This item is from the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. By 1886 the Warrnambool Mechanics’ Institute (WMI) had grown to have a Library, Museum and Fine Arts Gallery, with a collection of “… choice productions of art, and valuable specimens in almost every branch and many wonderful national curiosities are now to be seen there, including historic relics of the town and district.” It later included a School of Design. Although it was very well patronised, the lack of financial support led the WMI in 1911 to ask the City Council to take it over. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library as it was then called. When the WMI building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the WMI. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the WMI were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. The Pattison Collection, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institute’s collection. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance. War Letters of General Monash Edited by F M Cutlack Publisher: Angus & Robertson Date: 1934Label on spine cover with typed text PAT 923.5 MON Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Library Front loose endpaper has a sticker from Corangamite Regional Library Service On a type written page inside book is written General Monash: 1865 - 1931 …. Australian soldier of Jewish birth, was born in Melbourne, graduating at Melbourne University..Began practising as a civil engineer in 1884, and became President of the Victorian Engineering Institute .. In 1887 entered the Australian Army, in which he rapidly rose to the rank of Col. At outbreak of World War 1 , he became Chief Censor, and then was sent in command of 4th Brigade to Gallopoli... Later commonded 3rd Australian Division in France, and in June 1918 took command of the Australian Corps. After armistice, Director general of Demob. for Australia.. Knighted in 1918 and published Australian Victories in France two years later.warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, great ocean road, f m cutlack, war letters of general monash, general monash, victorian engineering institute, 4th brigade, gallopoli, 3rd australian division, australian corps

James Worland MILLS No 3441. Refer Cat No 169P for his service details..1) Post card photo, sepia, showing portrait of a soldier in slouch hat on clear background. .2) Post card photo, sepia, showing a soldier minus head wear, on a clear background..1) Handwritten on front at bottom R: “Sincerely Yours Jas W Mills. Taken 27 Nov 1918” On rear in purple pen: “Lance Cpl J.W. Mills 59 Bn” There is some black pencil writing in Belgian .2) Handwritten on front at bottom R: “Sincerely Yours James 13.12.1918” On rear: Taken on 27th Nov 1918 whilst on leave from France Fondest love from Jamespostcards, 59th,

"ROBERT OSWALD HENDERSON" He was first commissionioned as a 2nd Lt on 16.5.1899. When the 67th Bn Bendigo Militia Training Bn was formed in 1911 he served as Major. Enlisted in the AIF 23.1.1916 with the rank of Major aged 41 years in 38th BN HQ. Embarked 20.6.1916 for England then to France with the BN late 2016, promoted Lt Col to Command the 39th Bn on 1.6.1917, awarded the “DSO” January 1918, WIA 31.3.1918 GSW left Thumb, returned to unit 12.6.1918, KIA 29.9.1918 at Bony - Le Catelet - Hindenburg Line. Refer Cat No. 4978P for the restored Beehive Bendigo Honour Roll.Three photographs. 1. Sepia, oval photograph, Officer in uniform. 2. Photograph, toned blue, Officer in uniform. 3. Photograph, toned blue, Officer in uniform.beehive staff, ww1

This New Testament was given to Private Henry Havelock Rogers (1895-1917), the son of Joseph and Ellen Rogers of Warrnambool. He left Australia on 4th April 1916 as a member of the 14th Battalion (17 Reinforcement Group) and died in France on 12th April 1917 as a result of wounds. The cousins named were the three older children of Arthur and Agnes Rogers, also of Warrnambool. Joseph and Arthur Rogers were brothers. The New Testament was found at the MacDonald Street, South Warrnambool home of Bill Rogers (part of his deceased estate). Bill Rogers was also a child of Arthur and Agnes Rogers but was not born until the early 1920s. This New Testament has a particular poignancy as a gift to a World War One Warrnambool soldier who was killed in the war in 1917. This is a leather-covered book of 612 pages. The cover extends over the edges of the pages and the pages are gilt-edged. There is a colour plate at the beginning of the text. There is a handwritten inscription in black ink on the second page of the book. The pages have a blue ribbon marker encased in the binding. ‘To Dear Harry from His Loving Cousins, Rita, Alfie and Charlie Rogers, 27/3/16’ henry rogers, bill rogers, rita, alfie and charlie rogers, world war one, warrnambool, history of warrnambool

