Thomas Edison (1847–1931), an American, invented the phonograph in 1877, making it possible to record sound waves vertically and reproduce them on a wax cylinder so they could be heard again. Later, the German American, Emile Berliner (1851-1929), improved on Edison’s principles, greatly increasing the quality of the reproduced sounds with his invention of the gramophone in 1887, which recorded the sound waves laterally onto a flat shellac disc, or ‘record’. Records could be mass-produced in a factory where audio recordings were converted to a physical copy of that recording on a plate-sized disc. A gramophone machine reproduced the sound by spinning the record on a turntable at a specified number of rotations per minute (RPM) and using a stylus or needle to transfer the vibration via a membrane to a speaker, which amplified the sound. Berliner helped set up affiliated businesses overseas. One of his representatives was William Barry Owen (1860–1914), who, on 23 February 1889, partnered with Edmund Trevor Lloyd Williams (1859–1946) in England to register The Gramophone Company. His Master’s Voice (HMV) soon became the company’s major recording label, popular worldwide. The business based the label's logo of a dog looking into a gramophone horn for ‘his master’s voice’ was based on a painting by English artist Francis Barraud, which featured a terrier called Nipper beside a gramophone. Early gramophone records were mostly made from a material referred to as shellac, a natural ingredient combined with slate powder, and a filler of manilla copal, wood resin, carnauba wax, and carbon black. Although Bakelite seemed a useful, synthetic product, it was unsuccessful as a product for records. Around the time of World War II, lightweight, flexible synthetic vinyl records began replacing shellac records. Common diameters of records: 7 inch, 10 inch, 12 inch and 16 inch Revolutions Per Minute include: 33 1/3, 45, 78 Minutes per side of record: 3, 5.5, 7, 8, 9, 12, 15 and 22 Labels, in minutes per side: Single Play 3-5 min, Extended Play (EP) 7-12 min, Long Play (LP) 12-22 min This gramophone represents a step in the evolution of recording sound. In the 19th century, the human voice was first recorded on wax cylinders and replayed. It was the beginning of a new era in sound. Then, in the 1880s, voice could be recorded onto flat discs like this record, reliably reproduced and replayed many times, even on portable devices. Later, in the mid-20th century the following generation of electronic audio recording began, and later that century, digital recording gave even better reproduction. The record represents a popular means of entertainment for personal and social activities, as well as in some businesses. Shellac gramophone record with a crimson and gold label. Title: The Triumph of Right Artist: H.M. Welsh Guards Publisher: ACO England Number: G15875 Size: 10 inchflagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum and village, shipwreck coast, great ocean road, gramophone, phonograph, sound waves, record, reproduction, audio record, music, sound, thomas edison, emile berliner, 1887, shellac, rpm, william barry owen, edmund trevor lloyd williams, the gramophone company, his master’s voice, hmv, francis barraud, nipper, 10 inch, the triumph of right, h.m. welsh guards, aco england

This is the last of the series of books chronicling the achievements of the ships and personnel of the Royal Australian Navy in WWII. For the whole of the war the Navy was on the job all over the place all of the time. From the first to the last days of WWII RAN was represented, by ships and personnel in the battle for supremacy in t he battle for supremacy at sea. They took part in every rear-guard action in the days when the tide was against. They participated in the invasions of enemy territory that came with the resurgence of Allied strength right through to the final assaults on the Japanese home islands The last book of the series of which HMAS MK IV, servIng personnel of the RAN have recorded the achievements of their service in WWII HMAS Mk IV - The RAN's Fourth Book. Green front, back and spine hardcover.. Inside front and back cover is a green sepia aerials view illustration of Japanese islands with boats and aeroplane. Illustrations, poems, stories, photographs, prints, cartoons.Dedicated to all those past and present, who 'Fear God, Honour the Kingwwii, royal australian navy, triumph of sea power, amphibian, flying seaman, invasion of borneo, whaler's crew, converted ocean liners, wrans go to sea, balikpapan, frigates, new guinea, indonesia, south east oceania, bougainville, surrender of dutch borneo, world war 2

