Photograph of group outside the original Greensborough Hotel situated in Church Street Greensborough. The man in the rear right holding a child has been identified as William Rank. The Rank family came from Heidelberg and it was common practice to drive horse and carriage to Greensborough for a gathering or picnic.Sepia photograph mounted on brown board. Some damage to photo and mount.rank family, william rank

The dairy farm of Eric Lemke and family was located on the Wodonga flats on the Murray River flood plain, west of the Union Bridge. The property was named "Waterford". They ran a large dairy herd (250 cows) and ran five milk carts to Albury to service their customers. The family bought a second property at Wodonga West, on Felltimber Creek, where herds could be rested before calving, and also as an emergency location for milking during times of flood, which sometimes lasted for several weeks at a time. At other times when the cows finished their lactation period at "Waterford" they would be walked to the Lemke property at Wodonga West, for a rest before calving. When the calves were drafted it was a matter of gathering the cows and calves and walking them back home which was an all day job. During the Depression Mr. Lemke took milk to the out-of-work men who slept under the bridges on the causeway and Mrs Lemke would make bread for them. The men would often work on the farm without wages in return for the Lemke's kindness. The Lemke Family are ranked amongst the top early settlers of the district for their perseverance during the hardships of the early days and during the Great Depression. Lemke Road on Gateway Island, Wodonga is named in their honour.This item has local significance because it came from a prominent Wodonga family business.A small metal tag used to label dairy cans on the property of Eric Lemke.E. LEMKE WODONGAe. lemke wodonga, lemke family, wodonga dairy industry, ernie lemke

Many of the poems contained in this book were written by Burns while at school and first appeared in "The Scotch Collegian" which he edited in 1913-1914. Four of his editorials are included. Prose and verse tributes by former schoolmates and fellow soldiers are included, as well as an essay on Burns by the headmaster of Scotch College, W.S. Littlejohn. James Drummond Burns was born in Geelong in 1895. James was the first of eight children born to Hugh and Mary and while he was born at Geelong the family had moved to Bairnsdale by 1905. As Methodist minister, Hugh had accepted the posting to Bairnsdale where the family stayed till about 1913. He died in Gallipoli on September 18 1915. James was a student when he enlisted on 2 February 1915 at Lilydale, Victoria. He served in the 21st Battalion with the rank of Corporal. His Regimental Number was 805. (ref. Scotch College World War I Commemorative Website) This book is a tribute to a WW1 soldier and contains contemporary writing which can be used in research. A thin 32 pp paper back book with a brown cover. On the cover is the title, "In the Dawning of the Day: in Memoriam, J. D. Burns", in black print inside a rectangular red/gold/black line frame.

In 1922 a Memorial Scroll was presented to the next of kin of those soldiers, sailors, and nurses who died while serving in the Australian Imperial Force or Royal Australian Navy during the First World War. Later they were presented with a Next of Kin Memorial Plaque. This was presented to Edward Lawless' mother, Elizabeth Lawless. This certificate is part of the Lawless Collection. The Lawless family lived in Orbost from 1907 - c 1920. John Francis Lawless had a saddlery shop. He died at an early age - 47 years - June 7 1912, leaving his wife, Elizabeth and seven children. The eldest son, Victor Rowland lawless volunteered for serv ice in WW1 but did not leave Australia because of illness. The second son, Edward Vincent Lawless (b 1895 d 1917) worked for McCoy & Co. in Orbost, coachbuilding, undertakers, general blacksmiths and farriers, prior to enlisting in WW!. He was trained as a signaller and was sent to France where he was killed in action on 9.10.1917. Elizabeth Lawless worked as a ladies' nurse (midwife) in Orbost prior to leaving the district in 1920. She lived to 6.6.1975 aged 104 years. On October 9, he was first recorded as missing in action and then confirmed killed in action. He was initially buried at Tyne Cot British Cemetry and then exhumed and buried at Passchendaele New British Cemetry, Plot 14, Row 2, Grave 2. Correspondence in his file dated April 7, 1925 providing the grave details show that his mother was still seeking that information. It was possibly due to the fact that his body was exhumed and reburied. While there is no correspondence to his mother about this move on file, the correspondence that is there indicates she had not received the specific information on his grave until 1925.These personal documents, medals, photographs and books give an insight into the human element of World War 1 ensuring that those who were part of the Orbost community and died while playing a vital role during this time are remembered.A death notice or memorial scroll which has the British Coat of Arms at the top and a message paying tribute to the soldiers who gave up "their own lives that others might live in freedom". The text is printed in calligraphic script beneath the Royal Crest followed by the name of the commemorated serviceman giving his rank, name and regiment. The scroll was sent on December 20, 1921. At the bottom - Pte. Edward Vincent Lawless 21st Ba. A.I.F.lawless-family certificate death-scroll ww1

