlet, and hub, for emerging artists, potters and designers from 1929 until 1974. Its proprietors Edith and Betty MacMillan worked closely with their suppliers, commissioning and taking items on consignment. In the post war period important Melbourne studio potters such as Allan Lowe, Arthur Boyd, John Perceval and Neil Douglas exhibited and sold domestic wares in the Primrose Pottery shop. The Duldigs studio pottery provides a counterpoint to the ceramics produced at Arthur Merric Boyd Pottery in Murrumbeena, which was established in 1944 by Arthur Boyd, John Perceval and Peter Herbst. The emphasis on painterly decoration was important and the AMB potters also produced simple household wares decorated with Australian flora and wildlife, for example Neil Douglas also made small bowls decorated with the fairy wrens, lyrebirds, gumnuts and eucalypts. Ann Carew 2016The Duldig Studio’s collection of ceramics has national aesthetic and historic significance. It contains a representative sample of works of art in ceramics created by Karl Duldig during his lifetime, including small sculptures, as well as functional and novelty items for the tourist market during the 1956 Melbourne Olympic Games. The artist’s working methods and the development of his practice are comprehensively demonstrated in the collection. This in-situ collection demonstrates the philosophy of the Vienna Secession and its inheritors that handcrafted, simple functional domestic wares might enrich both the lives of the maker and the user. This bowl is part of a collection of ceramics that has national historic significance in providing a rich illustration of an immigrant and artistic experience, and touching on the themes of settlement adaptation of artistic practice. The collection is also associated with places of cultural and historical significance in Melbourne such as the Primrose Pottery Shop, and the story of Australian studio ceramics in the post-war years. Ann Carew 2016Cream earthenware bowl with flowering gum motif and sponged green background.Duldig in script incised under.

Cogan is a textile artist and her work is political in nature. 'War and Peace' is about the Vietnam War and a statement about patriotism in war, of lessons not learnt, of remembrance and never forgetting. This work is an expression of her feelings towards this time and of her husband's experience who fought in this war. The Republic of Vietnam 'Vietnam Campaign Medal' is from the former country of South Vietnam (Republic of Vietnam). Established in 1966, it was awarded to members of United States, Australian, and New Zealand military forces serving six months or more in support of Republic of Vietnam military operations. The medal is issued with a device known as the 1960 Bar. The bar displays the date of 1960 followed by a dash and a blank space. The unusual appearance was caused by the government of the Republic of Vietnam stating that the 1960 bar would show the dates of the Vietnam War from start to finish, with the ending date placed on the 1960 bar after the South Vietnamese had triumphed over North Vietnam (the Democratic Republic of Vietnam). Since South Vietnam fell, and the government ceased to exist, an ending date for the 1960 Bar was never established. The Vietnam Campaign Medal is considered a foreign award by the U.S., Australian, and New Zealand governments. The joint Australian and New Zealand campaign medal awarded for service in the Vietnam War is the 'Vietnam Medal'. The obverse of this medal shows the crowned head of Queen Elizabeth II, with titles, while the reverse has the inscription VIETNAM above a symbolic representation of the ideological war in Vietnam. The RSL poppy (the Flanders poppy) has long been a part of Remembrance Day, the ritual that marks the Armistice of 11 November 1918, and is also increasingly being used as part of Anzac Day observances. During the First World War, red poppies were among the first plants to spring up in the devastated battlefields of northern France and Belgium. In soldiers' folklore, the vivid red of the poppy came from the blood of their comrades soaking the ground. The poppy soon became widely accepted throughout the allied nations as the flower of remembrance to be worn on Armistice Day. Today the RSL continues to sell poppies for Remembrance Day to raise funds for its welfare work. "War and Peace' is significant as it explores and highlights a period in history (the Vietnam War), which was contentious both socially and politically. Cogan and her family lived locally, in the Shire of Eltham during this time, and her work is a reflection of the experiences and sentiments of a section of the Nillumbik community. Textile piece. 'War": Cast muslin, machine embroidery onto white calico. Tanin dye, poly thread, side bust view (hand, shoulder and arm). Black machine stiching on shirt and shirt pocket with two vietnam medals. A replica of the 'Vietnam Medal' in muslin is shown reverse and has the inscription VIETNAM above a symbolic representation of the ideological war in Vietnam, which is of a male figure standing between two spherical shapes. The ribbon has a vertical central section of bright yellow which has centrally superimposed on it three thin stripes of red, (representing the South Vietnamese flag) flanked by two stripes of red (representing the Army). On the left is a dark blue stripe representing the Navy and on the right, a light blue stripe representing the Air Force. A replica in muslin of the second medal is the Republic of Vietnam 'Vietnam Campaign Medal' of the former country of South Vietnam. The ribbon has green and white strips with a device bearing the inscription ‘1960 – ‘. The medal is traditionally a gold and white enamelled star with a green, red and gold centre motif. Right hand is touching the medals/heart, while left arm is left resting to the left side over a crutch which ends in a rolled up bandage. 'Peace': Cast muslin, machine embroidery onto calico. Black dye, poly thread and RSL poppy. Side bust view (hand, shoulder and arm). Yellow machine stiching on black shirt and shirt pocket with RSL red poppy on shirt pocket. Right hand is reaching to touch the poppy, while left arm is slightly bent resting on its' left side. Nonetextile, muslin, embroidery, vietnam war, medals, vietnam medal, vietnam campaign medal, rsl poppy, war, peace, armistice, remembrance day, anzac

