H. Rider Haggard (1856-1925) (Sir H. Rider Haggard), was a British author of fiction and non-fiction works and had letters and articles published in newspapers and journals. The page opposite the book's Fly page lists some of the topics Rider Haggard covered; Parliamentary Blue Book, political history, works on agriculture, country life, social history, travel, novels and romances. This edition of the book was published for Laurie's Colonial Library by the firm T. Werner Laurie Limited of London. It was made specifically for the British Colonies and India. This book is part of Flagstaff Hill's Pattison Collection.This edition of the book was published by T Werner Laurie as part of Laurie's Colonial Library, books destined only for the British Colonies and India, The book has additional importance for its connection to the Pattison Collection, which, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institutes’ Collection. The Warrnambool Mechanics’ Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and its important role in people's intellectual, cultural and social development 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.Smith and the Pharaohs and other tales Author: H Rider Haggard Publisher: T Werner Laurie Ltd Date: 1st published 1920 Inscriptions include a label, stickers, stamp and a handwritten inscription. This book is part of the Pattison Collection.Label: "PAT FIC HAG" Sticker: "Warrnambool Mechanics Institute and Free Library" covered by a sticker"Corangamite Regional Library Service" Stamp: "Warrnambool Mechanics Institute" Handwritten: "1301" Fly page note: "COPYRIGHT EDITION / ALL RIGHTS RESERVED / This Edition is issued for sale and circulation in the British Colonies and India, and must not be imported into the Continent of Europe or the United States of America." flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, pattison collection, ralph eric pattison, warrnambool mechanics’ institute, mechanics’ institute library, warrnambool library, free library, corangamite regional library service, smith and the pharaohs and other tales, smith and the pharohs, h rider haggard, sir h rider haggard, t werner laurie ltd, laurie's colonial library, british colonial books, 1950

For his achievements in the Battle of Omdurman and Sudan in 1898, Kitchener was made Lord Kitchener of Khartoum, becoming an Earl - qualifying peer of mid-rank. Kitchener was a senior British Army officer and colonial administrator who won notoriety for his campaigns, most especially his scorched earth policy against the Boers and his establishment of concentration camps during the Second Boer War. Awards he received include: Knight of the Order of the Garter; Knight of the Order of St Patrick; Knight Grand Cross of the Order of the Bath; Member of the Order of Merit; Knight Grand Commander of the Order of the Star of India; Knight Grand Cross of the Order of St Michael and St George; Knight Grand Commander of the Order of the Indian Empire. Individual imagae take from photographed poster of tobacco and cigarette cards.battle of omdurman, sudan, kitchener, earl, scorched earth policy, boers, concentration camps, colonial administrator, knight of the order of st patrick, knight of the order of the garter, knight grand cross of the order of st michael and st george, knight grand cross of the order of the bath, member of the order of merit, knight grand commander of the order of the star of india, knight grand commander of the order of the indian empire

