Painting stylised depicting a life in the trenches WW1, oil painting on canvas modern style, wood frame in 3 sections with each section inserted.painting ww1, oil on canvas, framed

CF Reg No 2533.26, 2539.3, 2540.9, 2541.2Reproductions of paintings held at Australian War Memorial, Canberra depicting portraits, group portraits of WWI.Individual descriptions of paintings handwritten on back.illustrations-reproductions, military history - army

CF Reg No 2533.26, 2539.3, 2540.9, 2542.8Reproductions of paintings held at Australian War Memorial, Canberra depicting after battle of WWI.Individual descriptions of paintings handwritten on back.illustrations-reproductions, military history - army

CF Reg No 2533.26, 2539.3, 2541.2, 2542.8Reproductions of paintings held at Australian War Memorial, Canberra depicting location scenes of WWI.Individual descriptions of paintings handwritten on back.illustrations-reproductions, military history - army

CF Reg No 2533.26, 2540.9, 2541.2, 2542.8Reproductions of paintings held at Australian War Memorial, Canberra depicting naval scenes of WWI.Individual descriptions of paintings hand written on back.illustrations-reproductions, military history - navy

Produced 2015 to commemorate WW1. Possibly Anzac-linked given the centenary of this event.Framed and glazed depiction of Flinders Street Station with a $2 coin with enamelled poppy and an engraved description on a small brass plate. Engraved plaque at lower edge of print: Donated by Adam Baker ( Bakewell ?) / Canberra 11/11/2015world war 1, flinders street station, prints, collage, poppy, ww1, first world war, great war, coin, memorabilia, adam baker, canberra, 11 november, 2015, artwork-paintings

For Trafalgar Day, 20 October 1914, the Archbishop of Canterbury in England had "drawn up a new form of private prayer to be offered up specially for the sailors of the Fleets in the present crisis. He suggested its use particularly at noon as a silent prayer, when those at work may be reminded by the ringing of the " Angelus" bell to lift up their hearts to the Lord. The prayer was as follow: "O Thou that slumberest not nor sleepest, protect, we pray Thee, our sailors from the hidden perils of the sea, from the snares and assaults of the enemy. In the anxious hours of waiting, steady and support those on whom the burdens of responsibility lies heavily, and grant that in dangers often, watching often, in weariness often, they may serve Thee with a quiet mind, through Jesus Christ our Lord. Amen.” The prayer illustrated by English artist G.M. Langley became popular. Prints were sold as gift for 7/9 each with an oak frame. As mentioned in the ' Quarterly Jottings from our log" no 47 midwinter 1917: the etching was gifted to the Mission for display in the new Chapel by the Godfrey sisters. The frame was gifted by their cousin's wife, Mrs William Scott Purves Godfrey ( ' Quarterly Jottings from our log" no 48 Michaelmas 1917).The print was gifted by the Misses Godfrey, influential and long term members and supporters of the Ladies Harbour Light Guild. At the time of the completion of the St Peter's Chapel in September 1917, it was dedicated to the memory of all merchant seamen serving in the long war. The print subject, of the sailor guarded by Jesus was no doubt intended to inspire faith and hope but also acknowledges and reflects the anxious days of waiting not only of the sailors and seafarers negotiating the dangerous waters and oceans but also the challenge for families, experiencing the widespread anxieties of a world at war. Wood framed and glazed engraved print of Jesus Christ with sailor in the foreground and printed inscription on mount belowSignature of artist lower left of print.: G M Langley Printed on mount at lower right: "In the Anxious hours of waiting"g.m. langley, prints, engravings, merchant seamen, seafarers, ww1, godfrey family, ethel augusta godfrey, frederica godfrey, first world war, great war, mrs william scott purves godfrey, rica godfrey, rita godfrey, artwork-paintings

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.