Circular medalet with a plain edge and integral suspension loop. The obverse features a symbolic female figure of Peace, holding a sword and standing on a plinth marked 'PEACE 1919'. Behind her flies a dove, and at her left and right feet are two figures freed from their shackles. The reverse features a central panel surrounded by laurel leaves, surmounted by the King's Crown with the word 'VICTORY' over the rays of the rising sun. A sailor and a digger stand at ease on either side of the panel on which is cast 'THE / TRIUMPH / OF / LIBERTY / AND / JUSTICE'. Below the leaves is a very small panel with the words 'THE PEACE OF 1919' and the manufacturer's name.military, world war 1, peace medal

Designed by C Douglas Richardson, ‘The Peace of 1919’ medalet was issued by the Defence Department to school children throughout Australia to commemorate the signing of the Versailles Peace Treaty in 1919.One side of the medal features a symbolic female figure of Peace, holding a sword and standing on a plinth marked ‘PEACE 1919’. Behind her flies a dove, and at her left and right feet are two figures freed from their shackles. The reverse features a central panel surrounded by laurel leaves, surmounted by the King’s Crown with the word ‘VICTORY’ over the rays of the rising sun. A sailor and a digger stand at ease on either side of the panel on which is cast ‘THE / TRIUMPH / OF / LIBERTY / AND / JUSTICE’. Below the leaves is a very small panel with the words ‘THE PEACE OF 1919’, ‘AUSTRALIA’. versailes peace treaty, medal, defence dept., school children

Awarded to: School Children of the Commonwealth of Australia Other Details: Of the commemorative medals issued to mark the end of the First World War, the most common was the so-called 'Peace' or 'Victory' medal issued to every child in Australia aged 0-14 years (and aged up to 16 if parents were in the armed forces). The medal was designed by Charles Douglas Richardson, better known for his work as a sculptor. Time constraints as well as pressure from the production of other victory medals meant that no single manufacturer could make the 1,670,000 medals. Six were therefore selected: Amor, Stokes, Schlank, Parkes, Angus & Coote (who later withdrew) and Platers. The medals were silvered bronze, with silver issues for special presentations. The Defence Department supplied a red, white and blue striped ribbon and pin. Distribution began in March 1919. Victorian school children received their medals on Friday 18 July and on 'Peace Day' on Saturday 19 July.To commemorate the end of World War 1.Round white metal medals issued to mark the end of WW1. On the front "PEACE 1919", and on the reverse, "VICTORY", middle of the medal "THE TRIUMPH OF LIBERTY AND JUSTICE". on the bottom "THE PEACE OF 1919". With a plain edge.Peace with two flying doves on pedestal inscribed, PEACE / 1919 below AUSTRALIA; figure in chains on left and another entangled in bush to right (obverse) Australian sailor and soldier support wreath; above, VICTORY; within, THE / TRIUMPH / OF / LIBERTY / AND / JUSTICE; below on plaque, THE PEACE OF 1919(reverse)world war 1, peace, victory medal australia

Tennis champion Fred Perry backhands the ball at Kooyong, 1934 “I didn’t aspire to be a good sport, “champion” was good enough for me.” Fred Perry (1909-1995) was an English tennis champion who won eight Grand Slam titles including Wimbledon in 1934, 1935, 1936 and the Australian Open in 1934. Australian sports journalist Alan Trengove remarked, “When Perry walked out to play in his crisp white flannels and matching white blazer, thousands of female hearts missed a beat!” In 1935, Fred and Dorothy defeated Harry and Nell Hopman in the Wimbledon mixed doubles, and in 1936 they won against America. Fred started a successful sportswear brand in 1952, which continues today. Fred initially wanted a smoking pipe as the emblem as he was an enthusiastic smoker, but was talked out of it because it wouldn’t appeal to women. The familiar laurel was used instead. Featured in "Newsworthy: Melbourne in photographs 1933-1936" exhibition at East Melbourne Library, October to December 2023. Exhibition caption by project volunteer Fiona