Black wooden frame with gold inner edge, glass front with brown paper backing. A colour copy of the Menin Gate at Midnight in colour by Will Longstaff is mounted with a cream border.On gold metal plate attached to bottom centre of frame: 'MENIN GATE AT MIDNIGHT' 'BY WILL LONGSTAFF'menin gate, ww1, framed print

CEMA Art Collection Previously located in History HouseThe print depicts a natural landscape with a large classical style building (Menin Gate, Belgium) to the left. In the foreground are hundreds of ghostly figures of soldiers. The background appears to be a distant view of a town with several lights visible. The work is completed in various shades of blue and green. Mounted with brown card the work is framed in a black and gold frame, and has an exposed canvas.Front: Lower Right: Will LONGSTAFF 1927 Brass embossed plate:MENIN GATE AT MIDNIGHT BY WILL LONGSTAFF, PRESENTED TO THE COMMONWEALTH GOVERNMENT OF AUSTRALIA, BY LORD WOOLAVINGTON. COPYRIGHT RESERVED Back: (No inscriptions)

CEMA Art collection Previously located in History HouseThe print depicts a night view of a city street. In the foreground are ghosly figures completing a military march along a wide street. On the left side is a large white Remembrance Shrine with three flags hanging on individual flagpoles. In the background are numerous multi-storey buildings with a row of light streetlights in front. The work is completed in various shades of blue and mounted with brown card. Framed with a gold and black frame, the work has an exposed canvas.Front: Brass embossed plate: THE IMMORTAL SHRINE BY WILL LONGSTAFF COPYRIGHT REGISTERED Back: (No inscriptions)

Longstaff's 'Immortal shrine', also known as 'Eternal silence', depicts endless columns of ghostly soldiers marching past the Cenotaph on a rainy Remembrance Day in 1928. The Cenotaph itself has a surreal presence, gauntly white in front of the sombre blue-back buildings that dissolve into the background. Like its well-known predecessor 'Menin Gate at midnight', this painting has undeniable power and is just as hypnotic and evocative.Print of the painting The Immortal Shrine by Will Longstaff - the original is in the Australian War Memorial (ART14196). The frame is made from wood retrieved from the HMAS Sydney and a certificate of authenticity is on the back (refer to image supplied) Article from Trove is also suppliedThe Immortal Shrine Colour Print in Wood and Glass FrameThe Immortal Shrine by Will Long Staff

photo/pictures, ballarat rsl, ballarat

The original art piece was painted by Australian artist Will Longstaff after he attended the unveiling ceremony of the Menin Gate memorial at the entrance of the Belgian town of Ypres in 1927. The memorial is inscribed with the names of 54,000 British and Commonwealth soldiers killed in Flanders with no known grave. More than 6000 are Australians. It was purchased in 1928 for 2000 guineas and presented to the Australia Government by British Philanthropist Lord WoolavingtonThe image commemorates those soldiers with no marked graves who died on the Western Front during the First World War.Dark wooden frame of a dark blue coloured print with large cream coloured arched monument in distance.MENIN GATE AT MIDNIGHT by Will Longstaff Presented by Lord Woolavingtonmenin gate, will longstaff, lord woolavington, ww1

COPY OF MENIN GATE HELD AT CLUNES R.S.L. MENIN GATE WAS UNVEILED ON SUNDAY JULY 24th 1927. A MEMORIAL TO THE ARMIES OF BRITISH EMPIRE WHO STOOD THERE 1914 - 1918. AND TO THOSE OF THEIR DEAD WHO HAVE KNOWN NO GRAVE. WILL LONGSTAFF WAS SO MOVED HE MADE THE PAINTING WHICH WAS UNVEILED JULY 27th THE PAINTING IS NOW HANGING IN AUSTRALIAN WAR MEMORIAL IN CANBERRA.BOROUGH OF TALBOT AND CLUNES.1 FRAMED COPY OF PAINTING "MENIN GATE AT MIDNIGHT" .2 DOCUMENT ENTITLED "THE GHOSTS OF MENIN GATE - THE STORY OF CAPTAIN WILL LONGSTAFF'S GREAT ALLEGORICAL PAINTING" 3. FRAMED COPY OF PAINTING "MENIN GATE AT MIDNIGHT" BY WILL LONGSTAFF.3 BRASS PLATE ATTACHED TO THE WOODEN FRAME BELOW THE IMAGE INSCRIBED -"MENIN GATE AT MIDNIGHT, COPYRIGHT, RESERVED BY WILL LONGSTAFF PRESENTED TO THE COMMONWEALTH OF AUSTRALIA BY LORD WOOLAVINGTON"; A SECOND BRASS PLATE IS ATTACHED TO THE FRAME AT THE RIGHT HAND SIDE INSCRIBED "PRESENTED TO THE MAYOR CR N. C. FOULKES AND COUNCILLORS OF THE BOROUGH OF CLUNES JULY 1929" .1 BRASS PLATE ATTACHED TO THE WOODEN FRAME BELOW THE IMAGE INSCRIBED "MENIN GATE AT MIDNIGHT BY WILL LONGSTAFF Copyright Reserved""local history, illustration, copy, longstaff, sir john