Beni Carr Glyn Burnett (also known as B. C. G. Burnett or Beni Burnett) was born in 1889 to missionary parents in Mongolia. When he was 15 years old he began training as an architect with a firm in Shanghai. He worked in Singapore, Japan and China before moving to Australia around 1933. In 1937 he was appointed as the Commonwealth principal architect in the Northern Territory. He went on to design a series of houses for senior public servants and military personnel which became very popular as they were specifically designed for the tropics - incorporating louvres, high ceilings and good ventilation. When Darwin was bombed in February 1942, he was evacuated to Alice Springs where he continued to work as an architect. He also became a Magistrate and Coroner in Alice Springs. In later life he was well known for sketching clientele in public bars. He died in 1955. Beni Burnett was living in Sydney in 1933 when he produced these three artworks. There were several photography firms operating in Sydney at this time who specialised in photographing ships and the shipping trade (e.g. Samuel J. Hood and William James Hall) and whose photographs were used by artists to produce ship portraits. Both of these photographers took photographs of the two ships in B. C. G. Burnett's watercolours. The "Winterhude" (originally called "Mabel Rickmers) was a three masted Finnish barque built in 1898 by Rickers - Werft Bremerhaven for use on the East India rice trade and later the South American nitrate trade. After WW1 it came under French control as war compensation. It was also sold several times and at one stage was called "Selma Hemsoth" but in 1925 it was bought by Gustaf Erikson who restored the name "Winterhude" and the vessel became a regular transport in the Australian wheat trade. In 1944 it was sold to the German navy before being taken over by the British at the end of WW2. It was photographed in Sydney by William James Hall in1931 on its way to Port Lincoln, South Australia to load wheat for Europe.This painting (one of a set of three small artworks) is significant as an example of shipping (particularly the use of sailing ships) that were still being used as late as the 1930's in Australia. It is also important because its creator (B. C. G. Burnett) went on to become a well-known public figure in the Northern Territory in the late 1930's due to his innovative approach to designing homes for the tropical climate.A watercolour painting of a sailing ship called "Winterhude". It shows a 3 masted barque with a blue and red steel hull in full sail heading away from the viewer. A small figure can be seen at the wheel at the rear of the ship. The painter's name (B. C. G. Burnett) and date (1933) are written on the bottom left-hand corner of the painting. The name of the ship is written in faded pencil on the back of the painting.front - "B. C. G. BURNETT. 1933" back - in faded pencil - "the Winterhude"flagstaff hill maritime museum and village, warrnambool, great ocean road, sailing ships, ships, barque, winterhude, beni carr glyn burnett, b. c. g. burnett, beni burnett, painting, watercolour painting, sketch, ink sketch, sydney harbour, architect, darwin, burnett house, photography, samuel j. hood, william james hall, mabel rickmers

Minin Gate at Midnight is a painting by Australian artist Will Longstaff. Longstaff completed the painting in 1927 and the original is now located at the Australian War Memorial. The painting depicts 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, on 24 July 1927. The memorial commemorates the men of the British Empire, including Australia, who died during the 1st World War around the town of Ypres. A print of the Menin Gate at Midnight, oblong in shape, framed in a timber frame, a cardboard matte surrounds the print.Careys Picture Framing Gallery, Professional Framing, Shop 13 Packington Arcade, 129 Packington Street, Geelong West. A brass plaque is also attached to the Print.menin gate, longstaff, ww1, australian war memorial

The Imperial Camel Corps was a camel mounted infantry brigade raised by the British Empire in December 1916 during WW1.This is a print of the painting by H Septimus Power of the Camel Corps at Magdhaba on 23 December 1916An oblong colour print on paper in a wooden frame.The print is of a painting by H Septimus Power, published by the Australian War Memorial, Canberra, ACTcamel corps, ww1, december 1916

This print is a portrayal of Nurses during WW1The print shows nurses on location during WW1, their environment and conditions they worked in.nurses in locations

