Issued to Air service personal for use in the European theatre of operations only. Issued for the information and guidance of all concerned.Card folder - The Responsibilities of a Prisoner of War. Khaki in colour.Folded into three pages.Restricted.The responsibilities of a prisoner of war.European theatre of war.Not to be taken into the air.

Used in European Theatre on WW I by German soldiers - collected by Charles Honybun during his WW I service in France.Rectangular, brass-coloured belt buckles with central medallion of crown surrounded by inscription and leaves. (.2 with portion of leather belt attached).1. GOTT MIT UNS (NA4962.2) 2. IN TREUE FEST (NA4962.1)world war i, mitcham rsl, charles henry honybun

Bronze "Italy Star" WWII Europe and Mediterranean Theatre Service. Bronze "Burma Star" WWII Burma Theatre Service Pacific. Bronze "Atlantic Star" WWII Battle of the Atlantic. Air Crew Europe France and Germany. Bronze " France and Germany Star" WWII Central and Northern European Theatre Service. United Nations Service Medal. Korea . Issued for service under U N Command in Korea . U N 1st International Award. United Nations Medal UNFICYP. Issued in 1964 to UN Servicemen in Cyprus. For the restoration of Law and Order. In the Service of Peace.As above.

Initial training of Australian Pilots for WW2 occurred in Canada at Royal Canadian Air Force at Uplands, Ottowa. From there they would have continued to the European Theatre of War. Part of the collection of William (Bill) Thomason. Refer Cat No. 4136P.Black and white photo of 18 trainee Australian Pilots mainly recruited from NSW graduating from training in Nov. 1941 at the No.2 Service Flying Training school in Canada.On front, sign says R.C.A.F. Official photograph. Stuck to the back is a complete list of class members with names and places of origin. Stamped “Crown Copyright”. In pencil is written "Sydney Morning Herald". Date stamped “14 Nov 1941”.collection of william (bill) thomason, photograph, trainee australian pilots

Air Publication 1548 detailing the responsibilities of air crew in case of becoming POWs. Warning on pamphlet states that it must not be taken into the air. Pamphlet was for use in the European theatre only. Item re Frederick Gardner DAVEY DFC No 410533 RAAF. Refer Reg No 3536P for his service details..1) & .2) The Responsibilities of a Prisioner of War. Light brown card pamphlet folded into 3 sections. Printing in black type front / back..1) Top LH corner of front handwritten in pencil: P/O Daveypow’s, responsibilities off

The various map extract showed the position of the German Control of Europe at the point of time in 1944 and April 1945 near the end. Was for general issue at a time when Allied Forces were on top moving towards German lines.Yellow faded paper, black writing and b & W photos. 1. Four page extract from Newspaper "The Sun" with centre pages having a detailed map of the European Theatre of War dated 11 April 1945. front and Back pages covering normal news items. 2. Four page extract from "The Sun" newspaper giving a phasing of German control of Europe over period of War and a detailed map of position as at 5th August 1944. Final page lists key dates in the history of the War.1. Map headed "The Crumbling German Empire 1939-45". 2. Maps headed "The War Map".ww2, europe, maps, newspapers

Photographic documentation of World War II in both the European and Pacific theatres of war.Illustrated hard cover with title on cover & spine in black & white letters. Dust cover illustrated front & back. Red and grey in colour. 600 pages with cut edges. Black & white illustrations.On front end paper: To Len Xmas 1999, Cynthia Donated by Len Buches familybooks-military-history, photography-photographs

1. American Campaign Medal - For service in Active duty in the WW2 American Theatre of Operations up to 2 Mar 1946, including 1 year service in Continental USA. 2. Pacific Campaign Medal - For service in Asiatic - Pacific area during WW2. 3. European - African Medal - Awarded for qualifying service with the European, African & Middle Eastern Theatres of WW2.Three medals with ribbons - unmounted. 1. American Campaign Medal. 2. Pacific Campaign Medal. 3. European - African - Middle Easter Campaign Medal.No name inscriptions.ron mills collection, medals, us

The 1914–15 Star was instituted in December 1918 and was awarded to all who served in the British and Imperial forces against the Central European Powers in any theatre of the Great War between 5 August 1914 and 31 December 1915, provided they had not already received the 1914 Star. The period of eligibility was prior to the Military Service Act 1916, which introduced conscription in Britain. Recipients also received the British War Medal and the Victory Medal. Leah Rosenthal volunteered with Queen Alexandra's Imperial Nursing Service Reserve, serving in France, and also was awarded the Associate Royal Red CrossOf significance to the AHNL as the recipient was an Alfred Hospital GraduateThe medal, based on the design of the earlier 1914 Star, is a four-pointed star of bright bronze, ensigned with a crown. The medal and suspension assembly was struck in one piece. The obverse has two crossed gladii (swords) with their blades upwards, the points and grips of which form what might appear to be four additional points to the star. The swords are overlaid by a wreath of oak leaves, with the Royal Cypher of King George V at the base of the wreath and an overlaying central scroll inscribed "1914–15". The reverse is plain and is impressed with the recipient's details [LIEUT. /J. ROSENTHAL. RANC] The attached ribbon has the red, white and blue colours of the flag of the United Kingdom in shaded and watered bands. The medal has been mounted on card together with recipient's British War Medal and Victory Medalalfred hospital, world war 1914-1918, nurses, leah rosenthal, queen alexandra's imperial military nursing service reserve