Piers Bateman was a local artist, held in very high esteem by his peers and community. He was born in Perth in 1947, moving to Eltham in 1955 as a young child with his family. In 1966 Bateman moved to London for eighteen months to develop his craft. In 1969 he settled in St Andrews, where he built a studio. The St Andrews locale is said to have been a strong influence on his work. Bateman’s talent was such that he was promoted and mentored by such ilk as Charles Blackman, Clifton Pugh and Arthur Boyd, among others. Bateman’s work is an intimate dialogue with the environment, renowned for his paintings of the outback, wilderness frontiers and the sea. He spent a year in the mid-seventies sailing the Greek Islands and the French canals to Amsterdam. In 1980 Bateman and Marcus Skipper embarked on a trans-Australian venture to the red centre and across northern Australia from Cairns to Broome. In the mid-eighties Bateman returned to the Mediterranean, before returning to the Australian outback in the late-eighties. His international career continued on an upwards trajectory between the Australian outback and European seas, providing a unique contrast throughout the course of his career. Bateman's work questions our relationship with the natural world, and in particular, reconciling our colonial heritage with our indigenous past. This line of questioning and his genuine response to place is the key to Piers Bateman’s work, for which he is lauded and celebrated. On September 4th 2015, Piers Bateman died in a boating accident on the NSW coast line. Piers Bateman was an instinctive painter whose inspiration came from nature. He reworked and scraped off the paint, moving it around until forms and colours of the landscape took shape. Although Bateman lived in Spain and Italy, his time in Europe made him aware of the contrast between the two continents and the bright clear light that defined the Australian landscape. At the time of this work, Bateman was living in St. Andrews, but travelled regularly to New South Wales and South Australia on painting trips. The ‘Grass Tree’ Xanthorrhoea johnsonii (commonly known as ‘blackboy’) is indigenous to these areas. It is a uniquely Australian, slow growing plant with twenty-eight species growing within Australia. Old examples of this tree are survivors of many wild fires, which can cause their blackened trunk, of one to two metres, branch into two or more heads. These heads consist of thick, rough corky bark, surrounded by long, wiry leaves and flowers that produce seed capsules with hard black seeds. The tree’s ability to be one of the first to flower after a wild fire ensures a food source for many insects and birds.Oil on canvas painting. Detail of three grass trees resting on the side of a mountain/hill. Green and gold palette throughout depicting the colours and light of the Australian landscape. Hand written, low right in capitals: 'BATEMAN'bateman, grass trees, xanthorrhoea johnsonii, landscape