Collyer. Photographer notations on slide: "F. Perry 1934 Action B42" Photograph taken at Kooyong, Melbourne, but used in article about Wimbledon 1934. Published: The Age 7 July 1934 p 13 Published title: "THE FINAL STAGE." Published caption: F. J. Perry (England) Trove article identifier: http://nla.gov.au/nla.news-article205525840 Research by project volunteer Fiona Collyer: Frederick John Perry, 18 May 1909 to 2 Feb 1995 Fred Perry was an English tennis and table-tennis champion. He won eight Grand Slam titles – Wimbledon Gentlemen’s Singles, US Open three times, Australian Open and French Open once each. Fred had natural hand-to eye co-ordination, solid strokes and a devastating forehand that he used soon after the ball bounced. His fierce competitiveness and unabashed confidence gave him the winning edge. Fred was born in Stockport, Cheshire in 1909. His father, Samuel, a committed socialist, was a cotton spinner who became Secretary of the Co-Operative Party and later a Labour and Co-Operative Party M.P. When Fred was nine years old the family moved to Ealing, London. In 1929, at the age of 19, Fred became the World Champion at table-tennis – a new international sport at the time. He then decided to switch from table-tennis to tennis after his father told him to stop spending so much time in the smoke-filled halls that held table-tennis events. “You look like death warmed up.” he said. In the tennis world, Fred was regarded as an upstart intruder, and was the victim of snobbery and prejudice for his working class background. Fred trained with Arsenal Football Club in defiance of the LTA (Lawn Tennis Association) which had a dim view of extra-curricular exercise. His sarcastic toff-baiting call of “very clevah” when an opponent played a good shot and his habit of vaulting over the net whenever he won a match made Fred compelling to watch. Fred’s prize for winning Wimbledon was a £25 shopping voucher and a replica trophy. There was no on-court presentation; instead it was the custom to offer congratulations in the dressing rooms. One of the defining moments of Fred’s career came on the day he won Wimbledon for the first time in 1934. He was in the bathtub after the match when he over-heard former tennis player Brame Hillyard, a committee member of the All-England Club talking to Australian runner-up Jack Crawford. “This was the one day when the best man didn’t win.” Hillyard had brought a bottle of champagne and an All-England neck-tie, which was official recognition of Fred now being a member of one of the sporting world’s most elite clubs. Instead of a formal presentation to Fred, Hillyard draped the tie unceremoniously over his seat in the dressing room, handed Jack the bottle of champagne, and left. “Instead of Fred Perry the Champ, I felt like J. Fred Muggs the Chimp!” he said. When Fred finally went professional, an official at LTA told him he would never wear the club sweater again. Fred said “I made sure he wouldn’t have to worry about that, I sent a sleeve to him as a present!” In 1935, RKO offered Fred a contract for two movies at $50,000 each, but he had to turn down the offer as it would be in breach of LTA rules and he would lose his amateur status. In 1935, Fred married American film actress Helen Vinson in Harrison, New York, waking up a registrar at five minutes to midnight to avoid being married on Friday the thirteenth – “To be on the safe side” they said. In 1936, having been world number one tennis player for three years, Fred quit amateur tennis and moved to America. He joined tennis players Ellsworth Vines and Don Budge on a professional tennis circuit, travelling around US cities and receiving a share of the gate receipts. The All-England Club removed his honorary membership and the tie that went with it – “After all the trouble they’d gone to presenting it to me.” he quipped acidly. Despite being a three-time Wimbledon champion, Fred was barred from playing on LTA affiliated courts, so when he held his pro-tour through the UK in 1937, the matches had to be played on a portable wooden court, transported around by truck to football grounds. Fred was co-owner of the Beverley Hills Tennis Club. The exclusive membership consisted of Hollywood actors, directors, writers and studio heads. At the launch of the re-branded club in 1937, Fred played a doubles match with Charlie Chaplin, Groucho Marx and Ellsworth Vines, which he won with