The pupils of Falconer Street Central School No.3918 in North Fitzroy rehearse with conductress Miss Ida Park for their performance at the Temperance Hall, Russell Street Melbourne with proceeds going to the Lord Mayor’s Fund. The house on the right of the photograph is Jubilee House, 126 Michael Street North Fitzroy and is extant. Photographer notations on slide: Choir At Fitzroy State School 1933 B5 While this photograph appears not to have been published, a photograph taken from a different angle of the same event was published in The Age 21 July 1933. SCHOOL CHILDREN SING IN THE OPEN AIR. “A choir of children at North Fitzroy practise their songs for a Pantomime, to be given in the Temperance Hall for the Lord Mayor's Fund on Wednesday next. On the extreme left is the conductress of the Choir (Miss Ida Park).” Reference: http://nla.gov.au/nla.news-article204368572 Research by project volunteer, Fiona Collyer: Children of The Falconer Street Central School Choral Society, trained by conductress Miss Ida Park, along with dance and gymnastics pupils of Misses Dorothy Gibb and Inez Ellis, performed in the “Cinderella” pantomime at the Temperance Hall in Russell Street, Melbourne on 26 July, 1933. The proceeds went to the Lord Mayor’s Fund. Conductress Miss Ida Park (1904- 1952) lived in the North Fitzroy and Clifton Hill area all her life. She was immersed in the music world of Melbourne and was a member of the Musical Society of Victoria. Ida graduated from Melbourne University Conservatorium with a Bachelor of Music degree in 1929 before departing for London where she studied piano and organ at the Royal Academy of Music. Ida returned to Melbourne in 1931, and billed as “The Gifted Young Australian Pianist”, held pianoforte recitals of classical music at Assembly Hall, Collins Street. She also played the organ for services at St Paul’s Independent Church in Delbridge Street, North Fitzroy and later St Luke’s, North Fitzroy. Ida conducted the children of the Falconer Street Central School Choral Society as they competed in the State School Choral Championships and the 85 children of the Fitzroy City Centenary Choir who sang at Melbourne’s Centenary celebrations of 1934/35. In 1945, Ida married Charles Hazeldine, a tenor and returned digger who had served in two world wars. The pair performed together in many concerts over the years. Tragically, both Ida and Charles were badly injured when struck by a car while crossing Queens Parade Clifton Hill in June 1952, with Ida dying from head injuries at St Vincent’s Hospital soon after. She was 48 years old. Charles wrote on Ida’s death notice - “Called home.” The choir were pupils of Falconer Street Central School No. 3918 in North Fitzroy which was built in 1915 to provide upper primary education for grades 5 to 8 for the area. In 1957 it became Fitzroy High School. In 1992, the Kennett Government swept to power, embarking on a program of fiscal austerity and privatisation of government services. 390 government schools were closed, with the land proposed to be sold to developers. 7000 teachers were sacked: 10% of Victoria’s public school teachers. Auxiliary school staff also lost their jobs. Amongst the first to close was Fitzroy High School. Fearful that the land would be sold, hundreds of students, parents, teachers and local residents occupied the building around-the-clock in four hour shifts and overnight for 14 months, sleeping on gym mats in the principal’s office and administrators’ wing. The blockade was lifted when a arrangement was reached to allow Kangan Batman TAFE to use the school from 1993 until 1998. With the election of the Bracks Government in 1999, and construction of new buildings, Fitzroy High School was reopened in 2004 after a 12 year battle. Temperance Hall, at 172 Russell Street, where the children performed “Cinderella”, was built in 1872 by the Melbourne Total Abstinence Society as a venue for lectures, meetings and alcohol-free community concerts and events. From 1934, Temperance Hall was fitted out as a cinema and renamed the Imperial Theatre, showing popular Hollywood films, before closing in 1939 for renovations and reopening as the Savoy Theatre, Melbourne’s first “Continental” talkies cinema. At this time, Australian cinema programming was dominated by American and British films. The lessees, Continental Film Art Theatre began negotiating for theatre properties in Melbourne, Sydney, Adelaide, Brisbane, Perth and Auckland to screen foreign language films, hoping to present the finest productions from France, Germany, Holland and Italy. At the cost of £6000, the theatre was fitted with the latest Mirrophonic sound and projection system and enlarged to seat 800 patrons with luxurious, ultra modern fittings and furnishings in a colour palette of rust and beige. Instead of usherettes, General Manager Peter Dawson, hoping to bring a sophisticated European atmosphere to the theatre, employed attractive, multilingual “Continental hostesses” to assist guests (not patrons) and answer queries relating to the films. Collectively the hostesses spoke English, French, Dutch, German, Russian and Italian. The Age 20 May 1939- “Atmosphere is a very important part of the theatre's scheme. Ushers in the ordinary sense will not be employed; hostesses will look upon patrons as guests. They will be dressed in full evening dress, and the only indication that they are not guests is the little medallion pinned to their evening dress, on which their names are inscribed.” The hostesses were dressed in evening gowns of olive-green velvet, the full skirts embroidered with gold loops, wine velvet bolero jackets and long white kid gloves with silvery tiaras in their hair. For guests worried that they may not understand the plot, the management assured patrons that- “By means of superimposed English translations on the bottom of the screen, the dialogue is perfectly understandable and the whole witty story can be followed with ease.” The Gala opening of the Savoy Theatre, on 31 May 1939 was attended by a “who’s who” of Melbourne Society, the women wearing beautiful gowns, headdresses and furs. Amongst the guests were former premier Sir Stanley Argyle and Lady Argyle, former Lord Mayor Sir Harold Gengoult-Smith and his wife Cynthia, Field Marshall Thomas Blamey and Lady Blamey and Miss Jessie Brookes. The Vice Consul for France, Monsieur Frank Puaux and his wife attended, Madame Puaux dressed in a black satin gown and a musquash fur cape. She was presented with a beautiful bouquet of scarlet carnations and lily of the valley tied with the tricolour of France. In his speech Monsieur Puaux stated that “from the cultural, linguistic and artistic points of view it was excellent that the Australian public should have an opportunity to see foreign film in the original language.” “Letty” writing in Table Talk magazine described the atmosphere of “Continental” gaiety that had permeated Melbourne - “The Letters of Letty”, Table Talk 8 June 1939 “The “foreign influence” is definitely obtruding itself into the even tenor of Melbourne life these days…. but in the pleasantest manner possible! Included in the great number of Continental people who have recently made their homes here, we have stars of the Russian ballet settling in our midst…. and now… we have been presented with our own Continental picture theatre in the attractive shape of The Savoy, which opened its doors on Wednesday night for the exclusive release of foreign films. One could hardly recognise the old Temperance Hall in its adaptation to the smart, comfortable and thoroughly-intriguing Savoy Theatre. Where once this rather draughty old building stood in Russell Street there now greets us an unmistakable “Continental” edifice, living up to its exterior by sustaining within its walls its overseas’ atmosphere. Indeed, one feels as though one has crossed the threshold into a European city, stepping out of the unmistakably Australian street that is Russell into The Savoy lounge to be greeted by polite “messieurs” from the attractive, Continental-looking usherettes and to gaze upon a film as delightfully French in story and presentation as “La Kermesse Heroique.” But successful though “La Kermesse Heroique” proved on its initial presentation inside the theatre, the debut was no more triumphal than that made by the winning and pretty little French lass who had charge of the booking office outside in the foyer. With her attractive accent and Continental flair for making one “feel at home” she was undoubtedly one of the hits of the night-especially with the susceptible males, who spent very much longer in the lounge than is customary, racking their brains for excuses for making conversation with the attractive Parisienne! Those French girls certainly have a way with them!” The opening film, the 1935 French comedy “La Kermesse Heroique”, (The Heroic Sex) starring Francoise Rosay and Jean Murat (film now called “Carnival in Flanders”) was the winner of the Grand Prix du Cinema Francais as the finest picture of 1936 and described in the advertisement as “The Gay French Comedy of Laughter and Romance” The film is set during the 17th century Spanish occupation of Flanders in the Flemish town of Boom at the time of their annual festival. Hearing news of a pending visit to Boom by the commander, the Duke of Olivares and his army, and fearing rape and pillage, the boorish burgomaster feigns his own death, hoping the Spaniards will bypass the grieving town out of respect. The army arrives and the cowardly men of the town flee. The womenfolk decide on a different approach. Lead by the burgomaster’s beautiful wife Cornelia, they set out to to preserve the peace with grace and hospitality only to find the Spaniards attractive and virile, unlike their own husbands. The Sun newspaper described the film as “Mellow as a Stilton cheese, and as ripely suited to adult taste.” Preceding “La Kermesse Heroique” was a Gaumont British newsreel of King George VI and Queen Elizabeth departing for a tour of Canada and the Soviet documentary “Nine Months on a Drifting Ice Floe” During the war “Continental” films became difficult to source, so the Savoy screened Hollywood movies and held fund raisers for the war effort. After World War Two, the Savoy continued to screen “Continental” films, catering to post-war immigrants from Europe and bohemian Melburnians. In 1953, the Savoy had a wildly popular season with queues winding around the block to see Swedish summer romance “One Summer of Happiness” (Hon dansade en sommar) with its nude swimming scenes. The Chief Commonwealth Censor declined to cut the film on the grounds that although it displayed nudity, it was genuinely artistic. According to Wikipedia, film director Fred Schepisi was first exposed to European films such as “Bicycle Thieves”, “Rocco and His Brothers” and “The Wages of Fear” at the Savoy as a teenager, leading to his long career in filmmaking. In 1955, in response to the massive rise in car ownership, the Melbourne City Council recommended that parking stations be built on every block. The Savoy Theatre and adjacent buildings, which included the Golden Fleece Hotel were demolished in 1963 and replaced with Total House, a Brutalist commercial building consisting of a seven storey car park crowned by a four storey office block, shops at street level, and a basement theatre which housed the Lido Theatre Restaurant-Cabaret from 1965. The building was designed by architectural firm Bogle & Banfield Associates and named for the original tenant of the offices, French oil company, Total Oil Products P/L. The Lido Theatre Restaurant was managed by former Tivoli dancer and promoter David Hamilton McIlwraith, presenting dinner and a glamorous cabaret floor show of showgirls, (some topless) to accompany variety acts by local and international actors, singers, comedians and magicians. The interior of the Lido was opulently decorated in deep, lush green with old world gold trim and chandeliers. Handily, patrons could enter and leave via an elevator, straight from the building’s own car park! A four course gourmet dinner with show and dancing cost $8.00 in 1968. The Lido advertised in 1966 that “Every visitor to Melbourne soon discovers the brightest entertainment spot in the Southern Hemisphere with its million dollar decor, dining delights and spectacular stage productions.” Australian Jewish News - 21 April 1967 - “Superb decor and atmosphere, cuisine and service have been readily recognised as the contributing factors to the excellence of stage presentations, staging, costumes, decor and, of course, the actual choice of artists.” The bedazzling ensemble of 40 high-kicking, feathered and sequinned showgirls were advertised as the “Fabulous Lido girls and the controversial Baretop Lido Goddesses” who were described as “Statuesque Beauty as Nature intended” and “…a host of glamorous gals whose favourite shade is flesh pink.” Some of the acts who performed at the Lido were- -Broken Hill’s own - opera singer June Bronhill -1967. -Versatile singer Lovelace Watkins known as “Black Sinatra - 1967. -“Queen of the five-fingered boogie", honky-tonk and rollicking rag-time pianist, Winifred Atwell - 1967. -New Zealand pop duo, Bill and Boyd -1968. -American actress and soprano Kathryn Grayson -1968. -Denise Drysdale in “Say It With Music” -1968. -“Catwoman” Eartha Kitt -1969. -Internationally recognised female impersonator, Sydneysider Tracey Lee, (Maxwell Richie) billed as "controversial impressionist and singing personality from the famous Carousel Nightspot in Paris". -Frances Faye, American comedienne and show-tune singer and pianist-1969. -“Cry Guy” histrionic singer Johnnie Ray -1970. -Risqué revue “Oh Calcutta!” with some segments and the “four letter” words removed-1970. In 1970, under new management, the Lido was renovated with claret and gold wallpaper, midnight blue ceiling and a computerised fountain with fairy lights and relaunched by “The Tigress from Tiger Bay”, Shirley Bassey. The relaunch was short lived however, as later that year the venue became El Toro Espana, a Spanish restaurant and nightclub offering a four course meal for $4.50 while you watched the floorshow. The venue then briefly became the Red Garter Music Hall Theatre from 1972, then in 1974 the site became the 600 seat Total Theatre comprising of a cinema with a stage for live acts. There were also three bars to choose from - the Crush Bar, the Bleachers and the Snake Pit. Total Theatre had the unusual concept of a live music act, or plays, musicals and magicians followed by a film. In 1975 soprano Suzanne Steele featured, followed by the film “The Voyage” starring Sophia Loren and Richard Burton. In 1975, the Total held a rock film festival showing a Jimi Hendrix documentary, “Monterey Pop Festival”, “Pink Floyd in Pompeii” and more. In 1976, 17 year old Chrissy Amphlett, later of rock band Divinyls, played the role of Linda Lips for nine months in the Australian stage production of R-rated “sexual musical”, “Let My People Come” at the Total Theatre. The Total Theatre closed in 1979 and from 1980 to 2014 the venue became Billboard Nightclub, hosting local and international acts, including INXS, Tina Turner and John Farnham, and in 2009, 18 year old Taylor Swift. The venue is now called 170 Russell and presents hundreds of live local and international acts every year. In 2014, after being under threat of demolition, Total House was listed on the Victorian Heritage Register as “a landmark of post-World War II modernist design and…one of the earliest and best expressions of Brutalist architecture in Victoria”. References: RICHARD CROOKS ARRIVES SCHOOL AGAIN VENUE OF ROYAL VISIT (1939, May 31). The Age (Melbourne, Vic. : 1854 - 1954), p. 17. Retrieved November 21, 2025, from http://nla.gov.au/nla.news-article205629696 AMUSEMENTS. (1933, July 27). The Age (Melbourne, Vic. : 1854 - 1954), p. 12. Retrieved September 19, 2025, from http://nla.gov.au/nla.news-article204378853 https://larzra.wordpress.com/origins/ CONTINENTAL HOSTESSES, (1939, May 31). The Sun News-Pictorial (Melbourne, Vic. : 1922 - 1954; 1956), p. 27. Retrieved November 21, 2025, from http://nla.gov.au/nla.news-article278189387 The Letters of Letty (1939, June 8). Table Talk (Melbourne, Vic. : 1885 - 1939), p. 12. Retrieved October 29, 2025, from http://nla.gov.au/nla.news-article149320966 SAVOY THEATRE (1939, June 1). The Age (Melbourne, Vic. : 1854 - 1954), p. 7. Retrieved September 19, 2025, from http://nla.gov.au/nla.news-article205639035 NEW THEATRE OPENED (1939, June 1). The Argus (Melbourne, Vic. : 1848 - 1957), p. 8. Retrieved September 21, 2025, from http://nla.gov.au/nla.news-article12134234 https://en.wikipedia.org/wiki/Total_House Page [?] TOUCH OF SPAIN (1970, December 18). The Australian Jewish News (Melbourne, Vic. : 1935 - 1999), p. 35. Retrieved September 23, 2025, from http://nla.gov.au/nla.news-article262493757 No title (1935, June 11). The Herald (Melbourne, Vic. : 1861 - 1954), p. 27. Retrieved September 29, 2025, from http://nla.gov.au/nla.news-article244840169 Dine, wine, and watch a stage show (1966, November 16). The Australian Women's Weekly (1933 - 1982), p. 6. Retrieved November 9, 2025, from http://nla.gov.au/nla.news-article44025050 http://jonathanbollen.net/2011/02/26/tracey-lee/ LIDO ‘ART’ (1967, April 21). The Australian Jewish News (Melbourne, Vic. : 1935 - 1999), p. 8. Retrieved November 9, 2025, from http://nla.gov.au/nla.news-article263003136 THE FABULOUS LIDO (1965, October 22). The Australian Jewish News (Melbourne, Vic. : 1935 - 1999), p. 17. Retrieved November 9, 2025, from http://nla.gov.au/nla.news-article262983995 No title (1939, May 31). The Argus (Melbourne, Vic. : 1848 - 1957), p. 6. Retrieved November 21, 2025, from http://nla.gov.au/nla.news-article12134144 #NEW THEATRE OPENED (1939, June 1). The Argus (Melbourne, Vic. : 1848 - 1957), p. 8. Retrieved September 29, 2025, from http://nla.gov.au/nla.news-article12134234 https://en.wikipedia.org/wiki/Tracey_Lee_(female_impersonator) https://citycollection.melbourne.vic.gov.au/35b-40h-image-of-a-model-for-the-total-house-offices-and-car-park-on-russell-street/ https://www.theage.com.au/national/victoria/from-the-archives-1990-s-hundreds-of-school-closures-hit-victoria-20190801-p52cwj.html http://jonathanbollen.net/2011/05/29/the-lido-melbourne/Photographer notations on slide: primary schools, schools, music, education, choirs, fitzroy, cars, theatre restaurants, venues, films