Published: unknown, however, on 26 June 1935 a similar, but not the exact photo in the McKenzie Collection, was published in The Age: Published title: Shipping Victorian Flour to the East Published Caption: Flour and wheat figure prominently in all cargoes carried by ships trading to Chinese, Japanese and Eastern ports. Victorian millers are eager to extend lids outlet for their produce, and every opportunity is grasped. The pictures show Australian labourers unloading from railway trucks some of the 2300 tons of flour which will go into the hold of the Burns, Philp motor ship Neptuna for shipment to Hong Kong, while Chinese seamen are busy cleaning and painting the rudder post of the ship. Hard by the Neptuna, other ships are taking on flour for the East. Research by Project Volunteer, Louise McKenzie: The image was described by Hugh Bull on the rear of the glass plate as – “Lascars cleaning ships rudder 1933”. Basically, a “lascar” is a seaman. Image No. 032 in the McKenzie Collection shows two lascars perched on the rudder of a ship, with two others standing in a rowboat along side. They are dressed in baggy trousers and jackets and wearing caps. Across a very calm dock area is a single funnel ship with on-deck derricks. The rudder of the ship being cleaned is white, with large black roman numbering denoting the depth at which the ship is sitting, depending on whether it is loaded or empty. Whilst the exact photo in the McKenzie Collection has yet to be located in The Age in 1933, the date when it was taken, there is a photo published in The Age on 25 June 1935 which appears to be one of a series of photos taken on the same day, featuring lascars cleaning a ship’s rudder. It bears a striking resemblance to MCK 032, but it is taken from a slightly different angle. The 1935 published photo is a close up of a ship’s rudder being cleaned, with same style of roman numerals in black on the white of the rudder. One lascar is standing on the rudder, one is standing in a small clinker style rowboat, with its characteristic wooden overlapping hull planks, holding a broom; two more lascars are sitting in the bow and stern of the rowboat. The ship being cleaned is in a dock, as a wharf and warehouses can be seen in the background, the water is very calm, and there are two other ships moored nearby – one across the other side of the dock with a black and white hull and derricks on its deck, and one adjacent, with its mooring lines clearly visible. The lascars are wearing caps, baggy trousers and jackets. Compelling similarities therefore exist between the two images. Whilst it is difficult to positively identify the cultural background of these particular lascars in either photo, the newspaper article dated June 1935 advises they are “Chinese”. This is possibly because the ship they are associated with, the Neptuna, is reported to have sailed from Melbourne on this date, bound for Hong Kong. However, the men are probably from South East Asia. Wikipedia describes the term “Southeast Asia” as covering ” … the people of Southeast Asia from prehistory to the present in two distinct sub-regions: Mainland Southeast Asia (or Indochina) and Maritime Southeast Asia (or Insular Southeast Asia). Mainland Southeast Asia comprises Cambodia, Laos, Myanmar (or Burma), Peninsular Malaysia, Thailand and Vietnam whereas Maritime Southeast Asia comprises Brunei, Cocos (Keeling) Islands, Christmas Island, East Malaysia, East Timor, Indonesia, Philippines and Singapore. Additionally, Wikipedia “Lascars” states that “Lascars were sailors from the Indian subcontinent, South East Asia, the Arab world, British Somaliland and lands east of the Cape of Good Hope, who were employed to work on colonial merchant ships. The practice ran from the 16th century to the mid 20th century”. Indian seamen were used as early as the 16th century by Portuguese explorer Vasgo da Gama in his successful voyage to India, and subsequently by Portuguese ships in the 16th and 17th centuries. “Through the Portuguese and Spanish maritime world empires, some Indian lascars found their way onto English merchant ships, and were among the sailors on the first English East India Company (EIC) ships to sail to India.” In the 17th Century “When the English adopted the term "lascar", they initially used it for all Asian sailors on English-flagged ships, but after 1661 and the Portuguese ceded Bombay to England, the term was used mainly to describe Indian sailors specifically. The term "topaze" was used to describe Indo-Portuguese personnel, especially those from Bombay, Thana, Diu, Dammam and Cochin. The term "sepoy" was used to describe Indian soldiers in European service. The number of lascars employed on EIC East Indiamen was so great that the Parliament of England restricted their employment via the Navigation Acts (in force from 1660 onwards) which required that 75% of the crew onboard English-flagged ships importing goods from Asia be English subjects. The restriction arose due to the high rates of illnesses and death among European sailors on East Indiamen, and their frequent desertions in Asia, which left such ships short of crew for the return voyage. Another reason was the frequent impressment of European sailors from EIC East Indiamen by the Royal Navy in times of war“. The term “impressment” colloquially refers to “the “press gang” …”a type of conscription of people into a military force, especially a naval force, via intimidation and physical coercion, conducted by an organized group (hence “gang”). .. The large size of the British Royal Navy in the Age of Sail meant impressment was most commonly associated with Great Britain.”. (Wikipedia – Impressment). By the 20th century these sailors served on British ships under "lascar agreements", which allowed shipowners more control than was the case in ordinary articles of agreement. The sailors could be transferred from one ship to another and retained in service for up to three years at one time. “Lascars served all over the world in the period leading up to the First World War. Lascars were barred from landing at some ports, such as in British Columbia. At the beginning of World War I, there were 51,616 lascars working on British merchant ships in and around the British Empire. In World War II thousands of lascars served in the war and died on vessels throughout the world, especially those of the British India Steam Navigation Company, P&O and other British shipping companies. The lack of Canadian naval manpower led to the employment of a total of 121 Catholic Goans and 530 Muslim British Indians on the Empress vessels of the Canadian Pacific Railway, such as the Empress of Asia and Empress of Japan. These ships served in the Indian Ocean both as ANZAC convoy ships and in actions at Aden. The ships were placed under the British Admiralty as part of Canada's contribution to the war effort and all of the Indian men were awarded medals by the Admiralty, though none of them were delivered. In the 1950s the use of the term "lascar" declined with the ending of the British Empire. The Indian “Lascar Act” of 1832 was finally repealed in 1963. However, "traditional" Indian deck and Pakistani engine crews continued to be used in Australia until 1986 when the last crew was discharged from the P&O and replaced by a general-purpose crew of Pakistanis. The term lascar has been widely used to engender an element of exoticism in literature eg “Sir Arthur Conan Doyle created a Lascar foil to Sherlock Holmes in "The Man with the Twisted Lip" in 1891. Lascars aboard the ship Patna figure prominently in the early chapters of Joseph Conrad's novel Lord Jim. Frances Hodgson Burnett's novel A Little Princess features a lascar named Ram Dass. Also, Caleb Carr portrays two lascars as bodyguards for a Spanish diplomat near the end of The Angel of Darkness. In Wuthering Heights, it is speculated that Heathcliff, the main character, may be of lascar origin." (Wikipedia – Lascar) And what has become of these “forgotten heroes of the World Wars”? The South Asian Heritage Trust, which seeks to commemorate, mark and celebrate South Asian cultures, stories, and communities, published an article in July 2025 entitled – The Lascars: Seafaring Roots of Modern Britain. It particularly honours the role of the 80,000 lascars who served Britain in WWI, and the over 100,000 who served in the British Merchant Navy in WWII, and concludes: “The hardships faced by Lascars were profound. They were often assigned the most dangerous tasks, lived in substandard conditions aboard ships and, even after their immense contributions to the war efforts, many veterans found it difficult to secure the recognition, pensions and rights afforded to other veterans. Many were employed under ‘Asiatic Articles’, which offered less protection and lower pay than their European counterparts. Yet, their legacy endures. The multicultural fabric of areas like East London owes much to these early seafarers and settlers. The East London Mosque, established in 1910, became an important spiritual and community hub. Today, efforts to bring their stories out of the shadows are growing. The Museum of London Docklands features exhibits on their history. Memorials, such as the P&O headstone in Dover for the 22 Lascar crew members of the SS Maloja sunk in 1916 and the careful restoration of the Lascar War Memorial in Kolkata, serve as important reminders of the sacrifices. The journey of the Lascars – from their homelands, along dangerous wartime shipping routes, to the docklands of Britain – is a story of personal courage and of a rich contribution to Britain’s history and identity.” The ship MV Neptuna, mentioned in the 1935 article, had that year been purchased from a German company by Australian-owned Burns Philp, with Australian Government assistance, and it was instrumental in ensuring the shipment of rice from Vietnam to Papua New Guinea. Rice is still a household staple in PNG. Despite it being introduced into PNG more than 100 years ago, the crop has not been sufficiently integrated into the country’s traditional agricultural production system, and today PNG imports still account for nearly 98% of rice. (Spotlight Magazine Sept. 2016) The 1935 newspaper article states that the Neptuna is involved in moving flour for the East. Australian wheat exports began in 1845, but were not regular until the 1870s. New land clearing methods in Australia allowed large tracts of land to be cleared more efficiently – this included the invention of the iconic ‘stump jump’ plough. With the success of the wheat harvests, flour mills began to spring up around the country. By the 1870s, many large country towns had their own mills, with around 500 mills producing flour across the country. Flour exports were an important part of the wheat industry until around the 1930s. After the Second World War, many of Australia’s export partners (which were mainly in the developing nations of Asia) began setting up their own flour industries and the Australian product was no longer in demand. In 1942 MV Neptuna was being utilised for the war effort, and carrying depth charges and other armaments for Australia, when on 19 February it was sunk in a bombing raid on Darwin, and where part of her hull still lies. References: SHIPPING VICTORIAN FLOUR TO THE EAST. (1935, June 25). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved July 23, 2025, from http://nla.gov.au/nla.news-article204357218 Age (Melbourne, Vic. : 1854 - 1954), Tuesday 25 June 1935, page 11 Wikipedia, Clinker (boat building), https://en.wikipedia.org/wiki/Clinker_(boat_building) Wikipedia, Lascar, https://en.wikipedia.org/wiki/Lascar Wikipedia, History of Southeast Asia, https://en.wikipedia.org/wiki/History_of_Southeast_Asia Wikipedia, Impressment, https://en.wikipedia.org/wiki/Impressment NEPTUNA LEAVES FOR CHINA WITH TOURISTS (1935, June 25). The Herald (Melbourne, Vic. : 1861 - 1954), p. 5. Retrieved July 23, 2025, from http://nla.gov.au/nla.news-article244841163 National Research Institute SPOTLIGHT paper Vol 9, Issue 7, https://pngnri.org/images/Publications/Spotlight_No_9_Vol_7_-_201609_-_Sofe__Odhuno_-_Rice_Import_Quota1.pdf South Asian Heritage Trust, The Lascars: Seafaring Roots of Modern Britain, July 11,2025 : Royal British Legion. https://southasianheritage.org.uk/royal-british-legion/the-lascars-seafaring-roots-of-modern-britain/ Photographer notations on slide: "Lascars cleaning ships rudder 1933".lascars, ships, 1930-1939, employment, ethnic communities