Charlie. Watching on was a Who’s Who of Hollywood actors including Barbara Stanwyck, Joan Crawford, the Marx Brothers, Errol Flynn, and Ronald Coleman to name a few. Fred was romantically linked to Hollywood actresses Marlene Dietrich, Jean Harlow, and Bette Davis, and was engaged to British actress Mary Lawson. In 1939, he became a US citizen and in 1942 enlisted in the US Air Force. Fred wore medical gauze around his right wrist while playing to stop sweat from flowing onto the handle of his racket and to wipe sweat from his brow. He paired up with former footballer Austrian Tibby Wegner to develop an anti-perspirant device. The prototype towelling sweatbands were given free to players at tournaments and proved popular. In 1952, Fred Perry Sportswear began and the trademark slimfit white polo shirt with embroidered laurel wreath on the left breast was born. The laurel wreath was inspired by Wimbledon’s original emblem and is the ancient symbol for triumph and victory. Fred was an enthusiastic pipe smoker and wanted a pipe to be the logo, however he was persuaded that it wouldn’t appeal to women. Years after the brand started, French tennis champion and sportswear designer Rene Lacoste and Fred were interviewed together for TV. Lacoste said ”I made the shirt and you made me a great compliment doing the same thing.” Fred responded “You made the back of it longer than the front – so between us we revolutionised it, didn’t we?” After Fred retired from competition tennis in 1956, he worked as a BBC tennis commentator for TV and radio and wrote columns for British newspapers. He also coached at Beca Raton Club in Florida and was director of golf at Runaway Bay in Jamaica. In 1984, 50 years after his first title, Wimbledon erected a statue of Fred. “I never thought I’d live to see the day when a statue was put up to the son of a Labour M.P. inside the manicured grounds of Wimbledon,” he said. Fred married four times, firstly to Texan actress Helen Vinson. His final marriage to Barbara Riese in 1952 lasted until his death. They had two children, Penny and David. Fred died in the Epworth Hospital, Richmond, Melbourne after falling in his hotel bathroom while visiting for the Australian Open. His ashes are in an urn near his statue at Wimbledon. - In 1975, Fred was inducted into the International Tennis Hall of Fame. - In 2002, the Fred Perry 23 km walking route was opened in Stockport. - An English Heritage blue plaque was attached to his Ealing house where he lived in from 1919-1935. A letter to The Times… In 1932, Dr Daniel Prenn and Gottfried Von Cramm of Germany beat the formally dominant Great Britain team of Fred Perry and Bunny Austin in the Davis Cup. Prenn was not selected for the 1933 Davis Cup Team after Chancellor Adolf Hitler announced his “Aryan only” agenda for Germany’s sporting bodies. Dr Prenn, a Jew, was born in Vilnius (then part of Russia), and in 1920 his family fled to Berlin as refugees after the pogroms. On 15 April 1933, Fred Perry and Bunny Austin (a member at the Oxford Group, a Christian anti-war movement), wrote a letter of protest to the London Times: "Sir, We have read with considerable dismay the official statement which has appeared in the Press that Dr D.D. Prenn is not to represent Germany in the Davis Cup on the grounds that he is of Jewish origin. We cannot but recall the scene when, less than twelve months ago, Dr Prenn before a large crowd at Berlin won for Germany against Great Britain the semi-final round of the European Zone of the Davis Cup, and was carried from the arena amidst spontaneous and tremendous enthusiasm. We have always valued our participation in international sport, because we believed it to be a great opportunity for the promotion of better international understanding and because it was a human activity that countenanced no distinction of race, class or creed. For this reason, if for none other, we view with great misgivings any action which may well undermine all that is most valuable in international competitions. Yours faithfully, H.W. Austin, Fred Perry.” Daniel Prenn emigrated to Britain in 1935. References: Fred Perry: British tennis legend, Kevin Jefferys, Pitch Publishing, 2017 'Fred Perry: The hero from the wrong side of the tramlines', Paul Newman, tennis correspondent, The Independent, 21 November 2015 https://www.independent.co.uk/sport/tennis/fred-perry-the-hero-from-the-wrong-side-of-the-tramlines-a6743721.html. 'Fred Perry: the radical of Wimbledon', Bob Holman, Socialist Worker, 26 June 2009 https://socialistworker.co.uk/comment/fred-perry-the-radical-of-wimbledon/ 'Daniel Prenn (1904-1991) – A little-known Jewish German tennis player', newmark401, Tennis Warehouse forums, 12 May 2011 http://tt.tennis-warehouse.com/index.php?threads/daniel-prenn-1904-1991-–-a-little-known-jewish-german-tennis-player.379780/Photographer notations on slide: "F. Perry 1934 Action B42".tennis, 1930-1939