Angora goats are believed to have originated in the Himalaya Mountains of Asia. Angora goats were first imported into Australia in 1832 and 1833. They came from M Polonceau’s stud in France to the property of the Riley family of Raby N.S.W. Pure bred Angoras were imported from Turkey in subsequent years up to 1873, to properties in New South Wales, Victoria, and later South Australia. Farming Angora goats became popular in the 1970s.Sepia photo of three Angora Goat Bucks with four men wearing white shirts and and brim hats in a landscape format.On rear top edge - Duaes(?) Anorgra Bucks 19-560wool, angora goat, goat

This blanket was owned by the Rosenberg family from the late 1950s onwards. It was the donor Denise’s blanket. Born May 1958, her late mother Elfie kept it safe for many decades after Denise had outgrown it. Elfie returned the blanket to Denise 20 years ago, in its current near new condition. Jacques Rosenberg and Elfie née Naparstek, Denise’s parents, met in Melbourne in the Summer of 1950. They both survived being young and Jewish in Europe during the Second World War. Jacques grew up in France and Elfie in Germany, she was a child of the Kindertransport. They married in 1952 and by 1958 had a son and two daughters. Denise, the youngest daughter, donated the blanket on behalf of the Rosenberg family to the National Wool Museum in 2021. The Kindertransport was a program designed to facilitate the immigration of Jewish children from Nazi Germany before the outbreak of the Second World War. The United Kingdom took in nearly 10,000 predominantly Jewish children from Germany, Austria, Czechoslovakia and Poland. The children were placed in British foster homes, hostels, schools and farms. Tragically, these children were often the only members of their families to survive the tragedies that were to unfold in Europe. Fortunately, Elfie’s parents did survive World War Two by sneaking out of Germany and into the south of France. After Elfie and her sister Serry were Kindertransported, they met up with Salma and Risla Naparstek in Paris in 1947 before migrating to Australia. This blanket originates from the Eagley Mill. They manufactured woollen, worsted and knitwear products from their mill located in Collingwood. Part of Foy & Gibson, the mill had frontages measuring almost two miles within the area bounded by Little Oxford, Wellington, Stanley and Peel Streets in Collingwood. This was the largest manufacturing plant for wool in the Southern Hemisphere at the time. It was also one of the oldest. The first machines for knitting men’s socks were installed in 1896. The site ultimately went into receivership while under new ownership in 1968 and is now high-end real estate. More information about the Mill can be read via Unimelb digitised collection. https://digitised-collections.unimelb.edu.au/bitstream/handle/11343/21262/269411_UDS2010852-85.pdf?sequence=18&isAllowed=y 38”x45” (965 x 1145mm) cream wool blanket. The blanket has white stitching around its edge. Embroidered in the centre of the blanket is a koala eating leaves with accompanying flowers on either side of the marsupial. In the bottom right corner of the blanket a small square label from the Eagley Mills is stitched. This label includes the images of a Sphinx head, a pyramid and a baby’s crib.Eagley / ALL / WOOL / 38”x45” / AWARDED THE CERTIFICATE OF / THE ROYAL INSTITUTE OF / PUBLIC HEALTH & HYGIENE LONDONkindertransport, eagley mill, blanket

Of further importance is that William George Hogg served in the same unit as William Lionel Schwerkolt in the First World War in France. William Schwerkolt died on 9 November 1916 and the action and his death is recorded in George Hogg war diary.Black and white copy of Hogg Family taken on Christmas Day 1918 immediately after William Hogg's return from The Great War 1914-18 to the family Farm House, 'Rosebank', Toolern Vale via Melton. All are now buried in the Melton Cemetery.|George Cox a member of the W.H.S is Grandson of William George Cox.|Of importance is that William Hogg was in same unit as unit as William Lionel Schwerkolt in France.|Cross Ref: ND3736hogg, george, william george, tolhurst, elizabeth, catherine, thomas, ethel, elsie, jack, toolern vale, cox, schwerkolt, william, world war 1914 -1918