Kiewa Valley Line Dancers meet regularly to move in unison to music while standing in lines. There are certain moves that are memorised to the music creating the effect of everyone moving together while facing one direction and dancing on their own. Line dancing has been around for a long time possibly originating from round & square dancing in the 1800s. In the 1990s country western music was influenced by the popularity of line dancing. Then ballroom rhythms and technique took line dancing to the next level. Line dancing reached Europe and in 2008 gained the attention of the French government. Line dancers dance to most styles of music and is popular throughout the world.This shirt belonged to Lorna Reid who lived in Tawonga in the Kiewa Valley. Line dancing began with Jim Budd in Mt Beauty in 1994 at the old Guide Hall with the assistance of the Neighbourhood Centre. Isla, a visiting teacher, with her husband Peter, continued classes at the Community Centre followed by Yvonne Sutton. At this time Social events were held with clubs from Myrtleford, Wodonga, Albury and Wangaratta. The next teacher was Joy Keith who held classes twice a week (Tuesday and Wednesday), with Eileen Speechly, from Gippsland, who held a class on Saturdays. In 2007, Robyn Quick took classes. An Intermediate class on Wednesday and Beginners on Friday. She visits Myrtleford once a week to learn from a teacher there. Line dancing is still (2018) enjoyed by many women in the Kiewa Valley giving them the opportunity to socialize and exercise together.Red polo shirt with collar and two red buttons at top front. Short sleeves. Front and back - black print of two 'mountains' with "High Country / Line Dancers / Kiewa Valley. Label size 18 "Player"kiewa valley line dancers, music, kiewa valley, tawonga, lorna reid

Both letters to “Lena” are from "Alfred ROGERS" believed to be Regt No 2390, born Bendigo, enlisted in 4th reinforcements 38th Bn AIF age 18 years. Embarked for England 20.10.1916, embark for France 6.5.1918, WIA 9.8.1918 Concussion, hospital aboard ship 19.2.1919 “Albuminuria” discharged from the AIF 11.8.1919. (.2) On the rear a date 22.2.1916 has been written in darker pen colour. Alf Rogers had not enlisted at this point. The contents of the letter relate to German POW’s in England so the date would be more likely to be 1917. Refer Cat No 3996P re “Lena” and other cards.(.1) Post card photo, B & W, soldier standing at ease with studio back ground, on rear handwritten in black and blue pen addressed to “Dear Lena”. (.2) Post card, silk, colour with vase of flowers, bows and flag. Across the top in yellow sewn in “For you alone”. Letter on the rear is in black pen and addressed to “Dear Lena”.38th battalion, wwi, alfred rogers

WILLIAM EDWARD PEACH No 4272 enlisted in the AIF in 13th reinforcements 7th Batt on 19.7.1915 age 19 years. Embark for Eygpt 29.12.1915, embark for France 29.3.1916, hospital 25.9.1916 with Synovitis left knee, rejoin unit 16.2.1917, promoted Cpl 19.7.1917, awarded the Military Medal (MM) near Ypres 4/5.10.1917, promoted Sgt 5.10.1917, WIA 12.1.1918 Gassed, rejoin unit 13.5.1918, WIA 2nd occasion 15.5.1918 GSW hand, rejoin unit 1.8.1918, WIA 3rd occasion GSW right Knee and Back 25.8.1918, embark for Australia re his wounds 5.1.1919, discharged from the AIF 27.3.1921. .1) Diary in plastic sleeve cover with red binding, 75 typed pages from 2.1.1916 to 10.1.1919, also various documents & photo of W E PEACH. .2) Letters in plastic sleeve cover with red binding, 152 letters to his mother written from 14.7.1915 to 4.8.1916. Also other documents & photo of W E PEACH. All letters have been typed from original.documents - diaries, military, correspondence