Hard Cover Book. History of The Great European War Set 1 Vol 1 Author: W Stanley Macbean Knight Publisher: The Caxton Publishing Company Ltd Clune House, 161 Surrey St, London W.C. Printer: The Standard Publishing Co. 100 Flinders St, Melbourne. Date: Various Volume Subscription Releases 1914 to 1920 Further Information: Red pictorial cloth gilt-lettered boards, each volume illustrated with a coloured frontispiece, black-and-white photographic plates, and fold-out colour maps of various fronts depending on volume(e.g. the Serbian Retreat, the Italian front etc.). Note there are two sets of this publication in the Flagstaff book collection.non-fictionThis set is a contemporary and popular narrative history of WWI, written and published while the war was still happening; the preface is dated 1914, but volumes were issued serially as the war progressed, meaning later volumes covering 1917–18 and the peace were released several years after the first. This is a common format for the period — compare rival serials like The Great War (Hammerton & Wilson) or Collier's The Story of the Great War — publishers issued 'instant history' in subscription parts to a public hungry for authoritative-sounding accounts. The volumes in this set cover the following topics during the First World War: Vol. I — Causes and Effects (1914): Its aims are to explain the political and diplomatic background to the war — the alliance system and the July Crisis — with the outbreak of hostilities in August 1914. Vol. II: Continues into the opening campaigns of 1914 (per Internet Archive, 'Vol 2 of 10', contemporary account). Vol. III: Descriptions note it as continuing the story of the campaign of the Allies and their mid-war campaigns. Vol. IV: Covers 1916 and the ongoing 1915–16 campaigns; this volume contains a fold-out colour map of the Serbian Retreat and one of the Italian front, featuring the Balkan and Italian theatres of war. Vols. V–VI: Continue the general campaign narrative through 1916–17. Vols. VII–VIII: Cover the later war years, focusing on 1917–18. Vols. IX–X: These volumes cover the war's final phase and the Armistice. Publication of the last volumes continued into the early 1920s, covering the peace settlement at Versailles and its aftermath.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, book, the history of the great european war vol 1 set 1, the history of the great european war, caxton printers