The original art piece was painted by Australian artist Will Longstaff after he attended the unveiling ceremony of the Menin Gate memorial at the entrance of the Belgian town of Ypres in 1927. It was purchased in 1928 for 2000 guineas and presented to the Australia Government by British Philanthropist Lord Woolavington The memorial is inscribed with the names of 54,000 British and Commonwealth soldiers killed in Flanders with no known grave, over 6000 are Australians.The image commemorates those soldiers with no marked graves who died on the Western Front during the First World War.Dark wooden frame with gold gilt inner edge containing cream mount over a dark blue print with large cream coloured arched monument in distance.menin gate, will longstaff, lord woolavington

Text from card: 'On the night of 24th April 1918, the Australians made a daring and clever counter attack in the darkness, recaptured Villers-Bretonneux, stopped the German advance and saved Armiens. This, and the Battle of Hamei, were only a prelude to the smashing advance which commenced on 8th August.' Contains illustrations of 'Australians Advancing from Villers-Bretonneux, August 8th 1918' from an original painted by AIF War Artist Captain Will Longstaff; 'Capture of Hamei Village, July 14th 1918, by Australians assisted by a Detachment of Americans' by War Artist A Pearse. Both paintings were made for the Australian Comforts Fund. The Australian Comforts Fund was an umbrella organisation for voluntary bodies set up on 24 August 1916, after the outbreak of World War I. It was dissolved on 16 April 1920 but was re-established in 1940, during World War II and dissolved again in 1946. Card made in England by Raphael Tuck & Sons Ltd, publishers to the King and Queen. Oblong sheet folded in half to create 4 pages, all printed in colour and including illustrations and very full documentation.'Graham Clarendon Hyde 14 Btn AIF' 'Given to Historical Society of St Kilda by Mr G Hyde N Zealand August 1980'aif, world war i, wwi, australian comforts fund, 14th battalion aif, villers-bretonneux, battle of hamei

Clem Christesen wrote a brief history of "Stanhope" which was reproduced in EDHS Newsletter No. 162 May 2005. STANHOPE HOUSE is situated on the crest of Stanhope Hill about ten minutes' walk westward from the Eltham railway station and is bounded by Peter, Fay and Stanhope Streets. The original property, comprising 15 ½ acres with a frontage on Diamond Creek, was bought in about 1900 by Will Longstaff (b. 1878, d London 1953), official war artist during World War I, who became famous for his painting 'The Ghosts of Menin Gate', France which is now in the Australian War Memorial, Canberra. The main residence, designed by Desbrowe Annear, was built of jarrah, with stucco walls and floors of Tasmanian hardwood The rooms were panelled with Californian redwood (sequoia). Away from house was a cottage (used as a studio), and stables, dairy and meat house. In 1919 Mr Theo. Handfield bought the property from Mrs Longstaff. On New Year 's Day 1924 most of the estate (eighty blocks) was auctioned. Bishop Reginald Stephen, Warden of Trinity College and distinguished scholar, bought the house and five acres in 1928. Dr and Mrs C.B. Christesen became the new owners in 1946 and subsequently extended the house on the north and south sides. 'Stanhope 'has had many very interesting art and literary associations. When Will Longstaff occupied it - he was a cousin of another well-known painter, Sir John Longstaff- various leading artists of the period, including Walter Withers who lived nearby, were frequent visitors. A son of Mr and Mrs Handfield, John, became a journalist and author, and now lives with his wife Esta at Homestead Road, Eltham. Bishop Stephen was related to Sir Leslie Stephen (1832-1904), one of the great representative minds of Victorian Britain, first editor of the monumental Dictionary of National Biography and father of the famous novelist and essayist Virginia Woolf. John Harcourt, novelist and music critic, rented 'Stanhope 'while he and his wife Fay were building 'Clay Nuneham' (mudbrick) at the foot of Stanhope Hill near the creek. Nina Christesen, academic and founding editor of Melbourne Slavonic Studies, was Head of the Department of Russian Language and Literature, University of Melbourne, from 1946 to 1977. Clem Christesen, poet, short story writer and painter, founded Australia's leading literary journal Meanjin Quarterly in 1940 and remained editor until 1975. Very many distinguished Australian and foreign writers, artists and academics-from Nobel prize-winning novelist Patrick White to the world's leading cellist Mstislav Rostropovich - have visited 'Stanhope ' over the years. The extensive garden is said to be one of the loveliest in Eltham. The main entrance is by way of Diamond and Peter Streets. film - kodak gc 400-6, russell yeoman collection, scan - 35mm negative, bishop stephen, clem christesen, eltham, nina mikhailovna christesen, peter street, stanhope, theo handfield, will longstaff