Photo Herbert Booker FIELD as a Senior Cadet prior to WWI, he had 4 years in Senior Cadets. Herbert enlisted in the AIF on 26.6.1917 age 18 years in the 25th Reinforcements 14th Bn No 7596, embarked for England 21.11.1917, disembark 5.1.1918, attends 4th Div Signal School, embarks for France 29.7.1918 to reinforce 13th Bn, RTA 1.11.1919, discharged from the AIF 14.1.1920. He enlists in the CMF on 3.5.1939 No V1629, appointed Lt 3.12.1937, transfers to the 2nd AIF 10.9.1942 as VX104280, joins the Interim Army 1.7.1947 till 7.6.1948, appointment terminated with the rank of Lt Col. Awarded the "Efficiency Decoration"Frame, brown stained timber with gold inner edge also decorated with copper wire. Timber mount with glass. Photo, black & white of a soldier in uniform, half portrait of H B FIELD. He is in his Cadets uniform. Handwritten in blue ink on brown paper on back of frame: “Mrs J E McCrystal” In Red ink: “Prior to enlisting WWI Senior Cadets 2nd Lt 67B. 1st AIF HB FIELD PTE 7596 13th Aust Inf Btn. 2nd AIF VX104280 HQ 8th Command Quartermaster General (not in notes) On white label: "H B FIELD As a Senior Cadet prior to WWI. No 7596 13th Batt AIF' No VX104280 2nd AIF. Donated by Mrs J E McCrystal"photography-photographs, frame accessories, cadets, 67th

Organza is a thin, plain weave, sheer fabric traditionally made from silk. Many modern organzas are woven with synthetic filament fibres such as polyester or nylon. Silk organza is woven by a number of mills along the Yangtze River and in the province of Zhejiang in China. A coarser silk organza is woven in the Bangalore area of India. Deluxe silk organzas are woven in France and Italy. Organza is used for bridal wear and eveningwear. In the interiors market it is used for effects in bedrooms and between rooms. Double-width organzas in viscose and acetate are used as sheer curtains. Nylon organza was very popular as the new fashion material in the 1950’sA lady's collar white embossed nylon organza with machine lace edge. C1950clothing, nylon, organza, dressmaking, moorabbin, bentleigh, cheltenham, fashion

Private Louis (Joe) Murdoch Murray, 8th Light Horse Regiment, WW1. Joe enlisted 15/01/1915 and embarked for overseas on 07/05/1915. He served at Gallipoli and in France where he was badly wounded at the battle of Ypres in 1917. After returning from the war he took up farming on land donated to him by the Austin family. However, he never fully recovered either physically or mentally from his war service and lost his farm in the Depression. He spent his final years in an Old Soldiers Home in Frankston. He is buried in Melbourne.murray, 8th light horse regiment, ww1, gallipoli, ypres, austin, old soldiers home - frankston, melbourne.

Private Donald Hector Murray greeting Private Edward Raymond Hargreaves in London during WW1. Donald enlisted 17/04/1916 in the 37th Infantry Battalion and embarked for Europe 03/06/1916. He died of Tubercular Pleurisy on 21/12/1916 at the Military Hospital, Fargo England, whilst on active service. He is buried in the Durrington Cemetery there. Edward enlisted in the 5th Infantry Battalion on 08/07/1915 and embarked for France 11/10/1915. Upon his return he was granted a Soldier Settler's block west of Lake Bolac in 1921. He married Flora Graham in 1925. murray, 37th infantry battalion, hargreaves, graham, 5th infantry battalion, london, ww1, fargo military hospital, durrington cemetery, lake bolac

A play about front-line warfare on the Western Front written by a soldier who served in the front line in France for over a year. Sherriff became an insurance agent who wrote plays to raise money for his rowing club. He wrote a novel and the he turned to the new art form, the talking film, becoming Hollywood's highest-paid script-writer. His credits include screenplays for: The Invisible Man; Lady Hamilton; Goodbye Mr Chips; The Dam Busters; Odd Man Out; Quartet and Mrs Miniver. The play was directed by Mick Rodger; The Director of the MTC was John Sumner with Assistant Director Ray Lawler.Paper program; coloured cover; 16 p. includes articles about the play and the actors.the university of melbourne, melbourne theatre company, journey's end, r c sherriff, athenaeum theatre, john stanton, mick rodger, ray lawler