The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom and Canada, and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'. Endowed professorships are referred to as chairs. It was not until the 16th century that chairs became common. Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin. Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high. In ancient Egypt, chairs appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honour. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[ The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor. The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level. In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day. Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire. In the 1880s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available. The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[ moulded plastic chairs and ergonomic chairs. The recliner became a popular form, at least in part due to radio and television. The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966. Technological advances led to moulded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs. https://en.wikipedia.org/wiki/ChairThe chair is one of the most commonly used items providing comfort.Chair wooden varnished dark brown. Spokes for back support, front legs and spokes joining legs are patterned turned wood. Back rest has a floral emblem with a kangaroo in the centre.Back rest has a floral emblem with a kangaroo in the centre.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, dining, carpentry

The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom and Canada, and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'. Endowed professorships are referred to as chairs. It was not until the 16th century that chairs became common. Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin. Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high. In ancient Egypt, chairs appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honour. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[ The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor. The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level. In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day. Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire. In the 1880s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available. The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[ moulded plastic chairs and ergonomic chairs. The recliner became a popular form, at least in part due to radio and television. The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966. Technological advances led to moulded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs. https://en.wikipedia.org/wiki/ChairThe chair is one of the most commonly used items providing comfort.Chair wooden varnished dark brown. Spokes for back support, front legs and spokes joining legs are patterned turned' wood. Backrest has a floral emblem with a kangaroo in the centre.Back rest has a floral emblem with a kangaroo in the centre.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, dining, carpentry

The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom and Canada, and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'. Endowed professorships are referred to as chairs. It was not until the 16th century that chairs became common. Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin. Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high. In ancient Egypt, chairs appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honour. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[ The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor. The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level. In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day. Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire. In the 1880s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available. The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[ moulded plastic chairs and ergonomic chairs. The recliner became a popular form, at least in part due to radio and television. The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966. Technological advances led to moulded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs. https://en.wikipedia.org/wiki/ChairThe chair is one of the most commonly used items providing comfort.Chair varnished dark brown. Spokes for back support, front legs and spokes joining legs are patterned turned wood. Back rest has a floral emblem with a kangaroo in the centre.Back rest has a floral emblem with a kangaroo in the centre.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, dining, carpentry

Girl Guides Service Badge. The green felt at the back of the badge indicates it was a Girl Guides badge - (brown felt indicating a Brownies badge). The number 2 indicates the owner was in her 2nd year as a member of the Girl Guide Club.Historical: Provenance: The Davies family lived at Tawonga in the Kiewa Valley. The badge indicates that a member of the family was a member in her second year of Girl Guides - Wilma who was heavily involved in the Girl Guide movement or her daughter, Kerrie who was a member of the Girl Guides.A Girl Guide Service Badge. Brass star shaped with 6 points. Half of each point has 2 embossed lines from centre circle towards the point. In the centre is a circle coloured black at the centre of which is a brass number 2. The 2 stands out from the rest as it is raised from the flat circle which in turn is raised from the points which taper down to what would be a flat base but the badge is hollow. At the back of the star is a brass loop to which is attached a hair clip like pin - with a straight edge and a bumpy edge.(split pin attachment) A green felt circular pad with a central hole is attached.The 2 embossed lines on each half of each point of the star. The number 2 in the black circle. badge. star badge. numismatics. equipment. rank. pip. kiewa valley. tas davies., girl guides. wilma davies. kerrie davies. tawonga

The dead man's penny is a commemorative medallion which was presented to the family of soldier s who were killed in the First World War. The images of Brittania the dolphins and the lion represent Brittain and the eagle represents Germany. The name of the soldier is presented without rank to signify the equality of all sacrifice. This medallion was to commemorate Daniel Nicol Peters who came from Scotland but enlisted in the AIF in Blackboy Hill Western Australia. His regimental number was 3200. he was Killed in Action on 26 August 1918. His father was John Peters of Greenside Fifeshire Scotland. From a country with a population of approximately 5 million people, there were more than 60000 soldiers killed. This object represents but one of these soldiers. It therefore has historical and social significanceCircluar brass plaque with figure of Brittania and a lion in low relief. There are two dolphins around the figure of Brittania and and image of a defeated eagle below the lion.To the right of the figure is a small rectangle with the name of the soldier. Text around the edge.He died for freedom and honour. Daniel Nicol Petersdead man's penny, daniel nicol peters