After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for real estate agents in Melbourne between 1983 and 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink drawing on drafting film of 2 Longstaff Street, Kew East by Margaret Picken.2 LONGSTAFF ST., E. KEW / MARGARET PICKEN ~91 / WOODARDS ~ KEWartist -- margaret picken 1950-, property illustrations — buildings — kew east (vic.), 2 longstaff street - kew east (vic)

After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for real estate agents in Melbourne between 1983 and 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink drawing on drafting film of the rear of 2 Longstaff Street, Kew East, by Margaret Picken.2 LONGSTAFF ST., E. KEW / MARGARET PICKEN ~91 / WOODARDS ~ KEW REARartist -- margaret picken 1950-, property illustrations — buildings — kew east (vic.), 2 longstaff street - kew east (vic)

After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for real estate agents in Melbourne between 1983 and 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink drawing on drafting film of 1 Longstaff Street, Kew East by Margaret Picken.1 LONGSTAFF ST., KEW E. / MARGARET PICKEN ©2000 / FLETCHERS REAL ESTATEartist -- margaret picken 1950-, property illustrations — buildings — kew east (vic.), 1 longstaff street - kew east (vic)

THE FAMILY OF SIR JOHN LONGSTAFF MOVED TO CLUNES IN 1862. THE ORIGINAL HOME WAS NEXT DOOR TO ST-THOMAS ACQUININS CHURCH - CORNER OF BAILEY STREET AND TEMPLETON STREET, CLUNES.1 COPY PHOTOGRAPH LONGSTAFF HOME AND FAMILY .2 - .4 COPIES OF .1local history, photography, photographs, longstaff, sir john

Two Compact Discs produced by 88.6 Plenty Valley FM Disc 1 Tracks 01 Introduction; MP3 file, 01.02MB; 0.44 02 Epping District (written and spoken by Felicity Williams, Head of English, Mill Park Secondary College); MP3 file, 9.94MB; 07:14 03 P. E. Cook (written and spoken by Liz Pidgeon, Local and Family History Librarian, Yarra Plenty Regional Library); MP3 file, 10.5MB; 07:38 04 Research Honour Board (written by Jim Allen of Eltham District Historical Society and spoken by Daniel Polombi of Plenty Valley FM); MP3 file, 7.52MB; 05:28 05 Will Longstaff (written by Bill McGililvray, Plenty Valley FM and spoken by Daniel Polombi of Plenty Valley FM); MP3 file, 9.01MB; 06:33 06 Robert Smith (written and edited by Bill McGillivray, Plenty Valley FM and spoken by Shelley Carpatharcus and Daniel Polombi of Plenty Valley FM); MP3 file, 9.55MB; 06:57 07 Stanley Addison (written and spoken by Jim Connor of Eltham District Historical Society); MP3 file, 9.25B; 06:43 08 Bessie Gallagher (written by Maureen Jones and and spoken by Geraldine Ishken of Plenty Valley FM); MP3 file, 12.3MB; 08:58 Disc 2 Tracks 09 George Muir Letter 1 (written by Maureen Jones and and spoken by Geraldine Ishken of Plenty Valley FM); MP3 file, 9.32MB; 06:47 10 George Muir Letter 1 Part 2; MP3 file, 9.17MB; 06:40 11 George Muir Letter 1 Part 3; MP3 file, 8.50MB; 06:11 12 George Muir Letter 2; MP3 file, 4.91MB; 03:34 13 George Muir Letter 3; MP3 file, 7.25MB; 05:17 14 George Muir Letter 4; MP3 file, 5.59MB; 04:04 15 George Muir Letter 5; MP3 file, 4.63MB; 03:22 16 George Muir Letter 6; MP3 file, 3.38MB; 02:27 17 George Muir Letter 7 (introduction by Jim Connor of Eltham District Historical Society, original letters by George Muir, commentary written by Helen Mann and Bill McGillivray of Plenty Valley FM, spoken by Romero Callaghan and Stephen Pidgeon); MP3 file, 4.36MB; 03:10 18 George Muir Letter (introduction by Jim Connor of Eltham District Historical Society, original letters by George Muir, commentary written by Helen Mann and Bill McGillivray of Plenty Valley FM, spoken by Craig Wright of Planty Valley FM); MP3 file, 12.4MB; 09:02alan marshall, anzac stories, audio cassette, audio recording, bessie gallagher, bill mcgillivray, community radio, craig wright, daniel polombi, eltham district historical society, epping district, felicity williams, george muir, geraldine ishken, helen mann, jim allen, jim connor, liz pidgeon, maureen jones, mill park secondary college, p.e. cook, plenty valley 88.6 fm, research honour board, robert smith, romero callaghan, shelley carpatharcus, stanley simpson addison, stephen pidgeon, victoria's anzac centenary, will longstaff, yarra plenty regional library