Items such as this cushion covers were purchased by Australian men and women serving during the First World War as souvenirs of their travels and gifts for their loved ones at home. The allies established a base at Thessaloniki in 1915. BHS records indicate that this cushion cover was among a collection of items received from the Harkaway studio of Brighton-born artist Jessie Traill following her death in 1967. During the First World War, Jessie served for three and a half years in hospitals in England and France with the Voluntary Aid Detachment. As she did not serve in Thessaloniki, where this item was made, it is unlikely she purchased it herself, but may have received it as a gift.Black velvet cushion cover featuring the embroidered image of a white and yellow dove bearing red, white and blue ribbons along with red and pink flowers. Embroidered in pale yellow are the words "Souvenir de Salonigue / 1916".cushion cover, 1910s, first world war, world war i, thessaloniki, jessie traill

A special luncheon was held for World War 1 widows as a lead up to "Legacy Week". Legatees dressed up as moustached French waiters to add a bit of humour to the day. Due to its success it was held for a number of years. Legatee waiters included Legatees Lucky Luscombe, George Woodward, Stuart Leslie and John Stevenson (President in 1993). These colour photos were taken at the same time as the black and white photo (00909) used to promote the 1993 WWI widows luncheon. The WWI group would meet on the 2nd Thursday of each month at 11 at Legacy House for many years until their numbers dwindled.A record of the type of activities Legacy provided as a social outlet for the widows.Colour photo x 2 of Legatees as waiters at a World War 1 widows' luncheon in 1992.widows, function

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

Tongs were used by women and girls to wave or curl their hair. They were heated either on a wood stove or later over the flame from a burner and the applied to the hair. Curl papers were applied to the hair to stop it scorching. The use of tongs or iron rods to curl hair including men's beards dates back for centuries. French hair stylist is credited the invention of the curling iron in 1890. It was at this time that using tongs became particularly fashionable, when women started wearing their hair waved on top of the head. Very few changes were made to this method of hair curling until the introduction of the electric hair curler in 1959.This item is significant because it is representative of long-lasting trend in women's fashion, including in Wodonga and was donated by a local resident.Metal tongs with a double handle grip. One side of the tongs has a roller and the other has is hollow to fit over the strand of hair to be curled. women's accessories, household items

"William John Leslie Bennetts". William enlisted as No. 4433 in the AIF on 7.7.1915 aged 24 years 5 months in the 14th Reinforcements, 6th Battalion. He embarked for Egypt on 28.1.1916 then for France on 29.3.1916. Appointed Acting Corporal on 3.8.1916. In hospital on 4.11.1916 with Trench feet, re-joined unit on 12.3.1917. Appointed Corporal 19.7.1917. Wounded in action 5.10.1917, GSW to the head. Re-joined unit 21.11.1917. Appointed Lance Sergeant 10.8.1918 then Sergeant soon after, Returned to Australia 1.9.1919 and discharged from the Army on 25.10.1919. During WW2 William enlists in the CMF as No. v362254 on 14.4.1942 and discharged on 8.6.1944 with the Rank of Sergeant. Sepia toned photograph of a soldier in Australian Army uniform. Sergeant stripes and two wound stripes visible. Photograph mounted in a dark brown folder. Photographic Studio name written on photograph.Handwritten in black on photograph: “JAWLEY BROS PF”william john leslie bennetts, bennetts collection, photograph

Refers to the service of Sgt "George Michell" of Bendigo Regt No 45. Enlisted 26/7/1915 aged 27 years. Embarked 6/6/1916 for England. Rank - Provisional L/Sgt. Embarked for France with 3rd Pioneer Bn 24/11/1916 (He was in 3 PNR Band). Hospital sick with mumps 1/2/1917, rejoined Unit 25/2/1917. Posted to School of Instruction 8/3/1917, rejoined Unit 6/4/1917. Promoted to SGT 10/10/1917. Discharged from the AIF 4/8/1919 Previous Service - 3 years Snr Cadets. Black and white portrait of a Bandsman. He is wearing a military Style Jacket with high collar. He is wearing one medal. The jacket has two breast pockets. His left hand is holding a cornet. His right hand is resting on a table top. On that table is his peaked cap. This is a studio portrait, probably a copy of an original.On the rear are ”Kodak” photo paper stamps.band, music, george michell, pioneers