This broderie perse' wall hanging was donated to the Kew Historical Society in 1980 by Mrs Joy Ivory. The hanging had belonged to her mother - Amy Grigg - and was used by the latter to demonstrate skills in darning (the red stitching). Provenance includes a certificate dating from 1889 which records an award to Amy Grigg of Pakington Street (Kew) for skills in needlework, issued by the Kew Floral Industrial & Art Society. Amy Grigg later married Albert Watson, the son of John Watson. The latter was an early pastor of the Kew Methodist Church in Highbury Grove, Kew. Both the Watson and Grigg families were early pioneers of Kew. While the hanging was modified by Amy Grigg in 1889, the original textile dates from an earlier period when 'Broderie Perse' (Persian embroidery) was used to create quilts and wall hangings. It is estimated that the hanging dates from the first half of the 19th century. An exact dating will require a detailed examination of the cotton chintz fabrics used to embroider the hanging. This appliquéd wall hanging is one of the earliest textiles in the Kew Historical Society's fashion & textiles collection. Similar examples are held in major international collections such as the Victoria & Albert Museum. This example of broderie perse is significant for the cross-cultural influence of Indian textiles on European taste, not unusual given the English foothold in India during this period. Additional interest is due to the mixing of Indian and European textiles in the design, while staying true to the derivation of the design. The textile is both well-provenanced and rare. While it is unlikely to be Australian-made, it is probably an example of a textile brought to Australia during the colonial period that indicates a desire to decorate interiors using items created in and for the English home. On another level, the wall hanging is a fine example of 'women's work' in the first half of the nineteenth century.Small wall hanging, comprised of five panels that are each appliquéd by hand in herringbone stitch using a range of decorative figurative motifs including flora and fauna. The design is based on an Indian palimpore representing a tree of life design. The base textile is a cream linen while the appliquéd figures or shapes are cut from cotton chintz. These additions are probably a mix of Indian and European designs. The quality of the herringbone stitching is very fine. Later stitching in red wool was added in the 1890s to demonstrate skill in darning. The main panel is bordered by a narrow green and ecru braid. It has a narrow tan braid at the top and bottom of the two side panels. A surrounding tan braid around the entire textile is missing in some places. textiles, applique, broderie perse, amy grigg, wall hangings, migration

