Taken on the 5 November 1917 by James Francis Hurley, this photograph depicts the a war damaged Ypres. The shell damaged wall of the Cloth Hall is featured in the centre of the photograph, with an army vehicle and personal are located on the street beneath the ruined wall.First Battle of Ypres, (October 19–November 22, 1914), first of three costly World War I battles centred on the city of Ypres (now Ieper) in western Flanders. Attempted flank attacks by both the Allies and the Germans failed to achieve significant breakthroughs, and both sides settled into the trench warfare that would characterize the remainder of the war on the Western Front.Black and white rectangular reproduced photograph printed on mate photographic paperReverse: 6525/ (A copyright and reproduction notice from the Australian War Museum, printed upside-down in blue ink)military album, burke museum, world war one, world war 1, ww1, ypres, belguim, ruins, first battle of ypres, james francis hurley

The first Battle of Ypres (French: Premiere Bataille de Flandres . German: Erste Flandernsschlacht,19th October - 22 November 1914) was Battle of the First World War fought on the Western Front around Ypres in West Flanders Belgium.WW 1 Brass Trench Art Souvenir Letter Opener. Configured from a bullet on which is mounted a German Crown Button.and a piece of sheet brass from a shell casing.Inscribed on blade of letter opener is Souvenirs Ypres.

"AUSTRALIANS AWARDED" - "A concise guide to Military and/Civilian Decorations, Medals and/ other Awards to Australians/ from 1815 to 2007 with their Valuations" Peter Ball collection, refer Cat No 4704.Hardcover Book Cover - cardboard with adhered paper cover. Gold, black and white print on front. spine and back. Front and spine illustrated in colour - "First Australian Division Artillery going into 3rd Battle of Ypres" by Septimus H Power painting. Artillery guns, horses and soldiers in a battle scene. 359 pages - cut, plain, glossy white paper illustrated in colour - photographs of decorations, medals and awards. Handwritten - owner's name. Handwritten front end paper in blue ink "Peter C Ball" Opposite title page in black ink "Peter C Ball"books, reference guide, history, military warfare

World War One honor roll of former students of the Happy Valley State School No 376 who enlisted. The original honor roll no longer exists. There is a framed photograph of it in the current Happy Valley School building now used for community events. This honor roll would appear to be made before the end of WW1 as Ernest Alfred Yung died in September 1917 at Ypres. His brother George Alfred Yung returned who was also in the same battle returned to Australia. Honour rolls were also made to encourage more men to enlist. Margaret Young studied at Ballarat West Art School in 1894. This was one of Ballarat's Art schools. In 1907 they merged and became Ballarat Technical Art School (BTAS). Margaret became a teacher and taught for many years at BTAS, specialising in woodcarving. At the end of the First World War, Honour Boards were requested to be made to honour the men who had served. Ballarat was the main provider of these boards. Margaret Young was one of the people responsible for the carvings and specially mentioned for her work by the Caulfield School in Melbourne. On her resignation, Margaret moved to Adelaide. At the past students Reunion Celebrations in 1930, Margaret Young was to be the Guest of Honour. Unfortunately she was unable to attend due to ill health. Sepia photograph of honor roll board for World War One with white background mounted on grey cardboardReverse lhs upper - inked words 'Photo only'; centre - 'Mrs J Garvey, Happy Valley'; rhs upper - two stamps, 1 penny and a half penny franked with Ballarat; pencilled writing 'Mrs Garvey Happy Valleyhappy valley, happy valley state school, honor roll, honour roll, o. brough, e. daniels, g. daniels, philately, j. dial, g. dial, a. gradnor, w. gradnor, g. kiely, a. kerr, w. lowe, l. martinez, h. martinez, j. milburn, c. milburn, a. may, e. morgan, f. opie, a. paterson, n. reid, f. rankin, h. smith, t. thomas, l. thomas, e. yung, a. yung, a. bromley, j. blundell, h. barraclough, j. crommie, g. darling, j. darling, w. w. groves, j. gardiner, a. keys, j. keys, p. kelly, s. kelly, m. morgan, w. montgomery, j. rutherford, r. rutherford, p. smith, w. wishart, h. wark, s. ronald, k.n. mcnamee, p. bennington, sister m.j. thomas, d.l. thomas, w.e. thomas, j.s. gower, f.h. gower, s. gower, s.t.m. gower, happy valley school honor roll, a.a. louden

Menin Gate at Midnight (also known as Ghosts of Menin Gate) is a 1927 painting by Australian artist Will Longstaff. The painting depicts a host of ghostly soldiers marching across a field in front of the Menin Gate war memorial. Longstaff painted the work after attending the unveiling of the Menin Gate memorial, at Ypres in Belgium, on 24 July 1927. The memorial commemorated those men of the British Empire, including Australia, who died in the battles of the First World War around the town. The painting is part of the collection of the Australian War Memorial in Canberra. It was purchased by Lord Woolavington for 2,000 Guineas and presented to the Australian government.[1] After a royal command viewing for George V and the Royal family at Buckingham Palace, the painting was displayed in Manchester and Glasgow. It was then taken around Australia, where record crowds paid to view the work. Longstaff oversaw the making of 2,000 prints and 400 of these were given to the nascent Australian War Memorial to sell to raise funds.Rectangular shaped glass covered picture frame showing a print of the MENIN GATE AT MIDNIGHTMENIN GATE AT MIDNIGHT by WILL LONGSTAFF Presented to the Commonwealth Government of Australia by Lord Woolavington paintings, prints, ww1, lara r.s.l. menin gate, world war one.