James Worland Mills No 3441 59th Batt AIF. For main details refer 169P. James Worland Mills No 3441 enlisted in the AIF on 7.9.16 age 18 years 5 months in the 9th reinforcements 59th Batt. Enlistment papers signed by his parents stated that he was not to embark for overseas until he turned 19 years. Embarked 16.7.17. While in France he passed Lewis Gunnery School. Reached the rank of T/Sgt on 6.3.19. Discharged from the AIF on 10.10.19. A much larger photo in a ornate wood frame is in the collection. Refer 403P, other refer 166.3, 167.6Items relating to J.W.Mills. .1) Blue cloth passport with fold-out & photograph. .2) Tan cloth pay book. .3) Tan cloth pay book..1) Inscribed 'Mr. J. W. Mills, stamped 302711. .2) Pay book stamped 600263 .3) Pay book stamped 600263documents, paybooks, passports, military

The pay books relate to : John Donaldson Gardiner. Enlisted in the AIF on 26.6.1915 Regt No 2832 age 29 years 7 months in the 9th Reinforcements to the 5th BN. Embark for Eygpt 10.9.1915, embark for France 25.3.1916, hospital 10.5.1916 injury to Rib and Knee, rejoin unit 21.5.1916, hospital 18.1.1917 with Septic Throat, rejoin unit 2.2.1917, hospital 5.4.1917 with Influenza, rejoin unit 10.5.1917, hospital 8.10.1917 with Scabies then while on leave Sprained left ankle serious, rejoin unit possibly 11.2.1918, hospital 26.10.1918 with Influenza, embark for Australia 25.1.1919, discharged from the AIF 15.5.1919 medically unfit..1) Pay book Serial number 126092 brown colour covers 16 pages, front has space for details (all blurred), entries are in blue pen or pencil, stamped in purple “Discharged”. .2) Pay book Serial number 126092 dark brown covers with black tape on edges 10 pages with a single slip pasted in the back, entries are in blue pen or pencil, stamped “Cancelled” Entries relate to pay and deductions also inoculations.On Both. “ Pay book No 5025, Gardiner, John Donaldson, Regt No 2832, Pres, Pte"pay books, administrative, records

Thomas William Francis No 2584. Enlisted on 7.7.1915 in 4th reinforcements 29th Batt AIF age 25 years 6 months. Embarked for Eygpt 14.3.16, embark for France 16.6.1916, reported missing 19/20.7.1916, listed as KIA 20.7.16 (Fromelles) no known grave. The photo is one of a number that originally hung in the "Gallery of Honour" foyer of the Soldiers Memorial Institute Pall Mall Bendigo now the Bendigo Military Museum. In 2008 a mass grave was found with 250 remains in. On 12.4.2013 it was announced that the remains of Thomas Francis had been identified. Francis is now buried in the new Pheasant Wood Military Cemetery. Refer Cat No 8003.Portrait photo B &W of a soldier in uniform, Great coat and peak hat re T.W Francis. Photo is set in a grey background with a dark stained wood frame."Pte T.W Francis 29th Batt D Coy A.I.F, enlisted July 1915, embarked March 1916. Killed in Action July 1916". brsl, smirsl, fromelles

DOUGLAS GEORGE PHILLIPS enlisted No 3449 in the 11th reinforcements 7th Batt AIF on 14.7.1915 aged 18 years 2 months in Bendigo. He embarked for Eygpt on 18.12.1915. Promoted to Corporal 1.3.1916. Embarked for France 26.3.1916. Promoted to Sergeant 10.8.1916. Hospitalised with trench feet on 6.11.1916. Promoted 2nd Lieutenant 3.3.1917. Hospitalised with haemoptysis 20.7.1917. Promoted to Lieutenant 30.9.1917. WIA 4.10.1917 and remained on duty. Awarded the Military Cross for the same days actions. Discharged from the AIF 15.8.1919. He enlisted again on 28.9.1939 as V80050. At discharge on 12.3.1945 he was a Captain serving in No 12 Australian Garrison Coy. Ornate wood frame with glass over a brownish background. Inset at top is a sepia tone photo of an Officer in uniform. Centre is a description of service and award of an "MC". At the bottom is a mounted medal set, group of (5) re Lt D.G.Phillips MC. At base of the frame is a brass plaque.Brass plaque "CAPTAIN Douglas George Phillips MC"medals, bravery, framing, photograhy