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Black and white lithograph on paper depicting the elaborate stone and wrought iron (open) gate/ entrance to Pugh's artist colony 'Dunmoochin' situated at Cottles Bridge. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gate, fire, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Black and white lithograph on paper depicting the elaborate stone and wrought iron (open) gate/ entrance to Pugh's artist colony 'Dunmoochin' situated at Cottles Bridge.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, sunlight, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (very dark image) detailing Clifton Pugh's garden at Dunmoochin.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, garden, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white depicting the Print Studio at Dunmoochin.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, studio, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white detailing the Artist's Gallery at Dunmoochin, located within bush surrounds at Cottles BridgeBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gallery, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her Mother took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin.Lithographic print in black and white depicting Gate # 1 at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gate 1, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white depicting bushland and a pond reflecting light.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, pond, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Print - lithographBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, garden, evening, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (dark image) detailing the interior of Clifton Pugh's house at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, interior, house, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (very dark image) depicting Chehovskis' cottage at Dunmoochin. Small cottage, bushland and shrubs.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, cottage, lithograph

Awarded to: School Children of the Commonwealth of Australia Other Details: Of the commemorative medals issued to mark the end of the First World War, the most common was the so-called 'Peace' or 'Victory' medal issued to every child in Australia aged 0-14 years (and aged up to 16 if parents were in the armed forces). The medal was designed by Charles Douglas Richardson, better known for his work as a sculptor. Time constraints as well as pressure from the production of other victory medals meant that no single manufacturer could make the 1,670,000 medals. Six were therefore selected: Amor, Stokes, Schlank, Parkes, Angus & Coote (who later withdrew) and Platers. The medals were silvered bronze, with silver issues for special presentations. The Defence Department supplied a red, white and blue striped ribbon and pin. Distribution began in March 1919. Victorian school children received their medals on Friday 18 July and on 'Peace Day' on Saturday 19 July.To commemorate the end of World War 1Round white metal medals issued to mark the end of WW1. On the front "PEACE 1919", and on the reverse, "VICTORY", middle of the medal "THE TRIUMPH OF LIBERTY AND JUSTICE". on the bottom "THE PEACE OF 1919". With a plain edge.Peace with two flying doves on pedestal inscribed, PEACE / 1919 below AUSTRALIA; figure in chains on left and another entangled in bush to right (obverse) Australian sailor and soldier support wreath; above, VICTORY; within, THE / TRIUMPH / OF / LIBERTY / AND / JUSTICE; below on plaque, THE PEACE OF 1919(reverse)