This photograph has been identified as PTE Norman Hooke (Service No. 3764), son of William Hugh Hooke and Margaret Ellen Hooke (nee Holloway). He was born in 1896 at Rutherglen, enlisted on 11th August 1915, and was killed in action in France on 2nd September 1916. His occupation before enlistment was listed as coach painter.Oval photograph, printed on a postcard, of Norman Robert Hooke in his AIF uniformWritten on back: "Norman"world war 1, world war i, hooke family, holloway family

Honour board to the Colvin Brothers, inscription and decoration in white, on brown timber boards."Presented by James & Elizabeth Colvin | In Memory of their Beloved Sons | Lieut. William Colvin. | Killed in Action in France July 26, 1916, Aged 23 years. | Private George Colvin. | Died of illness Sept. 22, 1916. Aged 23 years. | Bravely they answered their Country's Call. | And gave their best, their lives, their all."woods family, george colvin, william colvin, james colvin, elizabeth colvin, world war 1, world war i, ww1, wwi

William the Conqueror inherited Old Sarum from the last Saxon king of England. It was an ideal site for a royal castle. It was here in 1070 that William paid off his army after a long and bitter campaign in northern England. It was here in 1086 that he called together all the major landholders in England so they could swear allegiance to him. It was a crucial moment. The Domesday Book was being written, a threatened Viking invasion had only just been averted and William's eldest son was in armed rebellion. Old Sarum was an important place where this Norman king of England held power. In 1794 the Ordnance Survey set out to check the accuracy of the first mapping of Southern England, which had begun ten years earlier. From a point just below Old Sarum Lieutenant William Mudge laid out a base-line 36,574 feet (11,253 metres) long. From each end of the line the positions of distant places were plotted using a huge theodolite made in 1791 by Jesse Ramsden. The accuracy of the process, which was repeated all over England, depended on Jesse Ramsden's craftsmanship and on William Mudge's surveying skill in setting out this first base-line from Old Sarum. The nearer end of Mudge's line is marked by an inscribed stone beside the modern A345 at Old Sarum. King William devised the Domesday Book, considered to be the first listing of land owners in England. Among the names is that of D'Arques, from Normandy, France. Descendants of this family later emigrated from England and settled in Victoria, Australia under the surname 'Dark'. ordnance survey, william mudge, jesse ramsden, william the conqueror, old sarum, saxon, 1086, england

Group of letters and postcards. Many are from period 1915-1917, written by Captain James (Jimmy) Mansfield Reid from Egypt, Belgium and France during WWI to his sister and other family members at home in Australia. Also includes some photographs of James' headstone, several taken by Jim Barr when abroad in 1928. Also, newspaper clipping of James' obituary and letters from the Major notifying the family of his death. Also includes a program from the Presentation of War Medals and Decorations from October 1919; James received Military Cross posthumously for gallant courage under fire. wwi letter, military cross, letter, presentation of war decoration and medals, letters from the front