The outer envelope is addressed Mr E. Fielding which is believed to be Richard Edward (Eddie) Fielding. It is understood from Tom Fielding, that this item was collected by his Uncle Bill Teagle when visiting Japan in the 1920s whilst serving in the Navy. It is further understood that Bill always made efforts to collect souvenirs from his travels to give to family members. William George Teagle, more commonly known as Bill, was born 2 August 1899 at Sandringham, Victoria. Bill, a milk carter first attempted to enslist in the AIF in October 1917 but was rejected on the grounds of being too small. On a second attempt he was successful and his application was accepted 1 June 1918. He embarked in November 1918 for overseas with the 17th Reinforcements. He was discharged a year later in December 1918. On 6 May 1919 he enlisted in the Royal Australian Navy for a period of 7 years service with the rank of Stoker however he remained with the navy throughout till the end of the Second World War, and was finally discharged 14 November 1945 with the rank of Petty Officer. This item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection

John Raymond Bruns (Jack) enlisted in the 38th Bn CMF date unknown or "V" number at this point. A family photo shows the marriage of Jack to Margaret Joyce (Peggy) Ball dated 10.3.1942. The 38th Bn were part of the 6th INF Brigade and they moved to WA in March 1942 for Garrison duties. By the DVA roll he enlists in Geraldton on 23.7 1942 with the number VX88627. The unit relocates to the NT in January 1943. He is discharged from the Army on 13.4.1944 with the rank of Cpl in 6th Inf Brigade Dep Platoon. Refer Cat No 5588, 5589P, 5599P for Peggy's Brothers.Set of Identity disc's, fibre one round orange colour, one eight sided fawn colour, a small metal is attached to them all held by a leather thong.Stamped on both disc's, "VX88627 Bruns J.R M4" on reverse of both "04"identity disc's, accessories, 2nd 38th

items in collection relating to the JACKSON Family..1) - .3) Three buttons, two silver one brown all Australian. .4) One Officers rank badge pressed metal. .5) Button gold coloured with American Eagle on..1) - .3) Brown button on rear, "P.J.King PTY LTD". Silver button, "Stokes and Son Melbourne" .5) On rear, "VAM"badges, buttons

Hugh McColl. Hugh had pre war service in the local Bendigo 67th BN and reached the rank of 2nd Lieutenant. Enlisted 1.3.1916 in A Coy 38th BN then transfer to C Coy on 1.5.1916, embark for England 20.6.1916, promoted to Lieutenant 19.8.1916, hospital sick 21.11.1916 (unclear), embark for France 21.5.1917, WIA 12.10.1917 Bomb Concussion, rejoin unit 22.11.1917, hospital 14.3.1918 Defective Vision, rejoin unit 16.3.1918, hospital 7.4.1918 Sprained Ankle, rejoin unit 28.4.1918, KIA 12.8.1918..1) Folding paper, nothing on the outside, inside two pages relating to the death of Hugh McColl 38th BN, page 1 has details re Hugh McColl and family followed by a five verse poem. .2) Folding paper nothing on inside, front has a black stripe across top RH corner, enscription re Mr & Mrs McColl and daughter thanking those for their sympathy on the loss of their sone Hugh.remembrance, 38th bn, c coy