Yarra Valley Hyundai presentation to Carlton B&F winner 1997A perpetual Trophy presented by a major sponsor Hyundai in the guise of "TOM ALVIN PERPETUAL TROPHY". In 1997 it was presented to Craig Bradley Carlton Best & Fairest winner 1997. Career : 1986 - 2002 Debut : Round 1, 1986 vs Hawthorn, aged 22 years, 159 days Carlton Player No. 931 Games : 375 Goals : 247 Last Game : Round 19, 2002 vs Port Adelaide, aged 38 years, 291 days Guernsey No. 21 Height : 182 cm (5 ft. 11 in.) Weight : 81 kg (12 stone, 11 lbs.) DOB : 23 October, 1963 Premiership Player 1987, 1995 Carlton Legend Carlton Hall of Fame (1995) Best and Fairest 1986, 1988, 1993 All Australian 1986, 1993, 1994, 1995, 1997 Captain 1998-2002 Team of the Century: Wing International Rules Series vs Ireland : 2000, 2001 (captain), 2002 Off the field, Craig Bradley was a somewhat quiet, unassuming character who never hungered for the spotlight. But when the umpire’s whistle blew for a game of Australian football, he became a consummate professional whose outstanding ball-winning ability, accurate disposal, punishing non-stop running and longevity in the game made him one of the all-time greats. “Braddles” captained the Blues for three years, won two AFL Premierships, and picked up almost every possible honour in a stellar career that spanned 17 seasons and a record 375 games for the Carlton Football Club. He began his football journey at Pooraka in outer-suburban Adelaide, where his father was coach of the Under-19 team. Craig was a stand-out junior footballer, and in 1981 he was recruited by SANFL club Port Adelaide. At the same time, Essendon also made a big pitch for his signature. The Bombers were very intent on getting him to Windy Hill, but Bradley wasn’t then ready to make the big move interstate. Essendon redoubled their efforts after Bradley’s sensational debut year for Port Adelaide, which culminated in the Magpies’ 51-point demolition of Glenelg in the Grand Final. Playing on a wing, but roaming the length of the ground, 17 year-old Bradley was one of his team’s best. He followed up by winning Port’s Best and Fairest in 1982, before departing for England later that year, as a member of the Australian Under-19 cricket team. Cricket was Braddles’ other great sporting passion, and he would eventually play two Sheffield Shield games each for South Australia and Victoria, before giving the game away to further his football ambitions. Because of his cricketing commitments, Bradley missed most of the 1983 pre-season with Port, but it made little difference, because he had another dominant season for the Magpies and was named All Australian for the first time. Two more Port Adelaide Best and Fairests followed in 1984 and '85 – with the latter complemented by All Australian honours again. In that year of 1985, four South Australians were named as All Australians; Bradley, Stephen Kernahan, Peter Motley and John Platten – and to the chagrin and envy of every other VFL club (especially Essendon) the first three all signed to play with Carlton. In the following year that trio of stars took to VFL football like they were born to it, and a time of bubbling confidence began for the Old Dark Navy Blues. Braddles wasted little time in announcing his arrival into the upper echelons of our national game by playing in the 1986 Grand Final in his debut season at Princes Park; the same year he won his first Carlton Best and Fairest award in a tie with Wayne Johnston. The Blues lost heavily to Hawthorn on Grand Final day, but twelve months later bounced back to snatch the 1987 flag from the Hawks in Bradley’s 47th senior match. By then, he was already a budding champion whose amazing stamina was too much for almost every opponent. He simply ran his taggers into the ground, and he was as effective in the last minutes of a game as he was at the start. He won two more Carlton Best and Fairest awards in 1988 and 1993, and by the end of his superb career had been an All Australian six times. Aged 32, he picked up his second Premiership winner’s medallion in 1995 when the unstoppable Kernahan-led Blues demolished Geelong in a one-sided Grand Final, but those who thought he might retire after that triumph were right off the mark. He still had his zip, his footy smarts and his brilliant foot skills, and he had transformed himself from a purely attacking weapon into an equally-effective sweeper across half-back. And to cap off a memorable season, he became one of only a handful of players to be inducted into the Carlton Hall of Fame while still playing out their career. In 1997, at the age of 34, Bradley won the Sunday Age Footballer of the Year award. ”It’s not the end of the world when you reach 30,” he said in a blunt