This book was carried in France and possibly Gallipoli by Sig. H. C. Roussac and the insert "d/0291" was of a Chaplain who obviously had a profound affect on the ownerDemonstrates the religious convictions of some soldiers in WWIBlack leather bound bible with the first page removed by a clean cut. The bible the name of Signaller H. C. Roussac. 25th Battalion A.I.F. and the date Sept 11th 1917. There is a further inscription "Carried through Action "Battle of Ypres" Sept 20th 26th Oct 4th, 9th and 12th consecutively- Wounded Oct. 12th 17- signed H. C. Roussac. There is also what may be an autograph Pt. ? Frogg Masfr??? The bible also contained a lithograph, probably cut from a paper of Chaplain-Captain F. H. King in Egypt The book is contained in a hand stitched khaki webbing case secured by a metal ?uniform button Signaller H. C. Roussac. 25th Battalion A.I.F. and the date Sept 11th 1917. There is a further inscription "Carried through Action "Battle of Ypres" Sept 20th 26th Oct 4th, 9th and 12th consecutively- Wounded Oct. 12th 17- signed H. C. Roussac. There is also what may be an autograph Pt. ? Frogg Masfr???new testament, bible, rev. f. h. king, roussac, ypres, the age, egypt

Portrait of William Edward Peach in First World War military uniform, holding a crop in front of his thighs with military kit on the ground behind him. A Beechworth postal employee who enlisted in 1915, this photograph is probably taken in 1917, as he is a corporal in the photo and was promoted to this rank in May 1917. This photograph is of historic significance as it depicts William Edward Peach, a Beechworth postal assistant who enlisted in the Australian Imperial Force (AIF) on his nineteenth birthday, 5 August 1915, which required his parents' permission. He was decorated with the military medal for his courage in battle 4/5 October 1917 at the Battle of Broodseinde Ridge near Ypres, the most successful allied attack of the Third Battle of Ypres (31 July to 10 November 1917), also known as the Battle of Paschendale, which saw the greatest loss of human life during World War One, with almost half a million lives were lost on all sides. According to the recommendation for his military medal, Peach 'displayed conspicuous courage and initiative', taking charge after his platoon commander became a casualty, handling the men 'under heavy fire with great skill'. He also assisted the Company Commander in reorganising their military objectives. The photograph is of social as well as historic significance for the Beechworth community, because it provides a direct link between local, national and international histories in relation to Australia' s participation in one of WWI's best-known battles. The record has strong research potential given the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day. Peach is also one of the diarists of WWI, including of this significant period of Australian military history, from 1916 to 18, which can be accessed via the Australian War Memorial. Sepia rectangular photograph printed on gloss Kodak photographic paper mounted on board. Reverse: BMM 8779 item catalogue number pencilled in right-hand bottom corner.military medal, defending australia and victoria, military service, hmat a64 demosthenes, wipers, anzac, burke museum, beechworth, ypres, australian military services, beechworth post office, first world war, wartime, our boys, belgium, flanders fields, ww1, british war medal, victory medal, broodseinde, third battle of ypres

Items in the Staley collection, refer Cat No 10758.2P for details.Five post cards sepia tone, all are official photos in series re "Daily Mail Battle pictures". There is a description on the rear which is more than the "one Liner" on the front. .1) Large group of German POW's filing past British Officers. .2) Small group of German POW's moving along a road past British Soldiers. .3) Wounded Soldiers coming out of the Line. .4) Large outdoor Church service. .5) Ruins of Ypre..1 At the bottom, "Taking in prisoners during the Great Advance" - On the rear hand written, "What do you think of this batch, don't think they would win a prize at a beauty show". .2) "The glorious 1st of July 1916, our first prisoners". .3) Wounded "Tommy" to the photographer "I'm not a German" .4) "Church service before Battle" .5) "Ypre after two years of war"tmstaleycollection, card, official