non-fictionBorn in Belturbet, County Cavan, Ireland in 1824, McIllree was the youngest son of a large family. He achieved much after running away from home, aged just 14, to escape being sent into penury as a clergyman. By the time of his untimely death at Wodonga in 1882, McIllree had packed a lot into his life. He had sailed the high seas as an Able Seaman, toiled as a miner, run the Wodonga pound for 19 years, bought town blocks, set up a farm, a vineyard and a short- lived butchery business, served on local boards, appeared in court, leased and bought Upper Murray grazing lands, established a horse and cattle breeding enterprise at Biggara, taken horses to India for sale, and visited Aotearoa/ New Zealand’s Rotorua spas for a heart disease cure. Perhaps the most important even in his life was marrying a young Irish girl, Isabella Johnston from Belfast, at Wodonga in 1855. Their marriage produced 11 children, seven of whom have descendants living in Australia, Europe, Indonesia, Kiribati, the Philippines, and the United States of America.henry mcillree, irish immigration, mcillree genealogy, wodonga pioneers

The Victorian Mounted Rifles was raised as the mounted arm of the Victorian Colonial defence force in 1885. It was under the command of Colonel Thomas Caradoc Rose (Tom) Price (1842-1911). Price was born in Tasmania, educated in Hobart Town and at Scotch College, Melbourne, before entering the East India Military College, Addiscombe, England. He was commissioned on 7 July 1861 in the Madras Infantry and began twenty years’ service in India with several regiments, retiring in April 1883. On his return to Victoria he was tasked with raising of a force of one thousand, to be known as the Victorian Mounted Rifles, and appointed a lieutenant-colonel in the Permanent Military Forces. Companies of the Victorian Mounted Rifles were raised in rural districts throughout Victoria. The soldiers were paid a small annual allowance and were required to provide their own horse. Many members served in contingent to the Boer War. After Federation the VMR was gathered up into the Australian Light Horse. Black and white photograph of group of Victorian Mounted Rifles soldiers posed with a gentleman and three ladies. Occasion is probably open day at a camp of training. Photograph is professionally mounted o backing card.Ink stamp on reverse: "Hewitt / Photographer / 98 Simpson Street east Melbourne / Weddings and picnics attended / Extra copies may be obtained"vmr, boer war, colonial, training, uniform

The Victorian Mounted Rifles was raised as the mounted arm of the Victorian Colonial defence force in 1885. It was under the command of Colonel Thomas Caradoc Rose (Tom) Price (1842-1911). Price was born in Tasmania, educated in Hobart Town and at Scotch College, Melbourne, before entering the East India Military College, Addiscombe, England. He was commissioned on 7 July 1861 in the Madras Infantry and began twenty years’ service in India with several regiments, retiring in April 1883. On his return to Victoria he was tasked with raising of a force of one thousand, to be known as the Victorian Mounted Rifles, and appointed a lieutenant-colonel in the Permanent Military Forces. Companies of the Victorian Mounted Rifles were raised in rural districts throughout Victoria. The soldiers were paid a small annual allowance and were required to provide their own horse. Many members served in contingent to the Boer War. After Federation the VMR was gathered up into the Australian Light Horse. Printed card for VMR Centenary Dinner giving Wine List and music.Contains significant dates for VMR; Battle Honours: 100 years of VMR mobility.military, vmr, centenary