Alexander Wright was killed whilst performing at the Birmingham Empire as the result of a German air Attack in October 1940. The theatre had a direct hit. The stage name of Alex Wright was 'Navarre' "Prince of Mimics". According to Frank Wright Alex was a great impersonator with a unique range Bass - tenor with many accents (not unlike Peter Dawson) "AUSTRALIAN KILLED An Australian, Alexander Wright, radio variety star, who toured Europe and Australia under the pseudonym of Navarre, was killed during a recent air raid in a Midland . town. His broth-er, Frank Wright, is musical director for the London County council."(Border Morning Mail, 22 Oct 1940) Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and became the Australian Open Cornet Champion by the age of eighteen. Sepia formal photograph of a seated man with two boys, one standing on either side of him. They are posed in front of a backdrop showing one side of a window and its curtain, panelling and a painting. The boys are dressed in shoes, socks, knee pants, vests with a chain, white shirts and a jacket. The man is similarly dressed although with long trousers.frank wright, alex wright, navarre, alexander wright, william wright

Frank Wright was a renown resident of Smeaton, where he was born on 2 August 1901. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.1). Black and white photograph of two men dressed in suits and hats, standing at the bottom of a flight of stairs leading to a large public building. At the top of the stairs is a panelled door to the left and to the right is a man standing with his hands on his hips. The man on the left is Frank Wright and the man on his right is Mr Buckley. The place is the museum in Auckland, New Zealand. 2). Black and white photograph of three men wearing suits and hats, walking along the pavement. In the background city buildings can be seen. The man on the left is Frank Wright and the place is Christchurch, New Zealand.1). Written in pencil on back - Frank Wright, Mr Buckley, Auckland (N.Z.) Museum, Feb 1933 2). Stamped on back - The Filmograph Co. (N.Z.), Majestic Theatre Buildings, Christchurch. (The paper has been cut in half, so half the written information is lost) Written in pencil of back - right, adjudicator, secretary N.Z.B.B.ch., Band Contest, 1933frank wright, mr buckley, auckland museum, magestic theatre buildings, brass band, christchurch, adjudicator

A Post card from Frank Wright to his friend W. C. Snelling reporting on his travels to New York. Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.Postcard with black and white photo of the Radio City Music HallPrinted on front - No 214. Radio City Music Hall, World's Largest Theatre, New York. Handwritten on back - Message from Frank Wright to W.C. Snellingfrank wright, radio city music hall