The original artwork painted by William Yates Holt Titcomb (1858-1930), an English artist specialist in religious subjects, is located in Clifton College Chapel, Bristol, England (visible in their virtual tour online). The original title draws on the Giving of Communion words: The body of our Lord Jesus Christ, which was given for you, preserve your body and soul unto everlasting life. Take and eat this in remembrance that Christ died for you, and feed on him in your heart by faith with thanksgiving. The blood of our Lord Jesus Christ, which was shed for you, preserve your body and soul unto everlasting life. Drink this in remembrance that Christ's blood was shed for you, and be thankful. The body of Christ. The blood of Christ. The body of Christ keep you in eternal life. The blood of Christ keep you in eternal life. The body of Christ, broken for you. The blood of Christ, shed for you. The bread of heaven in Christ Jesus. The cup of life in Christ Jesus.FigurativeReproduction ( Lithograph?) framed mounted and glazed print. The image shows a group of soldiers kneeling before a makeshift altar during World War One in Flanders field with a Red Cross flying on a flag pole at the far right of the composition. A Union Jack flag is being used as an improvised altar cloth. A priest or chaplain in a surplice, also a soldier , administers the sacrament to the reverent congregation. The print is glazed with a substantial window mount and housed in a dark wood frame with eyelet screws and very rusted hanging wire.Preserve Thy Body + Soulpainting, world war one, ww1, wwi, soldier, priest, altar, union jack, red cross, red cross flag, titcomb, andre sleigh and anglo ltd, clifton college, royal academy exhibition, 1915, preserve thy body and soul, reproduction print, the soldiers' communion, william yates holt titcomb (1858-1930), artwork-paintings

This book was "published in order to raise funds for the Voluntary Worker's Association".Hard cover book Cover - cardboard with blue colour Buckram. Gold colour print on front and spine. 146 pages - cut, plain, off white colour paper. Book anthology containing stories, poems, cartoons, drawings and paintings. Black and white and colour illustrations. Front end paper has been removed. Handwritten information - front end paper.Handwritten information - grey lead pencil. "Ethel Turner/ Editor/ $30-".publications, books, anthology, ww1

Greetings card from Bill with WW1 theme with pictures of two WW1 Battles. Part of V.E. Giudice, No. 53730. Collection part of Cat No. 10031P. Overall part of Bill Thomason Collection, Cat No. 4136P.Fold over greeting card. Cream colour. Page 1 has a picture of a painting of Australians advancing at Villers-Bretonneux on Aug 8th 1918. Page two has a description of the battle. Page 3 is a painting of the capture of Hamel Village and page 4 was description of that battle. On back also Greetings from "Bill, with Lots of Love" 24 May 1919 and a message on side.Inscribed greetings from "Bill, with Lots of Love" 24 May 1919. Written message on side "I hope you are well Mother Dear as this leaves me, Bill".william (bill) thomason collection, greeting card, ww1

From Information Book - "Reader's Digest/ Gallipoli/ 25th April 1915 - 9th January 1916/ Centenary Commemorative Prints". Collection of 20 prints. Refer Cat No. 7300.Framed print. Print - colour print on paper. Original painting polyvinyl acetate on hard board. Depicts five soldiers in vivid cobalt blue. The soldiers stand huddled together, one wearing an emu plume in his slouched hat, another has Corporal's stripes and one is holding a rifle. Frame - Black plastic framing with glass front and MDF board backing with adhered black paper.Details on print. "SIDNEY NOLAN - (1917 - 1992) Soldiers 1959". Sidney Nolan - embarked on a series of Gallipoli drawings and paintings which he completed over a 20 year period.framed accessories, prints, ww1, gallipoli, centenary

From information book - "Reader's Digest/ Gallipoli/ 25th April 1915 - 9th January 1916/ Centenary Commemorative Prints". Collection of 20 prints. Refer Cat No. 7300.Framed print. Print - colour print on paper. COPY OF AN ORIGINAL PAINTING - OIL PAINTING ON HARDBOARD. Depicts - an interpretation of the Gallipoli story of Private John 'Murphy' SIMPSON KIRKPATRICK and his donkey. Colours - vivid oranges with some white and brown. Visible in the painting - donkey, wounded soldier, rocky terrain, background figure of "Simpson" and cliff and gullies. Frame - Black plastic framing with glass front and MDF board backing with adhered black paper."CLIFTON PUGH (1924 - 1990) Untitled IV (Simpson and His donkey) 1990". Clifton Pugh was appointed as the Australian War Memorial's official artist at the 75th Anniversary of the Gallipoli landing. He served in the Second World War in New Guinea and Japan.framed accessories, pprints, ww1, gallipoli, centenary