The Victorian Mounted Rifles was raised as the mounted arm of the Victorian Colonial defence force in 1885. It was under the command of Colonel Thomas Caradoc Rose (Tom) Price (1842-1911). Price was born in Tasmania, educated in Hobart Town and at Scotch College, Melbourne, before entering the East India Military College, Addiscombe, England. He was commissioned on 7 July 1861 in the Madras Infantry and began twenty years’ service in India with several regiments, retiring in April 1883. On his return to Victoria he was tasked with raising of a force of one thousand, to be known as the Victorian Mounted Rifles, and appointed a lieutenant-colonel in the Permanent Military Forces. Companies of the Victorian Mounted Rifles were raised in rural districts throughout Victoria. The soldiers were paid a small annual allowance and were required to provide their own horse. Many members served in contingent to the Boer War. After Federation the VMR was gathered up into the Australian Light Horse. Printed invitation to VMR Centenary Dinner 4 May 1985 and menu for the function."Mr D Campbell & Mrs Campbell"

The Victorian Mounted Rifles was raised as the mounted arm of the Victorian Colonial defence force in 1885. It was under the command of Colonel Thomas Caradoc Rose (Tom) Price (1842-1911). Price was born in Tasmania, educated in Hobart Town and at Scotch College, Melbourne, before entering the East India Military College, Addiscombe, England. He was commissioned on 7 July 1861 in the Madras Infantry and began twenty years’ service in India with several regiments, retiring in April 1883. On his return to Victoria he was tasked with raising of a force of one thousand, to be known as the Victorian Mounted Rifles, and appointed a lieutenant-colonel in the Permanent Military Forces. Companies of the Victorian Mounted Rifles were raised in rural districts throughout Victoria. The soldiers were paid a small annual allowance and were required to provide their own horse. Many members served in contingent to the Boer War. After Federation the VMR was gathered up into the Australian Light Horse. Two colour photographs of ' A ' Squadron 8/13 Victorian Mounted Rifles formed for the march to Holy Trinity Church Benalla 4 August 1985 for the Centenary Service.

The Victorian Mounted Rifles was raised as the mounted arm of the Victorian Colonial defence force in 1885. It was under the command of Colonel Thomas Caradoc Rose (Tom) Price (1842-1911). Price was born in Tasmania, educated in Hobart Town and at Scotch College, Melbourne, before entering the East India Military College, Addiscombe, England. He was commissioned on 7 July 1861 in the Madras Infantry and began twenty years’ service in India with several regiments, retiring in April 1883. On his return to Victoria he was tasked with raising of a force of one thousand, to be known as the Victorian Mounted Rifles, and appointed a lieutenant-colonel in the Permanent Military Forces. Companies of the Victorian Mounted Rifles were raised in rural districts throughout Victoria. The soldiers were paid a small annual allowance and were required to provide their own horse. Many members served in contingent to the Boer War. After Federation the VMR was gathered up into the Australian Light Horse. Hand written letter from Major Parker, Director of Royal Tournament replying to Robert Morrison's letter ( 3103.906 ) . He points out the difficulty of affiliated regiments 14/20 Hussars and Queens Royal Irish Hussars providing horses because they no longer have horses.

The Victorian Mounted Rifles was raised as the mounted arm of the Victorian Colonial defence force in 1885. It was under the command of Colonel Thomas Caradoc Rose (Tom) Price (1842-1911). Price was born in Tasmania, educated in Hobart Town and at Scotch College, Melbourne, before entering the East India Military College, Addiscombe, England. He was commissioned on 7 July 1861 in the Madras Infantry and began twenty years’ service in India with several regiments, retiring in April 1883. On his return to Victoria he was tasked with raising of a force of one thousand, to be known as the Victorian Mounted Rifles, and appointed a lieutenant-colonel in the Permanent Military Forces. Companies of the Victorian Mounted Rifles were raised in rural districts throughout Victoria. The soldiers were paid a small annual allowance and were required to provide their own horse. Many members served in contingent to the Boer War. After Federation the VMR was gathered up into the Australian Light Horse. Marks one event in centenary celebrations.Printed Order of Service for Victorian Mounted Rifles Centenary Church Parade at Holy Trinity Anglican Church Benalla, 4 August 1985.church, vmr, centenary, benalla