Significant items relating to Albert Telfer White who entered Ballarat College April 1912 and left December 1918. Albert was born 29 June 1897 at his home 'Ashford Vale" farm, Cuthbert's Road, Cardigan. Albert, a second generation Australian, was the fourth son and sixth of eleven children born to dairy farmer John White and his wife Elizabeth, nee Douglas. Albert attended Bunker's Hill State School prior to enrolling at Ballarat College. After College he obtained employment with the engineering firm Ronaldson and Tippett in Ballarat. Following his eighteenth birthday Albert enlisted in the AIF in Ballarat with the rank of Private, No 2012. He embarked for the Middle East with 23rd Battalion on 26 August 1915 and was 'taken on strength at the Gallipoli Peninsular 25 October 1915". On 10 January 1916 Albert was posted to Alexandria, Egypt and during this time he was able to meet with his aunt Rose Douglas, an Australian Army Nursing Sister. This was a great comfort to his family. Albert was sent to France 19 March 1916 and transferred to the 22nd Battalion. He was mentioned in dispatches for 'good and gallant conduct' 5 August (1917?). Albert was hospitalised 30 March 1918, rejoined 22nd Battalion 3 June 1918, wounded in action 3 October 1918 but died of wounds at Rouen 10 October 1918. news of his death was received by his family n Australia just prior to the armistice. Albert Telfer White's sacrifice is commemorated at Ballarat College, Avenue of Honour Ballarat (Tree 1214), Ballarat Shire Honour Avenue Learmonth (Tree 163) and the Australian War Memorial Canberra. (These notes provided by family November 2016)Collections of items including: Bayonet, Carl Eickhorn, Solingen, (29.A.159 engraved on handle) Trench shovel The ANZAC book 1916 (flyleaf inscribed: No 2012 / Pte A T White / H Quarters / 22nd Battalion / 6th Inf Brigade / France) Gallipoli medal with documentation First World War Mothers’ and Widows’ Badge Next of Kin Memorial Plaque (Death Penny) and accompanying letter from King George V Imperial War Graves Commission documentation and photograph Australia Graves Services In Memory card and photograph Documentation relating to Australian War Memorial Roll of Honour, Learmonth Memorial Wall, Ballarat and Learmonth Avenues of Honours Documentation from the Australian Army Records office Documentation relating to Military Medal, 1914/15 Star, British War Medal and Victory Medal (whereabouts unknown, November 2016) Portraiture of Albert Telfer White as a child, as a young adult (civilian dress), in full kit (A I E F formal), and at camp 1915 Portraiture of sisters Cis, Addie, Bessie, Evelyn (with personal inscriptions) Four postcards (one with letter from Albert ‘at sea’ to his mother - undated) Death notice (unreferenced newspaper clipping) Biographical and family relationship details Photocopy of The White Family 1906 showing (standing) Adeline, Leslie, Harold (father), Muriel (mother), William; (seated) Albert, John (Grandfather), Elizabeth, Allan, Elizabeth (Grandmother), Evelyn (baby) and Benjamin The ANZAC book 1916 (flyleaf inscribed: No 2012 / Pte A T White / H Quarters / 22nd Battalion / 6th Inf Brigade / France) Gallipoli medal: engraved on reverse: A T WHITE Embossed lettering on death penny: ALBERT TELFER WHITE Handwritten on reverse of portraits: Lovingly yours / Cis / 21/11/17; your / loving sister / Addie; your loving / sister / Evelyn; Yours lovingly / Bessie Handwritten on back of postcard of ship H M A T 'Anchisis' 14.3.16: Dear Mother, I am sending you a card / of the boat we are on. Our deck is right / on the back. I have marked it with an X. / We are not allowed to put the date on or / where we are. I am sitting on the deck now / holding the card in my hand so it is hard / to write. We are together yet haven't been / separated Bill, Matt and myself. Haven't / had anything to do. I will write a couple / of letters now. Albert Handwritten on back of postcard photograph of Albert at camp: 30th September 1915 / Dear Mother / There is a studio at the / camp so Matt and I got our Photos / taken yesterday morning, & got them/ this morning. I am sending / Ciss one of Matt.albert-telfer-white, ballarat college, world-war-one, avenue-of-honour

The 1914–15 Star was authorised in 1918 and was awarded for service in specified theatres of war between 5 August 1914 and 31 December 1915. A recipient of the 1914 Star could not also be awarded the 1914–15 Star. Albert was born 29 June 1897 at his home 'Ashford Vale" farm, Cuthbert's Road, Cardigan. Albert, a second generation Australian, was the fourth son and sixth of eleven children born to dairy farmer John White and his wife Elizabeth, nee Douglas. Albert attended Bunker's Hill State School prior to enrolling at Ballarat College. After College he obtained employment with the engineering firm Ronaldson and Tippett in Ballarat. Following his eighteenth birthday Albert enlisted in the AIF in Ballarat with the rank of Private, No 2012. He embarked for the Middle East with 23rd Battalion on 26 August 1915 and was 'taken on strength at the Gallipoli Peninsular 25 October 1915". On 10 January 1916 Albert was posted to Alexandria, Egypt and during this time he was able to meet with his aunt Rose Douglas, an Australian Army Nursing Sister. This was a great comfort to his family. Albert was sent to France 19 March 1916 and transferred to the 22nd Battalion. He was mentioned in dispatches for 'good and gallant conduct' 5 August (1917?). Albert was hospitalised 30 March 1918, rejoined 22nd Battalion 3 June 1918, wounded in action 3 October 1918 but died of wounds at Rouen 10 October 1918. news of his death was received by his family in Australia just prior to the armistice. Albert Telfer White's sacrifice is commemorated at Ballarat College, Avenue of Honour Ballarat (Tree 1214), Ballarat Shire Honour Avenue Learmonth (Tree 163) and the Australian War Memorial Canberra. (These notes provided by family November 2016)Part of a greater A T White CollectionThe 1914-15 Star is a four pointed star of bright bronze, ensigned with a crown. The obverse has crossed gladius, overlaid with an oak wreath that is ensigned with the cypher of King George V. A scroll bearing the legend 1914-15 is centrally placed across the crossed blades. The 1914-15 Star ribbon has the red white and blue colours of the Empire, in shaded and watered stripes.Engraved on a scroll in the centre of the medal front: '1914-15' The oak wreath is ensigned with the cypher of King George V. The back of the medal is engraved: 2012 / Pte A T White / 23/BN. A.I.F. albert-telfer-white, medal, world war one, 1914-15 star