From information book - "Reader's Digest/ Gallipoli/ 25th April 1915 - 9th January 1916/ Centenary Commemorative Prints". Collection of 20 prints. Refer Cat No. 7300.Framed print. Print - colour print on paper. COPY OF AN ORIGINAL PAINTING - TEXTILE, DYE, COLOURED CRAYON ON COATED PAPER. DEPICTS IN DARK BROWN COLOURS WITH SMALL ACCENTS OF PALE BLUE, RED AND YELLOW - BELOW HORSE. VISIBLE IN PAINTING IS A SOLDIER, HORSE AND GUN CARRIAGE. Frame - Black plastic framing with glass front and MDF board backing with adhered black paper.Details on print; "SIDNEY NOLAN (1917 - 1992) Gallipoli soldier, horse and gun carriage 1961". Sidney Nolan - embarked on a series of Gallipoli drawings and paintings which he completed over a 20 year period. 252 drawings and painting.framed accessories, prints, ww1, gallipoli, centenary

Based on a screenplay by David Williamson. Historical facts based on fictional characters.Hard cover book with dust cover. Hard cover - cardboard, dark brown colour buckram, white print on spine. Dust cover - Paper, green print on front, black print on spine and front flap. Illustrated in colour, front panel, spine and back panel copy of the painting "ANZAC, the landing 1918-22 (detail)" by George Lambert. 280 pages, cut plain, off white. No illustrations.book, anzacs, ww1

"EMPIRES OF THE DEAD" - HOW ONE MAN'S/ VISION LED TO THE/ CREATION OF WW1'S/ WAR GRAVES"Hard cover book with Dust Cover. Hardcover - cardboard, black colour buckram, gold print on spine. Dustcover - Paper, white, red and black print on front, spine, back and front and back flaps. Illustrated front, black and white photographs (top) soldiers from the rear, (bottom) war graves. Back cover - colour copy of oil painting "The Cemetery, Etaples" 1919 by Sir John Lavery. 289 pages, paper, cut, plain, off white. Illustrated black and white and colour photographs. End papers - red.ww1, books, war graves

This is a biographical fiction story of two boys at Gallipoli.Hardcover book with dustcover. Hardcover - cardboard with black colour buckram. Silver colour print on spine. Dustcover - paper, yellow, white and black print on front and spine. Illustrated in colours of blue, red and yellow, abstract style painting. Front and back flaps have printed blurb. 280 pages, cut, plain, off white paper. Small illustration at the beginning of each chapter of black on white print of the Rising Sun Badge. Handwritten inscription on title page.Handwritten details - blue ink pen. "HAZEL TALBOT/ XMAS 1982/ FROM RAE & PETER".publications, book, biographical fiction, gallipoli, ww1

From Title Page. "The War Illustrated/A/Pictorial/Record of the/Conflict of/ the /Nations".Hardcover books - Volumes 1-9, eight books with volumes 8 & 9 in one book. Cover - cardboard with dark red colour buckram. Embossed with black ink print on front and spine. Illustrated with a patriotic symbol of a soldier with sword and shield. Covers used to bind the individual weekly issues of one magazine into permanent volumes for World War One. Pages - paper, cut plain, off white. Pictorial book with black and white photographs and paintings. Colour illustrations at front. Front end paper - handwritten owner's signature. 1. Volume 1, pages 1 to 632. 2. Volume 2, pages 3 to 616. Front pages missing. 3. Volume 3, pages 3 to 624. Front pages missing. 4. Volume 4, pages 1 to 624. 5. Volume 5, pages 1 to 624. 6. Volume 6, pages 1 to 554. 7. Volume 7, pages 1 to 520. 8. Volume 8, pages 1 to 448. 8. Volume 9, pages 1 to 450. Handwritten details - blue ink pen "F.C. Jones".publications, books, pictorial, ww1, military history