The Victorian Mounted Rifles was raised as the mounted arm of the Victorian Colonial defence force in 1885. It was under the command of Colonel Thomas Caradoc Rose (Tom) Price (1842-1911). Price was born in Tasmania, educated in Hobart Town and at Scotch College, Melbourne, before entering the East India Military College, Addiscombe, England. He was commissioned on 7 July 1861 in the Madras Infantry and began twenty years’ service in India with several regiments, retiring in April 1883. On his return to Victoria he was tasked with raising of a force of one thousand, to be known as the Victorian Mounted Rifles, and appointed a lieutenant-colonel in the Permanent Military Forces. Companies of the Victorian Mounted Rifles were raised in rural districts throughout Victoria. The soldiers were paid a small annual allowance and were required to provide their own horse. Many members served in contingent to the Boer War. After Federation the VMR was gathered up into the Australian Light Horse. Two colour photographs of ' A ' Squadron 8/13 Victorian Mounted Rifles marching to Holy Trinity Church Benalla 4 August 1985 prior to the Centenary Church Service.benalla, vmr, centenary, church

The Victorian Mounted Rifles was raised as the mounted arm of the Victorian Colonial defence force in 1885. It was under the command of Colonel Thomas Caradoc Rose (Tom) Price (1842-1911). Price was born in Tasmania, educated in Hobart Town and at Scotch College, Melbourne, before entering the East India Military College, Addiscombe, England. He was commissioned on 7 July 1861 in the Madras Infantry and began twenty years’ service in India with several regiments, retiring in April 1883. On his return to Victoria he was tasked with raising of a force of one thousand, to be known as the Victorian Mounted Rifles, and appointed a lieutenant-colonel in the Permanent Military Forces. Companies of the Victorian Mounted Rifles were raised in rural districts throughout Victoria. The soldiers were paid a small annual allowance and were required to provide their own horse. Many members served in contingent to the Boer War. After Federation the VMR was gathered up into the Australian Light Horse. First Day Cover commemorating 100 years of service Victorian Mounted Rifles Postmarked 1 May 1985 at Albury NSW 2640. Badge of 8/13 Victorian Mounted Rifles on left side of envelope.3109908 Tpr Ellison. C. E. A Squadron 8/13 Victorian Mounted Rifles Buna Barracks Victoria Street Albury NSW 2640military, vmr, postage, centenary, victoria

The Victorian Mounted Rifles was raised as the mounted arm of the Victorian Colonial defence force in 1885. It was under the command of Colonel Thomas Caradoc Rose (Tom) Price (1842-1911). Price was born in Tasmania, educated in Hobart Town and at Scotch College, Melbourne, before entering the East India Military College, Addiscombe, England. He was commissioned on 7 July 1861 in the Madras Infantry and began twenty years’ service in India with several regiments, retiring in April 1883. On his return to Victoria he was tasked with raising of a force of one thousand, to be known as the Victorian Mounted Rifles, and appointed a lieutenant-colonel in the Permanent Military Forces. Companies of the Victorian Mounted Rifles were raised in rural districts throughout Victoria. The soldiers were paid a small annual allowance and were required to provide their own horse. Many members served in contingent to the Boer War. After Federation the VMR was gathered up into the Australian Light Horse. Printed card for VMR Centenary Dinner giving Wine List and music; contains significant dates for VMR; battle Honours; 100 years of VMR mobility.military, music, dinner, vmr, centenary

A girl's white cotton dress. The collar has floral embroidery, puffed elasticised sleeves, a pleated front with three plastic buttons and floral embroidery. it has a flared skirt with pleating around the hemline.Label - "Colonial Recollections. 100 % cotton. Made in India".dresses, girls clothing

An Authors Love Author: Prosper Merimee's Publisher: Macmillan And Co Date: 1889 Further Information: Being the unpublished letters of Prosper Merimee's 'Inconnue'fictionThe book is an epistolary novel (a story told in letters) written by the American author Elizabeth Balch (though it was published anonymously at the time). It was written as a highly clever literary hoax and a sequel of sorts to a major 1873 French literary sensation, Lettres à une Inconnue (Letters to an Unknown) by the famous French dramatist and short-story writer Prosper Mérimée (best known as the author of the novella Carmen). Mérimée had spent over thirty years writing passionate, brilliant, and deeply personal letters to an anonymous woman (later revealed to be Jenny Dacquin). When these were published after his death, they became a massive hit, but the public only ever saw his side of the conversation. Elizabeth Balch decided to write the missing half of the romance.flagstaff hil, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, 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, an authors love, prosper merimees