Originally would have been issued with a scroll & letter from the King but neither with plaque. 1914-1918 Memorial Plaque In early 1920 it was announced that the next-of-kin of all Australian servicemen and women whose deaths were attributable to the First World War would receive a memorial plaque and scroll "as a solace for bereavement and as a memento". The memorial plaques were not uniquely Australian. In fact they were designed and produced in Britain and issued to commemorate all those who died as a result of war service from within the British Commonwealth. The idea for the plaques was originally conceived mid-way through the war. In 1917 a competition was announced to obtain a suitable design and 800 entries were eventually received. The winner, Mr. E. Carter Preston of Liverpool, England, was chosen in 1918. He was awarded a prize of 250 pounds. Mr Manning Pike directed the manufacture of the memorial plaques at the Memorial Plaque Factory set up at Acton, London. Some later plaques were also made at the Woolwich Arsenal. The cost of manufacturing so many plaques must have been considerable. Each plaque had the name of the soldier commemorated individually embossed (some were engraved) as part of the design. The full name was given without any indication of rank or honours to show the equality of sacrifice of all those who had lost their lives. The scroll designed to accompany the plaques was of thick paper, headed by the royal coat-of-arms, and bore the following message: "He whom this scroll commemorates was numbered among those who, at the call of King and Country, left all that was dear to them, endured hardness, faced danger, and finally passed out of the sight of men by the path of duty and self-sacrifice, giving up their own lives that others might live in freedom. Let those that come after see that his name is not forgotten". Underneath the message the serviceman or woman’s name, rank, honours and unit were written by hand in red ink. Because of the late arrival in Australia of the plaques many scrolls were sent out separately. A message from the King, "I join with my grateful people in sending you this memorial of a brave life given for others in the Great War", was included with the scroll. The first plaques were distributed in Australia in 1922. Each plaque was sent out from Base Records Office at Victoria Barracks in Melbourne by second-class mail. Approximately 60,000 plaques were issued in Australia. Families of deceased members of the Royal Australian Navy and the Australian Army Nursing Service also received plaques and scrolls Bronze Memorial Plaque 1914-1918 for 4876 Pte. Harry Milne , 46 Battalion KIA 10/5/1918, In a cardboard square envelope. http://www.awm.gov.au/research/people/roll_of_honour/person.asp?p=493414Embossed around edge of plaque "HE DIED FOR FREEDOM AND HONOVR" Name of serviceman embossed on plaque right of centre "HARRY MILNE"ww1, dead mans penny, kings penny, memorial plaque