Print of original oil painting by Will Longstaff depicting a host of ghostly soldiers marching across a field in front of the Menin gate War memorial at Ypres, Belgium.Plaque on frame "Menin Gate at Midnight / copyright reserved / by / Will Longstaff / presented to the Commonwealth Government of Australia / by / Lord Woolayinton

MR. PARRINGTON SENT 5 COLOUR PHOTOGRAPHS OF SIR JOHN LONGSTAFF'S PORTRAIT, UNSIGNED. IT IS REPORTEDLY PAINTED BY A JUDGE BUT PROBABLY BY SIR JOHN HIMSELF.COLOUR PHOTOGRAPH OF PORTRAIT OF SIR JOHN LONGSTAFF, POSSIBLY PAINTED BY MR. JUSTICE GAMBLE - BUT UNSIGNED (POSSIBLY A SELF-PORTRAIT). PHOTOGRAPH TAKEN BY MR. D. PARRINGTON. MR. JUSTICE GAMBLE WAS A GREAT FRIEND OF SIR JOHN LONGSTAFF (SIR JOHN DIED IN 1941)local history, photography, photographs, longstaff, sir john

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

Edward George Longstaff No 3381, enlisted 31.10.1916 age 44years 2 months, embarked for England 6.12.916, posted to 2nd Pioneer Bn, embark for France 22.5.1917, classified with Rhuematism 10.11.1917 and returned to England, Returned to Aust 11.1.918 and then discharged Medically unfit “Senility” 22.4.1918..1) Certificate of Discharge Register No 374 in the name of Regt 3381 Private Edward George LONGSTAFF, 2nd Pioneer Battalion. Cream heavy paper with black writing. .2) Maroon coloured cloth covered Pay Book in the name of 3381 Private Edward George LONGSTAFF.certificate, administrative, paybook

Information relating to artist William Longstaff, one-time Eltham resident, famous for his painting Menin Gate (held at the Australian War Memorial) Colour Brochure: Will Longstaff: Art and Remembrance November 2001-February 2002 (Australian War Memorial) 4 pages. Copy of Letter from C. Pell to Mr (Clem) Christesen re research on Longstaff and residents of the property Stanhope, 1984 Copy of press cutting from The Sun news pictorial January 20, 1928 Photocopy From "Kangaroo Ground: A highland taken" by Mick Woiwod with reference to Longstaff enlisting from Kangaroo Ground Photocopy of news clipping “Captain honours lost soldiers with his art” by Brittany Shanahan, Diamond Valley Leader, Wednesday, April 22, 2015 Photocopy from book about Longstaff, possibly "Encyclopedia of Australian Art" by Alan McCulloch. Newspaper article: “Stepping into the breach” by Mark Barker, The Sunday Age, Extra. January 27, 2013, p21 with references to Longstaff’s Menin Gate painting Copy of article from journal possibly from the Australian War Memorial, September 1987 re art works at AWM, “Menin Gate at Midnight” by John Connor, (page 390) Misc. hand written biographical notes by Harry Gilham harry gilham collection, william longstaff, kangaroo ground, menin gate at midnight, shire of eltham war memorial, artist