The Virginians Author: William Makepeace Thackeray Publisher: Henry Frowde Oxford University Press Date: 1908 The Virginians-- A tale of the last centuryfictionThe Virginians: A Tale of the Last Century was originally published in serial numbers from 1857 to 1859. It is a sweeping historical novel set against the backdrop of the Seven Years’ War and the lead-up to the American Revolutionary War. It acts as a sequel to Thackeray’s earlier masterpiece, The History of Henry Esmond. The plot follows Henry Esmond’s twin grandsons, George and Harry Warrington. Born in Virginia, the brothers are separated when the studious older twin, George, is presumed dead after a disastrous military expedition alongside a young George Washington. The plot goes on to tell of the younger, more impulsive twin, Harry, travelling to England to visit wealthy relatives. Mistaken for a rich heir, he gets swept up in high society, falls prey to fortune hunters, and racks up massive gambling debts. George unexpectedly resurfaces alive, saves his brother from ruin, and the narrative eventually tracks their split allegiances as the American Revolution begins to fracture the family.shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, warrnambool, 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, the virginians-, william makepeace thackeray

The Adventures of Philip Author: William Makepeace Thackeray Publisher: Henry Frowde Oxford University Press Date: 1908fictionThe Adventures of Philip on His Way Through the World was originally serialised in The Cornhill Magazine from 1861 to 1863 and is Thackeray's final completed novel. The story is heavily semi autobiographical, reflecting Thackeray's own youth, early struggles, and financial losses. The narrative follows Philip Firmin, a passionate, blustering, but fundamentally good hearted young man. He stands to inherit a comfortable fortune from his late mother. However, Philip is completely betrayed by his own father, the aristocratic and deceitful Dr Brandon Firmin. The doctor secretly squanders, swindles, and speculates away his son's entire inheritance, leaving Philip financially ruined. Forced to make his own way in the world, Philip moves to Paris to work as a struggling journalist. He falls in love and marries Charlotte Baynes, despite having almost no income. The novel becomes an intense critique of Victorian societal expectations, exploring the crushing anxiety of genteel poverty, the snobbery of wealthy relatives, and Philip's struggle to maintain his pride and integrity while desperately trying to support his growing family.shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, warrnambool, 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, the virginians-, william makepeace thackeray

Hard cover book, The Steam House Part 2 Tigers and Traitors. Author: Jules Verne Publisher: Sampson Low, Marston, Searle & Rivington, London Date: 1881. Light blue hardcover with the title on the spine having lettering to spine in black hand written text pen. fiction“The Steam House” part two “Tigers and Traitors” is where the story continues with the Indian adventure from part one and brings the story of Colonel Munro and Nana Sahib to its climax. The same group of people continue their journey through northern India in the steam powered elephant that pulls two houses. The central conflict is Colonel Munro’s continued hunt for Nana Sahib, the rebel leader responsible for atrocities at Cawnpore during the 1857 Sepoy Rebellion, and for Munro’s wife, who was reported killed there. As they travel deeper into India, the party encounters various challenges including, tigers traitors and conspirators linked to Nana Sahib’s network. The landscape still seething with discontent after the Mutiny as the story builds to the confrontation with Nana Sahib and the resolution of Munro’s quest for revenge. The second part is also published under the alternative title “The End of Nana Sahib”, indicating that Nana Sahib’s fate is finally revealed.warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, flagstaff-hill-maritime-village, shipwrecked-artefact, book, warrnambool mechanics’ institute, pattison collection, warrnambool library, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, ralph eric pattison, jules verne, voyages extraordinaire series, l’école des robinson's

Sara Lindsay is a Melbourne-based artist, curator and educator. She worked as a weaver at the Victorian Tapestry Workshop (now the Australian Tapestry Workshop) from its foundation in 1976 until 1990. Alongside her art practice, Lindsay has lectured at the Tasmanian School of Art, held the role of Curator of Textiles at the Tasmanian Museum and Art Gallery, then the position of Production Manager at the Australian Tapestry Workshop. Since 2013 she has mentored three Karen refugee women from Myanmar, assisting in their professional development and furthering their tapestry skills. In 2023 Lindsay began the Ararat New Settlement Weaving Program, teaching and mentoring culturally diverse settlers from refugee and migrant backgrounds in the Ararat region. The artwork exhibited here is part of body of work exploring Lindsay’s family’s historical ties to Sri Lanka. Her British grandfather managed a tea plantation in Ceylon’s hill country during the 1920s and 30s, where her mother was born before returning to England after his early death in 1937. After her first visit to Sri Lanka in 2005, Lindsay developed works that responded to this journey. She chose a quiet, contemplative approach to reflect on the complexity of colonial histories. Research into her family history led her to delve deeper into Sri Lanka’s complex history as a trading nation and to expand her materials to speak to this layered past. The use of cinnamon in this work connects to the story of 17th-century weavers from Southern India who were displaced from the Kingdom of Kandy and sent to the southwest coast to become cinnamon peelers under Portuguese and later Dutch rule. The finely woven ticking strips seen here reference the thick cotton fabric once used to cover mattresses and pillows aboard cargo ships transporting spices from Sri Lanka - a subtle reminder of the human stories woven into trade routes and colonial histories.