Print copy of a painting by Australian artist Will LONGSTAFF. "MENIN GATE AT MIDNIGHT"Print - on paper. Colour copy of an original oil painting depicting ghostly soldiers marching across a field in front of the Menin Gate Memorial, Ypres, France. Frame - timber, brown stain, decorative moulding with gold colour inner edge. Double layer mount in dark blue and gold colour cardboard. Glass front MDF board backing. On back of frame - handwritten information.Information details - handwritten black ink pen. "THE MENIN GATE". To Runk/ from Dad & Mum (Peter & Elizabeth)/ February 2005 - handwritten grey lead pencil. "34009".framed print, accessories, ww1, menin gate

Various postcards from Europe and Africa during WW1. Part of the collection of V E Giudice, No. 53730, Refer Cat No. 10031P for service details. Part of the overall collection of William (Bill) Thomason, Refer Cat No.4136P, Various postcards collected all in black and white. 1. Statue of King Leopold, First King of Belgium, in a square, in the City of Antwerp. 2. Picture of Pieche De La Cathedrale located in Antwerp. 3. Picture of a Rubens painting located within the Cathedrale De Anvers. 4. Picture of Nave of Cathedrale of St Michael & St. Gudula in Brussels. 5. Picture of Sierra Leone Harbour, Port of Freetown. 1. On back written "Statue of First King of Belgium, Antwerp". 2. Detailed description of what is in the Cathedral on back. 3. On back detailed description and comments on Rubens paintings. 4. On back, comments on aspects of the Cathedrale. 5. On front written "This is a picture of Sierra Leone Africa” of the Harbour.v e giudice, collection of william (bill) thomason, photographic postcards, ww1, europe

Bombay was common transit point to Middle East WW1. Part of the collection of William (Bill) Thomason. Refer Cat No. 4136P.Coloured postcard of a painting of Abdul Rehman St in Bombay. On back of postcard is detailed message and a stamp dated 8th July 1917.“Dated 7/7/17”collection of william (bill) thomason, postcard, ww1

Collection could be WW1 but only one is dated 19th Jul '05. May be a mixed collection. Part of the collection of William (Bill) Thomason. Refer Cat No. 4136P.Various Tourist photos of; 1. Colour Portrait photo at Port Said - Monument to Lesseps. No writing on back. 2. Landscape painting in colour, Palm Avenue Botanical Gardens, Calcutta. Address on back crossed out and re done. 3. Landscape picture of Statue of De Lesseps and The Lighthouse. Nothing on back. 4. Portrait picture of Egyptian woman standing with a pot balanced on her head, No message. 5. Picture of KASR-D-NILE Barracks - LL Cairo. 6. Picture of Column of Pompei, Alexandra. No Message. 7. Image of Sphinx De Pithon, Ismalia, Egypt. No message,2. Is stamped and date is "19 Ju 05". Address crossed out and replaced. 5. Stamp on back saying "Sydney Davies".postcard, photographic, collection of william (bill) thomason

Gifted from the historian Dr. C.E.W. Bean to is father, The Rev Edwin Bean.Hardcover book - Blue buckram cover. The title printing is in black ink. In the centre is a coloured painting showing a slightly wounded digger in front of a damaged Union Jack. At the lower right can be seen dark silhouettes of soldiers and rifles. It has 170 pages of text, maps, drawings and photos.Inside the front cover is a small photo labelled B2566. To: "Rev Edwin Bean, Bel........, Lower Sandy Bay Road, Hobart, TAS". From: "C.E.W. Bean, HQR 1st ANZAC Corps" Written on first page in pencil is:- "For Jack as he has - no copy J.W"anzac, gallipoli, book, ww1

Poems dedicated to the Mothers of AustraliaSoft cover book. Soft cover: Lightweight cardboard with blue print on front. Front cover, illustrated in colour, copy of painting depicting a woman seated at a table, 52 pages, uncut, plain, off white paper. Illustrated black and white drawings.books, ww1, poetry