This original tunic or jacket is part of the full dress uniform of the pre-Federation Victorian Permanent Artillery regiment. Its owner had the rank of Sergeant, as indicated by the three inverted chevrons. The Artillery design of the badges and buttons indicate the date of the tunic to be from 1893 to 1903. However the maker of the tunic, W. Moncton, began manufacture in Melbourne in 1899, so this the tunic can be dated between 1899 and 1903. The donor's grandfather was given this tunic but not the name of the original owner. It has since been suggested to the family that the tunic was worn by a local Western District Light Horse member. This could very well have been the case because mounted troops were officially referred to as the Light Horse in the late 19th to early 20th century. Several local men were involved in the Light Horse during the First World War. The donor's grandfather wore this tunic in the local district when riding a penny farthing bicycle. The donor's father also wore the tunic when dressed as a 'Captain' hosting a local disco dance. BRIEF MILITARY HISTORY- The Crimean War began In 1854 and many people in colonial Australia were afraid of a Russian attack. Volunteer forces were established to strengthen the British Imperial troops posted here. A battery of artillery was raised in Victoria as well as in other Australian states. In 1870 Australia became responsible for its own naval and military defence. The Volunteer Corps and Victorian Navy shared the responsibility of defending the existing forts, assisted by volunteer coastal and mobile field batteries. The Permanent Victorian Artillery force was established. It was disbanded in 1880 then re-formed in 1882 as the Victorian Garrison Artillery Corps. In 1895 the Geelong, Warrnambool, Port Fairy and Portland Batteries became part of the Western District Garrison Artillery. Many of the volunteers who served in the Artillery were from rural areas. They belonged to rifle clubs and were experience horsemen as well. Australia's defence at this time relied on these mounted troops, or Light Horse men. In 1899 the Victorian Garrison Artillery Corps amalgamated with the New South Wales and Queensland Permanent Artillery to become the Victorian Regiment of the Royal Australian Artillery (RAA). Then prior to Federation, the RAA and the Permanent Artillery of South Australia, Western Australia and Tasmania all combined, becoming the Royal Australian Artillery Regiment with two Batteries of Field Artillery; Battery A from Sydney and Battery B from Melbourne.This original uniform tunic of the pre-Federation Victorian Permanent Artillery is significant for its association with Australia's military defence and the fortifications of our district, state and country. The tunic is also significant, representing part of the history and evolution of uniforms in the Australian military forces. The tunic is also significant in its representation of Australia's independence in forming its own defences. The tunic has local significance in its connection with local social events.Tunic or jacket, part of the full dress uniform of the pre-Federation Victorian Permanent Artillery operating from 1893 to 1903. Original, single-breasted tunic of dark blue wool, red piping trim, black cotton lining in body. Sleeves lined with blue striped, white cotton. Front closure has eight brass buttons. Red band-style collar with hook-and-eye closure has gold bullion braid trim and a brass badge pinned each side at the front. Upper right sleeve has three inverted chevrons on red fabric with gold bullion braid trim (rank of Sergeant). Both sleeves have gold bullion braid 'Austrian knot' emblems stitched onto lower arm, with ends finishing on the inner sleeve. Shoulder epaulettes have red piping and smaller brass buttons. Closed back vent has vertical scalloped design with six brass buttons, in two columns of three, and red piping trim. Brass belt hook is attached to the left back waist, close to the seam (right side has a mark indicating a previous similar clip). Inside left breast is a concealed pocket. Tunic has both machine and hand stitching. All brass shank-style buttons have matching Artillery emblems with inscriptions on the back. The two brass collar badges have additional artillery emblems of exploding grenade and star as well as an inscription. Buttons were made for W. Moncton, of Melbourne and marked with his name. He traded from 1899, dating the tunic to between 1899 and 1903.Button front: Artillery emblem on front (field cannon facing left, in front of a muzzle-loading ram rod). Button back: engraved "W. MONCTON . MELBOURNE ." Collar badges: Artillery emblem (field cannon facing right | stars | exploding grenade | "AUSTRALIA")flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, uniform jacket, uniform tunic, garrison volunteer uniform, fortifications in victoria, victorian permanent artillery, pre-federation military uniform, sergeant's uniform, jacket, militia, victoria, victorian volunteer forces, victorian regiment, royal australian artillery, raa, field gun, sergeant, w. moncton, garrison, dress uniform, tunic, scarlet collar, red collar, scarlet piping, red piping, gold bullion, artillery emblem, light horse, artillery, mounted troops, victorian garrison artillery corps

This book was produced as a project for the 1915 ANZAC centenary. The book became too unwieldy and was then divided into written information and a CD with the details of each man - name; rank; service number and unit. Almost 2500 names have been traced. For current Australians, the Anzac Centenary is one of the most significant commemorations to take place during their lifetime. It was a time to contemplate the legacy of those who served in World war 1 and those who never returned to their families or friends. This book records that time and especially honours those from East Gippsland.A paper back book, titled "East Gippsland's ANZACS a tribute to those who served in World War 1". On the front cover is a sepia photograph of "Thirty East Gippsland Boys" taken in early 1916 during training at Heliopolis (Greece) before embarkation for France. The book contains a selection of stories from those who served, along with a CD of the names and service records of all of those known to have enlisted from East Gippsland.anzac ww1 military-history--east-gippsland