Henry William Frisch was born at Warrnambool to H.W. and Sarah Frisch. He iniitally served with the 8th Battallion, was transferred to the 59th Battalion on 26 February 1916, then to the 58th Battalion on 15 May 1916 served with the 59th Battalion during World War One. He had the regimental number 3054. At the time of his enlistment on 8 June 1915 he had worked as a butter box maker at MvcGennan's of Warrmabool. On 26 February 1916 he was at Tel-el-Kebir, Egypt. On 17 June 1916 he embarked on the H.T. Translyvania from Alexandria and disembarked at Marseilles on 23 June 1916. On 14 September 1917 he was furloughed to England, rejoining his battalion on 05 October 1917. On 16 October 1917 Henry Frisch was wounded in the field with shrapnel wounds to the back and neck and multiple shrapnel wounds penetrating the abdomen. He died of wounds received on 17 October 1917 aged 23 yeard. He was buried at Lyssenthoek Military Cemetery (Plot 21. Row H. Grave 19A). The ceetery is south west Poperinghe, Begium. "IN MEMORIAM. ON ACTIVE SERVICE. FRISCH —In loving memory of our dear, son, Private H. W. Frisch, who died of wounds on 17th Oct., 1917, at the 17th Casualty Clearing, Station, France. No one knows how much we miss him, Friends may think the wound is healed; But they cannot see the sorrow, Deep within our hearts concealed. Just when life was brightest, Just when his hopes were best; His country called—he answered, Nows in God's home he rests. (Inserted by his loving parents, West Reserve, Warrnambool, his sisters and Stanley). FRISCH—In loving memory of my dear brother, Pte. H. W. Frisch, who died of wounds on 17th Oct., 1917, at the 17th Casualty Clear-ng Station, France. My hero brother. Sadly a sister is thinking, Of her soldier brother, so brave; Who fought for the cause of freedom, Who lies in a hero's grave. I seem, to see your face, dear Henry, Through a mist of anxious tears; And a sister's heart is broken, For many and many a year. One of Australia's dearest and best. Sadly missed by all. (Inserted by his loving sister, Ethel, East Melbourne). FRISCH—In loving memory of our dear brother, Henry William, who died of wounds in France, on 17th October, 1917. Not for the love of battle, Did he leave his dear homeland; He heard the call of duty, And responded like a man. —(Inserted by his loving sister and brother-in-law, France and Steve Ferrier) . FRISCH—In fond and loving memory of Private Henry Frisch, who died of wounds on active service 17th Oct., 1917. —(Fondly remembered by Mrs. Henry and family). (Warrnambool Standard, Thursday 17 October 1918.)Cut down photographic post card of Henry Wiliam Frisch. The photographer was located at 175 Collins St, Melbourne. Verso "Keith's uncle Henry Frisch killed WW1"world war one, henry frisch, belgium, warrnambool

Personal postcard album with letters on reverse from a soldier and relatives.Cardboard and paper post card album containing souvernir cards sent during the First World War and later to Gertrude (Gertie), (Mrs C Hodgett). Cards range from scenes of Egypt, England, country Victoria and France. Also cards written by family members to Gertie. Back page of album contains abituaries and newspaper cuttings for Hodgetts, Burton, Atkinson, Cam. Cover is embossed with art nouveau decoration.Inside front cover Cards, Sent to Gertie/ From Cazzie Hodgett/Year 1916

Henry James Tainton was the son of Joseph Tainton and Mary Jane Course. He married Rose Selina Fankhauser, daughter of Frederick William Fankhauser and Florence French at the East Burwood Methodist Church on the 14th November 1906. James was a gardener aged 26, and Rose 22 (domestic duties) The witnesses were Herbert Simeon Tainton and Mary Ann French. The Tainton and Fankhauser families were both early pioneering families of the East Burwood area. Marriage certificate is at ND6243.Sepia photograph of the 1906 wedding of James Henry Tainton and Rose Selina Fankhauser. James seated, Rose standing with a hand on James' shoulder. Elaborate wedding dress with frilled hem.fankhauser, rose selina, tainton, james henry

This is the sole remaining tower of the castle's curtain wall. The Coulonce's family had, in the Middle Ages, supplied several of the captains and governor's of Vire's fortified stronghold.A number of colour photographs of Colounces Tower, Vire, Francecolounces tower, vire, france, architecture

The Loreto Chapel, or Children’s Chapel as it was known, was built between 1898 and 1902. The architect was William Tappin and the builder, George Lorimer. It is built in an English Gothic style with French influence. The stone is Barrabool Hills sandstone from near Geelong with white Oamaru, New Zealand, stone detailing. Building was interrupted through lack of funds but the project was finally completed with a large bequest from the German Countess Elizabeth Wolff-Metternich, who had been a student at the Convent in 1898. The Countess tragically died on a return visit to her family in Germany. The inside of the Chapel is decorated in soft pastel colours with artwork and statuary donated to the sisters by Ballarat and Irish families. The Rose Window over the Organ Gallery depicts St. Cecilia, patron saint of music, surrounded by symbols of the four Evangelists, Matthew, Mark, Luke and John. The windows over the altar depict the instruments of the Passion of Christ. The marble altar features the Nativity scene as was requested by the children. The interior of the Chapel was restored in 1999 through the bequest of past pupil, Lucy Kerley and maintenance is continued with a bequest from past pupil, Eileen Macintyre (McGrath) (https://loreto.vic.edu.au/loreto-college/facilities/loreto-chapel/, accessed 06 June 2019_ Colour photograph of a chapel at Loretto convent, Ballarat. The chapel is made of Barrabool sandstone. loreto chapel, ballarat, children's chapel, william tappin, george loromer, english gothic, elizabeth wolff-metternich

Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Family homes in a new estate under construction, Stockholm, SwedenStockholm / Estate / One-Family Houses / Estate in Construction / 1950 (All Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Family homes in an estate for factory employees in Gustavsberg (1938), Stockholm, SwedenGustavsberg, Near Stockholm Sweden / House / One-Family House Estate / Co-op Wholesale Society / Archs. Section: Olof Thunstrom / 1938 / Encircled 18 (All Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Family homes in an estate for factory employees in Gustavsberg, Stockholm, Sweden 1938Gustavsberg, Near Stockholm Sweden / House / One-Family House Estate For Factory Employees / Co-op Wholesale Soc / Arch. Off (Olof Thunstrom) / 1938 / Encircled 58 (All Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

A rare portrait of Henri Heremene. A french orphan, probably stunted by malnutrition, he was unofficially adopted by the Number 4 squadron, Australian flying corps when he wandered into their Christmas dinner at an airfield near cologne, Germany in 1918. Nickname "Digger," Henri came under the care of Private Timothy Tovell. With a tailored AIF uniform made for him, he was smuggled to Australia in1919, where he was adopted by the Tovell family. He remained traumatised by the war and died in 1928 from injuries received in a motorcycle accident in Melbourne. Black and white print of a young Henri Heremene.At the top of the photography it says "Aust flying corps (mascot)"henri heremene, a.f.c, afc, australian flying corps, aif, a.i.f, ww1, world war 1

A once grand French Chateau almost obliterated by artillery fire. Despite extensive frontline service this is one of the few instances where Les Chandler took a photograph of the destruction of war. In the several hundred letters he wrote to his family at home in Australia, he stuck to his vow of almost never mentioning the horrors of war.france, chateau, destroyed, ww1, world war 1

Used with Lebel Model 1886 bolt action rifle and was the basic French infantry weapon of World War 1 (1914-1918). Probably brought to Australia by a returning soldier as a souvenir. Donated to 8th/13th Victorian Mounted Rifles Collection when no longer of interest to family. Nickname 'Rosalie' by French soldiers, a reference to a popular song of the war years. Called French knitting needles by German soldiers.Fine example of World War 1 weaponry used by allied forces.French Model 1886/93 "Rosalie" bayonet, 500mm steel cruciform section blade with quillon (hook) and brass anodized handle.On Quilion "M 78124"rosalie, knitting needles, french, bayonet

William Thomas Jarrot was a former teacher at Wangaratta high School, who went missing in active service on 7th June 1917. The William family preserved this letter, unopened and unread for exactly 100 years. Written by Jarrot to his sister from the battlefront of Belgium, it was opened and read by the Wangaratta High School Prefect team on the 7th of June 2017.Wooden Australia-shaped frame around an embroidered postcard reading 'Sonoenic de France'. Embroidered flap contains a small card which says 'Thinking of you'. On the reverse side of the postcard is a handwritten letter by William Jarrot in 1917.Sonoenic de France Thinking of you My Dear Sister I received your welcome letter a couple dated June 15. I am quite alright and going up the line again pretty soon. I have received both registered letters alright. We are having great success lately but he is fighting hard in places. Robbie told me about his father having an operation. The weather is extremely mild here now. I haven't had a letter from Annie for some time now. i don't know whether I can get this posted now or not. Hoping this finds you all as well as it leaves me at present. With best love to all. From your loving brother.