This horse-drawn, two-wheeled cart with a tank, is known as a Furphy Farm Water Cart that was made in Shepparton, northern Victoria, c. 1942. John Furphy (1842-1920) was born in Moonee Ponds, in 1842 to Irish immigrant parents and subsequently raised in the Yarra Valley before the family moved to Kyneton in central Victoria, where he completed an apprenticeship with the firm Hutcheson and Walker. Murphy began operations of his own at a site on Piper Street in Kyneton in 1864. He relocated for a business opportunity and founded the first blacksmiths and wheelwrights shop in the newly surveyed town of Shepparton in 1873. Furphy invented many farming tools and machines including a patented grain-stripper, and won awards at the 1888-89 Melbourne International Exhibition. His most famous invention is the Furphy Farm Water Cart, designed in the 1880s, at a time when water for most households and farms was carted on wagons in wooden barrels. The Furphy’s water cart is a single item that combines a water metal tank and a cart. The design of the cart was simple yet effective, and became popular very quickly and established itself as a vital piece of farming equipment. The water cart has had a number of words cast into its ends over many years. References to the foundry’s location in Shepparton, as well as advertising of other products also manufactured by J. Furphy & Sons were present on the ends. However, the most significant set of words to feature on the tank, was a poem encouraging continual improvement: ‘Good Better Best, Never Let it Rest, Until your Good is Better, And your Better Best’. During The Great War (1914-1918), the water cart was used by the Australian militarily at a large AIF (Australian Imperial Force) camp in Broadmeadows (Melbourne) where thousands of men were camped for months, before being transported aboard. Furphy Water Carts provided water to the troops, and were usually placed near the camp latrines, which was one of the few places the troops could share gossip and tall tales away from the prying eyes and ears of their officers. The water cart drivers were also notorious sources of information, despite most of their news being hearsay, or totally unreliable. By the time the men of the AIF were in engaged in combat on the Gallipoli Peninsula and the Western Front, the carts used for water supply had no markings and became simply referred to as Furphys. This owed as much to the coining of the term ‘Furphy’, Australian slang for suspect information or rumour. After a number of decades as principally a soldier’s word, 'Furphy' entered the broader Australian vernacular and was used mainly by the political class until recently when the term was taken up by a Australian brewer as a beer brand. This Furphy Water Cart was purchased by Friends of Flagstaff Hill in 2014. The support of local individuals, organisations and businesses enabled its restoration and later its installation alongside the existing late-19th century water pipe stand and 1940s hand pump The Furphy Farm Water Cart is of historical significance as it represents a famous Australian time-saving and energy-saving invention of the 1880s, replacing the labour intensive activity of collecting and dispensing water from barrels and casks on the back of carts. The water cart’s connection with manufacturing companies J. Furphy & Sons and Furphy Foundry are significant for being early Australian businesses that are still in operation today. Furphy carts are of military significance for the role they played during The Great War (1914-1918) in Australian army camps, and theatres of war in Europe and the Middle East, to supply the AIF troops with fresh water. A wooden framed, two-wheeled, horse-drawn cart, fitted with a horizontally mounted, cylindrical metal tank. The tank is made of rolled, sheet steel with a riveted seam, and cast iron ends with cast iron ends. The spoked metal wheels have fitted flat iron tyres and metal hubs. A metal pipe is joined to the outlet. The tank is silver coloured, the ends, wheels and trims are crimson, and the script lettering on tank sides is black. There are inscriptions on the tank, ends, and hubs. The water tank was made in 1942 in Shepparton, Australia, by J. Furphy & Sons and has a capacity of 180 gallons (848 litres). Hub perimeter, embossed “J. FURPHY & SONS” “KEEP THE / BOLTS TIGHT” Hub centre embossed [indecipherable] Tank, each side, painted “J. FURPHY & SONS / Makers / SHEPPARTON” Tank ends, embossed – “FURPHY’S FARM WATER CART” “BORN ABOUT 1880 – STILL ‘GOING STRONG’ 1942” “j. FURPHY & SONS / MAKERS / SHEPPARTON - VIC “ “S - - - - - L MANUFACTURERS” [SPECIAL] “SPIKE ROLLERS” “SINGLE TREES” “PLOUGH WHEELS” “IRON CASTINGS” “LAND GRADERS” “STEEL DELVERS” “CAST IRON PIG” “CHAIN YOKES” “GOOD – BETTER – BEST / NEVER LET IT REST / TILL YOUR GOOD IS BETTER / AND YOUR BETTER – BEST” Image [Stork carrying a baby] above shorthand, transcribed "Produce and populate or perish" Image [Furphy Pig Feeder] beside ‘Cast Iron Pig’ Shorthand, transcribed “"Water is the gift of God but beer and whiskey are concoctions of the Devil, come and have a drink of water"warrnambool, flagstaff hill maritime museum, water cart, furphy cart, furphy tank, furphy farm water cart, furphy, john furphy, john furphy & sons, furphy foundry, kyneton, shepparton, mobile water tank, jinker, hutchinson & walker, blacksmith, farm equipment, implement maker, tool maker, horse drawn, stork and baby, good, better, best, barrel, tank, first world war, wwi, eastern front, gallipoli, j furphy & sons

Hard Cover Book. History of The Great European War Set 1 Vol 2 Author: W Stanley Macbean Knight Publisher: The Caxton Publishing Company Ltd Clune House, 161 Surrey St, London W.C. Printer: The Standard Publishing Co. 100 Flinders St, Melbourne. Date: Various Volume Subscription Releases 1914 to 1920 Further Information: Red pictorial cloth gilt-lettered boards, each volume illustrated with a coloured frontispiece, black-and-white photographic plates, and fold-out colour maps of various fronts depending on volume(e.g. the Serbian Retreat, the Italian front etc.). Note there are two sets of this publication in the Flagstaff book collection.non-fictionThis set is a contemporary and popular narrative history of WWI, written and published while the war was still happening; the preface is dated 1914, but volumes were issued serially as the war progressed, meaning later volumes covering 1917–18 and the peace were released several years after the first. This is a common format for the period — compare rival serials like The Great War (Hammerton & Wilson) or Collier's The Story of the Great War — publishers issued 'instant history' in subscription parts to a public hungry for authoritative-sounding accounts. The volumes in this set cover the following topics during the First World War: Vol. I — Causes and Effects (1914): Its aims are to explain the political and diplomatic background to the war — the alliance system and the July Crisis — with the outbreak of hostilities in August 1914. Vol. II: Continues into the opening campaigns of 1914 (per Internet Archive, 'Vol 2 of 10', contemporary account). Vol. III: Descriptions note it as continuing the story of the campaign of the Allies and their mid-war campaigns. Vol. IV: Covers 1916 and the ongoing 1915–16 campaigns; this volume contains a fold-out colour map of the Serbian Retreat and one of the Italian front, featuring the Balkan and Italian theatres of war. Vols. V–VI: Continue the general campaign narrative through 1916–17. Vols. VII–VIII: Cover the later war years, focusing on 1917–18. Vols. IX–X: These volumes cover the war's final phase and the Armistice. Publication of the last volumes continued into the early 1920s, covering the peace settlement at Versailles and its aftermath.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, book, the history of the great european war vol 1 set 1, the history of the great european war, caxton printers