62 pages, typewritten, on white paper with a brown paper cover. Bound along one side by 3 brass metal fasteners.non-fictionA detailed account of Pte Price's experience of WWI from his embarkation to his return. Sections include: Description of Journey (Arrival at Albany WA; From Albany to Cape Town; Cape Town to Vincent, Verde Island; The Village Blacksmith; Four Days Holiday in London; Back at Camp; Second Visit to London); Review by King George; Zeppelin Air Raids; Embarking for France; The Idea of a Raid; St Omer; Battle of Messines; Bombardment Prior to Advance on Messines; A Visit to France by King George & Prince of Wales; Five Days March from Senlicques; First Battle of Ypres; Preparation for Second Battle of Ypres; 14 Days Leave from France to England; 14 Days Sick Leavewwi, world war i, f g price

'Menin Gate at midnight' was painted by Will Longstaff to commemorate those soldiers with no marked graves on the Western Front during the First World War; also known as 'Ghosts of Menin Gate'. Longstaff attended a ceremony dedicating the Menin Gate memorial to the soldiers of the British empire forces, just outside the town of Ypres, Belgium, on 24 July 1927. The memorial was dedicated to the 350,000 men of the British and Empire forces who had died in battles around Ypres, and bears the names of 55,000 men with no known grave, over 6,000 of whom were Australians. Longstaff was profoundly moved by what he witnessed and that night, unable to sleep, Longstaff returned to Menin Road and later claimed to have had a vision of spirits of the dead rising out of the soil around him. On returning to his studio in London he painted 'Menin Gate at midnight' in a single session. Today 'Menin Gate at midnight' has achieved the status of a national icon. The painting retains its ability to provoke an emotional response and to communicate the scale of the loss of life and the devastation of war. However as people now have a very different understanding of war, the painting serves a slightly different function. Whereas in the past people responded to the painting as it related to the loss of a loved one and their own personal grief, now the painting communicates the loss experienced by a whole generation. The vast number of those who were killed, and the immensity of the damage wrought during the First World War, requires that those who sacrificed their lives should not be forgotten. Longstaff used well-known motifs to trigger emotion. His scarlet poppies are flowers that could be found in the Flanders fields, but they also carry the traditional connotations of shed blood and remembrance; they represent a floral blanket covering the bloodied bodies of unknown soldiers; at the same time, like the paper poppies worn on Remembrance Day, they are a tribute from the living to the dead. The portrayal of the steel-helmeted soldiers rising from the cornfields extends the range of visual emblems used by Longstaff: the plentiful harvest; the harvest of men; the steel-helmeted crosses covering the graves of many soldiers; and the helmeted bayonets raised in cheer and victory.ww1, menin gate, wark vc club

p.316.non-fictionPersonal recollections of the battles of Ypres and the Somme - sequel to The first hundred thousandworld war 1914-1918 - campaigns - france, world war 1914-1918 - personal recollections

John Henry Lockett OAM (22 January 1891 – 25 May 2002) was the oldest man ever in Australia when he died aged 111 years, 123 days. As one of the last surviving veterans of World War I, he was acclaimed as a national hero during the last decade of his life. Lockett was born in the small Victorian town of Waanyarra, near Bendigo. He left school aged nine to work on a local farm. Later, he worked for his uncles in the Mallee. On 24 March 1916, he travelled to Mildura to enlist in the Australian Imperial Force. He served in France with the 38th Battalion, earning promotion to sergeant and was discharged on 20 September 1919. https://en.wikipedia.org/wiki/Jack_Lockett After the war, Jack returned to The Mallee and selected a 640 acres (260 ha) block of land in Linga, Victoria, deciding to make his living as a farmer. In 1923, he married Maybell Ingwerson and they had four children together. In 1963, the couple retired to Bendigo, leaving the farmland (which now covered more than 130,000 acres (53,000 ha), in the care of their children and grandchildren. Ypres souvenir, from World War 1, was brought home by Jack Lockett, for his then sweetheart and later wife, Mabel Ingwersen. Cream wooden frame, with light gold insert. Inside frame, silk embroidered flowers and leaves cream silk fabric, form a frame for the painted image of partly destroyed building in centre. Written in cursive script on top left of building: 'Souvenir d'Ypres'. Embroidery in golden tones forms a frame for the building. Attached to bottom of frame, interpretive label: 'Souvenir d'Ypres, 1919. Silk thread and paint on silk. This hand-embroidered picture depicts a battle in the area of Ypres, Belgium, during the First World War (1914 -18) it was sent by Sergeant Jack Lockett, 38th Battalion, as a gift to his fiancee Maybell (sic) Ingwersen, whom he married in 1923. Attached to back of frame alongside handwritten note is an invitation to the Shrine of Remembrance, opening of the 'Threads of Connection', embroidery and textiles from the First World War to the present exhibition. 29/1/2010. Attached to back of frame, handwritten in black pen on lined paper: Souvenir d'Ypres France. Scene depicts a battle in WW1 believed to be a present brought back to Australia in 1919 by Jack Lockett for his then fiancee Mabel Victoria (Doll) Ingwersen whom he married on 23.9.1923. Exhibited at the Shrine of Remembrance from 29.1.2010 until 16.5.2010'.jack lockett, ypres, mabel ingwersen, world war 1, france