HENRY SMERDON (Harry) HOLMES was born in 1897 at the family property, ’Sauchieburn’, 17 km north of Ballarat, in the Ascot district. He was the youngest of four children. After finishing his education at St Patrick’s College, Ballarat, Henry joined the Holmes family farming interests. At the age of 18 he enlisted and served with AIF in Egypt, France and Belgium 1915-1918. Henry served at the famous battlegrounds of Ypes and Somme in the Australian Army 8th Battalion https://www.awm.gov.au/collection/U51448 He was a Driver with the 4th D.A.C.https://www.awm.gov.au/collection/U51219 According to his Soldier's Pay Books (Cat. No. 20112) Holmes Registration number was 7983. He was Catholic and enlisted in the Third Military District on 17 September 1915, and embarked on 8 November 1915. Holmes was in the 18th AASC Unit with the rank of Driver at that time. On 15 November 1918 Holmes was promoted to Lance Corporal. He received leave on: * 3 August 1917 - London (10 days) * 19 February 1918 - Paris (10 days) * 27 August 1918 - London (14 days) In 1922 Harry married Edith Pickford of 'Yeovil', Clunes, and they lived at 'Sauchieburn' with Henry's brother Willie. In 1933 Harry and Edith built a new timber home 'Launchley' (Ascot) on the rise east of 'Sauchieburn' on the Ballarat - Maryborough Road. The home was built by Con Zilles to the designs of Clegg and Morrow. In 1938 Harry and Edith purchased a property at Derrinallum, Victoria and called it 'Launchley Park' on their first son's return from World War 2. In 1953 Harry purchased William and Charlotte's portion of 'Sauchieburn' for his son, Bill, and daughter-in-law Margaret. [Source: Unpublished notes by Jane Dyer ( nee Chatham)]Sepia photographic postcard of a World War 1 Australian soldier in uniform, Henry Smerdon Holmes from Ascot Victoria.Verso in pen "The boys say this isn't to (sic) bad so it will show you any changes. Heaps of love to all. Harrychatham, chatham family collection, holmes, harry holmes, henry holmes, smerdon, world war, world war 1, world war i, uniform

Chu Chin Chow is a musical comedy written, produced and directed by Oscar Asche, with music by Frederic Norton, based (with minor embellishments) on the story of Ali Baba and the 40 Thieves. Tickets to see Chu Chin Chow were particularly eagerly sought by troops on leave from the Western Front. One of the attractions for the on-leave soldiers was the chorus of pretty slave girls who, for the period, were very scantily dressed. The cast was large and included a camel, a donkey, poultry and snakes. A total of 2,800,000 people saw the show. (http://en.wikipedia.org/wiki/Chu_Chin_Chow) It is thought that Harry Holmes attended 'Chu Chin Chow' while on leave in London during World War One. Around this time he had been serving in the Australian Imperial Forces in Egypt. Henry 'Harry' Holmes was the son of Violet Holmes. He enlisted under the name Harry Smerdon Holmes and was put into the 18th A.A.S.C., then later transferred into the 5th Division Train A.S.C. According to his Soldier's Pay Books (Cat. No. 20112) Holmes Registration number was 7983. He was Catholic and enlisted in the Third Military District on 17 September 1915, and embarked on 8 November 1915. Holmes was in the 18th AASC Unit with the rank of Driver at that time. On 15 November 1918 Holmes was promoted to Lance Corporal. He received leave on: * 3 August 1917 - London (10 days) * 19 February 1918 - Paris (10 days) * 27 August 1918 - London (14 days) White paper theatre programme with red and black writing. It is a publicity brochure from the play 'Chu Chin Chow' by Oscar Asche set to music by Frederic Norton. In black ink in front 'So far this is an easy first of the shows I've seen, The scenes are great and being Egyptian we understand them all the better'. chatham family collection, holmes, theatre, world war 1, world war, world war i, herbert tree, entertainment, music, musical, oscar asche, fred norton