Hard Cover Book. History of The Great European War Set 1 Vol 3 Author: W Stanley Macbean Knight Publisher: The Caxton Publishing Company Ltd Clune House, 161 Surrey St, London W.C. Printer: The Standard Publishing Co. 100 Flinders St, Melbourne. Date: Various Volume Subscription Releases 1914 to 1920 Further Information: Red pictorial cloth gilt-lettered boards, each volume illustrated with a coloured frontispiece, black-and-white photographic plates, and fold-out colour maps of various fronts depending on volume(e.g. the Serbian Retreat, the Italian front etc.). Note there are two sets of this publication in the Flagstaff book collection.non-fictionThis set is a contemporary and popular narrative history of WWI, written and published while the war was still happening; the preface is dated 1914, but volumes were issued serially as the war progressed, meaning later volumes covering 1917–18 and the peace were released several years after the first. This is a common format for the period — compare rival serials like The Great War (Hammerton & Wilson) or Collier's The Story of the Great War — publishers issued 'instant history' in subscription parts to a public hungry for authoritative-sounding accounts. The volumes in this set cover the following topics during the First World War: Vol. I — Causes and Effects (1914): Its aims are to explain the political and diplomatic background to the war — the alliance system and the July Crisis — with the outbreak of hostilities in August 1914. Vol. II: Continues into the opening campaigns of 1914 (per Internet Archive, 'Vol 2 of 10', contemporary account). Vol. III: Descriptions note it as continuing the story of the campaign of the Allies and their mid-war campaigns. Vol. IV: Covers 1916 and the ongoing 1915–16 campaigns; this volume contains a fold-out colour map of the Serbian Retreat and one of the Italian front, featuring the Balkan and Italian theatres of war. Vols. V–VI: Continue the general campaign narrative through 1916–17. Vols. VII–VIII: Cover the later war years, focusing on 1917–18. Vols. IX–X: These volumes cover the war's final phase and the Armistice. Publication of the last volumes continued into the early 1920s, covering the peace settlement at Versailles and its aftermath.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, book, the history of the great european war vol 1 set 1, the history of the great european war, caxton printers

Hard Cover Book. History of The Great European War Set 1 Vol 4 Author: W Stanley Macbean Knight Publisher: The Caxton Publishing Company Ltd Clune House, 161 Surrey St, London W.C. Printer: The Standard Publishing Co. 100 Flinders St, Melbourne. Date: Various Volume Subscription Releases 1914 to 1920 Further Information: Red pictorial cloth gilt-lettered boards, each volume illustrated with a coloured frontispiece, black-and-white photographic plates, and fold-out colour maps of various fronts depending on volume(e.g. the Serbian Retreat, the Italian front etc.). Note there are two sets of this publication in the Flagstaff book collection.non-fictionThis set is a contemporary and popular narrative history of WWI, written and published while the war was still happening; the preface is dated 1914, but volumes were issued serially as the war progressed, meaning later volumes covering 1917–18 and the peace were released several years after the first. This is a common format for the period — compare rival serials like The Great War (Hammerton & Wilson) or Collier's The Story of the Great War — publishers issued 'instant history' in subscription parts to a public hungry for authoritative-sounding accounts. The volumes in this set cover the following topics during the First World War: Vol. I — Causes and Effects (1914): Its aims are to explain the political and diplomatic background to the war — the alliance system and the July Crisis — with the outbreak of hostilities in August 1914. Vol. II: Continues into the opening campaigns of 1914 (per Internet Archive, 'Vol 2 of 10', contemporary account). Vol. III: Descriptions note it as continuing the story of the campaign of the Allies and their mid-war campaigns. Vol. IV: Covers 1916 and the ongoing 1915–16 campaigns; this volume contains a fold-out colour map of the Serbian Retreat and one of the Italian front, featuring the Balkan and Italian theatres of war. Vols. V–VI: Continue the general campaign narrative through 1916–17. Vols. VII–VIII: Cover the later war years, focusing on 1917–18. Vols. IX–X: These volumes cover the war's final phase and the Armistice. Publication of the last volumes continued into the early 1920s, covering the peace settlement at Versailles and its aftermath.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, book, the history of the great european war vol 1 set 1, the history of the great european war, caxton printers

Hard Cover Book. History of The Great European War Set 1 Vol 5 Author: W Stanley Macbean Knight Publisher: The Caxton Publishing Company Ltd Clune House, 161 Surrey St, London W.C. Printer: The Standard Publishing Co. 100 Flinders St, Melbourne. Date: Various Volume Subscription Releases 1914 to 1920 Further Information: Red pictorial cloth gilt-lettered boards, each volume illustrated with a coloured frontispiece, black-and-white photographic plates, and fold-out colour maps of various fronts depending on volume(e.g. the Serbian Retreat, the Italian front etc.). Note there are two sets of this publication in the Flagstaff book collection.non-fictionThis set is a contemporary and popular narrative history of WWI, written and published while the war was still happening; the preface is dated 1914, but volumes were issued serially as the war progressed, meaning later volumes covering 1917–18 and the peace were released several years after the first. This is a common format for the period — compare rival serials like The Great War (Hammerton & Wilson) or Collier's The Story of the Great War — publishers issued 'instant history' in subscription parts to a public hungry for authoritative-sounding accounts. The volumes in this set cover the following topics during the First World War: Vol. I — Causes and Effects (1914): Its aims are to explain the political and diplomatic background to the war — the alliance system and the July Crisis — with the outbreak of hostilities in August 1914. Vol. II: Continues into the opening campaigns of 1914 (per Internet Archive, 'Vol 2 of 10', contemporary account). Vol. III: Descriptions note it as continuing the story of the campaign of the Allies and their mid-war campaigns. Vol. IV: Covers 1916 and the ongoing 1915–16 campaigns; this volume contains a fold-out colour map of the Serbian Retreat and one of the Italian front, featuring the Balkan and Italian theatres of war. Vols. V–VI: Continue the general campaign narrative through 1916–17. Vols. VII–VIII: Cover the later war years, focusing on 1917–18. Vols. IX–X: These volumes cover the war's final phase and the Armistice. Publication of the last volumes continued into the early 1920s, covering the peace settlement at Versailles and its aftermath.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, book, the history of the great european war vol 1 set 1, the history of the great european war, caxton printers