response to those who kept asking how long he intended going on – to his considerable annoyance. After being named All Australian yet again that year, he answered all those sorts of questions when he was appointed captain of his beloved Blues in 1998 – after the retirement of his great mate ‘Sticks’ Kernahan. Braddles led the Blues into another Grand Final in 1999, but the Wayne Carey-inspired Kangaroos proved just too good. Further indication of Craig Bradley’s enduring ability was his record in the often controversial and passionately-contested International Rules Series against Ireland. He first played for his country in 1984, and was recalled again in 2000. He was appointed captain of Australia in 2001, and played a fourth round of matches in 2002 at the age of 38 – a truly amazing achievement. In the millennium year of 2000, the honours kept rolling in for Braddles when he was included in both Carlton and Port Adelaide’s Team of the Century. In turn this raised the usual debate over why he had never won the game’s most prestigious individual award, the Brownlow Medal. The answer was apparently found when former field umpire Peter Cameron was interviewed, and he revealed that during most games, Bradley regularly back-chatted the men with the whistle. “He’s in the umpire’s ear all the time,’ said Cameron. By circumstance, Braddles wore his iconic number 21 guernsey for the last time against Port Adelaide at Princes Park in round 19, 2002. Carlton lost the match by 9 points, and Bradley suffered broken ribs and a punctured lung in a heavy collision. Even so, he was an almost unanimous choice as Best on Ground and was given three Brownlow Medal votes by the umpires. A few weeks later, Bradley’s farewell was typical of his nature. There was no big press conference, no stage-managed extravaganza. Instead, he issued a written statement through the AFL that caught everyone – including the Carlton Football Club by complete surprise. It read (in part); I have many people to thank and will do so in the coming weeks. I would however like to thank the Carlton Football Club and the Port Adelaide Football Club for many wonderful times and for their influence in helping to shape my life. To leave the game with a bit left in the tank and in good personal form makes me feel good. Since the foundation of the VFL in 1897, only three men (Michael Tuck, Kevin Bartlett and Simon Madden) have played more senior games than Craig Edwin Bradley of Carlton. A true Blue champion, he is one of only ten official Carlton Legends, and in 2006 was Carlton’s 17th inductee into the AFL Hall of Fame. In October 2006, it was announced that Bradley would return to the club for season 2007 as an assistant to senior coach Brett Ratten – a role he filled with the same intensity as he showed on the field. Bradley holds the club record for most career disposals, kicks, handballs, & Brownlow votes with totals of 8776, 5876, 2900 & 144 respectively.Pewter MugTOM ALVIN PERPETUAL TROPHY Presented Latrobe Valley Hyundai Best & Donated 1997 Craig Bradley

A transitional flat-top, wooden racquet with a laminated convex throat. Decal inscription of model type around crown on obverse: TRIUMPH. Decal of company trademark features on throat on obverse. Within a football device is the inscription: TRADE MARK/SCHMELZER'S/KANSAS CITY/SPORTING GOODS. Stamped inscription along right side of stem: THE/SCHMELZER COMPANY. Materials: Wood, Gut, Metal, Ink, Glue, Lacquer, String, Leathertennis

Shire of Grenville certificate awarded to school students who participated in victory celebrations after the end of the First World War. This certificate was awarded to Elsie Godden, a pupil at Linton State School.Colourful, illustrated certificate, shows winged angel on right hand side, and Australian flag in top left corner, with images of war and peace in lower section. The words "Peace on Earth / Goodwill Towards Man" are on a scroll top centre. A decorative border encloses the illustrations, the phrase "After the Great War of 1914-1919" is printed in the border at the top, and "The Triumph of Liberty and Justice" printed in the lower border.world war 1914-1918, linton state school, elsie godden, certificates

Sepia Photograph of a man wearing suit, clerical collar and hat, standing with right hand resting on a motorbike (identified in the inscription as a Triumph)."Rev. Fr. Martin Gleeson Curate Linton about 1918 F O'Beirne Triumph".transport, motorcycles, fr martin gleeson, priests, st peter's catholic church linton