This is a part of the A.J. Roddy Collection. The Family have glued a piece on the envelope which says, "Dad's Discharge Paper/ Royal Irish Rifles & Royal Flying Corps./ 7-1-1915 to Dec 1921. Copy a the Discharge paper of Pte2 James Roddy, Royal Irish Rifles & Royal Flying Corps RAF 7-1-1915 to Dec 1921 and CoverCover: Cover for Certificates/ and other Documents of a/ soldier on Demobilization or Transfer to the Reseve/ or Discharge.// Front of Paper: Top right: Form 2067/ Royal Air Force/ Serial No/ Character Certificate of No 133458/ Rank Pte2 Name Roddy James/ Royal Flying Corp (Regiment (crossed out))/ Born in the Parish of / near the Town of South in the / County of ......... on the / Date 11.7.1897/ Trade as stated by him on Enlistment Postman/ 2 parallel lines/ * Description on Leaving the Colours/ Heoght 5ft 6in. Identification Marks:-/ Complexion Fresh Scar above 1st Lumbar/ Eyes Grey. Vertibrae/ Hair Brown/ Signature of Soldier/ (was signed J. Roddy/ * To prevent impersonation/ In the event of any doubt arising as to the bona fidis of the/ bearer, the above description and signature should be carefully compared with present appearance and hand writing. (16:957) WT 3183C/1875 5m.17/18. P&P Ltd/ Photostat copy of Original Opening the paper inside: The character here given is based on continous records of the holder's conduct and / employment throughout his Military Career./ This is to Certify that No 133458 Rank Pte2 Name Roddy James/ has served with the colours in the Royal Irish Rifles & Royal Flying Corps for 3 83/365 years. 1915-18/ Serving in the Royal Flying Corps as a Batman, and during/ the whole of this period carrying out his duites in a/ satisfactory manner/ There is no record of him having incurred any service/ entries on his conduct sheet during this period./ for service in the R.A.F. see form 280/ Signature ..... Squadron Leader/ Date December 1921 Commanding R.A.F. Records Ruislip/ If further particulars as to his character and record of service are required within three years of above date, apply to/ where he is registered for Civil Employment,/ afterwards to the Officer in Charge of Records./ * This space is intended to be filled in by any organisation which has registered the man's name and is prepared to/ supply further information.// Back of paper: Particulars of Service/ Date of Enlistement 7.1.15/ Preceeded on Furlough pending Transfer to the Army/ Reserve, or Discharge on... passed medically fit for the Army Reserve on/ Due for Final Discharge on../ Cause of Transfer or Discharge - Transferred to R.A.F. 1-4-18. under the provisions of the/ Air Force (Constitution) Act Oct. 1917./ Campaigns, Medals and Decorations/ France from 15.6.15 to 3.12.16/ 1914-15 Star, British War & Victory/ Medals. /Education and other Certificates and dates/corps, ww1, collection, royal, a j, roddy, flying, irish, rifles, pte2, james, 1915

Letter dated 25th January, 1957, from Grand Secretary's Office, Freemasons' Hall, 25 Collins Street Melbourne to Wor. Bro. A.J.B. Aird, Warrandyte Road, Ringwood, notifying fee registration and certification fee upon accepting proposed rank of Past Senior Grand Deacon.

Buff coloured certificate with gold Lodge seal. Certification that the Past Rank of Senior Grand Warden has been conferred on Brother Arthur James Bromwich Aird. Signed by the Grand Master under the Seal of the Grand Lodge on 26th July, 1961.

Letter dated 26th October, 1964 from District Grand Recorder, Order of the Secret Monitor, District Grand Conclave of Southern Australia, 12 Dane Road, Moorabbin, Victoria, confering R.Wor. Bro. A.J.B. Aird with the rank of Past District Grand Visitor in the District Grand Conclave of Southern Australia on payment of £3-3-0 fee.

Wayne Alfred is a member of the Namgis Tribe of the Kwakwaka'wakw people. As a master carver he has an extremely high level of carving skill and knowledge about his peoples cultural objects, customs, tribal stories and legends. The Totem Poles of the North Pacific Coast in British Columbia and Alaska are traditionally carved out of red or yellow cedar, which has a spiritual and practical purpose. The wood was known for its durability, its resistance to rotting and the inner bark was utilised in ropemaking, clothing, hats, baskets and so forth. The Kwakitul People consider the cedar tree to be among the most sacred of all things provided by the Creator. They believed the Cedar tree to be the axis of the world and a pathway to the upper world. The wood is shaped using implements such as adzes, axes, chisels, carving knives, and chainsaws. Misinterpreted as Gods and idols to be worshipped, totems usually serve six purposes, such as a house pillar for support, a memorial or mortuary pole to commemorate (and house) the deceased, a potlatch pole (used for important traditional indigenous celebrations), a ridicule pole used to shame and a heraldic or family crest pole. Characters and symbols on these totem poles usually display family crests, history, wealth, social rank, inheritance, and privilege, as well as animalistic imagery derived from native animals and mythological creatures. Their sequence are indicative of past family events, ancestors, myths, and heraldic crests, with the bottom figure usually being the most prominent. In this work the 'thunderbird' is symbolic of power, strength and of ancestory. The Commonwealth Games Totem Pole was presented to the people of Nillumbik on behalf of the Canadian Government in recognition of Melbourne as the hosts of the Melbourne Commonwealth Games Team in 2006. Carved in cedar wood, this totem pole incorporates bold cuts and colours (such as red and green) offset by strong black. A relative degree of realism is used to depict the alligator located on the bottom of the pole, a man and a 'thunderbird'/eagle located on the top. With protuding element. No inscriptions. Bold cuts used to outline the characters and symbols as well as decorative and stylised features all over the pole. public art, kwakwaka'wakw, namgis, alfred, north pacific coast, british columbia, canada, totem pole, carved, commonwealth games, melbourne festival, cedar