Hard Cover Book. History of The Great European War Set 1 Vol 6 Author: W Stanley Macbean Knight Publisher: The Caxton Publishing Company Ltd Clune House, 161 Surrey St, London W.C. Printer: The Standard Publishing Co. 100 Flinders St, Melbourne. Date: Various Volume Subscription Releases 1914 to 1920 Further Information: Red pictorial cloth gilt-lettered boards, each volume illustrated with a coloured frontispiece, black-and-white photographic plates, and fold-out colour maps of various fronts depending on volume(e.g. the Serbian Retreat, the Italian front etc.). Note there are two sets of this publication in the Flagstaff book collection.non-fictionThis set is a contemporary and popular narrative history of WWI, written and published while the war was still happening; the preface is dated 1914, but volumes were issued serially as the war progressed, meaning later volumes covering 1917–18 and the peace were released several years after the first. This is a common format for the period — compare rival serials like The Great War (Hammerton & Wilson) or Collier's The Story of the Great War — publishers issued 'instant history' in subscription parts to a public hungry for authoritative-sounding accounts. The volumes in this set cover the following topics during the First World War: Vol. I — Causes and Effects (1914): Its aims are to explain the political and diplomatic background to the war — the alliance system and the July Crisis — with the outbreak of hostilities in August 1914. Vol. II: Continues into the opening campaigns of 1914 (per Internet Archive, 'Vol 2 of 10', contemporary account). Vol. III: Descriptions note it as continuing the story of the campaign of the Allies and their mid-war campaigns. Vol. IV: Covers 1916 and the ongoing 1915–16 campaigns; this volume contains a fold-out colour map of the Serbian Retreat and one of the Italian front, featuring the Balkan and Italian theatres of war. Vols. V–VI: Continue the general campaign narrative through 1916–17. Vols. VII–VIII: Cover the later war years, focusing on 1917–18. Vols. IX–X: These volumes cover the war's final phase and the Armistice. Publication of the last volumes continued into the early 1920s, covering the peace settlement at Versailles and its aftermath.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, book, the history of the great european war vol 1 set 1, the history of the great european war, caxton printers

Hard Cover Book. History of The Great European War Set 1 Vol 7 Author: W Stanley Macbean Knight Publisher: The Caxton Publishing Company Ltd Clune House, 161 Surrey St, London W.C. Printer: The Standard Publishing Co. 100 Flinders St, Melbourne. Date: Various Volume Subscription Releases 1914 to 1920 Further Information: Red pictorial cloth gilt-lettered boards, each volume illustrated with a coloured frontispiece, black-and-white photographic plates, and fold-out colour maps of various fronts depending on volume(e.g. the Serbian Retreat, the Italian front etc.). Note there are two sets of this publication in the Flagstaff book collection.non-fictionThis set is a contemporary and popular narrative history of WWI, written and published while the war was still happening; the preface is dated 1914, but volumes were issued serially as the war progressed, meaning later volumes covering 1917–18 and the peace were released several years after the first. This is a common format for the period — compare rival serials like The Great War (Hammerton & Wilson) or Collier's The Story of the Great War — publishers issued 'instant history' in subscription parts to a public hungry for authoritative-sounding accounts. The volumes in this set cover the following topics during the First World War: Vol. I — Causes and Effects (1914): Its aims are to explain the political and diplomatic background to the war — the alliance system and the July Crisis — with the outbreak of hostilities in August 1914. Vol. II: Continues into the opening campaigns of 1914 (per Internet Archive, 'Vol 2 of 10', contemporary account). Vol. III: Descriptions note it as continuing the story of the campaign of the Allies and their mid-war campaigns. Vol. IV: Covers 1916 and the ongoing 1915–16 campaigns; this volume contains a fold-out colour map of the Serbian Retreat and one of the Italian front, featuring the Balkan and Italian theatres of war. Vols. V–VI: Continue the general campaign narrative through 1916–17. Vols. VII–VIII: Cover the later war years, focusing on 1917–18. Vols. IX–X: These volumes cover the war's final phase and the Armistice. Publication of the last volumes continued into the early 1920s, covering the peace settlement at Versailles and its aftermath.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, book, the history of the great european war vol 1 set 1, the history of the great european war, caxton printers

Hard Cover Book. History of The Great European War Set 1 Vol 8 Author: W Stanley Macbean Knight Publisher: The Caxton Publishing Company Ltd Clune House, 161 Surrey St, London W.C. Printer: The Standard Publishing Co. 100 Flinders St, Melbourne. Date: Various Volume Subscription Releases 1914 to 1920 Further Information: Red pictorial cloth gilt-lettered boards, each volume illustrated with a coloured frontispiece, black-and-white photographic plates, and fold-out colour maps of various fronts depending on volume(e.g. the Serbian Retreat, the Italian front etc.). Note there are two sets of this publication in the Flagstaff book collection.non-fictionThis set is a contemporary and popular narrative history of WWI, written and published while the war was still happening; the preface is dated 1914, but volumes were issued serially as the war progressed, meaning later volumes covering 1917–18 and the peace were released several years after the first. This is a common format for the period — compare rival serials like The Great War (Hammerton & Wilson) or Collier's The Story of the Great War — publishers issued 'instant history' in subscription parts to a public hungry for authoritative-sounding accounts. The volumes in this set cover the following topics during the First World War: Vol. I — Causes and Effects (1914): Its aims are to explain the political and diplomatic background to the war — the alliance system and the July Crisis — with the outbreak of hostilities in August 1914. Vol. II: Continues into the opening campaigns of 1914 (per Internet Archive, 'Vol 2 of 10', contemporary account). Vol. III: Descriptions note it as continuing the story of the campaign of the Allies and their mid-war campaigns. Vol. IV: Covers 1916 and the ongoing 1915–16 campaigns; this volume contains a fold-out colour map of the Serbian Retreat and one of the Italian front, featuring the Balkan and Italian theatres of war. Vols. V–VI: Continue the general campaign narrative through 1916–17. Vols. VII–VIII: Cover the later war years, focusing on 1917–18. Vols. IX–X: These volumes cover the war's final phase and the Armistice. Publication of the last volumes continued into the early 1920s, covering the peace settlement at Versailles and its aftermath.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, book, the history of the great european war vol 1 set 1, the history of the great european war, caxton printers

Hard Cover Book. History of The Great European War Set 1 Vol 10 Author: W Stanley Macbean Knight Publisher: The Caxton Publishing Company Ltd Clune House, 161 Surrey St, London W.C. Printer: The Standard Publishing Co. 100 Flinders St, Melbourne. Date: Various Volume Subscription Releases 1914 to 1920 Further Information: Red pictorial cloth gilt-lettered boards, each volume illustrated with a coloured frontispiece, black-and-white photographic plates, and fold-out colour maps of various fronts depending on volume(e.g. the Serbian Retreat, the Italian front etc.). Note there are two sets of this publication in the Flagstaff book collection.non-fictionThis set is a contemporary and popular narrative history of WWI, written and published while the war was still happening; the preface is dated 1914, but volumes were issued serially as the war progressed, meaning later volumes covering 1917–18 and the peace were released several years after the first. This is a common format for the period — compare rival serials like The Great War (Hammerton & Wilson) or Collier's The Story of the Great War — publishers issued 'instant history' in subscription parts to a public hungry for authoritative-sounding accounts. The volumes in this set cover the following topics during the First World War: Vol. I — Causes and Effects (1914): Its aims are to explain the political and diplomatic background to the war — the alliance system and the July Crisis — with the outbreak of hostilities in August 1914. Vol. II: Continues into the opening campaigns of 1914 (per Internet Archive, 'Vol 2 of 10', contemporary account). Vol. III: Descriptions note it as continuing the story of the campaign of the Allies and their mid-war campaigns. Vol. IV: Covers 1916 and the ongoing 1915–16 campaigns; this volume contains a fold-out colour map of the Serbian Retreat and one of the Italian front, featuring the Balkan and Italian theatres of war. Vols. V–VI: Continue the general campaign narrative through 1916–17. Vols. VII–VIII: Cover the later war years, focusing on 1917–18. Vols. IX–X: These volumes cover the war's final phase and the Armistice. Publication of the last volumes continued into the early 1920s, covering the peace settlement at Versailles and its aftermath.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, book, the history of the great european war vol 1 set 1, the history of the great european war, caxton printers