Hard cover book,The Great Triumphs of Great Men. Author: Editor & Compiler, James Mason. Publisher: William P Nimmo, Edinburgh, Scotland. Date: 1879 Green premium leather hardcover with lettering in gilt highly decorated spine and front cover. The spine has no Library label, flyleaf has a reference number top right hand corner .non-fictionThe Great Triumphs of Great Men is an interesting window into the Victorian era of popular history and educational publishing. The work was compiled and edited by James Mason. Rather than a single narrative, it is an anthology of biographical sketches outlining the lives, struggles, and achievements of historic figures. The work highlights various individuals categorised as warriors and statesmen (such as Alfred the Great, King Canute, Oliver Cromwell, and the Duke of Wellington), engineers, artists, and inventors (like Sir Christopher Wren and Thomas Gainsborough), as well as merchants, poets, and philosophers. The overarching theme is typical of the 19th-century "self-help" movement that was popularised by Samuel Smiles, using the determination, moral character, and triumphs of great men as an inspirational road map for the reader.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

The photos are a collection held by T. J. IRELAND C/K853677 P.O. STOKER MECHANIC RN while serving on HMS TRIUMPH, Korea 1950-53. Many are of the landings at INCHON, Sept. 1950. .1) Kure Harbour, Japan 1950. Ships assembling for the landings at INCHON, Korea. Ships across the top, left to right: HMAS SYDNEY, Fleet Oiler, VSS ANTIETAM, Hospital Ship & Japanese Coaster. In the foreground on the right, HMS BELFAST, HMS TRIUMPH, HMS CONSORT. On rear most photos are written on in blue pen. .2) INCHON landings Walmi-Do in background and landing barges - could be one I was driving. .3) Island - Walmi-Do - US landing craft. .4) INCHON landings. .5) US landing craft. .6) INCHON oil tanks and military targets on fire. .7) Grounded coaster after an air attack. .8) Two North Korean supply ships hit by rockets. .9) Korean supply vessels camouflaged. .10) Rocket attack on Korean supply vessel. .11) Sunken coaster that was carrying arms and food. .12) Sunken coaster in harbour. .13) & .14) North Korean armour taken from an observation flight. .15) & .16) Chinese tanks and armour. .17) HMS BELFAST, Fleet Oiler, HMAS WARRAMUNGA .18) Targets from rocket attacks. .19), .20) & .21) "Seafires" coming to land on HMS TRIUMPH. .22) Rearming cannon and rockets on a "Seafire'. Photos not written on, information was supplied by T.J. IRELAND. The "Seafire" was a naval adaption of the Supermarine Spitfire for carrier use..1) Photo, sepia tone, aerial view over a harbour with warships, bomb damage foreground, hills and buildings in the distance. .2) Photo, black & white, aerial view of harbour, city with several fires from shelling. .3) Photo, black & white, aerial view of island with landing craft. .4) Photo, black & white, aerial view over ships and harbour. .5) Photo, black & white, aerial view over four landing craft. .6) Photo, black & white, aerial view over city and fires. .7) Photo, black & white, aerial view over islands, boat .... small island. .8) Photo, black & white, aerial view over harbour with two boats on fire. .9) Photo, black & white, aerial view over structures covered. .10) Photo, black & white, aerial view over ship being attacked. .11) Photo, black & white, aerial view over harbour with sunken ship. .12) Photo, black & white, aerial view showing harbour, fire and sunken ship. .13) Photo, black & white, aerial view, five tanks along a road. .14) Photo, black & white, aerial view, same area as .13) showing a wider area. .15) Photo, black & white, aerial view showing tanks and armour. .16) Photo, black & white, aerial view road with armour, vehicles, people and smoke in distance. .17) Photo, black & white, aerial view showing three ships together. .18) Photo, black & white, aerial view showing a road control with targets either side on fire. .19) Photo, black & white, aerial view with aeroplane coming onto the deck of a carrier. .20) Photo, black & white, aerial view of a fighter plane. .21) Photo, black & white, on deck of a carrier. .22) Photo, black & white, rearming a plane with ammunition on carrier deck. Photos are various sizes.photos, korea, rn, inchon