Sara Lindsay is a Melbourne-based artist, curator and educator. She worked as a weaver at the Victorian Tapestry Workshop (now the Australian Tapestry Workshop) from its foundation in 1976 until 1990. Alongside her art practice, Lindsay has lectured at the Tasmanian School of Art, held the role of Curator of Textiles at the Tasmanian Museum and Art Gallery, then the position of Production Manager at the Australian Tapestry Workshop. Since 2013 she has mentored three Karen refugee women from Myanmar, assisting in their professional development and furthering their tapestry skills. In 2023 Lindsay began the Ararat New Settlement Weaving Program, teaching and mentoring culturally diverse settlers from refugee and migrant backgrounds in the Ararat region. The artwork exhibited here is part of body of work exploring Lindsay’s family’s historical ties to Sri Lanka. Her British grandfather managed a tea plantation in Ceylon’s hill country during the 1920s and 30s, where her mother was born before returning to England after his early death in 1937. After her first visit to Sri Lanka in 2005, Lindsay developed works that responded to this journey. She chose a quiet, contemplative approach to reflect on the complexity of colonial histories. Research into her family history led her to delve deeper into Sri Lanka’s complex history as a trading nation and to expand her materials to speak to this layered past. The use of cinnamon in this work connects to the story of 17th-century weavers from Southern India who were displaced from the Kingdom of Kandy and sent to the southwest coast to become cinnamon peelers under Portuguese and later Dutch rule. The finely woven ticking strips seen here reference the thick cotton fabric once used to cover mattresses and pillows aboard cargo ships transporting spices from Sri Lanka - a subtle reminder of the human stories woven into trade routes and colonial histories.

Sara Lindsay is a Melbourne-based artist, curator and educator. She worked as a weaver at the Victorian Tapestry Workshop (now the Australian Tapestry Workshop) from its foundation in 1976 until 1990. Alongside her art practice, Lindsay has lectured at the Tasmanian School of Art, held the role of Curator of Textiles at the Tasmanian Museum and Art Gallery, then the position of Production Manager at the Australian Tapestry Workshop. Since 2013 she has mentored three Karen refugee women from Myanmar, assisting in their professional development and furthering their tapestry skills. In 2023 Lindsay began the Ararat New Settlement Weaving Program, teaching and mentoring culturally diverse settlers from refugee and migrant backgrounds in the Ararat region. The artwork exhibited here is part of body of work exploring Lindsay’s family’s historical ties to Sri Lanka. Her British grandfather managed a tea plantation in Ceylon’s hill country during the 1920s and 30s, where her mother was born before returning to England after his early death in 1937. After her first visit to Sri Lanka in 2005, Lindsay developed works that responded to this journey. She chose a quiet, contemplative approach to reflect on the complexity of colonial histories. Research into her family history led her to delve deeper into Sri Lanka’s complex history as a trading nation and to expand her materials to speak to this layered past. The use of cinnamon in this work connects to the story of 17th-century weavers from Southern India who were displaced from the Kingdom of Kandy and sent to the southwest coast to become cinnamon peelers under Portuguese and later Dutch rule. The finely woven ticking strips seen here reference the thick cotton fabric once used to cover mattresses and pillows aboard cargo ships transporting spices from Sri Lanka - a subtle reminder of the human stories woven into trade routes and colonial histories.

Sara Lindsay is a Melbourne-based artist, curator and educator. She worked as a weaver at the Victorian Tapestry Workshop (now the Australian Tapestry Workshop) from its foundation in 1976 until 1990. Alongside her art practice, Lindsay has lectured at the Tasmanian School of Art, held the role of Curator of Textiles at the Tasmanian Museum and Art Gallery, then the position of Production Manager at the Australian Tapestry Workshop. Since 2013 she has mentored three Karen refugee women from Myanmar, assisting in their professional development and furthering their tapestry skills. In 2023 Lindsay began the Ararat New Settlement Weaving Program, teaching and mentoring culturally diverse settlers from refugee and migrant backgrounds in the Ararat region. The artwork exhibited here is part of body of work exploring Lindsay’s family’s historical ties to Sri Lanka. Her British grandfather managed a tea plantation in Ceylon’s hill country during the 1920s and 30s, where her mother was born before returning to England after his early death in 1937. After her first visit to Sri Lanka in 2005, Lindsay developed works that responded to this journey. She chose a quiet, contemplative approach to reflect on the complexity of colonial histories. Research into her family history led her to delve deeper into Sri Lanka’s complex history as a trading nation and to expand her materials to speak to this layered past. The use of cinnamon in this work connects to the story of 17th-century weavers from Southern India who were displaced from the Kingdom of Kandy and sent to the southwest coast to become cinnamon peelers under Portuguese and later Dutch rule. The finely woven ticking strips seen here reference the thick cotton fabric once used to cover mattresses and pillows aboard cargo ships transporting spices from Sri Lanka - a subtle reminder of the human stories woven into trade routes and colonial histories.