Hard Cover Book. History of The Great European War Set 2 Vol 1 Author: W Stanley Macbean Knight Publisher: The Caxton Publishing Company Ltd Clune House, 161 Surrey St, London W.C. Printer: The Standard Publishing Co. 100 Flinders St, Melbourne. Date: Various Volume Subscription Releases 1914 to 1920 Further Information: Red pictorial cloth gilt-lettered boards, each volume illustrated with a coloured frontispiece, black-and-white photographic plates, and fold-out colour maps of various fronts depending on volume(e.g. the Serbian Retreat, the Italian front etc.). Note there are two sets of this publication in the Flagstaff book collection.non-fictionThis set is a contemporary and popular narrative history of WWI, written and published while the war was still happening; the preface is dated 1914, but volumes were issued serially as the war progressed, meaning later volumes covering 1917–18 and the peace were released several years after the first. This is a common format for the period — compare rival serials like The Great War (Hammerton & Wilson) or Collier's The Story of the Great War — publishers issued 'instant history' in subscription parts to a public hungry for authoritative-sounding accounts. The volumes in this set cover the following topics during the First World War: Vol. I — Causes and Effects (1914): Its aims are to explain the political and diplomatic background to the war — the alliance system and the July Crisis — with the outbreak of hostilities in August 1914. Vol. II: Continues into the opening campaigns of 1914 (per Internet Archive, 'Vol 2 of 10', contemporary account). Vol. III: Descriptions note it as continuing the story of the campaign of the Allies and their mid-war campaigns. Vol. IV: Covers 1916 and the ongoing 1915–16 campaigns; this volume contains a fold-out colour map of the Serbian Retreat and one of the Italian front, featuring the Balkan and Italian theatres of war. Vols. V–VI: Continue the general campaign narrative through 1916–17. Vols. VII–VIII: Cover the later war years, focusing on 1917–18. Vols. IX–X: These volumes cover the war's final phase and the Armistice. Publication of the last volumes continued into the early 1920s, covering the peace settlement at Versailles and its aftermath.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, book, the history of the great european war vol 1 set 1, the history of the great european war, caxton printers

Hard Cover Book. History of The Great European War Set 2 Vol 2 Author: W Stanley Macbean Knight Publisher: The Caxton Publishing Company Ltd Clune House, 161 Surrey St, London W.C. Printer: The Standard Publishing Co. 100 Flinders St, Melbourne. Date: Various Volume Subscription Releases 1914 to 1920 Further Information: Red pictorial cloth gilt-lettered boards, each volume illustrated with a coloured frontispiece, black-and-white photographic plates, and fold-out colour maps of various fronts depending on volume(e.g. the Serbian Retreat, the Italian front etc.). Note there are two sets of this publication in the Flagstaff book collection.non-fictionThis set is a contemporary and popular narrative history of WWI, written and published while the war was still happening; the preface is dated 1914, but volumes were issued serially as the war progressed, meaning later volumes covering 1917–18 and the peace were released several years after the first. This is a common format for the period — compare rival serials like The Great War (Hammerton & Wilson) or Collier's The Story of the Great War — publishers issued 'instant history' in subscription parts to a public hungry for authoritative-sounding accounts. The volumes in this set cover the following topics during the First World War: Vol. I — Causes and Effects (1914): Its aims are to explain the political and diplomatic background to the war — the alliance system and the July Crisis — with the outbreak of hostilities in August 1914. Vol. II: Continues into the opening campaigns of 1914 (per Internet Archive, 'Vol 2 of 10', contemporary account). Vol. III: Descriptions note it as continuing the story of the campaign of the Allies and their mid-war campaigns. Vol. IV: Covers 1916 and the ongoing 1915–16 campaigns; this volume contains a fold-out colour map of the Serbian Retreat and one of the Italian front, featuring the Balkan and Italian theatres of war. Vols. V–VI: Continue the general campaign narrative through 1916–17. Vols. VII–VIII: Cover the later war years, focusing on 1917–18. Vols. IX–X: These volumes cover the war's final phase and the Armistice. Publication of the last volumes continued into the early 1920s, covering the peace settlement at Versailles and its aftermath.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, book, the history of the great european war vol 1 set 1, the history of the great european war, caxton printers

Hard Cover Book. History of The Great European War Set 2 Vol 3 Author: W Stanley Macbean Knight Publisher: The Caxton Publishing Company Ltd Clune House, 161 Surrey St, London W.C. Printer: The Standard Publishing Co. 100 Flinders St, Melbourne. Date: Various Volume Subscription Releases 1914 to 1920 Further Information: Red pictorial cloth gilt-lettered boards, each volume illustrated with a coloured frontispiece, black-and-white photographic plates, and fold-out colour maps of various fronts depending on volume(e.g. the Serbian Retreat, the Italian front etc.). Note there are two sets of this publication in the Flagstaff book collection.non-fictionThis set is a contemporary and popular narrative history of WWI, written and published while the war was still happening; the preface is dated 1914, but volumes were issued serially as the war progressed, meaning later volumes covering 1917–18 and the peace were released several years after the first. This is a common format for the period — compare rival serials like The Great War (Hammerton & Wilson) or Collier's The Story of the Great War — publishers issued 'instant history' in subscription parts to a public hungry for authoritative-sounding accounts. The volumes in this set cover the following topics during the First World War: Vol. I — Causes and Effects (1914): Its aims are to explain the political and diplomatic background to the war — the alliance system and the July Crisis — with the outbreak of hostilities in August 1914. Vol. II: Continues into the opening campaigns of 1914 (per Internet Archive, 'Vol 2 of 10', contemporary account). Vol. III: Descriptions note it as continuing the story of the campaign of the Allies and their mid-war campaigns. Vol. IV: Covers 1916 and the ongoing 1915–16 campaigns; this volume contains a fold-out colour map of the Serbian Retreat and one of the Italian front, featuring the Balkan and Italian theatres of war. Vols. V–VI: Continue the general campaign narrative through 1916–17. Vols. VII–VIII: Cover the later war years, focusing on 1917–18. Vols. IX–X: These volumes cover the war's final phase and the Armistice. Publication of the last volumes continued into the early 1920s, covering the peace settlement at Versailles and its aftermath.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, book, the history of the great european war vol 1 set 1, the history of the great european war, caxton printers